So is anything going on in comics news this week?
Ahahaha just kidding.
Seriously though, we'll dive into the DC plans in greater detail once more concrete announcements are made.
For now, let's focus on the here and now, and here and now was a great week for comics!
Fear Itself #3
Publisher: Marvel
Writer: Matt Fraction
Artist: Stuart Immonen
“Our CAPITAL, Sharon. Going out for some air. Might be a while...”
After a slightly weak second issue, things kick into high gear with the latest installment of Matt Fraction's summer epic.
The thrills start with Bucky Cap leading some of the Avengers into battle against Sin and her forces in D.C. and the action doesn't let up as the Avengers and the Future Foundation confront the other members of the Worthy who are wreaking havoc around the world. Fraction does an excellent job of raising the stakes in this issue, as the assembled heroes of the Marvel Universe are stretched thin facing threats that were quite formidable before they were bequeathed power bestowing hammers of Asgardian origin. Not to mention the fact that Asgard is gearing up to wipe out humanity to deprive the Serpent of the fear on which he thrives.
The real strength of this issue comes during the scenes where Thor is interacting with his Asgardian brethren. Loki continues to make the most of his second chance after being resurrected as a child, reaching out to his brother and doing whatever he can to aid Thor and make him proud. Thor's showdown with Odin is nowhere near as explosive as their confrontation in the first issue, however it is equally fascinating, and further demonstrates the complexity inherent in their relationship.
My only complaint is that the series has been so action heavy in the last two issues, we haven't had time to examine the emotional tole that all this destruction is having on the Marvel Universe and the assembled heroes. Given that two of the Worthy are members of the heroic community, there is a goldmine of emotional character driven moments to be explored that have so far been relegated to the tie in issues. Fraction did such a great job of capturing the mood of anxiety in the first issue, and is such a master at crafting a variety of character's voices, that it would be a great shame if he did not take the chance to explore what his protagonists are feeling as they face unstoppable odds, watch comrades fall, and see two friends turned into mindless engines of destruction.
Stuart Immonen must be having a blast on this series, as he gets to smash all the toys together in a variety of exotic locations across the Marvel Universe. The fight scenes are brutal. I mean really brutal, which is especially important in a series where the antagonists are all juggernauts of destruction (one of them is in fact the juggernaut). Immonen's take on Bucky Cap, Black Widow, and Falcon are especially iconic, and the shocking ending scene is especially well choreographed, to really tug at the heart strings.
This issue ends on a major cliffhanger, and if all is as it seems, the events of this issue will have major ramifications for the entire Marvel Universe going forward. I’m used to comic fake outs so I’m not ready to call this like I see it. All I’ll say is that if this was the end for one of the protagonists, then it was a fittingly heroic one, especially in light of said protagonist’s speech to rally their comrades. After a minor hiccup of a second issue, this blockbuster is back on track.
Grade: A-
Flashpoint #2
Publisher: DC
Writer: Geoff Johns
Artist: Andy Kubert
“You weren’t fast enough to avoid that you delusional son-of-a-bitch.”
Now this is more like it. After a first issue which felt like a lot of exposition (interesting exposition, but still). This issue really draws readers into the world of Flashpoint, showing us just how different and bleak things are in this altered timeline.
The issue begins with a very creepy scene in which Deathstroke and his band of pirates make the mistake of sailing too far into Aquaman occupied territory. The fury of the sea king can only be matched by that of Wonder Woman and her furies as she stalks Special Agent Steve Trevor across the ruins of London. This is the introduction I wanted to see in the first issue, and had we gotten a taste of just how merciless and powerful these two are in this world right at the get go, I believe the scene from the first issue where Cyborg was assembling the heroes of the Flashpoint universe would have been much, much more effective.
The rest of the issue is devoted to Barry Allen trying to convince Batman that the world is not as it should be, a task that becomes much easier when Barry reveals a key detail about how the world was that immediately brings this Batman onboard with the cause of restoring Barry's powers and righting history. While there is still no sign of the Flash, Barry is much more interesting to watch this time around, as he forms a plan to deal with his situation, one that includes a substantial risk of personal injury.
A lot of this issue takes place in the Batcave, but Andy Kubert is able to make these scenes engaging and dynamic. The opening visuals of the issue are truly creepy, and Kubert maintains a palpable level of suspense for the entire first segment. The debut of Aquaman and Wonder Woman are rendered with the gravitas needed to sell the power and danger that these two represent to the characters they interact with and to the world at large. Finally the last few pages are masterfully choreographed and again, steeped in suspense. I would especially make note at the emotion that Kubert endows Batman with through posture given that we cannot see his expression for most of this sequence.
Given the information that is starting to leak out regarding DC's plans for the future, this series may indeed be remembered as one of the most important comics of the decade given its role in reshaping the continuity of the DC universe. It is quite possible that it will come to be spoken of in similar breaths as Crisis on Infinite Earths if the ramifications are as far reaching and dramatic as they appear to be. However given all the hype about what is about to come, take the time to enjoy this series for what it truly is. A return to form for Geoff Johns, and some of the best work Andy Kubert has done in recent years.
Grade: A-
Criminal: The Last of the Innocent #1
Publisher: Marvel Icon
Writer: Ed Brubaker
Artist: Sean Phillips
“It’s good being back in the old times.”
SPOILERS
The wait time between each new volume of Criminal seems like an eternity. The reason for this, is that the book is just so damn good, that it is almost frustrating to finish each issue, knowing that once the current volume is done, the inevitable, painful wait for the next volume will begin.
One issue in, and I do believe that this may just be the best installment of Criminal to date. The story is full of references sure to catch the eye of long time Criminal readers, and long time comics fans to boot. Set in 1982, this volume tales the story of Riley Richards returning home to see his ailing father. Riley has his own troubles back int the city without a name, but for now he is consumed by the past and thoughts of how his life turned out the way it did.
This is an intensely personal story for Brubaker, as he tells the reader in the afterward that this story was in a way inspired by the passing of his own father. And it shows in the level of craftsmanship that Brubaker pours into the structure, dialogue, and tone of the issue. The story is universally relatable as the main character wrestles with loss, nostalgia, and questions of what might have been.
Sean Phillips is in fine form as always, but what will have most people talking about this issue is the Archie-esque flashback sequences to Riley's childhood. The visuals are so clean and innocent, evoking that style so perfectly and bring about a yearning for a simpler time. The content of these scenes however is something very different, sometimes detailing slices of Americana, sometimes detailing content that is quite adult. Its about as Archie as Criminal could ever be, and the scenes are very powerful because of the contrast between style and content, all the while reminding us that maybe the past is never quite as perfect as we might imagine it.
The issue ends on a shocking cliffhanger that will hit you like a punch to the gut. For those of you who are turned off by the tights and capes set of the comics world, and even those of you who love super hero comics, I highly advise you, check out this book. It is a must read for fans of mature, gritty noir, and is a masterpiece of storytelling in this medium.
Grade: A+
Read more Chris' Comics Corner here
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Showing posts with label Chris' Comics Corner. Show all posts
Showing posts with label Chris' Comics Corner. Show all posts
Thursday, June 2, 2011
Thursday, May 19, 2011
Chris' Comics Corner
Hey all, I'm trying to get back on schedule, so this column includes reviews from the past two weeks, hope you enjoy.
Flashpoint #1
Publisher: DC
Writer: Geoff Johns
Artist: Andy Kubert
Event Watch: Flashpoint Part 1 of 5
SPOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOILERS
Flashpoint #1 is quite possibly the most important comic DC releases all year. Why? Because DC has a lot riding on the success of this limited series.
In the short term, Flashpoint is DC's big summer event and direct challenger to Marvel's Fear Itself. The sales of comics in the summer are driven by events and their tie ins, with the event books and their tie ins eclipsing the sales of just about everything else on the stands. With the two central protagonists of Fear Itself appearing in big blockbuster summer movies, Marvel already has the edge in this category, but Flashpoint boasts an unprecedented number of tie in miniseries. What Flashpoint lacks in exposure it might just make up in sheer volume.
However a short term victory in sales this summer has bigger long term ramifications for DC and the Comics Industry as a whole. As the name of this book might suggest, Flashpoint focuses on the Flash, and is the first DC wide event to place the Scarlet Speedster in such a position of prominence. Flashpoint is (and pardon me for what is the first of what I'm sure will be maaaaaaaaany puns) DC's attempt to see if lightning can strike twice and if Geoff John's can elevate the Flash to the same kind of prominence he achieved in elevating Green Lantern to, back in 2004. Looking even further down the road, the fact that every DC writer and editor has been sworn to secrecy on what the shape of the DCU will be in the aftermath of Flashpoint (In fact aside from Batman Inc., I have nooo idea what any title has in store past the summer) suggests that the companies future plans to reinvigorate its catalogue and compete with Marvel are highly dependent on this series (the foundation for the company's immediate future) being a success.
Like I said, there is a. lot. riding on this book.
So how was the first issue? It was…ok. Which given the enormously high aforementioned stakes, is not the best thing. By itself it is a good issue, but it is not what DC needed it to be. At least not yet.
The issue begins with Barry Allen realizing that the world as he knows it has changed. While the differences are subtle at first, he quickly makes two major discoveries: He is no longer the fastest man alive, and his mother is alive. This leads to a very powerful and heartfelt reunion between mother and son, especially for those who have been reading the recent relaunch of The Flash title.
As far as the story, things kinda go downhill from there. Not bad per se, just nothing exceptional. Most of the issue is devoted to Barry running around in confusion, which I suppose is necessary but in an event that is only 5 issues long that exists primarily to elevate the status of The Flash, having him bumble throughout the new reality powerless is probably not the best way to do it, as it does not give readers a reason to care about Barry as a person, or show just how cool a hero the Flash is. Granted there is still time to do this now that we've moved past the establishing phase but I really think it would have been better to hit the ground running. (…I apologized once, I won't do it again).
The rest of the issue is devoted to a vote among the heroes of this altered world on what to do about the war between Aquaman and Wonder Woman that's currently devastating Europe. While this sequence was fun and entertaining at times, it felt like what it was: a lot of exposition. Having the characters tell the readers about the problems that Aquaman and Wonder Woman are causing rather than showing us, leaves the reader with the impression that not a lot happened in the issue, when actually there was a lot of content packed into these pages.
I did like this scene, and I think it was an effective way to introduce us to the players and their world, but I think it lasted a bit too long, and would have felt more satisfying if it had done more to advance the plot. That being said, I commend the choice Johns made to populate this world with lesser known and new characters rather than alternate versions of the A and B listers. Additionally, the twist regarding Batman at the end of the issue was particularly inspired and satisfying.
Flashpoint #1
Publisher: DC
Writer: Geoff Johns
Artist: Andy Kubert
Event Watch: Flashpoint Part 1 of 5
SPOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOILERS
Flashpoint #1 is quite possibly the most important comic DC releases all year. Why? Because DC has a lot riding on the success of this limited series.
In the short term, Flashpoint is DC's big summer event and direct challenger to Marvel's Fear Itself. The sales of comics in the summer are driven by events and their tie ins, with the event books and their tie ins eclipsing the sales of just about everything else on the stands. With the two central protagonists of Fear Itself appearing in big blockbuster summer movies, Marvel already has the edge in this category, but Flashpoint boasts an unprecedented number of tie in miniseries. What Flashpoint lacks in exposure it might just make up in sheer volume.
However a short term victory in sales this summer has bigger long term ramifications for DC and the Comics Industry as a whole. As the name of this book might suggest, Flashpoint focuses on the Flash, and is the first DC wide event to place the Scarlet Speedster in such a position of prominence. Flashpoint is (and pardon me for what is the first of what I'm sure will be maaaaaaaaany puns) DC's attempt to see if lightning can strike twice and if Geoff John's can elevate the Flash to the same kind of prominence he achieved in elevating Green Lantern to, back in 2004. Looking even further down the road, the fact that every DC writer and editor has been sworn to secrecy on what the shape of the DCU will be in the aftermath of Flashpoint (In fact aside from Batman Inc., I have nooo idea what any title has in store past the summer) suggests that the companies future plans to reinvigorate its catalogue and compete with Marvel are highly dependent on this series (the foundation for the company's immediate future) being a success.
Like I said, there is a. lot. riding on this book.
So how was the first issue? It was…ok. Which given the enormously high aforementioned stakes, is not the best thing. By itself it is a good issue, but it is not what DC needed it to be. At least not yet.
The issue begins with Barry Allen realizing that the world as he knows it has changed. While the differences are subtle at first, he quickly makes two major discoveries: He is no longer the fastest man alive, and his mother is alive. This leads to a very powerful and heartfelt reunion between mother and son, especially for those who have been reading the recent relaunch of The Flash title.
As far as the story, things kinda go downhill from there. Not bad per se, just nothing exceptional. Most of the issue is devoted to Barry running around in confusion, which I suppose is necessary but in an event that is only 5 issues long that exists primarily to elevate the status of The Flash, having him bumble throughout the new reality powerless is probably not the best way to do it, as it does not give readers a reason to care about Barry as a person, or show just how cool a hero the Flash is. Granted there is still time to do this now that we've moved past the establishing phase but I really think it would have been better to hit the ground running. (…I apologized once, I won't do it again).
The rest of the issue is devoted to a vote among the heroes of this altered world on what to do about the war between Aquaman and Wonder Woman that's currently devastating Europe. While this sequence was fun and entertaining at times, it felt like what it was: a lot of exposition. Having the characters tell the readers about the problems that Aquaman and Wonder Woman are causing rather than showing us, leaves the reader with the impression that not a lot happened in the issue, when actually there was a lot of content packed into these pages.
I did like this scene, and I think it was an effective way to introduce us to the players and their world, but I think it lasted a bit too long, and would have felt more satisfying if it had done more to advance the plot. That being said, I commend the choice Johns made to populate this world with lesser known and new characters rather than alternate versions of the A and B listers. Additionally, the twist regarding Batman at the end of the issue was particularly inspired and satisfying.
Andy Kubert is a highly talented artist perfectly suited to the dark and gritty world of Flashpoint. Seeing his Batman swinging across the Gotham skyline makes me pine for his all too brief stint illustrating Grant Morrison's Batman. His character is especially impressive in this debut issue, possibly even a career high, as every face is unique and emotive. His layouts, choreography, and use of multiple angles reveals his vast experience and skill The amount of characters and actions that he packs into these pages could have easily overwhelmed another artist but Kubert handles it like a pro. My one gripe is that I'll have to wait at least another issue to see Kubert render The Flash in action.
I think the main strike this book has against it is the fact that DC decided to tell this story as a big summer event. Had this been just another arc of the Flash, I think a lot of these concerns would have bothered me less than they did in this context. However because the DC hype machine has been promoting this book 7 ways to Sunday, I entered into it with a good deal of knowledge of the direction of the story and the twists thrown the readers' way in this first issue. This Event Series still shows a lot of promise, and I am optimistic that things will look up next issue now that much of the groundwork has been laid.
Grade: B+
Birds of Prey #12
Producer: DC
Writer: Gail Simone
Artist: Jesus Saiz
Now that's more like it. Ever since Gail Simone returned to relaunch the title on which she had a career defining run several years ago, something has been…missing. This should have been an easy hit for DC, instead, it felt like something just wasn't clicking. There were a lot of great moments, and huge potential, but issue after issue that potential remained unreached. Maybe it was the merry-go-round of artists (7 artists in 11 issues). Or maybe it was the multiple status quo shifts and reveals that were never really fully explained before moving onto the next big idea.
All that changes with this issue. This is the book I was hoping for. This is the book I wanted to be reading. The renowned fun and personal chemistry between her cast of characters that Simone was known for on this title is in full effect. We get some fun interplay between Canary, Dove, and Oracle, a great team up between Huntress and the Question, and a laugh out loud moment featuring Hawk. The issue ends with a genuinely creepy twist that longtime fans of Simone will appreciate as being particularly deadly for our protagonists.
The new story arc and return to basics approach on Simone's side is only part of the reason why this issue was leaps and bounds ahead of it's 11 predecessors. The lion's share of the credit needs to go to artist Jesus Saiz for finally giving this series the proper tone, polish, and consistency that this title so badly needed. I love Saiz's thick line work and shading. At an average of about five panels per page, Saiz packs a lot of story into this issue, but his excellent handle on choreography keeps the action from becoming confusing or cluttered. His characters are sexy (without cheesecake factor), and expressive which is exactly what this book needs. I hope that Saiz is onboard for the long haul because he and Simone really clicked this issue, and I can't wait to see what they do next.
Grade: A-
Avengers #13
Publisher: Marvel
Writer: Brian Bendis
Artist: Chris Bachalo
Event Watch: Fear Itself Tie In
So Bendis has been utilizing this oral history of the Avengers prose feature to pad the books to justify the 3.99 price raise, and while I have little interest in reading Bendis's take on the classic Avengers stories of yesteryear, I applaud him trying to give the readers extra bang for their buck. He employs the same technique for this issue, but instead of prose blurbs, we get confessional style panel packed pages, interspersed with some expanded scenes from Fear Itself #1. The confessional technique actually works really well here, as it heightens the sense of anxiety and tension, as the characters are giving confessional interview both pre and post the events of Fear Itself, alluding to tragedy we are yet to see.
Bendis contrasts these scenes with a budding romance between two Avengers. And while he handles some aspects of developing attraction well, other scenes come off as being a bit juvenile. The exchange between Spider-Woman and Ms. Marvel in particular sounded like the dialogue of Jr. High School girls, rather than two ex-military super heroines.
Bachalo handles the art chores exceptionally well on this issue. His style is infamously stylized and exaggerated and not what you would normally associate with the Avengers, however I think one of the best things Bendis has done during his tenure in the Avengers franchise is bring in artists not normally associated with the characters. I for one would be happy to see Bachalo take the reigns of an Avengers book, as it is hard to deny that his characters are larger than life, and I simply love his renditions of Thor, Red Hulk, Hawkeye, and Spider-Woman.
Grade: B+
Read more Chris' Comics Corner here
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Thursday, April 28, 2011
Chris' Comics Corner
Action Comics #900
Publisher: DC Comics
Writer (Main Story): Paul Cornell
Artists (Main Story):Pete Woods, Jesus Merino, Dan Jurgens, Rags Morales, Ardian Syaf, Jamal Igle, and Gary Frank (yeeesh!)
As the book's newly reinstated letter column is quick to point out, Action Comics is the first super hero comic to reach the impressive milestone of a 900th issue. For the past 9 or so issues, Paul Cornell has been scripting this book and focusing on a critically acclaimed examination of Superman's greatest enemy Lex Luthor. This issue brings the Luthor storyline to a close while transitioning the focus of the title back to the Man of Steel.
The fact that DC gave Cornell the privilege/burden of such a prestigious milestone is a testament both to DC's faith in Cornell, and the fantastic job he has done on this title to date. I can't speak from first hand experience, I've only been following the reviews thus far, but I can tell you that across the board, Paul Cornell's Action Comics has been the Reviewer's choice for buzz book of 2010.
Superman is one of my favorite DC characters, and yet it is very rare that I find a take on the character that I like, outside of the work of Grant Morrison, Geoff Johns, and Kurt Busiek (Although I would also love to see Chris Roberson have a shot at writing Superman free of the influence of the ill conceived and aborted idea that was J.M.S's "Grounded"). So having been without my Superman fix since Geoff Johns ended his tenure on Action Comics, and having kept an eye on all of the good things being said about Paul Cornell and his work on this title, I jumped at the chance to jump onboard this series as Cornell ended his first storyline and began a new one with Superman taking the spotlight once more.
Cornell had a lot of hype to live up to on this issue, and you know what? It was very good. Not phenomenal, he didn't re-invent the wheel by any means. But he did tell a very solid Superman/Luthor story that revealed just how well he grasps both characters. The action was as large scale as one would hope for. The issue reviewed major events from Superman's past as anniversary issues are want to do, but there was a logical and story driven reason for these reflections. Superman and Luthor go head to head in a battle of strength and wills that truly showcases the amazing grit and fortitude of Superman and the inescapable flaw of Lex Luthor.
The art, as it is for most anniversary issues, was a mixed bag jam session. Some faired far better than others with Pete Woods being the only real stand out of the bunch. Ultimately the different styles just didn't mesh well and the result distracted from this milestone issue much more than it celebrated the monumental achievement.
While I am less thrilled about the "Reign of Doomsday" storyline Cornell has inherited, I am eager to return next month. Cornell, like Johns and Morrison before him, understands that examining Superman's humanity does not have to come at the cost of doing away with the limitless and fantastical possibilities for adventure that this character and his world affords writers (Yes, in addition to a compliment to Cornell that was also another shot at J.M.S. I'm sorry, I usually like to stay positive with these things but the whole affair just really pissed me off. If you have no idea what I'm talking about, please email reviewtobenamed@gamil.com or tweet at reviewtobenamed and I'll happily fill you in.)
Grade: B+
Brightest Day #24
Publisher: DC
Writers: Geoff Johns & Peter Tomasi
Artists: Ivan Reis, Patrick Gleason, Ardian Syaf, Scott Clark, Joe Prado
SPOILER ALERT
STOP READING IF YOU HAVEN'T READ THIS ISSUE.
OR YA KNOW THE INTERNET
SERIOUSLY I'M GONNA SPOIL STUFF
NOT JUST STUFF THAT'S ON THE COVER
YOU HAVE BEEN WARNED
I was originally going to write a longer column examining this series as a whole, but the more I thought about, the more I realized that this maxi series was neither stellar enough, nor terrible enough to warrant or benefit from any sort of in-depth scrutiny, and that my thoughts on the series as a whole are really very similar to my thoughts on this issue. They can be summed up as follows: A few neat ideas undercut by a lot of questionable ideas and a narrative that moved at break neck speed to set up the next big thing, overall resulting in a lot of missed opportunities.
Let me start off with the things that I did like. I liked the explanation of the threat our heroes were facing, as it made much more sense that I thought it would. I liked the Deadman and Dove interactions, these were always a highlight of this book. I liked the conclusion of Deadman's story, undoubtedly the strongest of the five narratives, it definitely ends on the strongest and most heart wrenching note. I liked the art. The different teams all working together, jamming on what is essentially one big long showdown in the Star City Forest, was not nearly as distracting as similar artistic relay races are (See above review of Action Comics).
What I didn't like was the still very vague and overly complicated plan the White Lantern had for our heroes to save earth. It seems like Johns and Tomasi were really having difficulty connecting the narrative of these 12 characters leading many of their missions to stretch the limits of logic and practicality. Osiris for instance (not a main player in this series) was brought back so that he could help bring his Sister Isis back. Ok, so why not just Bring Isis back and skip the middle man? Same thing with Professor Zoom's mission to bring back Barry Allen. And you could make an argument that neither Isis nor Allen were truly dead (dontcha love comics?) but I still felt like they were really unsatisfying justifications as to why these characters were brought back.
The other central protagonists of Brightest Day: Aquaman, Martian Manhunter, Firestorm, Hawkman, and Hawkgirl, continue their best cover of Captain Planet this issue, even going so far as combining their powers within the new avatar of life on earth. I'm not kidding you, at very least Dove didn't jump in there to represent "heart." Say what you will about the various strengths and weaknesses of each character's respective story lines, the fact that in the end their ultimate end goal was to become spirit guides for their most closely associated natural element, and run interference for the true protector of earth is just…disappointing.
The topic of discussion on everyone's mind with the reveals of this issue and the end of this series is the ramifications to the DCU now that certain characters who have been exclusive to Vertigo are being reintegrated back into the DC Universe Proper. Yes, the new protector of Earth is Swamp Thing, and the issue ends with a brief cameo from none other than John Constantine. Yes this is an exciting and controversial move, the kind that will get fans talking and build some media buzz.
Swamp Thing (and Constantine) to a lesser extent really steal this issue. I think DC, Johns, and Tomasi's choice to focus on Swamp Thing and misdirect the conversation about this book with John Constantine's arrival is indicative of a greater problem DC has as a publisher and that is missing opportunities and squandering potential. The whole point of this maxi-series (regardless of what Johns and Didio intended or will tell you they intended) should have been reestablishing and elevating DC's lower tier A-List of characters.
If you look at the current DC publishing catalogue, you'll notice something strange (no not that the Bat titles represent a good fifth of the output, that's normal). See when you look at what DC is publishing, the most popular characters are all represented (Superman, Batman, Wonder Woman, Green Lantern, and Flash, some with more than one title) and many of DC's more obscure yet fan favorite characters are also represented (Booster Gold, Jonah Hex, Power Girl, and a plethora of Bat associates and former sidekicks). Yet many of DC middle tier characters, namely the ones who until now were currently starring in Brightest Day are sorely represented and have been absent or struggling to support a title for years now.
With Brightest Day, DC had these characters under the brightest spotlight they've been able to shine their way in awhile. And rather than bringing these characters back to basics, highlighting the core elements that makes them unique, showing us the intrinsic specialness that allows them to endure, the story focused on revising origins (confusing revisions too) and tying into an overly convoluted super story that in the end did nothing more than set up DC's next big thing, the reintroduction of the Vertigo characters.
Yes. We know that Aquaman is spinning off into his own series by Johns and Reis after this (and I get the strong vibe that at very least Firestorm is getting one too), but why not announce that in the final pages of this issue, as the conclusion of Justice League Generation Lost announced a new ongoing Justice League International.
DC should have kept the focus squarely on the most clean and simple interpretation of these characters and then spring boarded each one off into new ongoing series following the conclusion of this story, helmed by some of DC's most buzz worthy young writers (My picks would be Firestorm by Chris Roberson, Hawkman by Scott Snyder, Martian Manhunter by Peter Tomasi, and Deadman by Kelly Sue DeConnick ((LOCK HER DOWN DC, DON'T MAKE THE SAME MISTAKE YOU DID LOSING NICK SPENCER!!!!)))
But maybe the reason they didn't announce any new titles featuring the supposed stars of Brightest Day is that after this issue, who would care about anything but the Vertigo characters, as Aquaman, Hawkman, Hawkgirl, Martian Manhunter, and Firestorm really took a back seat to these characters in this issue despite the fact that they had headlined the previous 23 issues.
Standing on its own merits this was a decent issue, but viewed as a conclusion to a year long storyline and considering what it did accomplish as opposed to what it could have accomplished, ultimately, this was a disappointing book.
Grade: B-
Read more Chris' Comics Corner here
Want to keep tabs on all of our updates? follow us on twitter @reviewtobenamed (follow us here).
Publisher: DC Comics
Writer (Main Story): Paul Cornell
Artists (Main Story):Pete Woods, Jesus Merino, Dan Jurgens, Rags Morales, Ardian Syaf, Jamal Igle, and Gary Frank (yeeesh!)
As the book's newly reinstated letter column is quick to point out, Action Comics is the first super hero comic to reach the impressive milestone of a 900th issue. For the past 9 or so issues, Paul Cornell has been scripting this book and focusing on a critically acclaimed examination of Superman's greatest enemy Lex Luthor. This issue brings the Luthor storyline to a close while transitioning the focus of the title back to the Man of Steel.
The fact that DC gave Cornell the privilege/burden of such a prestigious milestone is a testament both to DC's faith in Cornell, and the fantastic job he has done on this title to date. I can't speak from first hand experience, I've only been following the reviews thus far, but I can tell you that across the board, Paul Cornell's Action Comics has been the Reviewer's choice for buzz book of 2010.
Superman is one of my favorite DC characters, and yet it is very rare that I find a take on the character that I like, outside of the work of Grant Morrison, Geoff Johns, and Kurt Busiek (Although I would also love to see Chris Roberson have a shot at writing Superman free of the influence of the ill conceived and aborted idea that was J.M.S's "Grounded"). So having been without my Superman fix since Geoff Johns ended his tenure on Action Comics, and having kept an eye on all of the good things being said about Paul Cornell and his work on this title, I jumped at the chance to jump onboard this series as Cornell ended his first storyline and began a new one with Superman taking the spotlight once more.
Cornell had a lot of hype to live up to on this issue, and you know what? It was very good. Not phenomenal, he didn't re-invent the wheel by any means. But he did tell a very solid Superman/Luthor story that revealed just how well he grasps both characters. The action was as large scale as one would hope for. The issue reviewed major events from Superman's past as anniversary issues are want to do, but there was a logical and story driven reason for these reflections. Superman and Luthor go head to head in a battle of strength and wills that truly showcases the amazing grit and fortitude of Superman and the inescapable flaw of Lex Luthor.
The art, as it is for most anniversary issues, was a mixed bag jam session. Some faired far better than others with Pete Woods being the only real stand out of the bunch. Ultimately the different styles just didn't mesh well and the result distracted from this milestone issue much more than it celebrated the monumental achievement.
While I am less thrilled about the "Reign of Doomsday" storyline Cornell has inherited, I am eager to return next month. Cornell, like Johns and Morrison before him, understands that examining Superman's humanity does not have to come at the cost of doing away with the limitless and fantastical possibilities for adventure that this character and his world affords writers (Yes, in addition to a compliment to Cornell that was also another shot at J.M.S. I'm sorry, I usually like to stay positive with these things but the whole affair just really pissed me off. If you have no idea what I'm talking about, please email reviewtobenamed@gamil.com or tweet at reviewtobenamed and I'll happily fill you in.)
Grade: B+
Brightest Day #24
Publisher: DC
Writers: Geoff Johns & Peter Tomasi
Artists: Ivan Reis, Patrick Gleason, Ardian Syaf, Scott Clark, Joe Prado
SPOILER ALERT
STOP READING IF YOU HAVEN'T READ THIS ISSUE.
OR YA KNOW THE INTERNET
SERIOUSLY I'M GONNA SPOIL STUFF
NOT JUST STUFF THAT'S ON THE COVER
YOU HAVE BEEN WARNED
I was originally going to write a longer column examining this series as a whole, but the more I thought about, the more I realized that this maxi series was neither stellar enough, nor terrible enough to warrant or benefit from any sort of in-depth scrutiny, and that my thoughts on the series as a whole are really very similar to my thoughts on this issue. They can be summed up as follows: A few neat ideas undercut by a lot of questionable ideas and a narrative that moved at break neck speed to set up the next big thing, overall resulting in a lot of missed opportunities.
Let me start off with the things that I did like. I liked the explanation of the threat our heroes were facing, as it made much more sense that I thought it would. I liked the Deadman and Dove interactions, these were always a highlight of this book. I liked the conclusion of Deadman's story, undoubtedly the strongest of the five narratives, it definitely ends on the strongest and most heart wrenching note. I liked the art. The different teams all working together, jamming on what is essentially one big long showdown in the Star City Forest, was not nearly as distracting as similar artistic relay races are (See above review of Action Comics).
What I didn't like was the still very vague and overly complicated plan the White Lantern had for our heroes to save earth. It seems like Johns and Tomasi were really having difficulty connecting the narrative of these 12 characters leading many of their missions to stretch the limits of logic and practicality. Osiris for instance (not a main player in this series) was brought back so that he could help bring his Sister Isis back. Ok, so why not just Bring Isis back and skip the middle man? Same thing with Professor Zoom's mission to bring back Barry Allen. And you could make an argument that neither Isis nor Allen were truly dead (dontcha love comics?) but I still felt like they were really unsatisfying justifications as to why these characters were brought back.
The other central protagonists of Brightest Day: Aquaman, Martian Manhunter, Firestorm, Hawkman, and Hawkgirl, continue their best cover of Captain Planet this issue, even going so far as combining their powers within the new avatar of life on earth. I'm not kidding you, at very least Dove didn't jump in there to represent "heart." Say what you will about the various strengths and weaknesses of each character's respective story lines, the fact that in the end their ultimate end goal was to become spirit guides for their most closely associated natural element, and run interference for the true protector of earth is just…disappointing.
The topic of discussion on everyone's mind with the reveals of this issue and the end of this series is the ramifications to the DCU now that certain characters who have been exclusive to Vertigo are being reintegrated back into the DC Universe Proper. Yes, the new protector of Earth is Swamp Thing, and the issue ends with a brief cameo from none other than John Constantine. Yes this is an exciting and controversial move, the kind that will get fans talking and build some media buzz.
Swamp Thing (and Constantine) to a lesser extent really steal this issue. I think DC, Johns, and Tomasi's choice to focus on Swamp Thing and misdirect the conversation about this book with John Constantine's arrival is indicative of a greater problem DC has as a publisher and that is missing opportunities and squandering potential. The whole point of this maxi-series (regardless of what Johns and Didio intended or will tell you they intended) should have been reestablishing and elevating DC's lower tier A-List of characters.
If you look at the current DC publishing catalogue, you'll notice something strange (no not that the Bat titles represent a good fifth of the output, that's normal). See when you look at what DC is publishing, the most popular characters are all represented (Superman, Batman, Wonder Woman, Green Lantern, and Flash, some with more than one title) and many of DC's more obscure yet fan favorite characters are also represented (Booster Gold, Jonah Hex, Power Girl, and a plethora of Bat associates and former sidekicks). Yet many of DC middle tier characters, namely the ones who until now were currently starring in Brightest Day are sorely represented and have been absent or struggling to support a title for years now.
With Brightest Day, DC had these characters under the brightest spotlight they've been able to shine their way in awhile. And rather than bringing these characters back to basics, highlighting the core elements that makes them unique, showing us the intrinsic specialness that allows them to endure, the story focused on revising origins (confusing revisions too) and tying into an overly convoluted super story that in the end did nothing more than set up DC's next big thing, the reintroduction of the Vertigo characters.
Yes. We know that Aquaman is spinning off into his own series by Johns and Reis after this (and I get the strong vibe that at very least Firestorm is getting one too), but why not announce that in the final pages of this issue, as the conclusion of Justice League Generation Lost announced a new ongoing Justice League International.
DC should have kept the focus squarely on the most clean and simple interpretation of these characters and then spring boarded each one off into new ongoing series following the conclusion of this story, helmed by some of DC's most buzz worthy young writers (My picks would be Firestorm by Chris Roberson, Hawkman by Scott Snyder, Martian Manhunter by Peter Tomasi, and Deadman by Kelly Sue DeConnick ((LOCK HER DOWN DC, DON'T MAKE THE SAME MISTAKE YOU DID LOSING NICK SPENCER!!!!)))
But maybe the reason they didn't announce any new titles featuring the supposed stars of Brightest Day is that after this issue, who would care about anything but the Vertigo characters, as Aquaman, Hawkman, Hawkgirl, Martian Manhunter, and Firestorm really took a back seat to these characters in this issue despite the fact that they had headlined the previous 23 issues.
Standing on its own merits this was a decent issue, but viewed as a conclusion to a year long storyline and considering what it did accomplish as opposed to what it could have accomplished, ultimately, this was a disappointing book.
Grade: B-
Read more Chris' Comics Corner here
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Thursday, April 7, 2011
Chris' Comics Corner
Hey guys. I'm going out of town this weekend, so preparations for that have shortened the column to just two reviews this week, sorry.
In two weeks time I will be forgoing the usual weekly reviews to do a review of Brightest Day as a whole once the final issue hits the stands. So please check that out, and now, onto reviews.
Fear Itself
Publisher: Marvel
Writer: Matt Fraction
Artist: Stuart Immonen
"…My God. Get me Steve Rogers and the President on the phone. In that order."
It's been awhile since Marvel (or DC for that matter) published a big summer blockbuster event book. Event books are somewhat divisive among comics fans. Some fans hate them claiming that these books disrupt the flow of the titles they are already enjoying with meaningless tie ins, and eschew basic logic and characterization in favor of big shock moments that make for great cliffhangers and splash pages. Other fans say that the comic landscape gets kinda boring without a big earth shaking event to look forward to, or accept event books as the necessary (and fun) lifeblood of the current comics industry, as nothing drives sales through the roof quite like a big summer event book.
However, I think that this expertly crafted first issue has the potential to win over some of even the most die hard detractors, as Fraction and Immonen have set the wheels in motion for a story that already feels epic, while still being grounded in relatable real world concerns.
Fear Itself is set against the back drop of a very recognizable America. One where a bad economy has left so many members of the middle class in free fall, and where divisive political issues lead to heated confrontations between protestors and police. There is aura of anxiety and foreboding that just oozes off of these panels. Something is wrong right from the get go and it has nothing to do with super villains or evil gods. The American public in this issue are afraid because one by one the institutions and constants that they derived security from have failed them. And that's just the first obstacle Fraction places before the assembled heroes of the Marvel universe. As Tony Stark points out in this issue, you can't punch a recession, this isn't a crisis that is easy to solve, and it's only going to be made worse once you throw evil gods and an amped up new Red Skull into the mix.
Fraction confines himself to a relatively small cast this opening issue (considering this is an MU wide event) focusing on the Avengers and the Asgardians, with Steve Rogers, Thor, Iron Man, Sharon Carter, and Odin taking center stage. This comes as no surprise given that Marvel has been pretty forthcoming that this event originated as a Cap and Thor story to tie into their respective movies coming out this summer. While some might scoff at this being a commercial move, rest assured, the story does not feel contrived or forced in ANY way, and I actually applaud the focus being squarely on these two because it allows for an event that really encompasses both the normal street level perspective of the MU, as well as the cosmic side of things with the Asgardian gods.
Fraction once again proves that he really knows how to write the Asgardians, Odin especially, as his arrogance and brashness is on full display, and after seeing just how stubborn and full of hubris the old man is, Odin's choice at the end of the issue makes the oncoming threat seem all the more terrifying. I actually think this is the first time Fraction has written Steve Rogers, which is kinda surprising considering he is one of Marvel's top writers right now. However when you think about it, Fraction only really started writing for Marvel in earnest back in 2006 co-writing Iron Fist with Ed Brubaker. Just five years later, here he is writing Marvel's biggest book of 2011, that's quite an accomplishment, but well earned as he has consistently pumped out some of Marvel's highest quality books in those five years.
Stuart Immonen has been a favorite artist of mine ever since his stints on Nextwave and Ultimate Spider-Man. He definitely has a different style from what you would typically consider to be typical for these types of projects. However, seeing Immonen gain exposure to a wider audience and really get a chance to go wild with all the toys in the toy box was one of the things that excited me most about this issue. And Immonen did not disappoint. From the streets of Manhattan to the depths of the Ocean, from a frozen, forgotten Nazi base, to the ruins of Asgard, Immonen really gets to showcase his amazing versatility and skill as an artist. His characters are clean but also emotive, detailed, and inimitable. Just look at the shots of the assembled Avengers both at Avengers Tower and in Asgard, Immonen's rendition of each character looks like an instant classic interpretation. And let's not forget colorist Laura Marten, whose vibrant color pallet makes the heroes' costumes pop off the page, and add an unearthly beauty to the Asgardian World Tree.
This is one of those books that reminds me just how great it is to be a comics fan. This is a medium where anything can happen, and a story about all of Marvel's heroes coming together to oppose a millennia old conspiracy involving evil gods and nazi super terrorists really gets me excited to tear through each issue as it hits the stands. This kind of wild creativity and genre mashing is what makes comics so great. And with two of the freshest and most talented creators currently on Marvel's dime behind the wheel, this event promises to be a smart character driven thrill ride from start to finish.
Grade: A
Uncanny X-Men #534.1
Publisher: Marvel
Writer: Kiernon Gillen
Artist: Carlos Pacheo
"In science we trust! The nanobrains will not defeat us!"
"…hnnngh."
As a critic, it's important to try to approach that which you are reviewing as objectively as possible. However, Matt Fraction's Uncanny X-Men, was probably one of my favorite runs on the title to date, and I therefore cannot help but scrutinize this, the first solo effort by his successor, especially closely, measuring Gillen against an almost impossibly high standard.
And surprise, surprise, the issue is actually pretty good. Gillen retains that same pacing and upbeat energy that Fraction infused the book with, and continues to emphasize the more political aspects of Uncanny now that it is a book about the Mutant Nation. This issue focuses on the PR problem of having Magneto hanging around as a full fledged member of the team. The discussion between Magneto and Kate Kildare is smart and well in character (as far as Magneto is concerned, Kildare is still a pretty new character). I also very much enjoyed Gillen's handling of Mayor Sadie, and Wolverine, both receive some of the best lines of the issue.
While Gillen is off to a good start, this wasn't a perfect issue. He was less successful in capturing Emma and Namor's voices than he was other characters. They weren't grossly off, and I feel like Gillen could definitely improve given time. Also, while I understand that Gillen is building to something with these A.I.M. imposters, their inclusion in the plot was ultimately disappointing, as having Cyclops, Emma, Wolverine, Colossus, and Namor face off against three guys with laser guns is kinda like The Death Star taking on an Ewok. Although I do have to say I did highly enjoy the fake A.I.M. agents interactions with each other and the corporate fat cats they were extorting.
I was much less thrilled with the art. I'm usually a Carlos Pacheo fan, but I really would have preferred this .1 issue to be drawn by regular series artist Terry Dodson. Pacheo's Magneto looks like he's pushing 80 (ok logically yes he would BUT he's been cloned and de-aged a whole bunch, it's comics, deal with it), and his Peter Rasputin looks ridiculously muscled in his human form. The big double page spread at the end also lacked the oomph that I feel the moment really needed.
All in all this was a good primer for what Gillen's solo run on the title will be, and as a solid entry point for fans to get on board with the title. While I am beyond sad to see Fraction's tenure on this book come to an end, I can say that I am cautiously optimistic that the book will continue along the same steady course that he set for it, all the while showcasing Gillen's equally fresh but unique voice.
Grade: B+
Read more Chris' Comics Corner here
Want to keep tabs on all of our updates? follow us on twitter @reviewtobenamed (follow us here).
In two weeks time I will be forgoing the usual weekly reviews to do a review of Brightest Day as a whole once the final issue hits the stands. So please check that out, and now, onto reviews.
Fear Itself
Publisher: Marvel
Writer: Matt Fraction
Artist: Stuart Immonen
"…My God. Get me Steve Rogers and the President on the phone. In that order."
It's been awhile since Marvel (or DC for that matter) published a big summer blockbuster event book. Event books are somewhat divisive among comics fans. Some fans hate them claiming that these books disrupt the flow of the titles they are already enjoying with meaningless tie ins, and eschew basic logic and characterization in favor of big shock moments that make for great cliffhangers and splash pages. Other fans say that the comic landscape gets kinda boring without a big earth shaking event to look forward to, or accept event books as the necessary (and fun) lifeblood of the current comics industry, as nothing drives sales through the roof quite like a big summer event book.
However, I think that this expertly crafted first issue has the potential to win over some of even the most die hard detractors, as Fraction and Immonen have set the wheels in motion for a story that already feels epic, while still being grounded in relatable real world concerns.
Fear Itself is set against the back drop of a very recognizable America. One where a bad economy has left so many members of the middle class in free fall, and where divisive political issues lead to heated confrontations between protestors and police. There is aura of anxiety and foreboding that just oozes off of these panels. Something is wrong right from the get go and it has nothing to do with super villains or evil gods. The American public in this issue are afraid because one by one the institutions and constants that they derived security from have failed them. And that's just the first obstacle Fraction places before the assembled heroes of the Marvel universe. As Tony Stark points out in this issue, you can't punch a recession, this isn't a crisis that is easy to solve, and it's only going to be made worse once you throw evil gods and an amped up new Red Skull into the mix.
Fraction confines himself to a relatively small cast this opening issue (considering this is an MU wide event) focusing on the Avengers and the Asgardians, with Steve Rogers, Thor, Iron Man, Sharon Carter, and Odin taking center stage. This comes as no surprise given that Marvel has been pretty forthcoming that this event originated as a Cap and Thor story to tie into their respective movies coming out this summer. While some might scoff at this being a commercial move, rest assured, the story does not feel contrived or forced in ANY way, and I actually applaud the focus being squarely on these two because it allows for an event that really encompasses both the normal street level perspective of the MU, as well as the cosmic side of things with the Asgardian gods.
Fraction once again proves that he really knows how to write the Asgardians, Odin especially, as his arrogance and brashness is on full display, and after seeing just how stubborn and full of hubris the old man is, Odin's choice at the end of the issue makes the oncoming threat seem all the more terrifying. I actually think this is the first time Fraction has written Steve Rogers, which is kinda surprising considering he is one of Marvel's top writers right now. However when you think about it, Fraction only really started writing for Marvel in earnest back in 2006 co-writing Iron Fist with Ed Brubaker. Just five years later, here he is writing Marvel's biggest book of 2011, that's quite an accomplishment, but well earned as he has consistently pumped out some of Marvel's highest quality books in those five years.
Stuart Immonen has been a favorite artist of mine ever since his stints on Nextwave and Ultimate Spider-Man. He definitely has a different style from what you would typically consider to be typical for these types of projects. However, seeing Immonen gain exposure to a wider audience and really get a chance to go wild with all the toys in the toy box was one of the things that excited me most about this issue. And Immonen did not disappoint. From the streets of Manhattan to the depths of the Ocean, from a frozen, forgotten Nazi base, to the ruins of Asgard, Immonen really gets to showcase his amazing versatility and skill as an artist. His characters are clean but also emotive, detailed, and inimitable. Just look at the shots of the assembled Avengers both at Avengers Tower and in Asgard, Immonen's rendition of each character looks like an instant classic interpretation. And let's not forget colorist Laura Marten, whose vibrant color pallet makes the heroes' costumes pop off the page, and add an unearthly beauty to the Asgardian World Tree.
This is one of those books that reminds me just how great it is to be a comics fan. This is a medium where anything can happen, and a story about all of Marvel's heroes coming together to oppose a millennia old conspiracy involving evil gods and nazi super terrorists really gets me excited to tear through each issue as it hits the stands. This kind of wild creativity and genre mashing is what makes comics so great. And with two of the freshest and most talented creators currently on Marvel's dime behind the wheel, this event promises to be a smart character driven thrill ride from start to finish.
Grade: A
Uncanny X-Men #534.1
Publisher: Marvel
Writer: Kiernon Gillen
Artist: Carlos Pacheo
"In science we trust! The nanobrains will not defeat us!"
"…hnnngh."
As a critic, it's important to try to approach that which you are reviewing as objectively as possible. However, Matt Fraction's Uncanny X-Men, was probably one of my favorite runs on the title to date, and I therefore cannot help but scrutinize this, the first solo effort by his successor, especially closely, measuring Gillen against an almost impossibly high standard.
And surprise, surprise, the issue is actually pretty good. Gillen retains that same pacing and upbeat energy that Fraction infused the book with, and continues to emphasize the more political aspects of Uncanny now that it is a book about the Mutant Nation. This issue focuses on the PR problem of having Magneto hanging around as a full fledged member of the team. The discussion between Magneto and Kate Kildare is smart and well in character (as far as Magneto is concerned, Kildare is still a pretty new character). I also very much enjoyed Gillen's handling of Mayor Sadie, and Wolverine, both receive some of the best lines of the issue.
While Gillen is off to a good start, this wasn't a perfect issue. He was less successful in capturing Emma and Namor's voices than he was other characters. They weren't grossly off, and I feel like Gillen could definitely improve given time. Also, while I understand that Gillen is building to something with these A.I.M. imposters, their inclusion in the plot was ultimately disappointing, as having Cyclops, Emma, Wolverine, Colossus, and Namor face off against three guys with laser guns is kinda like The Death Star taking on an Ewok. Although I do have to say I did highly enjoy the fake A.I.M. agents interactions with each other and the corporate fat cats they were extorting.
I was much less thrilled with the art. I'm usually a Carlos Pacheo fan, but I really would have preferred this .1 issue to be drawn by regular series artist Terry Dodson. Pacheo's Magneto looks like he's pushing 80 (ok logically yes he would BUT he's been cloned and de-aged a whole bunch, it's comics, deal with it), and his Peter Rasputin looks ridiculously muscled in his human form. The big double page spread at the end also lacked the oomph that I feel the moment really needed.
All in all this was a good primer for what Gillen's solo run on the title will be, and as a solid entry point for fans to get on board with the title. While I am beyond sad to see Fraction's tenure on this book come to an end, I can say that I am cautiously optimistic that the book will continue along the same steady course that he set for it, all the while showcasing Gillen's equally fresh but unique voice.
Grade: B+
Read more Chris' Comics Corner here
Want to keep tabs on all of our updates? follow us on twitter @reviewtobenamed (follow us here).
Thursday, March 31, 2011
Chris' Comics Corner
The Avengers #11
Publisher: Marvel
Writer: Brian Michael Bendis
Artist: John Romita Jr.
"For the once and future Captain America will not let the world die this day."
Wow. That was easily the best issue of Bendis' run on the newly relaunched Avengers title to date, and I say that as a fan of the book and its current direction.
As the most epic and Avenger-y of the Avengers line of titles, Avengers needs to be the holy $#!% world ending crisis book, and from time itself breaking apart in the first arc, and the infinity gems being collected by a guy way over his head in the current story, Bendis has definitely delivered. Bendis juggles a huge cast here, but their presence is demanded by the stakes of the story he is telling, and he does a good enough job of giving small moments to a wide array of background players, as well as bigger moments for the stars of this story, namely The Hood, Thor, Hulk, Steve, Iron Man, and Xavier.
John Romita Jr. is one of those quintessential Marvel artists. His renditions of so many different characters are considered to be among some of their most iconic, so I can think of few artists better suited to drawing this very impressive assemblage of Avengers. Romita Jr. illustrates this issue almost entirely in splash pages. This is a technique I'm usually not a fan of as it is often used to unnecessarily pad an issue at the price of actual plot progression (I'm looking right at you New Avengers Vol. 1 Issue #16). However this time around, it really worked.
The big pages emphasized just what a big story this was. Each page moved the story along, and showcased jaw dropping, wide screen action sequences. And not having to draw multiple panels really allowed Romita Jr. to put the necessary details into the crowd shots that would have suffered had he needed to draw 6 different panels of about a dozen or so super heroes each page.
Bendis' usually verbose style is somewhat reigned in this issue. The Watcher's narration adds to the feeling that the stakes could not be any higher, and while the narration does at times spell things out the reader might've been able to infer, again, in this particular instance it actually kinda works, and highlights just how cool a lot of these characters are.
The issue ended on a phenomenal (and very satisfying) twist cliffhanger that I can confidently say will leave me counting down the weeks until the next issue drops.
Grade: A-
Thor #621
Publisher: Marvel
Writer: Matt Fraction
Artists: Pasqual Ferry and Salvador Larocca
"Hah 'Boy.' Only I get to call him that."
It really pains me to say this, but Thor #621 is a very disappointing conclusion to Fraction and Ferry's debut arc on the title. After four straight issues of build up showcasing just how bad-ass and unstoppable the World Eaters are, the actual showdown between them and the Asgardians couldn't have been more anti-climactic.
Between last issue, and this one, the fight lasted about an issue and a half, and most of that was Odin and the World Eater's king having a very static and slightly confusing grappling session. Fraction's solution to the crisis comes off as a deus ex machina because he didn't adequately establish and explain the "rules" he references in this issue. Yes he spent a lot of time in the first issue establishing how the World Tree was a way of interpreting reality, and how nature abhors a vacuum, but he never touched upon how the World Eaters moved between realms, how they were tied to the World Tree and thus trapped in it when it was severed, and how something like that could even be severed to begin with! Maybe this is something more die hard Thor fans can explain to me, but as a very intelligent, and longtime comics reader, I think the creative team has a problem on their hands if I'm lost at the end of their first, introductory story arc.
The solution also seems like it is too easily achieved, as there is only a handful of scenes showing Thor's attempt to sever the World Tree, and the art fails to make what should be an assembled horde of invaders look very horde like, and at times makes it very confusing to figure out what is vexing Thor, and what gives him his second wind. Pasqual Ferry is assisted by a rush finish job from Salvador Larocca which ends up doing no favors to either artist. Ferry has an inimitable style, and while Larocca is a great artist in his own right, his style is too realistic when contrasted against the fantastical visuals we've come to expect from Ferry and demanded by this story.
After the immensely cool idea of the Asgardian Blood Legion was introduced last issue, I was expecting much more in the way of fantastical Matt Fraction ideas of how gods would wage war, rendered beautifully by the fairy tale esque pencils of Pasqual Ferry. Instead of seeing the Asgardians and assembled creatures of the world tree battle for their very survival, we got Thor and Odin duking it out with a handful of invaders. That plus how quickly the battle is ended completely undercut the tension of the story and the menace of the antagonists so masterfully established in early chapters.
This arc really felt like it could have used an extra issue to make the battle feel as grand as it should have been, and with Fraction and Thor moving into a new title with a new #1, with a new artist (Mighty Thor, it's a jumping on point to coincide with the movie, Coipel's drawing the first arc, Ferry is back for the one after), there's no reason Marvel couldn't have let Ferry take all the time he needed to finish the story and make it look just as polished as its first act.
On a positive note, Fraction really knows how to write Asgardian dialogue, and the story ended on a really satisfying beat.
Grade: C-
Green Lantern: Emerald Warriors #8
Publisher: DC
Writer: Peter Tomasi
Artist: Fernando Pasarin
Event Watch: War of the Green Lanterns Part 3
"…Beware MY freaking power--Guy Gardner's might!"
Well, three issues into DC's second biggest Summer blockbuster event and we've already stumbled. Not a good sign. This was a very exposition heavy issue serving mainly as a recap for things that readers of the GL books should already know. And if they didn't, well, there has to be a more artful and concise way of catching people up, cuz I've never had a fight quite as fact filled and informative as the one that Guy and Hal have in this issue.
Eventually the verbal argument gives way to fisticuffs, and I really hope this isn't the Hal and Guy schism that was foretold in prophecy over a year ago, because it just boils down to the influence of Paralax and a rehash of the fight between John and Kyle last issue. At the story's end Hal and Guy free themselves from Paralax's influence but are left in a situation possibly even more dire than that of John and Kyle.
Pasarin does a really nice job with the Green Lantern combat, however a few sequences were a little confusing, most notably at the beginning of the issue with the large number of Green Lanterns arriving to ambush Guy and Kilowog.
I really like Tomasi, and I've enjoyed the direction of this book, so I'm gonna chalk this issue's weaknesses up to Tomasi really wanting to catch readers up on the events of all the GL books before the real fireworks start in the crossover. Despite this weak opening chapter, I am still very excited to see where this story is going.
Grade: B-
Detective Comics #875
Publisher: DC
Writer: Scott Snyder
Artist: Francesco Francavilla
Of the nine comics I purchased this week, four of them employed a heavy use of flashbacks. This one utilized the technique the best. While at first glimpse the flashbacks have little connection to the story in the present, they are none the less engaging and gripping. And by issue's end, the connection between past and present is revealed, and hits you like a punch to the gut.
Detective Comics splits it's focus between arcs centered on Dick Grayson's Batman illustrated by Jock, and standalone stories featuring Commissioner Gordon illustrated by Francavilla. This story is the latter, and I am really enjoying the narrative split, as both protagonists take different but equally fascinating approaches to their roles as Detectives, and Snyder adds in little elements to keep the stories connected despite the fact the both stand on their own exceedingly well.
I can think of few creative teams that do a better job of setting a mood of suspense and horror. Take the opening two pages which have no purpose in the story other to set the mood. The horrifying visual metaphor beautifully rendered by Francavilla, illustrates just how rotten a city Gotham really is and sets the proper tone for the rest of the issue. And I for one am really enjoying this Avian motif Snyder is sticking with. Francavilla really knows how to mix nostalgia, horror, and suspense to give Snyder's story the pacing and tone that it needs. His art is absolutely gorgeous. Retro, and noir tinged, you almost can't help but hear the soundtrack from your favorite old detective movies when you look at his spreads. I would particularly call your attention to the double page spread where Gordon's face fades into some of the more disturbing memories of his son. And I would be remiss in not mentioning Franavilla's color pallet which emphasizes bright blues and oranges to distinguish the different time periods and seasons, making these pages a feast for the eyes.
It's a real shame for Snyder and Francavilla that they are working on this book around the same time that Grant Morrison is still writing a bat book, because otherwise Detective would easily stand out as the best book of the line. As it is they will have to settle for a dead heat, in which some months Morrison's book, is the best bat book, and sometimes theirs is. And going toe to toe with Grant Morrison and holding one's own is no small feat indeed.
Grade: A-
Read more Chris' Comics Corner here
Want to keep tabs on all of our updates? follow us on twitter @reviewtobenamed (follow us here).
Publisher: Marvel
Writer: Brian Michael Bendis
Artist: John Romita Jr.
"For the once and future Captain America will not let the world die this day."
Wow. That was easily the best issue of Bendis' run on the newly relaunched Avengers title to date, and I say that as a fan of the book and its current direction.
As the most epic and Avenger-y of the Avengers line of titles, Avengers needs to be the holy $#!% world ending crisis book, and from time itself breaking apart in the first arc, and the infinity gems being collected by a guy way over his head in the current story, Bendis has definitely delivered. Bendis juggles a huge cast here, but their presence is demanded by the stakes of the story he is telling, and he does a good enough job of giving small moments to a wide array of background players, as well as bigger moments for the stars of this story, namely The Hood, Thor, Hulk, Steve, Iron Man, and Xavier.
John Romita Jr. is one of those quintessential Marvel artists. His renditions of so many different characters are considered to be among some of their most iconic, so I can think of few artists better suited to drawing this very impressive assemblage of Avengers. Romita Jr. illustrates this issue almost entirely in splash pages. This is a technique I'm usually not a fan of as it is often used to unnecessarily pad an issue at the price of actual plot progression (I'm looking right at you New Avengers Vol. 1 Issue #16). However this time around, it really worked.
The big pages emphasized just what a big story this was. Each page moved the story along, and showcased jaw dropping, wide screen action sequences. And not having to draw multiple panels really allowed Romita Jr. to put the necessary details into the crowd shots that would have suffered had he needed to draw 6 different panels of about a dozen or so super heroes each page.
Bendis' usually verbose style is somewhat reigned in this issue. The Watcher's narration adds to the feeling that the stakes could not be any higher, and while the narration does at times spell things out the reader might've been able to infer, again, in this particular instance it actually kinda works, and highlights just how cool a lot of these characters are.
The issue ended on a phenomenal (and very satisfying) twist cliffhanger that I can confidently say will leave me counting down the weeks until the next issue drops.
Grade: A-
Thor #621
Publisher: Marvel
Writer: Matt Fraction
Artists: Pasqual Ferry and Salvador Larocca
"Hah 'Boy.' Only I get to call him that."
It really pains me to say this, but Thor #621 is a very disappointing conclusion to Fraction and Ferry's debut arc on the title. After four straight issues of build up showcasing just how bad-ass and unstoppable the World Eaters are, the actual showdown between them and the Asgardians couldn't have been more anti-climactic.
Between last issue, and this one, the fight lasted about an issue and a half, and most of that was Odin and the World Eater's king having a very static and slightly confusing grappling session. Fraction's solution to the crisis comes off as a deus ex machina because he didn't adequately establish and explain the "rules" he references in this issue. Yes he spent a lot of time in the first issue establishing how the World Tree was a way of interpreting reality, and how nature abhors a vacuum, but he never touched upon how the World Eaters moved between realms, how they were tied to the World Tree and thus trapped in it when it was severed, and how something like that could even be severed to begin with! Maybe this is something more die hard Thor fans can explain to me, but as a very intelligent, and longtime comics reader, I think the creative team has a problem on their hands if I'm lost at the end of their first, introductory story arc.
The solution also seems like it is too easily achieved, as there is only a handful of scenes showing Thor's attempt to sever the World Tree, and the art fails to make what should be an assembled horde of invaders look very horde like, and at times makes it very confusing to figure out what is vexing Thor, and what gives him his second wind. Pasqual Ferry is assisted by a rush finish job from Salvador Larocca which ends up doing no favors to either artist. Ferry has an inimitable style, and while Larocca is a great artist in his own right, his style is too realistic when contrasted against the fantastical visuals we've come to expect from Ferry and demanded by this story.
After the immensely cool idea of the Asgardian Blood Legion was introduced last issue, I was expecting much more in the way of fantastical Matt Fraction ideas of how gods would wage war, rendered beautifully by the fairy tale esque pencils of Pasqual Ferry. Instead of seeing the Asgardians and assembled creatures of the world tree battle for their very survival, we got Thor and Odin duking it out with a handful of invaders. That plus how quickly the battle is ended completely undercut the tension of the story and the menace of the antagonists so masterfully established in early chapters.
This arc really felt like it could have used an extra issue to make the battle feel as grand as it should have been, and with Fraction and Thor moving into a new title with a new #1, with a new artist (Mighty Thor, it's a jumping on point to coincide with the movie, Coipel's drawing the first arc, Ferry is back for the one after), there's no reason Marvel couldn't have let Ferry take all the time he needed to finish the story and make it look just as polished as its first act.
On a positive note, Fraction really knows how to write Asgardian dialogue, and the story ended on a really satisfying beat.
Grade: C-
Green Lantern: Emerald Warriors #8
Publisher: DC
Writer: Peter Tomasi
Artist: Fernando Pasarin
Event Watch: War of the Green Lanterns Part 3
"…Beware MY freaking power--Guy Gardner's might!"
Well, three issues into DC's second biggest Summer blockbuster event and we've already stumbled. Not a good sign. This was a very exposition heavy issue serving mainly as a recap for things that readers of the GL books should already know. And if they didn't, well, there has to be a more artful and concise way of catching people up, cuz I've never had a fight quite as fact filled and informative as the one that Guy and Hal have in this issue.
Eventually the verbal argument gives way to fisticuffs, and I really hope this isn't the Hal and Guy schism that was foretold in prophecy over a year ago, because it just boils down to the influence of Paralax and a rehash of the fight between John and Kyle last issue. At the story's end Hal and Guy free themselves from Paralax's influence but are left in a situation possibly even more dire than that of John and Kyle.
Pasarin does a really nice job with the Green Lantern combat, however a few sequences were a little confusing, most notably at the beginning of the issue with the large number of Green Lanterns arriving to ambush Guy and Kilowog.
I really like Tomasi, and I've enjoyed the direction of this book, so I'm gonna chalk this issue's weaknesses up to Tomasi really wanting to catch readers up on the events of all the GL books before the real fireworks start in the crossover. Despite this weak opening chapter, I am still very excited to see where this story is going.
Grade: B-
Detective Comics #875
Publisher: DC
Writer: Scott Snyder
Artist: Francesco Francavilla
Of the nine comics I purchased this week, four of them employed a heavy use of flashbacks. This one utilized the technique the best. While at first glimpse the flashbacks have little connection to the story in the present, they are none the less engaging and gripping. And by issue's end, the connection between past and present is revealed, and hits you like a punch to the gut.
Detective Comics splits it's focus between arcs centered on Dick Grayson's Batman illustrated by Jock, and standalone stories featuring Commissioner Gordon illustrated by Francavilla. This story is the latter, and I am really enjoying the narrative split, as both protagonists take different but equally fascinating approaches to their roles as Detectives, and Snyder adds in little elements to keep the stories connected despite the fact the both stand on their own exceedingly well.
I can think of few creative teams that do a better job of setting a mood of suspense and horror. Take the opening two pages which have no purpose in the story other to set the mood. The horrifying visual metaphor beautifully rendered by Francavilla, illustrates just how rotten a city Gotham really is and sets the proper tone for the rest of the issue. And I for one am really enjoying this Avian motif Snyder is sticking with. Francavilla really knows how to mix nostalgia, horror, and suspense to give Snyder's story the pacing and tone that it needs. His art is absolutely gorgeous. Retro, and noir tinged, you almost can't help but hear the soundtrack from your favorite old detective movies when you look at his spreads. I would particularly call your attention to the double page spread where Gordon's face fades into some of the more disturbing memories of his son. And I would be remiss in not mentioning Franavilla's color pallet which emphasizes bright blues and oranges to distinguish the different time periods and seasons, making these pages a feast for the eyes.
It's a real shame for Snyder and Francavilla that they are working on this book around the same time that Grant Morrison is still writing a bat book, because otherwise Detective would easily stand out as the best book of the line. As it is they will have to settle for a dead heat, in which some months Morrison's book, is the best bat book, and sometimes theirs is. And going toe to toe with Grant Morrison and holding one's own is no small feat indeed.
Grade: A-
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Thursday, March 24, 2011
Chris' Comics Corner
Ultimate Comics Spider-Man #156
Writer: Brian Michael Bendis
Artist: Mark Bagley
Publisher: Marvel Comics
Event Watch: Death of Spider-Man Part 1
"Not again."
This issue marks two important milestones for this title. The first, of course, is the reunion of the creative team currently holding the record for longest uninterrupted run on a single title (this one as a matter of fact). Yes, Bendis and Bagley are reunited and it feels so good. Ultimate Spider-Man has had the good fortune of showcasing a number of very, very talented artists. But Mark Bagley was there first, and his style will always be the high water mark to which others are measured. From his expressive depiction of Peter and Mary Jane's flirty interaction in the diner, to his lithe and agile wall crawler following Captain America into battle, Bagley showcases all of the strengths that make him a quintessential Spider-Man artist.
The second milestone is that this issue is the first official chapter of the "Death of Spider-Man" storyline (following what seemed like a year's worth of preludes and prologues). And while the creative team positively hums together, I can't help but feel a bit let down by this issue. Bendis scripts the hell out of the exchanges between Peter and MJ, and Peter and Steve Rogers. Bendis knows these characters well, and it is to his credit that as always he makes the dialogue, clever, engaging, and natural.
However the rest of this issue, namely the scenes at the Triskelion felt like very familiar rehashes of material from previous arcs: "Ultimate Six" and "Death of A Goblin". Certain beats play out almost exactly as they did in those stories, I even think a couple lines were reused.
I also have mixed feelings on the resurrection that occurs in this issue, first, because in a story entitled the "Death of Spider-Man", starting things off with a resurrection doesn't really lend gravity to the situation if the story is really going where Marvel wants us to think it's going. Secondly, while it is nice to see the return of an A-list character in the Ultimate Universe which has said goodbye to so, so many other A-list characters recently, if this is all we're going to get from him, I don't see why Dr. Octopus couldn't have been the driving force behind this arc instead of the character who returns. The Ultimate Clone Saga set Doc Ock up nicely as Peter's true arch nemesis as none of his other big bads ever came close to wounding Peter the way that Octavius did in that story.
I'm ecstatic Bendis and Bagley are back together, but this story is going to have to start treading new ground fast if it is to become the blockbuster that Bendis and Marvel are touting it as.
Grade: B (I was gonna go with a B-, but damn if I'm not just THAT happy to see Bagley back on this book.)
FF #1
Writer: Jonathan Hickman
Artist: Steve Epting
Publisher: Marvel
"Everyone! Prepare for spatial tunneling… We have to find some new ideas."
The Fantastic Four is no more. In it's place stands the Future Foundation. Reed, Sue, and Ben are joined by their children Franklin and Valeria Richards, a whole group of super intelligent youngsters from various species, an android Dragon, Alex Power (from the power pack), Nathaniel Richards (Reed's long lost time traveling father and genius in his own right), the Amazing Spider-Man, and a surprise final addition who makes their presence known in a fantastic twist ending to this stellar debut issue.
Whole lotta character running through a book which used to boast one of the smallest teams in comics. And you know what? It really works. The more dangerous super heroics are still handled by the core group of Mr. Fantastic, Invisible Woman, Thing, and Spider-Man, but Four Freedoms Plaza has a lot of new faces running around it. While this new group is more of a think tank, the familial tone that defines these characters and this title (be it a Fantastic Four book by any other name…) is still front and center, especially in the scene where the whole group sits down to dinner together.
I especially like the generational aspect now that Reed's dad has been thrown into the mix. Reed is used to being the final word on most science related situations, and also the patriarch of his clan. Having his equally brilliant father present is sure to alter this dynamic and opens the door to some interesting dramatic situations to explore. It was also nice to see the exchange between the three generations of Richards geniuses: Nathan, Reed, and Valeria.
Steve Epting is really getting a chance to shine on this book. His art has this very classic feel to it but with a darker, edgier undertone to it. I think that's exactly what this book needs right now. The death of Johnny is still weighing very heavily on everyone, especially Ben and Franklin, and the absence of the Human Torch makes the danger seem that much more palpable. Epting's pages have that clean, traditional super hero feel but there is also sadness in his characters, and maybe a hint of a forboding atmosphere throughout the whole issue. I think a lot of credit there should go to Epting and fellow inker Rick Magyar who just drenches certain sequences in much needed tone setting shadow.
If I had one complaint it would be the reintroduction of the Wizard as a villain, seeing how this book has been all about new ideas and looking to the future, and how the Fantastic Four's easy dismissal of him in Hickman's first issue set the tone for his run to date. However who am I to argue with the master plan that I know Jonathan Hickman possesses, I'm sure in the long run I will end up praising this move as sheer and utter brilliance.
The issue ends on a huge cliffhanger that is sure to lead to some major fire works next month, and undoubtedly throughout the year. As epic as it felt at the time, reading this issue makes me feel like Hickman's run on Fantastic Four, was just rearranging the pieces and setting things in motion for the true epic narrative to begin. This is a fantastic (couldn't resist) relaunch issue, and given the promise shown in this #1 as well as Hickman's previous work, this book will be a strong contender for my favorite series of 2011.
Grade: A
Green Lantern #64
Writer: Geoff Johns
Artist: Doug Mahnke
Publisher: DC
Event Watch: War of the Green Lanterns Part 1
"I turned your Manhunters against the Universe. Now it's time to do the same with your Green Lanterns."
Wow, this issue goes full throttle start to finish, and if you think things look bad for Hal at the beginning of the book, just wait till you get to the end.
I really have to commend DC for keeping a lot of the details of this story close to the vest. In the internet age where most story premises are leaked long before the books hit the shelves, I had surprisingly little pre-knowledge of this story or why the Green Lantern Corps would be going to war with itself (other than that it would have something to do with the mad guardian, Krona).
This issue picks up with Salaak being tasked to lead a group of Green Lanterns to arrest Hal for neglecting his duties, and conspiring with the leaders of the other various powered Corps. Things go from bad to worse when Krona makes his move against Oa and the Guardians of the Universe. Going into this story, I wondered how Johns could possibly top the enormously high challenges and stakes he established in Blackest Night. One issue in, I can confidently say, that won’t be a problem.
This issue marks a return to form for Johns. While his stories are as engaging and exciting as ever, I've noticed his dialogue suffering a little bit in recent months (possibly a result of the demands of his new day job as chief creative officer for DC comics). However, he is most definitely on his game this issue with the exception of one slightly expository exchange between Hal and Sinestro.
Doug Mahnke really gets to cut loose drawing aliens, alien worlds, and strange powers. His art dances over a wonderful line between high adventure and dark horror, which perfectly suits the subject matter of this title. He uses a number of splashes and spreads that really underscore the immensity of the plot developments but compensates by packing a lot of panels onto the other pages. Trust me, while any other artist's work might have felt cluttered using this technique, Mahnke's pages feel fast paced and packed with story.
This event is off to a very promising start, I look forward to seeing hot it develops, and how our favorite GL's of Sector 2814 weather this nasty new storm.
Grade: A-
Green Lantern Corps #58
Writer: Tony Bedard
Artist: Tyler Kirkham
Puslbisher: DC
Event Watch: War of the Green Lanterns Part 2
"Did you think it an accident I granted you the last power ring?"
And I didn't have to wait very long, because part 2 also went on sale this week. I don't normally buy this book, but I'm picking it up for the crossover with it's two sister titles which I do buy regularly. I have to say I am impressed by Bedard's handling of these characters and I think he is definitely capable of holding his own with Johns and Tomasi in the coming months.
This issue is a just as action heavy as part 1 was, if a little more focused on a tighter group of characters and fewer plot developments. There are some really exceptional character moments for Kyle and Ganthet in this issue, and by the book's end, John, Kyle, and Ganthet have found themselves in a situation even more dire than the one facing Hal.
Haven't seen much of Tyler Kirkham's work before this. Can't say I'm all that thrilled with his art. His figures are a bit too scratchy and blocky for my tastes. However I did like the ring Constructs he drew during Ganthet's fight with Kyle and John.
DC editorial has strongly hinted that this story isn't gonna end well for one of the four human GL's. And given this issue, I'd have to say that Kyle fans may want to brace themselves for some bad news in the coming months. But on the bright side it looks like he'll be getting plenty of spotlight in the meantime.
Grade: B+
Captain America 615.1
Writer: Ed Brubaker
Artist: Mitch Breitweiser
Publisher: Marvel
"Do you want to create a new M.O.D.O.K. or do you want to fight some idiot who thinks he's Captain America?"
Longtime readers of this column will remember my mixed feelings and frustrations with Marvel's .1 initiative. The books rarely seem to do what their intended purpose is: give a standalone story to inform new readers of what's been happening on the title and advance the plot for readers who have been here all along. While this issue fills us in on Steve's current status quo, and advances his story a bit, it really leaves out Bucky who at the moment is the titular character (though an impending movie release and the subject matter of this issue strongly suggest that might be changing soon).
The story is good, but it feels a bit repetitive. Steve catches wind of a new person taking up the mantle of Captain America and moves to shut him down before A.I.M. murder him, or worse (much, much, much worse). Brubaker handles the action scenes well and plays the two Caps off each other nicely, and even offers up a solid twist at the end. My only disappointment is that we already had a fake Cap running around in this title for like a year or two, and I believe it was only two story arcs ago that we saw the exit of that character. Let's give the fake Caps a rest for awhile huh?
Mitch Breitweiser on the other hand is thoroughly fantastic. I almost wish he was on the regular title. Nothing against regular Cap penciler Butch Guice, but Guice's style (and this might be an Inker's fault) sometimes seems too cartoony for a realistic espionage book. Breitweiser's pencils are thoroughly dark and gritty the whole way through.
Decent issue, but definitely could have done without another fake Cap.
Grade: B
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Writer: Brian Michael Bendis
Artist: Mark Bagley
Publisher: Marvel Comics
Event Watch: Death of Spider-Man Part 1
"Not again."
This issue marks two important milestones for this title. The first, of course, is the reunion of the creative team currently holding the record for longest uninterrupted run on a single title (this one as a matter of fact). Yes, Bendis and Bagley are reunited and it feels so good. Ultimate Spider-Man has had the good fortune of showcasing a number of very, very talented artists. But Mark Bagley was there first, and his style will always be the high water mark to which others are measured. From his expressive depiction of Peter and Mary Jane's flirty interaction in the diner, to his lithe and agile wall crawler following Captain America into battle, Bagley showcases all of the strengths that make him a quintessential Spider-Man artist.
The second milestone is that this issue is the first official chapter of the "Death of Spider-Man" storyline (following what seemed like a year's worth of preludes and prologues). And while the creative team positively hums together, I can't help but feel a bit let down by this issue. Bendis scripts the hell out of the exchanges between Peter and MJ, and Peter and Steve Rogers. Bendis knows these characters well, and it is to his credit that as always he makes the dialogue, clever, engaging, and natural.
However the rest of this issue, namely the scenes at the Triskelion felt like very familiar rehashes of material from previous arcs: "Ultimate Six" and "Death of A Goblin". Certain beats play out almost exactly as they did in those stories, I even think a couple lines were reused.
I also have mixed feelings on the resurrection that occurs in this issue, first, because in a story entitled the "Death of Spider-Man", starting things off with a resurrection doesn't really lend gravity to the situation if the story is really going where Marvel wants us to think it's going. Secondly, while it is nice to see the return of an A-list character in the Ultimate Universe which has said goodbye to so, so many other A-list characters recently, if this is all we're going to get from him, I don't see why Dr. Octopus couldn't have been the driving force behind this arc instead of the character who returns. The Ultimate Clone Saga set Doc Ock up nicely as Peter's true arch nemesis as none of his other big bads ever came close to wounding Peter the way that Octavius did in that story.
I'm ecstatic Bendis and Bagley are back together, but this story is going to have to start treading new ground fast if it is to become the blockbuster that Bendis and Marvel are touting it as.
Grade: B (I was gonna go with a B-, but damn if I'm not just THAT happy to see Bagley back on this book.)
FF #1
Writer: Jonathan Hickman
Artist: Steve Epting
Publisher: Marvel
"Everyone! Prepare for spatial tunneling… We have to find some new ideas."
The Fantastic Four is no more. In it's place stands the Future Foundation. Reed, Sue, and Ben are joined by their children Franklin and Valeria Richards, a whole group of super intelligent youngsters from various species, an android Dragon, Alex Power (from the power pack), Nathaniel Richards (Reed's long lost time traveling father and genius in his own right), the Amazing Spider-Man, and a surprise final addition who makes their presence known in a fantastic twist ending to this stellar debut issue.
Whole lotta character running through a book which used to boast one of the smallest teams in comics. And you know what? It really works. The more dangerous super heroics are still handled by the core group of Mr. Fantastic, Invisible Woman, Thing, and Spider-Man, but Four Freedoms Plaza has a lot of new faces running around it. While this new group is more of a think tank, the familial tone that defines these characters and this title (be it a Fantastic Four book by any other name…) is still front and center, especially in the scene where the whole group sits down to dinner together.
I especially like the generational aspect now that Reed's dad has been thrown into the mix. Reed is used to being the final word on most science related situations, and also the patriarch of his clan. Having his equally brilliant father present is sure to alter this dynamic and opens the door to some interesting dramatic situations to explore. It was also nice to see the exchange between the three generations of Richards geniuses: Nathan, Reed, and Valeria.
Steve Epting is really getting a chance to shine on this book. His art has this very classic feel to it but with a darker, edgier undertone to it. I think that's exactly what this book needs right now. The death of Johnny is still weighing very heavily on everyone, especially Ben and Franklin, and the absence of the Human Torch makes the danger seem that much more palpable. Epting's pages have that clean, traditional super hero feel but there is also sadness in his characters, and maybe a hint of a forboding atmosphere throughout the whole issue. I think a lot of credit there should go to Epting and fellow inker Rick Magyar who just drenches certain sequences in much needed tone setting shadow.
If I had one complaint it would be the reintroduction of the Wizard as a villain, seeing how this book has been all about new ideas and looking to the future, and how the Fantastic Four's easy dismissal of him in Hickman's first issue set the tone for his run to date. However who am I to argue with the master plan that I know Jonathan Hickman possesses, I'm sure in the long run I will end up praising this move as sheer and utter brilliance.
The issue ends on a huge cliffhanger that is sure to lead to some major fire works next month, and undoubtedly throughout the year. As epic as it felt at the time, reading this issue makes me feel like Hickman's run on Fantastic Four, was just rearranging the pieces and setting things in motion for the true epic narrative to begin. This is a fantastic (couldn't resist) relaunch issue, and given the promise shown in this #1 as well as Hickman's previous work, this book will be a strong contender for my favorite series of 2011.
Grade: A
Green Lantern #64
Writer: Geoff Johns
Artist: Doug Mahnke
Publisher: DC
Event Watch: War of the Green Lanterns Part 1
"I turned your Manhunters against the Universe. Now it's time to do the same with your Green Lanterns."
Wow, this issue goes full throttle start to finish, and if you think things look bad for Hal at the beginning of the book, just wait till you get to the end.
I really have to commend DC for keeping a lot of the details of this story close to the vest. In the internet age where most story premises are leaked long before the books hit the shelves, I had surprisingly little pre-knowledge of this story or why the Green Lantern Corps would be going to war with itself (other than that it would have something to do with the mad guardian, Krona).
This issue picks up with Salaak being tasked to lead a group of Green Lanterns to arrest Hal for neglecting his duties, and conspiring with the leaders of the other various powered Corps. Things go from bad to worse when Krona makes his move against Oa and the Guardians of the Universe. Going into this story, I wondered how Johns could possibly top the enormously high challenges and stakes he established in Blackest Night. One issue in, I can confidently say, that won’t be a problem.
This issue marks a return to form for Johns. While his stories are as engaging and exciting as ever, I've noticed his dialogue suffering a little bit in recent months (possibly a result of the demands of his new day job as chief creative officer for DC comics). However, he is most definitely on his game this issue with the exception of one slightly expository exchange between Hal and Sinestro.
Doug Mahnke really gets to cut loose drawing aliens, alien worlds, and strange powers. His art dances over a wonderful line between high adventure and dark horror, which perfectly suits the subject matter of this title. He uses a number of splashes and spreads that really underscore the immensity of the plot developments but compensates by packing a lot of panels onto the other pages. Trust me, while any other artist's work might have felt cluttered using this technique, Mahnke's pages feel fast paced and packed with story.
This event is off to a very promising start, I look forward to seeing hot it develops, and how our favorite GL's of Sector 2814 weather this nasty new storm.
Grade: A-
Green Lantern Corps #58
Writer: Tony Bedard
Artist: Tyler Kirkham
Puslbisher: DC
Event Watch: War of the Green Lanterns Part 2
"Did you think it an accident I granted you the last power ring?"
And I didn't have to wait very long, because part 2 also went on sale this week. I don't normally buy this book, but I'm picking it up for the crossover with it's two sister titles which I do buy regularly. I have to say I am impressed by Bedard's handling of these characters and I think he is definitely capable of holding his own with Johns and Tomasi in the coming months.
This issue is a just as action heavy as part 1 was, if a little more focused on a tighter group of characters and fewer plot developments. There are some really exceptional character moments for Kyle and Ganthet in this issue, and by the book's end, John, Kyle, and Ganthet have found themselves in a situation even more dire than the one facing Hal.
Haven't seen much of Tyler Kirkham's work before this. Can't say I'm all that thrilled with his art. His figures are a bit too scratchy and blocky for my tastes. However I did like the ring Constructs he drew during Ganthet's fight with Kyle and John.
DC editorial has strongly hinted that this story isn't gonna end well for one of the four human GL's. And given this issue, I'd have to say that Kyle fans may want to brace themselves for some bad news in the coming months. But on the bright side it looks like he'll be getting plenty of spotlight in the meantime.
Grade: B+
Captain America 615.1
Writer: Ed Brubaker
Artist: Mitch Breitweiser
Publisher: Marvel
"Do you want to create a new M.O.D.O.K. or do you want to fight some idiot who thinks he's Captain America?"
Longtime readers of this column will remember my mixed feelings and frustrations with Marvel's .1 initiative. The books rarely seem to do what their intended purpose is: give a standalone story to inform new readers of what's been happening on the title and advance the plot for readers who have been here all along. While this issue fills us in on Steve's current status quo, and advances his story a bit, it really leaves out Bucky who at the moment is the titular character (though an impending movie release and the subject matter of this issue strongly suggest that might be changing soon).
The story is good, but it feels a bit repetitive. Steve catches wind of a new person taking up the mantle of Captain America and moves to shut him down before A.I.M. murder him, or worse (much, much, much worse). Brubaker handles the action scenes well and plays the two Caps off each other nicely, and even offers up a solid twist at the end. My only disappointment is that we already had a fake Cap running around in this title for like a year or two, and I believe it was only two story arcs ago that we saw the exit of that character. Let's give the fake Caps a rest for awhile huh?
Mitch Breitweiser on the other hand is thoroughly fantastic. I almost wish he was on the regular title. Nothing against regular Cap penciler Butch Guice, but Guice's style (and this might be an Inker's fault) sometimes seems too cartoony for a realistic espionage book. Breitweiser's pencils are thoroughly dark and gritty the whole way through.
Decent issue, but definitely could have done without another fake Cap.
Grade: B
Read more Chris' Comics Corner here
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Wednesday, March 16, 2011
Chris' Comics Corner
Hey guys, in an effort to apologize for the absence last month, this column is extra long, bursting with content! Enjoy! I hope!
REVIEWSSSSSSSSSSSSSSSSSSSSSSSSSS
Thunderbolts #155
Publisher: Marvel
Writer: Jeff Parker
Artist: Kev Walker
I wanna start off by saying that I really enjoy this book, and I really enjoyed this particular issue, as my review might lead you to believe otherwise. Thunderbolts is a consistently satisfying read, I just think that it could be better.
This book is at it’s best when it shifts focus to the larger picture of the inner workings of the Raft penitentiary and the politics of the Thunderbolts program. I’m far more interested in the mysterious bureaucrats pulling the strings and the simmering pressure cooker that is the prison than I am in the largely self contained missions of the week. These largely action oriented done-in-one plots are very well crafted, but can sometimes be a hair repetitive and always feel like their drawn out just a few pages longer than they should be. This is Thunderbolts! The real meat of this series is people with questionable moral compasses tasked with making hard decisions, with their redemption at stake, amidst the backdrop of shadowy conspiracies.
That’s why I’m so torn about this issue. I loved the scenes at the Raft where we catch a glimpse of the expansion of the Thunderbolts program, but the scenes with Luke Cage, Dr. Strange, and Man-Thing tracking down a new team mate started to feel like it was dragging along toward the end despite a very enjoyable beginning.
I will say that Jeff Parker has flawlessly weaved some of the more obscure and interesting characters and elements of the Marvel Universe into this book; most noticeably Man-Thing and the 70’s horror side of the Marvel Universe. I don’t know if this is Parker writing towards Kev Walker’s artistic strengths (the man does creepy very well) but I’m fine with it, as this book has made a nice niche for itself in the darker, more frightening corners of the Marvel Universe.
This is a great book, all Jeff Parker needs to do to make it a phenomenal book, is to shift a bit of focus from the individual missions, the greater narrative.
Grade: B
Brightest Day #22
Publisher: DC
Writers: Geoff Johns and Peter Tomasi
Artists: Scott Clark, Ivan Reis, and Joe Prado
We are getting down to the end with DC’s often frustrating bi-weekly maxi series.
I have to say that while I’m really digging the home stretch of this story, this issue was a definite misstep. I was never really a fan of Joe Prado’s scratchy, minimalist style. And I’m sorry to get all fanboy on you, but there is no way in hell Firestorm lasts one second against the Anti-Monitor, even if it is holding back. Deathstorm joking about it does not help the situation, it just calls further attention to a major gap in story logic.
With the endgame finally in sight, and the pieces of the puzzle falling into place, I think the biggest problem with this series has been the writers keeping their cards too close to the vest. It has been revealed that six of the heroes returned to life needed to overcome the things that held them back in life, in order to serve some greater purpose in some final battle between the White Lantern and the forces corrupting the earth. This is a vague enough mystery to maintain reader interest in this series. Obviously in a book about resurrection, the journeys of the characters would have a lot to do with them making the most of their second chances and not repeating the mistakes they had made previously. I think if the writers had been more open about acknowledging this, the individual growth each character experiences at the end of his or her storyline would have felt more natural rather than the last second “light bulb over the head” revelations that have been the order of the day for the past few issues.
Grade: B-
Fear Itself Prologue: Book of the Skull #1
Publisher: Marvel
Writer: Ed Brubaker
Artist: Scot Eaton
I feel bad for any writer out there who dreams of scripting Captain America anytime in the near future, because the only their getting a hold of him is by prying him from Ed Brubaker’s cold, dead fingers. Be it steering the character in bold new directions, or revealing “forgotten” adventures from World War II, Brubaker seems to have a never ending well of Cap stories to draw from. And don’t let the title of this book fool you, this is an issue of Captain America. This book showcases the same action, intrigue, and suspense we have come to expect from that title, as Brubaker pulls back the curtain to reveal “the greatest failure of the Red Skull.”
This issue serves very nicely as a prologue for Fear Itself, revealing necessary back-story, setting a foreboding tone, and teasing the direction of the impending blockbuster, all while telling a very satisfying done-in-one adventure of Cap and his World War II allies: Bucky and Namor.
Scot Eaton’s art falls a bit flat here which is disappointing because I know just what he is capable of after admiring his work on X-Men Legacy. The action sequences are confusing to the point that it almost feels like there are time lapses between each panel. Overall I’m not exactly sure why he was chosen for this issue, as while he is a good artist, his style is definitely a bit brighter and more traditional than I think was called for in a very creepy war story.
Grade: A-
Amazing Spider-Man #656
Publisher: Marvel
Writer: Dan Slott
Artist: Marcos Martin
After failing to save J. Jonah Jameson’s wife Marla two issues ago, Spider-Man made a promise to himself and the city he protects that “no one will die” when he is around. This promise should be difficult to keep given that this issue pits Spidey against a mad man with no regard for human life, without the benefit of his spider sense which he lost the use of during the last story arc.
Obviously, while admirable, this is an unrealistic and unhealthy ambition that will most certainly wear on Peter in the coming months as it would be impossible for him to save everyone, all the time, but as a catalyst for dramatic story telling, I look forward to seeing the roads he travels down in pursuit of an impossible standard. Early criticism of Slott’s solo run focused on the fact that everything seemed to be falling into place too easily for Peter, but the constant pressure of this new pledge is sure to erode any of Pete’s newly acquired happiness. I’m also really enjoying watching Peter have to struggle to compensate for the loss of his Spider Sense. For the first time in as long as I can remember, Spidey is working without his early warning safety net, and this issue does a great job of reminding the readers of just how integral this power was in making Spider-Man the skilled combatant that he was, and returns a sense of peril to his various battles, even those against a villain whose only real power is owning a lot of guns.
As for the art, Marcos Martin is incredible. I cannot wait for his next go around on the revolving door of artists this title boasts. His style is evocative of Ditko, and Romita Sr., while being entirely unique to Martin himself. His style is old school but doesn’t feel dated. His style is both clean and detailed. He choreographed the action scenes with precision and a brutality that is unexpected given that his style might appear cartoony at first glance. This guy was born to draw Amazing Spider-Man.
Grade: A-
Where Do We Go From Here?
Item:
So Marvel is announcing new creative teams for Daredevil and Punisher re-launches at this weekend’s C2E2 convention. These creative teams are supposed to on par with Moon Knight’s Bendis and Maleev. So, just because it’s fun, I’m gonna offer up my predictions, and if you guys have some predictions of your own, I’d love to hear them!
Daredevil. Ok this one is part wishful thinking, part prediction. I think Jason Aaron would be the likely/the safe choice for the new writer, however, if Marvel really wanted to reinvigorate this title and send it in a new direction, I think that Jonathan Hickman would be a bold choice, and a good career move for the rising superstar as it would continue to display his impressive range as a writer. As for a big name pencilier, we haven’t seen much of David Aja recently and this could make for a high profile return. However that piece of promo art they showed awhile back got me thinking just how much I’d like to see Dale Eaglesham take a swing at this book. While he isn’t a dark artist per se, his hyper detailed style would definitely give a strong identity to Hell’s Kitchen. But again maybe that’s just me wishing for a Hickman/Eaglesham reunion.
Punisher. This one’s a bit harder to predict, but I think Ed Brubaker would be perfect for this title, as a tortured ex-soldier cutting a swath through the criminal element seems to play perfectly to his strengths as a writer. I would also label Jason Aaron as a strong contender. As for the art, you’d need someone gritty and realistic. (Hmm haven’t heard anything from Bryan Hitch recently have we…)That’s probably too much of a long shot, I’d say that Clayton Crain, Miguel Sepulveda, and Michael Lark have a much better shot.
Item:
Kelly Sue DeConnick is a writer with a lot of buzz building right now. Twitter lit up Monday at the prospect of her being the new writer on Supergirl, though she was quick to clarify it was just a 3 issue guest stint. Her Osborn miniseries has become a critical darling over at Marvel. It’s clear she is gonna be the next big thing in the coming year, the big two need to quit taking baby steps and give her an ongoing stat! Seriously, Marvel would make such a stronger statement of support of women in comics by putting Kelly Sue on an ongoing series, than all of their female starring/scripted one shots and weird alternate universe female targeted mini-series combined, and DC would be lucky to catch a young “buzz worthy” writer just before their big break.
Item:
Looking for some comics industry humor? Check out http://www.the-gutters.com/ Really funny web comics published three times a week!
Read more Chris' Comics Corner here
Want to keep tabs on all of our updates? follow us on twitter @reviewtobenamed (follow us here).
REVIEWSSSSSSSSSSSSSSSSSSSSSSSSSS
Thunderbolts #155
Publisher: Marvel
Writer: Jeff Parker
Artist: Kev Walker
I wanna start off by saying that I really enjoy this book, and I really enjoyed this particular issue, as my review might lead you to believe otherwise. Thunderbolts is a consistently satisfying read, I just think that it could be better.
This book is at it’s best when it shifts focus to the larger picture of the inner workings of the Raft penitentiary and the politics of the Thunderbolts program. I’m far more interested in the mysterious bureaucrats pulling the strings and the simmering pressure cooker that is the prison than I am in the largely self contained missions of the week. These largely action oriented done-in-one plots are very well crafted, but can sometimes be a hair repetitive and always feel like their drawn out just a few pages longer than they should be. This is Thunderbolts! The real meat of this series is people with questionable moral compasses tasked with making hard decisions, with their redemption at stake, amidst the backdrop of shadowy conspiracies.
That’s why I’m so torn about this issue. I loved the scenes at the Raft where we catch a glimpse of the expansion of the Thunderbolts program, but the scenes with Luke Cage, Dr. Strange, and Man-Thing tracking down a new team mate started to feel like it was dragging along toward the end despite a very enjoyable beginning.
I will say that Jeff Parker has flawlessly weaved some of the more obscure and interesting characters and elements of the Marvel Universe into this book; most noticeably Man-Thing and the 70’s horror side of the Marvel Universe. I don’t know if this is Parker writing towards Kev Walker’s artistic strengths (the man does creepy very well) but I’m fine with it, as this book has made a nice niche for itself in the darker, more frightening corners of the Marvel Universe.
This is a great book, all Jeff Parker needs to do to make it a phenomenal book, is to shift a bit of focus from the individual missions, the greater narrative.
Grade: B
Brightest Day #22
Publisher: DC
Writers: Geoff Johns and Peter Tomasi
Artists: Scott Clark, Ivan Reis, and Joe Prado
We are getting down to the end with DC’s often frustrating bi-weekly maxi series.
I have to say that while I’m really digging the home stretch of this story, this issue was a definite misstep. I was never really a fan of Joe Prado’s scratchy, minimalist style. And I’m sorry to get all fanboy on you, but there is no way in hell Firestorm lasts one second against the Anti-Monitor, even if it is holding back. Deathstorm joking about it does not help the situation, it just calls further attention to a major gap in story logic.
With the endgame finally in sight, and the pieces of the puzzle falling into place, I think the biggest problem with this series has been the writers keeping their cards too close to the vest. It has been revealed that six of the heroes returned to life needed to overcome the things that held them back in life, in order to serve some greater purpose in some final battle between the White Lantern and the forces corrupting the earth. This is a vague enough mystery to maintain reader interest in this series. Obviously in a book about resurrection, the journeys of the characters would have a lot to do with them making the most of their second chances and not repeating the mistakes they had made previously. I think if the writers had been more open about acknowledging this, the individual growth each character experiences at the end of his or her storyline would have felt more natural rather than the last second “light bulb over the head” revelations that have been the order of the day for the past few issues.
Grade: B-
Fear Itself Prologue: Book of the Skull #1
Publisher: Marvel
Writer: Ed Brubaker
Artist: Scot Eaton
I feel bad for any writer out there who dreams of scripting Captain America anytime in the near future, because the only their getting a hold of him is by prying him from Ed Brubaker’s cold, dead fingers. Be it steering the character in bold new directions, or revealing “forgotten” adventures from World War II, Brubaker seems to have a never ending well of Cap stories to draw from. And don’t let the title of this book fool you, this is an issue of Captain America. This book showcases the same action, intrigue, and suspense we have come to expect from that title, as Brubaker pulls back the curtain to reveal “the greatest failure of the Red Skull.”
This issue serves very nicely as a prologue for Fear Itself, revealing necessary back-story, setting a foreboding tone, and teasing the direction of the impending blockbuster, all while telling a very satisfying done-in-one adventure of Cap and his World War II allies: Bucky and Namor.
Scot Eaton’s art falls a bit flat here which is disappointing because I know just what he is capable of after admiring his work on X-Men Legacy. The action sequences are confusing to the point that it almost feels like there are time lapses between each panel. Overall I’m not exactly sure why he was chosen for this issue, as while he is a good artist, his style is definitely a bit brighter and more traditional than I think was called for in a very creepy war story.
Grade: A-
Amazing Spider-Man #656
Publisher: Marvel
Writer: Dan Slott
Artist: Marcos Martin
After failing to save J. Jonah Jameson’s wife Marla two issues ago, Spider-Man made a promise to himself and the city he protects that “no one will die” when he is around. This promise should be difficult to keep given that this issue pits Spidey against a mad man with no regard for human life, without the benefit of his spider sense which he lost the use of during the last story arc.
Obviously, while admirable, this is an unrealistic and unhealthy ambition that will most certainly wear on Peter in the coming months as it would be impossible for him to save everyone, all the time, but as a catalyst for dramatic story telling, I look forward to seeing the roads he travels down in pursuit of an impossible standard. Early criticism of Slott’s solo run focused on the fact that everything seemed to be falling into place too easily for Peter, but the constant pressure of this new pledge is sure to erode any of Pete’s newly acquired happiness. I’m also really enjoying watching Peter have to struggle to compensate for the loss of his Spider Sense. For the first time in as long as I can remember, Spidey is working without his early warning safety net, and this issue does a great job of reminding the readers of just how integral this power was in making Spider-Man the skilled combatant that he was, and returns a sense of peril to his various battles, even those against a villain whose only real power is owning a lot of guns.
As for the art, Marcos Martin is incredible. I cannot wait for his next go around on the revolving door of artists this title boasts. His style is evocative of Ditko, and Romita Sr., while being entirely unique to Martin himself. His style is old school but doesn’t feel dated. His style is both clean and detailed. He choreographed the action scenes with precision and a brutality that is unexpected given that his style might appear cartoony at first glance. This guy was born to draw Amazing Spider-Man.
Grade: A-
Where Do We Go From Here?
Item:
So Marvel is announcing new creative teams for Daredevil and Punisher re-launches at this weekend’s C2E2 convention. These creative teams are supposed to on par with Moon Knight’s Bendis and Maleev. So, just because it’s fun, I’m gonna offer up my predictions, and if you guys have some predictions of your own, I’d love to hear them!
Daredevil. Ok this one is part wishful thinking, part prediction. I think Jason Aaron would be the likely/the safe choice for the new writer, however, if Marvel really wanted to reinvigorate this title and send it in a new direction, I think that Jonathan Hickman would be a bold choice, and a good career move for the rising superstar as it would continue to display his impressive range as a writer. As for a big name pencilier, we haven’t seen much of David Aja recently and this could make for a high profile return. However that piece of promo art they showed awhile back got me thinking just how much I’d like to see Dale Eaglesham take a swing at this book. While he isn’t a dark artist per se, his hyper detailed style would definitely give a strong identity to Hell’s Kitchen. But again maybe that’s just me wishing for a Hickman/Eaglesham reunion.
Punisher. This one’s a bit harder to predict, but I think Ed Brubaker would be perfect for this title, as a tortured ex-soldier cutting a swath through the criminal element seems to play perfectly to his strengths as a writer. I would also label Jason Aaron as a strong contender. As for the art, you’d need someone gritty and realistic. (Hmm haven’t heard anything from Bryan Hitch recently have we…)That’s probably too much of a long shot, I’d say that Clayton Crain, Miguel Sepulveda, and Michael Lark have a much better shot.
Item:
Kelly Sue DeConnick is a writer with a lot of buzz building right now. Twitter lit up Monday at the prospect of her being the new writer on Supergirl, though she was quick to clarify it was just a 3 issue guest stint. Her Osborn miniseries has become a critical darling over at Marvel. It’s clear she is gonna be the next big thing in the coming year, the big two need to quit taking baby steps and give her an ongoing stat! Seriously, Marvel would make such a stronger statement of support of women in comics by putting Kelly Sue on an ongoing series, than all of their female starring/scripted one shots and weird alternate universe female targeted mini-series combined, and DC would be lucky to catch a young “buzz worthy” writer just before their big break.
Item:
Looking for some comics industry humor? Check out http://www.the-gutters.com/ Really funny web comics published three times a week!
Read more Chris' Comics Corner here
Want to keep tabs on all of our updates? follow us on twitter @reviewtobenamed (follow us here).
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