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 Fear Itself. Show all posts
Showing posts with label Fear Itself. Show all posts
Thursday, June 2, 2011
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).
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).
Thursday, January 6, 2011
Chris' Comics Corner
Hello all! Welcome to the first Installment of Chris's Comics Corner. I would like to begin with a big thank you to Jordan, both for hosting this feature, and for coming up with the awesomely alliterative title.
I'm guessing that most of you reading this are not die hard fans. I will assume that, at best you have a casual interest in and a passing knowledge of comics. I get that. I want this feature to be accessible, and I'm going to do my best to keep it that way. This isn't a column for the fanboys, this is a column for people who enjoy cool stories, and want to learn some more about one of the most fascinating and most misunderstood mediums of storytelling. I can only hope that my enthusiasm for the material I'm writing about might encourage you to swing by your local comic shop, and flip through some great books.
The feature will consist of two parts.
1.) Reviews. Each week, I will try to review a few newly released books. The reviews will be short, and I will be using Jordan's letter grade system.
2.) Where Do We Go From Here. This section will be a look at the business aspect of comics, as I believe it is equally as fascinating as the stories themselves. I will examine trends in storytelling, try to shed some light on the motivations behind the decisions of the publishers, and occasionally make predictions for the coming year. This section could also include a list of five somethings related to comics. For Instance, Five Artists To Watch, My Five Favorite Batman Stories, etc.
Now, let's get down to business, shall we?
REVIEWS :
Superboy #3
DC Comics
Writer: Jeff Lemire Artist: Pier Gallo
Superboy follows Connor Kent, a teenaged clone who shares 50% of Superman's DNA, and 50% of Superman's arch rival Lex Luthor's DNA, and chronicles his adventures growing up in and protecting Superman's home town of Smallville. Jeff Lemire is a writer best known for his independent non-superhero related work, and while I think he is still finding his footing as a writer in the superhero medium, he is definitely steering this title in the right direction.
This issue finds Connor distraught over the destruction of Smallville's crops by an alien device of unknown origin. Connor saved Smallville, but not the crops that this rural community survives on for their livelihood. Instead of moping, or ignoring the problem, Connor finds a solution, one that is rooted in DC tradition: He asks his friend and teammate Kid Flash to participate in a race as a fundraiser to help the town's farmers get back on their feet. Pleased with his solution, Connor heads to school, only to witness the entire student body black out from extreme migraines due to the arrival of a strange visitor from the future.
Superboy is unique among superhero comics, in that it walks a fine line between horror Sci Fi, and Norman Rockwell. Smallville was always a strange place, but Lemire has injected a much welcome Sunnydale-esque strangeness into this sleepy little farm town. But at its heart, this book is the story of a kid coming of age in rural America, living on a farm with Superman's adoptive mom, and having adventures with his super powered dog Krypto. It's that down to earth and wholesome quality, epitomized in this issue by Connor's concern for his neighbor's plight and his actions to help them, beyond just stopping a super villain's evil plan, that makes this title great. Extreme property damage is a staple of superhero comics, and is often forgotten, or dismissed with a tongue-in-cheek joke. However Connor follows through and cleans up the mess. With little touches like this, Lemire is fast making Connor one of the most likable protagonists in comics.
Grade: B
Brightest Day #17
DC Comics
Writers: Geoff Johns & Peter Tomasi Artists: Ivan Reis, Ardian Syaf, Scot Clark, & Joe Prado
Brightest Day is a 26 issue Bi-Monthly Maxi-Series that follows the adventures of six heroes (Aquaman, Martian Manhunter, Hawkman, Hawkgirl, Firestorm, and Deadman) who were resurrected at the end of last year's mega event, Blackest Night. Each hero has their own separate plot line (with the exception of the Hawks), and each individual issue focuses on two or three of these plot lines. Despite the phenomenal creative talent behind this book, its quality can best be described as uneven. This issue however, was a pleasant surprise.
The Firestorm, Hawkman & Hawkgirl, and Deadman stories took center stage this week. The Firestorm and Hawks stories have traditionally been my least favorite of the bunch, but both installments proved to be fairly enjoyable this time around. However the real highlight of the issue were the portions with Deadman. Deadman was a character who began his superhero career by dying and becoming a disembodied spirit, so watching him come to terms with a second lease on life has consistently been one of the most enjoyable parts of this series. Whether it's his surprising and touching (though strangely not creepy despite their age difference) relationship with fellow heroine Dove, or his reunion with the grandfather whom he dismissed and ignored as a boy, Deadman, a character who was defined by his vanity and isolation, is finally discovering how to embrace life, and realizing it is best when shared with others. These scenes are beautifully rendered by Ivan Reis who has proven that he can do quiet emotional moments just as well as he can do blockbuster action scenes. The characters' expressions say volumes, especially during the almost completely wordless reunion of grandfather and grandson, and the joyful motorcycle ride at the issue's close.
I'm willing to cut the creators some slack as a bi-monthly release schedule following nine protagonists in five different story lines is a massive undertaking. When a title is released this rapidly it's hard to change course and correct mistakes. However it's a shame that the impact of the higher quality stories like the Deadman and Aquaman features are adulterated by the space constraints of having to advance the plots of several different stories in so few pages, and the fact that due to the shifting focus, it will probably be another two or three issues until we get the next installment of this very moving story.
Grade: B
WHERE DO WE GO FROM HERE?
FIVE REASONS 2011 WILL ROCK
1.) Fear Itself. Not much is known about Marvel's next big blockbuster event, except that Captain America and Thor will play a large role. All you really need to know is that this book is written by Matt Fraction, my favorite writer at Marvel and one of the most fresh, intelligent, and creative voices in comics today. And it is drawn by the incomparable Stuart Immonen whose runs on Nextwave, Ultimate Spider-Man, and New Avengers made him a super star. These are two of my favorite creators and I am so happy that Marvel is highlighting their talents by entrusting them with what is sure to be the biggest book 2011.
2.) Spider-Man Titles. Dan Slott is writing a bi-monthly Amazing Spider-Man that is bursting at the seems with content and simmering sub plots. Peter has a new job, a new girlfriend, and a new supporting cast and Spider-Man has to deal with a new Sinister Six, a new Venom, and the return of the Kingpin. Ultimate Spider-Man kicks off the Spring with the very secretive Death of Spider-Man storyline which reunites penciler Mark Bagley with writer Brian Bendis. These two superstars not only launched the series, but also produced a record 111 issues in a row, the longest uninterrupted run of any writer/artist team ever! 2011 will be a good year for Spider-Man fans.
3.) War of The Green Lanterns. A crossover between the three ongoing series (Green Lantern, Green Lantern Corps, & Green Lantern: Emerald Warriors) of DC's hottest franchise? Yes please. Geoff Johns, Peter Tomasi, and Tony Bedard continue to expand the Green Lantern Mythos in this event which will focus on an ideological conflict between the four main GL's (Hal Jordan, Kyle Raynor, Guy Gardner, and John Stewart), sparking a Green Lantern civil war.
4.) DC's Line In The Sand. Just when it seemed like a 3.99 comics price tag was inevitable, DC announced a firm 2.99 price cap. This is an incredibly classy move on their part and shows a great amount of empathy and support for the fans. It will be interesting to see how Marvel responds.
5.) New Casanova. Matt Fraction's mature readers, creator owned psychedelic, science fiction, super spy thriller returns to delight our senses and induce brain hemorrhages if stared at for too long. This book is one of a kind, and all around awesome. 2011 will see the in-color reprint of volume II and the first new installment of Casanova in years!
Read more Chris' Comics Corner here
I'm guessing that most of you reading this are not die hard fans. I will assume that, at best you have a casual interest in and a passing knowledge of comics. I get that. I want this feature to be accessible, and I'm going to do my best to keep it that way. This isn't a column for the fanboys, this is a column for people who enjoy cool stories, and want to learn some more about one of the most fascinating and most misunderstood mediums of storytelling. I can only hope that my enthusiasm for the material I'm writing about might encourage you to swing by your local comic shop, and flip through some great books.
The feature will consist of two parts.
1.) Reviews. Each week, I will try to review a few newly released books. The reviews will be short, and I will be using Jordan's letter grade system.
2.) Where Do We Go From Here. This section will be a look at the business aspect of comics, as I believe it is equally as fascinating as the stories themselves. I will examine trends in storytelling, try to shed some light on the motivations behind the decisions of the publishers, and occasionally make predictions for the coming year. This section could also include a list of five somethings related to comics. For Instance, Five Artists To Watch, My Five Favorite Batman Stories, etc.
Now, let's get down to business, shall we?
REVIEWS :
Superboy #3
DC Comics
Writer: Jeff Lemire Artist: Pier Gallo
Superboy follows Connor Kent, a teenaged clone who shares 50% of Superman's DNA, and 50% of Superman's arch rival Lex Luthor's DNA, and chronicles his adventures growing up in and protecting Superman's home town of Smallville. Jeff Lemire is a writer best known for his independent non-superhero related work, and while I think he is still finding his footing as a writer in the superhero medium, he is definitely steering this title in the right direction.
This issue finds Connor distraught over the destruction of Smallville's crops by an alien device of unknown origin. Connor saved Smallville, but not the crops that this rural community survives on for their livelihood. Instead of moping, or ignoring the problem, Connor finds a solution, one that is rooted in DC tradition: He asks his friend and teammate Kid Flash to participate in a race as a fundraiser to help the town's farmers get back on their feet. Pleased with his solution, Connor heads to school, only to witness the entire student body black out from extreme migraines due to the arrival of a strange visitor from the future.
Superboy is unique among superhero comics, in that it walks a fine line between horror Sci Fi, and Norman Rockwell. Smallville was always a strange place, but Lemire has injected a much welcome Sunnydale-esque strangeness into this sleepy little farm town. But at its heart, this book is the story of a kid coming of age in rural America, living on a farm with Superman's adoptive mom, and having adventures with his super powered dog Krypto. It's that down to earth and wholesome quality, epitomized in this issue by Connor's concern for his neighbor's plight and his actions to help them, beyond just stopping a super villain's evil plan, that makes this title great. Extreme property damage is a staple of superhero comics, and is often forgotten, or dismissed with a tongue-in-cheek joke. However Connor follows through and cleans up the mess. With little touches like this, Lemire is fast making Connor one of the most likable protagonists in comics.
Grade: B
Brightest Day #17
DC Comics
Writers: Geoff Johns & Peter Tomasi Artists: Ivan Reis, Ardian Syaf, Scot Clark, & Joe Prado
Brightest Day is a 26 issue Bi-Monthly Maxi-Series that follows the adventures of six heroes (Aquaman, Martian Manhunter, Hawkman, Hawkgirl, Firestorm, and Deadman) who were resurrected at the end of last year's mega event, Blackest Night. Each hero has their own separate plot line (with the exception of the Hawks), and each individual issue focuses on two or three of these plot lines. Despite the phenomenal creative talent behind this book, its quality can best be described as uneven. This issue however, was a pleasant surprise.
The Firestorm, Hawkman & Hawkgirl, and Deadman stories took center stage this week. The Firestorm and Hawks stories have traditionally been my least favorite of the bunch, but both installments proved to be fairly enjoyable this time around. However the real highlight of the issue were the portions with Deadman. Deadman was a character who began his superhero career by dying and becoming a disembodied spirit, so watching him come to terms with a second lease on life has consistently been one of the most enjoyable parts of this series. Whether it's his surprising and touching (though strangely not creepy despite their age difference) relationship with fellow heroine Dove, or his reunion with the grandfather whom he dismissed and ignored as a boy, Deadman, a character who was defined by his vanity and isolation, is finally discovering how to embrace life, and realizing it is best when shared with others. These scenes are beautifully rendered by Ivan Reis who has proven that he can do quiet emotional moments just as well as he can do blockbuster action scenes. The characters' expressions say volumes, especially during the almost completely wordless reunion of grandfather and grandson, and the joyful motorcycle ride at the issue's close.
I'm willing to cut the creators some slack as a bi-monthly release schedule following nine protagonists in five different story lines is a massive undertaking. When a title is released this rapidly it's hard to change course and correct mistakes. However it's a shame that the impact of the higher quality stories like the Deadman and Aquaman features are adulterated by the space constraints of having to advance the plots of several different stories in so few pages, and the fact that due to the shifting focus, it will probably be another two or three issues until we get the next installment of this very moving story.
Grade: B
WHERE DO WE GO FROM HERE?
FIVE REASONS 2011 WILL ROCK
1.) Fear Itself. Not much is known about Marvel's next big blockbuster event, except that Captain America and Thor will play a large role. All you really need to know is that this book is written by Matt Fraction, my favorite writer at Marvel and one of the most fresh, intelligent, and creative voices in comics today. And it is drawn by the incomparable Stuart Immonen whose runs on Nextwave, Ultimate Spider-Man, and New Avengers made him a super star. These are two of my favorite creators and I am so happy that Marvel is highlighting their talents by entrusting them with what is sure to be the biggest book 2011.
2.) Spider-Man Titles. Dan Slott is writing a bi-monthly Amazing Spider-Man that is bursting at the seems with content and simmering sub plots. Peter has a new job, a new girlfriend, and a new supporting cast and Spider-Man has to deal with a new Sinister Six, a new Venom, and the return of the Kingpin. Ultimate Spider-Man kicks off the Spring with the very secretive Death of Spider-Man storyline which reunites penciler Mark Bagley with writer Brian Bendis. These two superstars not only launched the series, but also produced a record 111 issues in a row, the longest uninterrupted run of any writer/artist team ever! 2011 will be a good year for Spider-Man fans.
3.) War of The Green Lanterns. A crossover between the three ongoing series (Green Lantern, Green Lantern Corps, & Green Lantern: Emerald Warriors) of DC's hottest franchise? Yes please. Geoff Johns, Peter Tomasi, and Tony Bedard continue to expand the Green Lantern Mythos in this event which will focus on an ideological conflict between the four main GL's (Hal Jordan, Kyle Raynor, Guy Gardner, and John Stewart), sparking a Green Lantern civil war.
4.) DC's Line In The Sand. Just when it seemed like a 3.99 comics price tag was inevitable, DC announced a firm 2.99 price cap. This is an incredibly classy move on their part and shows a great amount of empathy and support for the fans. It will be interesting to see how Marvel responds.
5.) New Casanova. Matt Fraction's mature readers, creator owned psychedelic, science fiction, super spy thriller returns to delight our senses and induce brain hemorrhages if stared at for too long. This book is one of a kind, and all around awesome. 2011 will see the in-color reprint of volume II and the first new installment of Casanova in years!
Read more Chris' Comics Corner here
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