Back and Forth: Vs.

10 Thursday Jan 2013

Posted by dmainhart in Back and Forth, Microviews

Tags

Adventure Time, Adventure Time with Fionna & Cake, Albus Dumbledore, AvX, Bravest Warriors, Brian Michael Bendis, Cartoon Hangover, Colder, Courtney Crumrin, Dark Horse, Dark Shadows, Dave Stewart, Drago, Dynamite Entertainment, Ed Brubaker, Edgar Winter, Fatale, Francesco Francavilla, Fury: My War Gone By, Garth Ennis, Goran Parlov, Guiu Vilanova, IDW, Image, Joey Comeau, Jonathan Frid, Juan Ferreyra, Justin Ponsor, kaboom!, Mars Attacks Popeye, Martin Powell, Marvel, Marvel Max, Mike Holmes, Mike Raight, Natasha Allegri, Oni Press, Paul Tobin, Ray Dillon, Rocky, Sara Pichelli, Sean Phillips, Superman Vs. Muhammad Ali, Ted Naifeh, Terry Beatty, Ultimate Spider-Man, Warren Wucinich

Who doesn’t love a good fight? David Vs. Goliath! Rocky Vs. Drago! Lindsay Lohan Vs. Dignity! Comic books are replete with these classic donnybrooks, from the sublime (Superman Vs. Muhammad Ali) to the atrocious (Avengers Vs. X-Men). In that spirit, we present this weeks selections in a manner befitting the tenor of our times: steel-cage death-match! (Because, as we all know, art IS a competition!)

The Helter-Skelter Weight Bout: Dark Shadows #11 Vs. Fatale #11

Dark Shadows #11 (Dynamite): A relative unknown and the clear underdog in this match, going up against our #5 pick for the Top Books of 2012. But don’t underestimate this book – it’s got plenty of (ahem) bite! Both books involve occult forces, demonic possession and children in grave peril. But only this one has a werewolf in a cheap suit! Writer Mike Raight packs in plot twists aplenty, befitting the series’ soap operatic origins. But he wisely keeps the camp to a minimum, instead delivering genuine chills and moments of pathos. Guiu Vilanova’s art is properly moody and atmospheric. And how could you resist Francesco Francavilla’s classic cover, rendered in a style I like to call 1970s Gothic (and dedicated to Jonathan Frid, no less)? To all of this add not one, but TWO cliffhangers, and you’ve got one helluva horror book. (DM)

Fatale #11 (Image): I’ll tell you: I couldn’t be more thrilled by the fact that Ed Brubaker “started having ideas for more stories within this world” of Fatale because he hooked me hard–or maybe it was Josephine after all–and a limited series would’ve left me standing on the tracks like poor Officer Nelson. Poor Officer Nelson, indeed: I love how he’s left stepping toward the tracks as the narrative shifts to Jo’s meeting with “the writer,” Alfred Ravenscoft. His satanic tale of of innocence obliterated leaves Jo with more questions than answers, which leads her to push Alfred toward an audience with his mysterious, and ultimately monstrous, mother–and the book’s audience toward another Alfred and his mother: Hitchcock’s murderous matriarch from the classic thriller Psycho. Jo gets her meeting, but it doesn’t go as she had planned. Her escape lays the track for a terrific transition: as she speeds past a railroad crossing in search of an end to the madness, we come to find Officer Nelson, who’s looking to catch the next train in order to find an end of his own. Unfortunately for him, he’s “saved” by a few fellas who are in hot pursuit of Jo–including a couple bespectacled brutes with whom we’re far too familiar. At the end of the story, we’re left hanging with Alfred–only we’re still able to beg for more. All told, Fatale #11 is a perfectly constructed one-shot; in fact, it’s more than just a one-shot: it’s a damned deadly derringer. And with it, looks like the aforementioned Brubaker, Sean Phillips, and Dave Stewart are aiming to have their ticket to next year’s top ten punched plenty early. As one of the conductors of this little blog, I’m almost inclined to do it! Or maybe–just maybe–it’s Josephine, after all… (SC)

This one’s closer than you might think, but the winner (and Book of the Week): Fatale

The Featherweight Bout: Courtney Crumrin #8 Vs. Ultimate Spider-Man #19

Courtney Crumrin #8 (Oni): A couple of youngsters from our Junior Division, but what these two lack in experience, they make up for in chutzpah! Both series center around their teenage protagonists coming of age. Both feature fathers (or in this case father figures) who are not what their children thought they were. And both balance personal drama against a backdrop of conspiracy. Here, Courtney is on the run from her beloved Uncle Aloysius who just happens to be the most powerful wizard in her supernatural world. Creator Ted Naifeh nicely portrays Courtney’s world turned on its head as this once cocksure waif realizes how much she’d depended on her uncle and how his seeming betrayal has left her utterly lost. Her confusion and alienation mesh well with the larger story of adult compromise and corruption. Courtney’s world is getting more complicated and dangerous. Like the subtle color palette (employed by Warren Wucinich over Naifeh’s darkly expressive art) there are a lot of shades of grey. Naifeh’s compelling story depicts Courtney experiencing that common tragedy we all go through: becoming an adult. (DM)

Ultimate Spider-Man #19 (Marvel): OK. You know how when your wife invites your mother-in-law over for a a couple of days and you’re not super thrilled about it, and you put up with it because, technically, you love your wife enough to deal with the–supposedly–short stay? Yeah, that’s pretty much it–only it’s Venom who’s invading USM for Bendis knows how long. Sure, Miles and Ganke are always good together, like Huck Finn and Tom Sawyer; and the intrigue surrounding Miles’ dad is, well, intriguing. I even enjoyed J. Jonah Jameson’s defense of our post-Parker Spidey. But the insinuation of Venom just doesn’t do it for me. Sara Pichelli and Justin Ponsor’s splash on page 11, a startling disappointment considering their combined talents, pretty well sums the issue up for me: lackluster. No, it’s not awful, like most of the United We Stand nightmare; it’s just, well, what it is. Next please. (SC)

Courtney Crumrin has Aloysius, a cross between Albus Dumbledore and Edgar Winter. Ultimate Spider-Man has Venom. The winner: Courtney Crumrin

The Maim Event: Bravest Warriors #3 Vs. Colder #3

Bravest Warriors #3 (kaboom!): What are these two doing in the same match? Well, for one thing, in a coincidence of Jungian proportions, BOTH feature a demonic presence bursting violently out of someone’s body! See for yourself:

Scenes like this do raise the question of why Bravest Warriors, as part of the kaboom! line of books, is being marketed to children. Not that there’s anything truly objectionable, but the animated series is being touted more for adults. There is a vibe (and occasional risque joke) in both versions that suggests “Not for Kids”. I get that it’s part of the Adventure Time brand, but it IS odd seeing the “Cartoon Hangover” masthead on the cover of what is ostensibly a childrens’ comic. Griping aside, this comic has Adventure Time’s patented tone of adrenalized slackerdom down pat; if anything, Bravest Warriors takes itself even less seriously. Writer Joey Comeau keeps the action and jokes coming at a furious pace. Mike Holmes’ art is the perfect compliment, staying within the Adventure Time “house style” while composing dynamic panels (see above) that highlight the bizarre story. Speaking of which, with this issue’s unrelenting sad-zombie-clowns, and last issue featuring Danny vomiting live spiders(!!!) this story line is like my 5-year-old nightmare from Hell. Add in the genuine laughs and this book can only be described as: hysterrifying. (DM)

Colder #3 (Dark Horse): Unlike Fatale, this series is probably better off that it’s limited to five issues. The first issue was ice–with Paul Tobin’s inspired insanity and Juan Ferreyra’s stunning artwork–until Declan declares that “it’s time [he and Reece] had a talk.” That worried me a bit; it seemed like a sure misstep into sanity. The second issue had some bone-rattling moments, for sure–especially thanks to the perpetually frozen Ferreyra. Unfortunately, I wasn’t so taken by Declan’s declarations–and there were many of them. So, #3–well, at least we’re over the hump! The creative team kicks things off well enough with a certifiably crazy contest of hide and seek, punctuated by Nimble Jack’s aforementioned shedding of someone else’s skin in an effort to win the game. Inspired! After that, however, the book babbles along, albeit beautifully, at a glacial pace. Yup: Declan’s a drag. But a bunch of arms dragging Reece through the roof of a taxi? Now, that’s what I call ceiling the deal! The odds of my missing #4? Absolute zero. (SC)

One of these books is a horrific descent into madness. The other is Colder. The winner: Bravest Warriors

Battle of the Sexes!: Fury: My War Gone By #8 Vs. Adventure Time with Fionna & Cake #1

Adventure Time with Fionna and Cake #1 (kaboom!): What do these books have in common? Absolutely nothing! They couldn’t be more polar opposites! Let’s pit the grizzled, one-eyed war veteran against the little girl with the magic puppy and see what happens! Like Bravest Warriors, this book is an extension of kaboom!’s successful Adventure Time franchise. Inspired by the fan-favorite gender-switching episode, this series puts a girl’s spin on what is ostensibly a boy’s enterprise. And, like that episode, it pulls it off with panache. Written and illustrated by Natasha Allegri (who also works on the show), the story doesn’t take the easy route of having its female characters appear strong simply by acting like boys. Instead, the characters are imbued with recognizably feminine personalities (especially the irrepressible Cake) without sacrificing one whit of action or humor. Indeed, Allegri begins the book with a story-within-a-story that, in a few brief pages, achieves the grandeur of myth. She then abruptly shifts tone toward the everyday low-brow (de rigueur for Adventure Time). She never loses sight of the fairy-tale wonder of her story, however, and her expansive lay-outs imbue the proceedings with a larger-than-life quality to match. The result? Out of all the books in Adventure Time‘s growing family of titles, this one feels the most EPIC. (DM)

Fury: My War Gone By #8 (Marvel): Fionna and Cake vs. Fury and Castle? That seems fair. As I mentioned in my In Scott’s Bag post, I l-o-v-e the first page. Goran Parlov’s splash carries quite a message: war ain’t black and white, brother; it’s shades–maybe fifty of ’em, but who’s counting–of gray shrapnel shredding men to pieces. The narration casts a darker shadow, indeed, as the book’s–and Fury’s–antagonist explains–while Parlov shows–how Fury and Castle fell foolishly into his Viet Cong clutches. And that’s just the first two pages! As the story unfolds, General Ennis orders up an assault of ethical dilemmas and uncomfortable truths, all conveyed through perfectly calibrated conversations and culminating uncompromisingly in a multi-layered and minacious cliffhanger. Will Fury do Giap’s bidding in order to end the war? Will Castle do whatever it takes to keep the war from ending? Will the Americans blow them all to hell? Will Ms. Defabio blow them all to…? Well, speaking of cliffs: the most memorable moment: Castle tosses a wounded enemy soldier off a cliff to test a potential escape route. Fury concedes, “Not much of a splash.” Castle replies, “No. Only one way this can go now.” And what a way it is. (SC)

The winner: Fury. Boys always win! HA! (except for Courtney Crumrin I guess. oh, and Fatale…)

Finally, given our premise, I’d be remiss if I didn’t at least mention the following:

(written by Martin Powell with art by Terry Beatty)

Is it Shakespeare? No, it’s Popeye beating up Martians. If the concept alone (or the cover by Ray Dillon) isn’t enough to make you giddy with excitement then we is emenies and I challenges you to steel-cage fiskicuffs.

(Don’t worry. You’ll win.)

Turning pages,

Scott and Derek

Back and Forth: One Sided

16 Sunday Dec 2012

Posted by ScottNerd in Back and Forth, Microviews

≈ Leave a comment

Tags

Action Comics, Animal Man, Brian Azzarello, Colder, Comedian, Dark Horse, Fury Max, Garth Ennis, Goran Parlov, Grant Morrison, Jack Reacher, Jeff Lemire, Juan Ferreyra, Marco Rudy, Paul Tobin, Rags Morales, Scott Snyder, Steve Pugh, Superman, Swamp Thing, The Hobbit

Scott Carney: Not gonna lie, Derek: the last couple of weeks haven’t really blown me away. In fact, they’ve left me pretty cold.

Derek Mainhart: Dude, it’s the weather. It’s December.

SC: I know it’s December, wise ass. The fact that it’s December has just made it friggin’ colder.

DM: No, that’s Paul Tobin and Juan Ferreyra. They made it–colder, I mean. Colder #2. Remember? You were actually looking forward to it.

SC: So this is how it’s gonna be?

DM: Yup.

SC: Fantastic.

DM: What’s the matter with you?

SC: Nothing. Why?

DM: ‘Cause your face is all red.

SC: F you.

DM: FF you.

SC: Nah. I can’t do this. I’m outta here. Gonna watch some TV or do something less productive.

DM: So you can rot your brain?

SC: You’re not funny.

DM: Oh, and you’re some sort of furious comedian? There are a lot of books worth talking about, man. Just accept it. I’ll even get the action started if you want.

SC: What I’d like you to do is dial it down a bit. I’ll–damn it.

DM: I knew you had it in you.

: —Colder #2 Cover

SC: Yeah, so, why don’t I just get to it, then. I really liked Colder #2. It took me a while to find it, but it was certainly worth the effort. Ferreyra’s art is absolutely gorgeous. Did you notice how the characters wore the shadows from the leaves as they were walking beneath the trees? What attention to detail! And it complements Tobin’s creepy-ass story so very well–whether it’s the precipitous present or the fiery return to the institution or the wickedly-rendered Hungry World; it’s all so good. Hell, I’m certainly hungry for more!

DM: What else you got?

SC: Well, how about FF #1? I know you like Mike Allred’s work a lot; but I’ve had trouble getting into it. His guest turns on DD and on Wolverine and the X-Men weren’t my favorite. But there was something about the way he conveys his characters that meant something to me. Something I couldn’t quite grasp. Something very distant. Too distant.

DM: This is getting really heavy all of a sudden.

SC: And wouldn’t you know, I couldn’t tell what it was until this book–until his stunning take on She-Hulk. You know what it is? His style–his very distinct style–reminds me of Colorforms. Boy, did I love Colorforms. So, it makes sense I’d dig Allred. His work is super solid here, especially as it carries Matt Fraction’s father-to-father tete-a-tete and the silly recruitment of the “new” Fantastic Four, which will stand in place of the family Fantastic for all of four minutes. Four minutes? I’m sure. And I’ve probably mentioned it before: I’m not a big fan of Fraction. In fact, I’ve probably liked about half of what I’ve read of his. But I like how he’s set this up. I particularly enjoyed the photo booth-like strips of the kids’ teaching Ant-Man about the foundation, which comes into context on the last page.

DM: I smell a segue here.

SC: Boy, it’s like you know exactly where I’m headed.

DM: You can can say that. Back to it.

SC: OK. Well, both Swamp Thing #15 and Animal Man #15 play up the power of the final page turn with semi-surprise endings. I won’t give them away–

DM: Wow. When have you ever missed an opportunity to spoil an ending for an unsuspecting reader?

SC: I don’t know what to tell you. I’m feeling stingy. Must be the holidays. Anyway, if I may? I won’t give them away, but, tell me, would it really matter if I did? This Rotworld storyline, while relatively well done, especially for a crossover, is essentially a possible future, right? In that, I’m left wondering, does it count? Kinda like with Spider-Men, you know? But then I’m like, does it really matter if it counts? Does it matter if it doesn’t? A dumb debate, I know. Pushing that aside, it’s worth noting that it’s clear that Snyder and Lemire are, quite literally, on the same page here: they’ve created almost perfectly parallel experiences that don’t suffer for the similarities. In that, I feel like they’re doing something special. This time around, Lemire’s side of the story stands out, especially with Lemire’s bringing his former charge, Frankenstein, into the fray. Don’t get me wrong: Snyder definitely doesn’t disappoint. I like how he’s teasing us with the probably-not-dead Abby Arcane narrative. However, I wasn’t as impressed with his use of William this time around. In fact, Lemire used the tricky little bastard to greater effect over on AM. Oh, and I can’t forget: Marco Rudy’s layouts are pretty stellar. What a ride, right? Until, of course, the final page–a clean splash where–

DM: Hey! I thought you weren’t going to spoil the, what did you call it, “semi-surprise.”

SC: Oh, all right. Maybe I’ll just mention that Fury Max #7 was terrific. I love the layers Ennis builds into this issue; it feels like a mini-series in and of itself! And wouldn’t you know, Comedian #4 came out on the same day.

DM: Yes, it did.

SC: Yeah, unfortunately: for me and for it. Azzarello’s take on Blake couldn’t chew Fury’s cigar. Ms. Defabio, on the other hand…

DM: Va-va-voom!

SC: I’d like to see Defabio Max. But that’s another story entirely. Another story worth noting, by the way: Grant Morrison’s fresh take on Mr. Mxyzptlk in Action Comics #15. Page after page of space/time wackiness! Here’s Morrison proving that he sees and writes in more dimensions than anyone else. As always, I’m left thinking, What the hell is going on here? and That’s so, so good! at the same time. But what I did understand–and love–is the idea of “taking revenge on [Superman’s] whole life at once–” How ridiculously great is that? What a way for Morrison to make his way! Gosh, I’m gonna miss him.

DM: Of course you will. But you won’t have to miss him for too long: Multiversity is right around the corner.

SC: Yeah, I guess.

DM: Hey, now! Why not move on to something that definitely made you happy–and I’m not talking about Morrison’s Image mini.

SC: Dial H #7? That made me happy.

Dial H #7 Cover

DM: See! I knew it. Go on.

SC: It’s non-stop wacky fun! I love that Nelson and Roxie are sharing the single dial and the fact that Nelson’s “losing track” of who has turned into whom. Mieville’s been developing the danger of the dial for a while; it’s a brilliant angle, really. Oh, and can I get an “Amen!” for the creator of this peerless comic’s conjuring the cult of the dial and his clever turn in having the “Angel of the Dial” turn out to be a “super-woodlouse who talks like a 3-year-old”?

DM: Amen!

SC: You’re a good friend.

DM: Yes, I am.

SC: Well, friend, Mieville doesn’t stop there!

DM: Testify!

SC: Sure, his heroes are typically of the hit-and-run variety. But you know one idea that definitely has legs? The Centipede. Love David Lapham’s final splash, by the way. In fact, he’s done a fine job since taking over the duties from Mateus Santoloucco. I’d go as far to say that the storytelling is sharper as a result of his more straighforward style. Speaking of splashes: my favorite sequence in the book is when Manteau becomes The Planktonian and encounters an “old nemesis.” So, so good–especially when the “multitude” takes the form of a humanoid and shouts, “And you will sing no more!” It’s a memorable moment: like Gandolf’s commanding, “You shall not pass!” Epic.

DM: Sounds like someone’s looking forward to The Hobbit?

SC: Not as much as I’m looking forward to Jack Reacher.

DM: Really?

SC: No.

Turning pages,

Scott & Derek

Back and Forth: The Empire Strikes Back

03 Monday Dec 2012

Posted by dmainhart in Back and Forth

≈ Leave a comment

Tags

Amazing Spider-Man #698, Amazing Spider-Man #700, Brian Michael Bendis, Chris Samnee, Dan Slott, Daredevil, Dark Avengers, Dr. Octopus, Indestructible Hulk, Leinil Francis Yu, Mark Waid, Marvel, Marvel NOW!, Paolo Rivera, Richard Elson, Superior Spider-Man, Superman, The Avengers, The Sixth Sense, Ultimate Spider-Man

Scott Carney: Yet another pretty big week here at – hey, li’l buddy, what’s wrong?

Derek Mainhart: (grumble)

SC: Holiday blues?

DM: …no…

SC: That thing flaring up again?

DM: What? No! Shut up!

SC: oh, I think I know what this is about…

DM: I don’t wanna talk about it.

SC: It’s ok. We’ll get through this. Baby steps. Want me to start?

DM: (grumble)

SC: O-kay. How about we start with Daredevil #20?

DM: …yeah…that’s fine…that’s been good for a long time…ok…

SC: You’re right: DD‘s been head and, well, head above the rest of the Marvel lot since Mark Waid took over. Despite a dodgy bit with the Omega Drive, this title’s been a consistent treat; and this purposely spotty issue is no different, with its unexpected pregnant-belly drug pipeline and hellish haul of hungry heads. Delightful! I mean, how great is it that DD’s headless body makes its way to the rescue–using the billy-club cane, no less! Divine! Chris Samnee, of course, delivers the goods: he flaunts his skill, page after page, marrying mirth and danger with peerless precision. Dig it! The terrific tone that’s been set by the boys on this book clearly has been the unofficial blueprint of the company-wide non-reboot. With that in mind, moving on to–

DM:…ggrrrrrr…

SC: –a Marvel NOW! book–

DM: (choking sound)

SC: —Indestructible Hulk #1.

Indestructible Hulk #1 Cover

DM: That…that’s OK…still Waid…still acceptable…baby steps…

SC: Acceptable, indeed! I’ve tried several of the NOW! books and I haven’t liked a single one–until this one. As I mentioned, the other books seemed to try on something Daredevilish, but, doubtless, each was Waid off the mark.

DM: Dear Lord…

SC: No, seriously. Is it any surprise that the first book of the bunch to seem like it isn’t trying so hard to be Waid-ian is the one written by the trendsetter himself? From the get-go, the flavor is unmistakable: the chicken-fried banter–served up with a sprig of perfect time–is well done. It’s so well done that the conversation between Director Hill and Banner is the highlight here. It certainly outshines the fight scene between the Hulk and the arrogantly armored Mad Thinker, which is, disappointingly, a bit muddled in its execution. Don’t get me wrong: I love Leinil Yu, and his work here is strong; in fact, his Hulk is incalculably strong. (See the double-page spread on pages 14 and 15 if you don’t believe me.) But there’s a lot going on in some of the pugnacious panels; and a few, unfortunately, just flat out fail. Overall, however, the book does not. As it stands, I want to see how the Banner/S.H.I.E.L.D. and the Waid/Yu relationships play out. We all know that the Hulk’s not an easy character to handle, but I’m thinkin’ that he may be in the right hands at the right time; and, doin’ my math, that’s, finally, right NOW! I am not a man without fear, though. This does have the potential to turn into Ultimate Spider-Man, where Bendis just cannot seem to find the balance between his brilliant take on the boy and the rather bland–and sometimes plain bad–approach to the very same boy in the bug suit. Still, I’m on board for #2.

So, umm, that’s all I wanted to discuss. Do you have anything to add?

DM: No!

SC: Are you sure?

DM: NO! Wait – I mean, YES!

SC: Come on….

DM: Don’t make me!

SC: It’ll only hurt for a second….

DM: (resigned sigh) …fine.

SC:...like Superman taking a Kryptonite suppository….

DM: What’re you mumbling? Whatever. So…a couple of weeks ago I posted an extended rant about the deplorable state of the Marvel Universe, including my low expectations for their current, sort-of reboot, Marvel NOW!. And I still stand behind 99% of what I wrote –

SC: That high? 97% maybe?…

DM: Shut up! One of the new directions I distinguished for abuse was Dan Slott’s announced introduction of a new, darker Spider-Man (I believe my exact quote was “oy vey”). I had no intention of picking it up. But then I saw Paolo Rivera’s cover to Amazing Spider-Man #698 and something about it just grabbed me.

SC: Was it the large, metal tentacles?

DM: Quiet you! So I flipped through it…something about the death of Dr. Octopus…Richard Elson’s clean, pleasing art…and, like many comic book fans, I have a mental condition that causes me to get weak-kneed for big, round numbers; so with this leading up to issue 700, I picked it up. What the hell, I figured. No one need ever know. And I read it. And damned if it wasn’t good. Really good.

SC: Your eye’s twitching.

DM: Shut up. My determination to avoid Marvel Now! left me blissfully ignorant of the hype surrounding this issue. The secret’s out now of course, but in case you haven’t read it yet, and live in a cave inside of another cave, SPOILERS AHOY! The issue begins with Doc Ock on his death bed, requesting Peter Parker. Woah, you think, How does he know Spidey’s secret identity? But that, it turns out, is just Mr. Slott being cute. We proceed with a day in the life of Spidey, full of Peter’s trademark soliloquizing about the state of his life. He’s being a little snarkier than usual tho’. But never mind that, here’s a scene promising his long-awaited re-entanglement to one Mary Jane Watson, an exciting development to many a Spidey fan ever since the god-awful story where Peter sold their marriage to the devil. Redemption at last? No, again, it’s Slott exquisitely messing with you, you craven fan-boy you. We proceed to the climax where Peter learns of Doc Ock’s death-bed request for his presence. And, then, with long time hero and villain alone together, the twist: Doc Ock has switched bodies with Peter. He somehow has access to all of Peter’s memories. And neither the good doctor nor Slott is telling how he did it. And for the coup-de-grace? Peter, trapped in Doc Ock’s enfeebled body, has a heart attack and flatlines to close the issue, as Doc Ock strides off triumphant. Now there’s a twist on par with the end of The Sixth Sense. Well done, Mr. Slott.

SC: See, was that so –

DM: This is particularly satisfying for a couple of reasons. A couple of years ago, a similar conceit was used in a book called Dark Avengers, which featured a group of craven villains, led by Norman Osborn, parading around as Earth’s Mightiest Heroes. Brimming with deceit, backstabbing (sometimes of the literal variety) and Osborn’s slow descent into madness, the book had a compelling Shakespearean air of tragicomedy about it and was, hands down, the best (and best-selling) Avengers book in years. Alas, poor Norman, due to the requirements of the master narrative of the Marvel U, the book was brought to a premature end. Slott has now taken this concept and applied it to the company’s flagship character. Even the jaded observer –

SC: Like you.

DM: -will have to admit this is a bold move. Furthermore (and the second reason this is satisfying) this seems a tacit admission that Peter Parker, as he exists now, is a debased character. In fact, with his character-defying Faustian dealings, he may be no longer even be viable in his current incarnation. Ending his run at ASM# 700 and beginning Doc Ock’s with Superior Spider-Man #1 suddenly seems downright inspired. This could work nicely as the status quo for some time. Lord help me…I think I may be back on Spider-Man. If Slott plays it right, this concept could have legs.

SC: Eight legs?

DM: oh dear…

SC: Or should it be tentacles?

DM: Are you finished?

SC: ….maybe they could re-introduce the Black Cat and change her name to…

DM: Please don’t.

SC: Octopussy!

DM: I’m so very sorry.

SC: I’m not!

Turning pages,

Scott & Derek

Back and Forth: Comics Interruptus

27 Tuesday Nov 2012

Posted by ScottNerd in Back and Forth

≈ 1 Comment

Tags

Al Ewing, Alberto Ponticelli, Archer & Armstrong, Arturo Lozzi, Battlefields: The Firefly and His Majesty, Battlefields: The Green Fields Beyond, Bloodshot, Brendan McCarthy, Brian K. Vaughan, Carlos Ezquerra, Clayton Henry, Duane Swiercynski, Dynamite Entertainment, Fiona Staples, Frankenstein: Agent of S.H.A.D.E., Fred Van Lente, Garth Ennis, IDW, Image, Jason Aaron, Korean War, Manuel Garcia, Matt Kindt, Robert Venditti, Saga, Steven Sanders, The Boys, The Zaucer of Zilk, Valiant, Wayne Faucher, Wolverine and the X-Men, Wolverine Max, WWII

Scott Carney: So, umm, what do you want to talk about?

Derek Mainhart: I’m glad you asked! There’s actually a couple of-

SC: Geez, man, nothing? If you’re going to be that way, I guess I’ll talk about, I don’t know, Archer & Armstrong #4. How’s that sound? Good?

Archer & Armstrong #4 Cover

DM: But I-

SC: Let me tell you: I’m totally into this book. This issue, in particular, is a cornucopia of comic book goodness. For one, the tone is timeless: you’ve got your comedy, your tragedy, your mysteries, your revelations, and action, action, action! I mean, #3 promised Nazi monks and that’s what Van Lente, Clayton Henry, and Matt Milla deliver in #4: psychic Nazi monks with little mustaches, which they seem to “just like”–for whatever reason. The comedy continues as one of the monks belts Archer with a belly-busting, “You just been blitzkreiged, dummkoff!” But the knockout blow: A Geomancer–you know you know what that is–is crushed almost to death after shouting, “The Earth is saved!” He asks Armstrong for “one wish…”; Armstrong replies, “Uh, do I haveta? Kinda got a lotta stuff on my plate right now.” Flat out funny! As luck would have it, the Geomancer’s eventual death sets the scene for the return of another Valiant heavy hitter. Expect a home run. Heil Van Lente! Heil Henry! Heil Milla! They’re doing everything just reich.

DM: I agree about the book, but I-

SC: I think I’ll drop the Nazi puns and stick with the baseball allusions: Valiant went two-for-two for the week with the other hit coming from Bloodshot #5. There have been some pretty remarkable–and remarkably gruesome–sequences to open books of late. This opening sequence? An absolute bull’s eye of a flashback. How great is Gamma, a green-frocked hulk of a woman, who tends to children–young psiots–imprisoned at Project Rising Spirit? Her grandmotherly countenance is counterbalanced by bulging biceps and a terrible threat to an overpowered young Melissa: “Don’t tell anyone…but I enjoy the troublesome ones.” That sequence segues into the present seamlessly as an adult Melissa is jarred from sleep, presumably the result of this horrible memory from her youth. The rest of the story is developed dynamically as the assault on the P.R.S. facility is supported slyly by off-color slices of a scene that reveals Kara’s role as a nanite-smuggling Trojan horse; that way, Bloodshot could circumvent all of P.R.S.’s security measures! Brilliant! With the final splash–a promise of a bloody showdown between Bloodshot and the killer Chainsaw crew–Duane Swiercynski, Manuel Garcia, and Arturo Lozzi prove that they’ve got something special brewing here; and to think I was an issue away from dropping this title from the ol’ pull list!

DM: I didn’t read that one, but I would like t-

SC: I am definitely an issue away from dropping Wolverine and the X-Men. With #20, it’s clear: I’ve been duped. For one, I never should have jumped on board; I mean, it really has nothing that appeals to me: I’m not a fan of Wolverine or the irregular cast of characters; and the mutant struggle for acceptance in an intolerant world doesn’t necessarily shout silliness as a rule. But there was always something that drew me back month after month or week after week–which, by the way, is another issue I have with this title: its being a more than monthly for no good reason, other than to take advantage of saps like me. And this issue has finally sapped any interest I’ve had in this book, which was mostly born from the brave and bold pencils of Chris Bachalo. For one, I’m sick of fill-in issues. That’s what this series has felt like for a while NOW! And this issue does nothing to buck that trend. I mean, the artwork–by Steve Sanders–doesn’t help matters, that’s for sure: Iara, the utterly pointless new mutant Shark Girl, is established on pages 2-4. I don’t know who the heck the girl is on pages 6 and 7. I know it’s supposed to be Iara, but it looks nothing like her. I don’t know how many times I turned back a page and then forward a page just trying to get comfortable with the unexpected shift in her appearance. It was in that worthless exercise that I decided that I was done. But I persevered: bumped into a Beast who looked like he’d be more comfortable harassing some pigs in some fairytale housing development; happened upon a horny Silver Samurai with a girl-on-Shark Girl fetish; and found myself awash in anime. And wouldn’t you know: there’s some noggin’ noshin’! (It’s uncanny how many head-chomping moments there have been in comics over the last several months. In fact, in last month’s awful Wolverine Max #1, a woman has her head torn off by a shark! Imagine that!) But it wasn’t enough to turn me around. A classic example of too little too late. And please, don’t get me started on the stupid Mudbug and the poorly put together final page, which looks like several villains have been copied and pasted on top of each other without any care for the final product. Did I mention I didn’t like this issue?

DM: And now on to-

SC: But I did love–love, love, love–Frankenstein: Agent of S.H.A.D.E. #14. And I’ll bet next week’s Wolverine and the X-Men that you did, too.

DM: NEEAARRGH! Saga’s Back! AND Battlefields! Zaucer of Zilk! AWESOME!!!! NYYAAAHH!!!!

SC: Dude, what is your problem?

DM: I’m…I’m sorry…just got a little excited, that’s all…what were we saying? Ah, yes. Frankenstein. Matt Kindt, Albeto Ponticelli and Wayne Faucher knocked it out of the park yet again –

SC: Enough with the baseball metaphors.

DM: They continue to serve up a winner-

SC: No tennis either.

DM: It’s great and everyone should read it! How’s that?!

SC: Whatever. I’m grabbin’ a–

DM: Anyway, what I’d really like to highlight is the return of Saga (Image). After a couple of months off, Brian K. Vaughan and Fiona Staples bring us Chapter Seven of their free-wheeling epic. When last we saw the alien husband and wife team of Alana and Marko, their tree/spaceship had been invaded by…his parents. Marko and Alana are from separate warring alien races so, needless to say, mom and dad aren’t pleased. Beautiful setup, conflict ensues, family secrets are divulged. The blend of Romeo and Juliet, Star Wars and Meet the Parents is a pitch perfect tale for our postmodern, genre-bending, mash-up culture. Still not enough for you? Well Vaughan is kind enough to throw in a splash page, full-frontal gross-out, lovingly rendered in all its grotesquery by Ms. Staples. (I can’t un-see it! I can’t un-see it!) Welcome back.

Another highly anticipated return is Garth Ennis’ superlative Battlefields: The Green Fields Beyond #1 (Dynamite). Ennis is a supremely versatile writer who seems to enjoy working in a variety of modes, from splatter/gore (Crossed) to genre satire (The Boys). If those books are where he gets his jollies out, his Battlefields series has consistently showcased him at full maturity. Here his command of character, thematic depth and period texture (ably abetted by artist Carlos Ezquerra) are on full display. Taking place at the height of the Korean War, the story reintroduces Sgt. Stiles, last seen in WWII in The Firefly and His Majesty. Something of a hothead in previous series, he’s presented here as a soldier thoroughly chastened by his experiences. Through him, we are witness to the tragedy, absurdity and, yes, heroism of war. Ennis’ respect for history, and the men who lived it, shine through on every page. These may be fictional characters, but with his uncanny ear for dialogue and truly prodigious research, Ennis has breathed life into them. Not that there isn’t plenty of violence and foul language to go around, but because it arises in the context of war, these are not only completely earned, but utterly necessary. War comics at their best. Ennis at his best. Book of the Week.

Changing gears, we have The Zaucer of Zilk #2 (IDW) by Al Ewing and Brendan McCarthy. The conclusion to this preposterous flying circus of a comic surprises and delights on every level. If you haven’t read it yet-

SC: I haven’t. Shut it.

Turning Pages,

Scott and Derek

Back and Forth : Looking for Comics at the End of the World

17 Saturday Nov 2012

Posted by dmainhart in Back and Forth

≈ Leave a comment

Tags

American Horror Story, Apache Chief, China Mieville, Colder, comics, Crispin Glover, Darick Robertson, Dark Horse, David Lapham, DC Comics, DC Entertainment, Dial H, Glenn Fabry, Grant Morrison, H.P. Lovecraft, Happy, Image, Juan Ferreyra, Lewis Carroll, Lot 13, Modern Family, Paul Tobin, River's Edge, Steve Niles, Vertigo

Derek Mainhart: Greetings from America’s northeast, where we’re learning to believe in Mayan predictions! How bad has it gotten? We’ve gone two weeks without comics! So let’s play catch-up and dive, a la Scrooge McDuck, into this huge pile of books. Given the apocalyptic weather, I thought we’d start with:

Colder #1 – I was originally going to give this one a pass. I was unfamiliar with the creators and the cover was a real stomach-turner (though a well-done and highly effective one – see for yourself):

Colder #1 Cover

So thanks, Scott, for nudging me to pick it up.

Scott Carney: Just another example of my bloody good taste.

DM: Indeed. The story, by Paul Tobin, begins with an explosive set piece in a mental institution. Though it goes a long way toward establishing the horror of the book, I did find the writing a bit twee in this sequence, especially regarding the dialogue of the inmates (“I am the pretty colors! I am a swirl of pretty colors!”) That same tone, however, is perfectly employed once we are introduced to the villain (or is he?) of the piece, one Nimble Jack. An appealing trickster type, he suggests a Lewis Carroll character as re-imagined by H.P. Lovecraft. Or perhaps a co-mingling of the latter day Joker (you know, the scary one) with Mr. Mxyzptlk. In any case, I imagine him being played in the film version by Crispin Glover of twenty years ago.

SC: Yes! Excellent call. Definitely the Crispin Glover of River’s Edge, circa ’86.

DM: ’86? Really? Wow. OK: the Crispin Glover of twenty-six years ago. Alright back to Jack. He’s not the main character of the story, but his actions and his personality drive it, as he pops in and out like some maleficent Cheshire Cat. As to the story, it revolves around the mystery of Declan Thomas and his ever decreasing body temperature. A former inmate of the aforementioned asylum, Declan is currently being cared for by Reece Talbot, a young doctor of some sort, and a bit of an odd duck herself. After the attention-grabbing beginning, the writing becomes more satisfyingly subtle. We get to know Reece through expository yet unforced dialogue, and she is a winning creature thus far. There is a nice combination of normalcy and menace that runs through the book; a hallmark of good horror. The same can be said of the art by Juan Ferreyra. It is clean, bright and uncluttered (unlike most horror art), and yet ever so lightly off. Having said that, I somewhat take issue with one sequence in the book. Early on, Reece is the victim of a mugging. I don’t mind the fact of the scene; given what happens earlier in the story, a mugging is rather tame. I object to the staging of it, which I’m assuming was the purview of Mr. Ferreyra. Violence against women is tough to take, and the close-up of Reece getting punched in the face–in the fourth panel of page 15–seems unnecessarily voyeuristic and exploitative, skirting the edge of playing it for laughs. It’s odd; I’m completely fine with inmates being burned alive in the initial sequence, but this stuck in my craw. It’s all a matter of how you choose to present it, I think. But this is a quibble. For the most part the excess promised by the cover is (thankfully as far as I’m concerned) never realized and we are instead presented with something else: a psychological horror story / mystery that is truly unpredictable. I’ll be back for the second issue.

SC: I liked it, too–mostly. Particularly the beginning. I kinda dig the fact that Colder kicks off with patient pyrotechnics. I like the loopy loquaciousness of the loonies as the flames lick a little love into ’em. But, yeah, it gets better with the introduction of the fantastically famished Nimble Jack, who does a delicious dance of depravity, which, dialogue-wise, is conveyed in a confusingly satisfying manner somewhat reminiscent of China Mieville’s consistently top-of-the-pile Dial H.

DM: Yeah. More on Dial H later.

SC: I’m not surprised. But, yeah, after Nimble Jack, more specifically after Reece meets up with the cop, the pace cuts to an almost intolerable crawl. It gets considerably colder. If I’m being honest, I didn’t believe their dialogue so much; I was kinda bored by it, actually. It felt forced, like I was being fed exposition after filling up on fast-paced fun. Even Jack couldn’t heat it up again: on page 22, his fire goes out in puffs of smoke when he can’t get a rise out of Declan. And the end? I thought it was at the same time completely expected and completely necessary. So, if I’m doing the math properly, it’s good enough to keep me around for number two.

DM: Another intriguing new horror entry is Lot 13 #1, though the results are decidedly more mixed. This one did come with a high pedigree; Steve Nlles and Glenn Fabry are both proven masters of the genre. Like Colder, this one establishes its dread with a scene of horrors past. When we get to the present, however, something odd happens to the tone. We are introduced to the Nelsons, who are about to move into a new home (always a bad idea in a horror story). They are presented as a typical American family; two cool yet responsible parents, a lovelorn, slightly goth teenage daughter and a couple of tweens, one of whom seems sensitive to things of a ghostly nature. The too-clever, knowing back-and-forth between the parents, as they balance the stress of moving while dealing with the kids, seems artificial, like something out of a sitcom. Even the pacing of the story, where a beat (comic or horror) is set up and delivered on almost every page feels structured more for a television show (you could almost envision where the commercial breaks would go. A perhaps related digression – I wonder why this comic was designated under the new DC Entertainment brand instead of Vertigo which has traditionally been DC’s repository for supernatural fare?) As opposed to the unforced naturalism we see in Colder, here what we get is akin to a queasy mash-up of Modern Family and American Horror Story. Still Fabry’s art (like Ferreyra’s) imbues even the everyday with a disquieting air. The cliffhanger (remarkably similar to the one in Colder) and the strength of the creators’ reputations will at least bring me back for next issue.

Lot 13 #1 Cover

SC: I agree with your TV show comparison. It’s perfect. In a way, that’s what I liked about it. In fact, after the grisly opening, which I really liked, I found that the appeal of the book came from its well-developed and deliberate dialogue. Speaking of: what’s up with the poorly-costumed curse words (“f&$%ing” and “h&%$”)? What purpose does it serve to half-heartedly hide them like that–especially when the sneak preview of The Girl with the Dragon Tattoo has the f-word in all its glory just three pages away from the final page of Lot 13?! I want to know! In fact, I demand an answer!

DM: Yeah I don’t get it either. I don’t have an answer for you.

SC: Well, f&$% you, then.

DM: Speaking of irritating use of invective: Happy! #2. The first issue, flawed as it was, at least held out the prospect of high-contrast hilarity to follow. Well here we are, two issues into a four issue mini-series, and that potential remains stultifyingly untapped. A Grant Morrison story usually bursts with innovation, pulses with energy. Here instead we get dreary, tired scenes of seedy environs, uninspired profanity, and lowlife violence. Nick, the hero (?) escapes his would-be killers at a hospital by beating them to death. Nick uses Happy to cheat at poker and then beats everyone to death. A pervert in a Santa suit (yawn) is introduced, presumably so Nick will at some point beat him to death. The counterpoint to all this, I suppose, is the running commentary provided by the eponymous equine. The problem is, unhappily, that the imaginary talking horse isn’t nearly as funny as Morrison seems to think he is.

SC: Oof. Yeah. It was rough. It’s like Morrison’s doing his best worst Garth Ennis impression. For example: the poker game. Ugh. Under Morrison’s watch, LeDic (Obvious jokes? Check!) and his cronies around the table–who look like members of an Ennis-penned wack pack, for goodness sake–are as friggin’ flat as can be. Are we supposed to accept that Morrison chose to keep these fellas, so full of potential hyperbole, under wraps for some good reason? Wait. Is that the reason? To kill it with understatement? No; come on: I mean, if you’re going to put a pot of water to flame, let it boil! Am I wrong? Christ! Ennis would have that table humming with quirkiness. Instead, it’s a flippin’ funeral. If he’s making a statement about Ennis or about something else, I’m not hearing it. Maybe, as is the case with Happy the Horse, only one person in the world can.

DM: Now for a truly inspired use of an imaginary horse, you need look no further that Dial H #6. China Mieville slows down this roller coaster of a comic for a “breather” issue as our hero, Nelson Jent, literally never leaves his living room. The reason? The super-hero alter-ego he’s “dialed-up” would be appalling to modern sensibilities. (David Lapham, uncredited on the cover, provides the pitch-perfect art.) This wickedly fun little issue serves a number of purposes. It nicely fills in some background information on the workings of the dial, as well the hitherto mysterious Manteau. It showcases an easy repartee between the two leads that humanizes their relationship. And it cleverly explores comics’ fraught history with racism and stereotype while using that discussion as a springboard toward broader issues of identity. And did I mention? It’s flat-out funny. I can’t think of another comic that will have you so gleefully looking up scatalogical definitions (interestingly, this is not the first use of “priapus” as a name of a comic book character). Now that’s how you do foul language! This single issue of two people talking in a room has more wit and invention than most comics can muster in a year. Book of the Week.

SC: Is it wrong that I read every bit of Nelson’s dialogue as “Eh-neeek-chock”?

DM: Nice!

SC: So, yeah: clearly, this is the Book of the Week. In fact, it may be my favorite single issue of any book of the New 52. I know it hasn’t been fashionable of late, especially in the political sphere, but I must insist: DC, please do the right thing; please send more jobs to China!

DM: Rimshot! And out.

Turning pages,

Derek & Scott

Back and Forth: The Great Struggle

01 Thursday Nov 2012

Posted by ScottNerd in Back and Forth

≈ Leave a comment

Tags

Batman Incorporated, Brian Buccellato, Challenge of the Super Friends, Connor Willumsen, Francis Manapul, Grant Morrison, Grodd, Jason Starr, Jeff Lemire, John Constantine, Justice League Dark, Mikel Janin, Nick Necro, Peter Milligan, Roland Boschi, The Flash, The New 52, Victor Drujiniu, Wolverine Max, Zatanna

Scott Carney: I know we talked about skipping last week’s uninspiring lot, but, as it turns, along with high winds, lots of rain, and destructive storm surge, Hurricane Sandy brought plenty of time with her–time enough for me to tear through the four books that made up my bag for the week of the 24th.

I’ll kick things off with The Flash #13. It’s no mystery: I’ve been beating myself up over this title since issue #2; and I’ve made mention in previous posts that I’ve been one issue away from giving up on it–month after underwhelming month–but Francis Manapul keeps drawing me in with his beautiful artwork and with his sticking to a plum plan: the relatively expected rolling out of the Rogues. And, yes, I’m a sucker for Grodd, going way back to The Challenge of the Super Friends cartoon in ’78, which explains why I’ve been on board through this issue. Well, guess what. I’m out. That’s right: this chapter of the Speedster’s saga has finally pushed me off the treadmill. In a tortoise shell: the artwork is literally sketchy and the storytelling is tedious. I dare you to disagree. In fact, I demand that you make a pledge: that you, too, will drop this exercise in mediocrity–as quickly as you can.

Derek Mainhart: Oh man, do we really have to review this week’s batch of disappointment? I admire your intrepidity. I also accept your dare: I still like the art. And the dismemberment didn’t do it for your innate sense of bloodlust? But I definitely agree that this is close to running on empty. Next issue’s promise of Grodd running around with the speed force will bring me back, as long as Manapul draws it. After that?…

SC: I’m also going to drop Batman Incorporated. Sure, Grant Morrison lit my fire with Matches Malone in #3; and I liked his turn here at the beginning of #4. But there’s a bit too much tying back to the original BI series–which I’m not familiar with–for me; and Morrison’s style, as a result, becomes more of a drag than a selling point. So, going forward, I’m going to pass on this. Sad, right? I mean, how many Batman titles are there per month? A thousand? And only one–Snyder’s Batman–is worth reading. A major disappointment, especially this far into the grand experiment.

Batman Incorporated #4 Cover

DM: I don’t blame you for dropping this, having come to it late. This book was a casualty of the New 52. However, as someone who’s read Morrison’s run from the beginning, I thought this issue wasn’t bad. I do hope this wasn’t the climactic battle between Batman Inc. and Leviathan however. If it was, it went by too quickly. Similarly underwhelming was the reveal of Wingman’s identity. I didn’t even realize it was a significant plot point until this issue (and I’ve been reading this!) This did have wall-to-wall action, pretty art and clever moments. I’m also genuinely in suspense over the fate of young Damien (I really hope he isn’t written out of the Bat-universe just because Morrison’s leaving. I’ve really grown to like the kid!) Is it great? No. But to the long-time fan it’s certainly worth reading. And considering the rest of the haul, Book of the Week.

SC: Did I mention experiments? I picked up Wolverine Max #1. Figured it was worth a try. I was wrong. Billed as “Wolverine as you’ve wanted to see him,” this book–and writer Jason Starr–embraces the Max designation by serving up the f-word, which is so totally Max; and by giving us a glimpse of Logan’s hairy rump, which is not exactly how I wanted to see him. Ugh. So awful. Even page seven, which explicitly portrays a shark’s biting the head off of some unnamed woman in Wolverine’s arms as he floats in an unnamed body of water, didn’t do it for me. And, you know: I’m one who enjoys a good noggin’ noshin’. But this book is so bogged down with nonsense that I wanted to bite my own head off for having bought it. And the double-barreled artist attack? Oh, man. It’s just so– Know what? Hey Mr. Fine! Why not find an artist who can handle two different styles if that’s what you need on a book that relies so heavily on flashback scenes? Want to see that done well? How about J.H. Williams III on Batwoman? Now that‘s how you do it. Unfortunately, they did it this way; so it’s a one and done for me.

Speaking of the two-artist approach on WM #1: I just found this, which may be of interest. It’s a statement by Connor Willumsen–the artist on the flashbacks–about his future on the book. I wonder what the “disrespect of agreement” was.

DM: So that’s three books you’re not picking up next month. Might I point out my recent column 5 Comics You Should Be Reading for worthwhile replacements? (Truly I am a shameless hussy)

One comic that won’t be making that list anytime soon is Justice League Dark. This book is just all over the place. A major fault: Jeff Lemire (whom I’m big fan of, check the record) just does not have a good grasp on John Constantine, the central character. No matter how many cigarettes he lights, he seems like too much of a boy scout. And so his relationship with the rest of the characters, and of the book itself doesn’t rig true. The villain, (the laughably named) Nick Necro is a lightweight if ever there was one. The slick (though admittedly nice) artwork is at odds with the dark, mystical tone the story is trying to attain, like Keanu Reeves trying to play a certain cynical, magical con artist. In short, this book has no voice. Having now gone through two able writers (Mr. Lemire and the book’s previous scribe, Peter Milligan) I’m beginning to suspect its greatest problem lies in its very concept. “Justice League” and “Dark” simply don’t go together.

SC: I have to say that I like what Jeff Lemire’s doing with this title, and I like Mikel Janin’s work–even if he only did the layouts for this issue. (Victor Drujiniu’s finishes make it look like Janin did the job himself.) I’m actually looking forward to the Annual to see how this all plays out–to see the smug Nick Necro (yeah, so what if it sounds like a porn name) get his inevitable comeuppance.

Not a good bagging average for that haul. But, hey: there’s always next Wednesday.

Turning pages,

Scott and Derek

Back and Forth: The Art of Turning Pages

27 Saturday Oct 2012

Posted by ScottNerd in Back and Forth

≈ Leave a comment

Tags

2000 AD, Adventure Time, Al Ewing, Al Jaffee, Alice in Wonderland, Batwoman, Blue Meanies, Brendan McCarthy, Brian Azzarello, Brian K. Vaughan, Brian Michael Bendis, China Mieville, Chris Samnee, Daredevil, Dave Stewart, DC, Dial H, Frank Quitely, Grant Morrison, Happy, Harbinger, IDW, J.H. Williams III, Javier Rodriguez, Len O'Grady, Mad Magazine, Mark Waid, Marvel, Marvel NOW!, Ryan North, Saga, Swamp Thing, Tex Avery, The Zaucer of Zilk, TMZ, Todd Klein, Tony Akins, Ultimate Spider-Man, Valiant, Wonder Woman, X-O Manowar, Yellow Submarine

Scott Carney: I finished reading through my stack Friday night. Here I am on Monday night, kicking it with Mitt and Barack, still struggling to feel something for these books. To try to kick-start a feeling, I peeled back a few pages of Daredevil #19. Here’s a book that has taken on an odd tone of late. Gone is the good time, and squatting in its place is one serious second after another–save for a pair of panels that find Daredevil, well, squatting in a warehouse with a clothespin on his nose in order to save his suped-up sense of smell from the stench of the garage in which he’s staked out. I heaped a hefty “HA!” in that spot, one heralding the arrival of vicious version of The Spot: Coyote–who’s at least one step ahead of DD. Is there something silly about Matt’s cellphone conversation with Foggy? Sure. It culminates in a fantastic fall and a calm “Call you back,” whipped up wittily by Mark Waid, Chris Samnee, and Javier Rodriguez. That dance, however, is dampened by the danger–by the descent into madness that rules the book as a whole. I did dig the dialogue between Foggy and Kirstin despite its doubling down on the seriousness of the storyline. I think it’s worth noting that Samnee and Rodriguez do a fearless job of bringing Waid’s complex interdimensional fight scene to the page. It took me a few reads to really appreciate it, but appreciate it I do. Spot on, boys! Can’t wait to see what’s ne–

Derek Mainhart: Sounds like you ended up enjoying it more than you initially thought! After the dark terrain of the last couple of issues, I definitely felt this was a return to form. The culprit behind DD’s recent woes was revealed, and if the answer was a bit underwhelming (a throwaway villain from the first issue), Waid’s creative exploration of his Tex Avery superpower was alternately farcical and chilling. I’d also like to commend Waid’s command of pacing here. He’s one of a very few writers (Grant Morrison comes to mind) who understands how the physical structure of a comic book can enhance the experience of reading it. The cell phone scene you mention is a perfect example. The danger is set up perfectly on page 2. Then you have to turn the page for the unexpected, laugh-out-loud punchline.

Since we’re discussing arcane comic book points, a similar thing happens in Batwoman #13. The plot is negligible; Wonder Woman and Batwoman have teamed up to find Medusa for some reason. Whatever; in this book the story exists for J.H. Williams III to hang his art on. I feel like every time we review Batwoman, I just go on about how gorgeous the art is. Well this review is no exception. The visuals are unbelievable (colorist extraordinaire Dave Stewart deserves mentioning here as well). The beat I’m referring to begins on pages 11-12, as Wonder Woman, unseen, is bound and trapped in pitch blackness (also featured is some bravura lettering by Todd Klein – everyone gets their due in this review!). The layout of this two-page spread is absolutely claustrophobic. I’ve never experienced anything quite like it. And then the page turn and the abrupt transition from suffocating dark to blinding light – I swear you’ll need sunglasses. Another favorite: the two-page spread on pages 4-5 (only Williams can justify a book full of ’em!) as our heroines traverse an underground labyrinth. The bird’s eye view, revealing the complexity of the thing, is a stunner. I literally tried to fold it like an Al Jaffee fold-in from Mad Magazine, sure there was some hidden image (even after several unsuccessful attempts, I still kinda think there’s one). Buy it and gawk.

And yet for all of that, this was not the most eye-grabbing art in my pile this week. That honor goes to The Zaucer of Zilk #1 (IDW / 2000AD). Check out this cover:

Doesn’t do it justice. I’m telling you, as I perused the usual fare on the shelves, this thing was pulsing. When I snapped out of its ocular enchantment, I found that a copy had jumped into my hands. And a good thing too. Where to begin? It starts with your basic Alice in Wonderland escape from reality, then promptly turns this conceit on its head. From there we follow the Zaucer (the titular hero, sort of) through realms dripping with surreality; candy-colored fantasy lands teeming with psychedelic absurdity,

SC: I believe the word is “trippy.”

DM: Yeah, I guess, but I have to say I’ve never been one for the hippy-dippy aesthetic. I hold that the late sixties through the early seventies is the ugliest era on record. All garish colors and no discipline. But here, the art by Brendan McCarthy, gives a refined form to the hallucinatory proceedings. There is both tension and balance between his fine-lined drawings and the Day-Glo colors an tie-dyed backgrounds (supplied by Mr. McCarthy and Len O’Grady – again the colorists are vital to the book). It’s like Yellow Submarine as drawn by Frank Quitely (indeed the villain owes more than a little to the Blue Meanies). The script by Al Ewing (from a story by he and Mr. McCarthy) shares a similar quality. All of the introductory story beats are hit; introduction of characters, conflict and quest. But the florid language disguises the traditional narrative workings with a fanciful, anarchic tone that is distinctly British in its cultivated nonsense. Here’s a sample as the not-quite-helpless damsel finds herself in the gloomy realm of Dankendreer:

“Rain dribbles into grey plastic buckets. Paper-mache people slump over cobwebbed continental breakfasts. Poor Tutu. She should have stayed in the Guest Room.”

(The spasmodic contrast between the dark and light realms is exactly what was missing from the first issue of Happy!) As the title itself suggests Ewing deals in wordplay, which runs the gamut from groaning puns to sublime silliness (my personal favorite – his take on “fancy pants” – I want a pair!) He even manages to break the fourth wall in a way that is relatively understated and actually makes sense within the framework of the story, which shines a fun-house mirror on our TMZ / OCD culture. Now all of this does run the risk of becoming wearying in the long run. But this first issue, with its wild invention, expansive scope and off-kilter storytelling takes its place alongside Brian K. Vaughan’s Saga, China Mieville’s Dial H and (yes, I’ll say it) Ryan North’s Adventure Time, as invigorating examples of craft and imagination. Truly a breath of fresh air in the comic book world. Book of the Week. Book of the Week. Book of the Week.

SC: But how did you really feel about it? Now, let’s see, what else moved me? Well, if you’ve read my Scottlight on: Swamp Thing #0 post, you know how much I love a good head chompin’. And there, in Wonder Woman #13, two pages in, there it is, in the final panel: a little noggin noshin’. For one reason or another, that’s where my joy–and my enjoyment of the book–was chewed up and swallowed away. I’m not sure it’s tied to anything Brian Azzarello has done; he’s certainly pushing his story along well enough. I think I felt let down by Tony Akins’ inconsistent artwork. I mean, did you notice the last panel on page 21? Gotta wonder about that woman.

Neither Harbinger #5 nor X-O Manowar #6 did it for me this go-round. Ink and color me a bit nervous about the Valiant books, especially with the new titles on the horizon.

In Ultimate Spider-Man #16, Brian Michael Bendis makes a clear-cut case for a costume-free Miles Morales–for an Ultimate Miles Morales on-going, which would undoubtedly be superior to anything Marvel’s putting out NOW!

DM: Regarding this issue’s focus on blah super hero shenanigans, I must point to my review of the previous issue of USM – I told you so! Now if you’ll excuse me, I think I pulled something whilst patting myself on the back. Where’s that ointment?….

Back and Forth: DC Won!

19 Friday Oct 2012

Posted by ScottNerd in Back and Forth, Microviews

≈ Leave a comment

Tags

A Clockwork Orange, Action Philosophers, Alan Moore, Alberto Ponticelli, Archer & Armstrong, Axel Alonso, Batman, Clayton Henry, DC Comics, Frankenstein, Fred Van Lente, Greg Capullo, Image, John Cassaday, Joker, Jonathan Glapion, Kubrick, Marvel, Marvel NOW!, Mary Shelley, Matt Kindt, Pere Perez, Prometheus, Rick Remender, Rotworld, Scott Snyder, Severed, The Great Gatsby, The Killing Joke, Uncanny Avengers

Derek Mainhart: Well here we are closing in on Halloween, but for comics, the summer-style blockbusters from the Big Two keep on comin’. I guess I should start with the one I actually read.

Batman #13 – The Joker? Issue 13? Perfect set up for some Halloween frights. If only it were just that; but this much-hyped return of Batman’s nemesis is also the next epic crossover. Having just come off the whole Court of the Owls storyline (which was largely excellent) I must admit to feeling a little epic-fatigue. I do wish this was contained solely within Scott Snyder’s Batman instead of spread out across the whole Bat-family (not that I intend to buy all the other issues). Having said that, Snyder gets things off to a solid start. We get all the classic Joker beats in one issue: Joker assaults a police station? Check. Joker stages an elaborate, announced plan to kill a public official? Check. Joker lures Batman into an over-the-top deathtrap? Check. Having cleansed his palette, we can assume Snyder will be off and running with some new wrinkles next issue right? He certainly hints at it. He seems to be setting up a bigger, badder Joker. Harley Quinn spells it out: “He’s not the same Bats. He’s not my Mr. J. anymore…” I suppose this is tied into the whole getting-his-face ripped-off thing from Detective #1. (This begs the question: whose idea was that? Tony Daniel’s? The editors’? Or was Snyder setting this current story up a year ago?) But really, how much more twisted can the Joker get? Is Snyder suggesting that this version is somehow more monstrous than the Joker of Alan Moore’s character-defining turn in The Killing Joke? Trying to make this character more extreme seems to be just a way to fulfill the parameters of an “epic event”. Why not just give us an awesome Joker story? But, like I said, there’s much to like. The story-telling by Greg Capullo and Jonathan Glapion is excellent. Most of all, Snyder really excels at developing an underlying sense of dread through the entire book (his mastery at this was established in Severed (published by Image) which was practically an exercise in keeping your skin crawling over seven issues. The best horror book of recent memory. Get the trade for Halloween.) Speaking of which, how about that back-up? I only wish we could have read that before the events in the lead story!

I’ll let you handle the honors on this week’s other blockbuster: Uncanny Avengers #1.

Uncanny Avengers #1

Scott Carney: Oh, joy. Your generosity knows no limits! Must be your mutant ability. For the record: I’m looking at Batman #13 as I would the first ten or so pages of The Great Gatsby–which means, in my mind’s monotone: “Now that that’s done with, let’s get on with the good stuff.” Like you said: the back-up was pretty sweet–like cyanide. Damn thing should’ve been part of the story proper.

OK. I’ve put the “honors” you so benevolently bequeathed to me off long enough.

Now, I know you didn’t read UA #1, which is why you’ve lobbed it over to my side of the net. But I’ll tell you all you need to know by analyzing one page: page one. Picture this:

First panel: an eye held open a la the brainwashing scene of Kubrick’s A Clockwork Orange; glowing in the iris is Cyclops as the Phoenix. Speech bubble: an unknown spouting anti-mutant babble.

Second panel: zooming out, we see two eyes held open a la the aforementioned a la, a trickle of blood between them, and some more babble, rousing some rabble about “evolution” and “competition”–which, interestingly enough, put me in a certain mind.

Third panel: the voice gains a scalpel-wielding hand, which is slicing into the exposed brain of the now Phoenix-free eye guy. As unnamed character–he of the hand–blathers about the world’s having “felt the mutant boot on its neck”; and I was like, “Mr. Remender, you’re talking about AvX, aren’t you?”

Fourth panel: the voice digs itself deeper into a villainous vat of nonsense as its two hands pull part of the poor fella’s–the eye guy’s–brain out of his head. And I was like, “Mr. Remender, you’re crafting the perfect Marvel fan, aren’t you?”

Fifth panel: the voice–now clearly Remender, in my mind, anyway–hops into a heap of “hatred[, which] protects a [comic company, like Marvel] from complacency in the face of [its more successful] rivals[, clearly DC].” As he does, he shoves some device into the empty space in the eye guy’s head.

And that device, my friend, is Marvel NOW!

What a way to begin this glorious new initiative: with Remender’s mocking Marvel readers by making them out to be an easily-led legion of lobotomized zombies–zombies willing to buy into the reactionary ReEVOLUTION, which, apparently, isn’t much of a revolution at all. In fact, according to Axel Alonso, Marvel’s editor-in-chief: “The only change is some subtle tweaks to some costumes.” Indeed!

Phew. I’m exhausted after that. I’ll leave the rest to you!

DM: Yeah, dude. Take a deep breath–or a nap or something.

I’ll jump into another book tying in to a crossover event is Frankenstein: Agent of Shade #13. This book also pairs well with our October fright-fest, as our favorite, tragic zipper-neck gets knee-deep in the Rot from the current Animal Man/Swamp Thing epic. Tie-ins like this are usually superfluous and best-avoided. And truly, nothing integral to the Rotworld story seems to happen in this issue. But not picking it up would mean depriving yourself of the stirrings of undead/amphibian love! Frankie riding a talking horse through post-apocalyptic Metropolis! And Matt Kindt’s freewheeling revisiting of Mary Shelley’s Modern Prometheus with Daddy issues! In terms of the larger story, this issue is indeed tangential and probably unnecessary. It is also one more thing: wildly entertaining.

Archer and Armstrong #3 may not be part of any crossover event, but with its globetrotting antics and millennia-spanning conspiracies, it sure feels like a blockbuster (and a pretty one too, as drawn by Clayton Henry and Pere Perez). But no mindless action spectacle this. The swordplay and martial arts are merely dressing for the big ideas that Fred Van Lente is playing with here (no surprise from a scribe who co-created a comic called Action Philosophers). Van Lente is an interesting, idiosyncratic writer; conversant in popcorn archetypes, he exploits them to plumb deeper thematic territory. If he has a weakness, it’s that his character’s reactions sometimes seem unearned. Archer’s about-face rejection of his lifelong indoctrination doesn’t ring true. And Armstrong’s response to the killing of a character he calls “the best woman I’ve known for ten thousand years” is simply “Bastards.” Still, this is fascinating stuff. The rollicking action and effortless odd-couple, cop-buddy banter make a breezy read out of what is, after all, a thoroughly-researched satire about nothing less than the nature of faith.

SC: You know, that’s exactly what I was gonna say!

Turning pages,

Derek & Scott

Back and Forth: Dialed In

10 Wednesday Oct 2012

Posted by ScottNerd in Back and Forth, Microviews

≈ Leave a comment

Tags

Action Comics, Animal Man, AvX, Bill Sienkiewicz, Brad Anderson, Brian Michael Bendis, Bullseye, China Mieville, comics, Daredevil: End of Days, David Mack, Dial H, Grant Morrison, Jeff Lemire, Kingpin, Klaus Janson, Mateus Santoluoco, Matt Murdock, New 52, Rorschach, Scott Snyder, Spider-Men, Steve Pugh, Swamp Thing, Travel Foreman, Yanick Paquette

Scott Carney: Where to start, where to start? I know where I’m not going to start; I know where I’m not going to go period: to AvX #12 or Rorschach #2. Each reads like a refund.

I guess I’ll start with a couple of books that were rotten as a rule: Swamp Thing #13 and Animal Man #13. Mirror images of one another, these two books build the foundation for Rotworld–the former focused on the Green, and the latter, its locus, the Red. Even though the stories follow almost identical arcs, in round one (as if this is a boxing match between flora and fauna), I’ve got to give the edge to the walking compost heap. Scott Snyder’s story grows a bit more organically; and Yanick Paquette’s art–especially the layouts–is at its series best. In terms of where each ends–a decided difference, indeed–it’s an absolute fact: I’m more interested in Abigail’s fate than I am in Ellen’s. I’m pretty sure Abby’s not dead, despite what the Parliament professes; but I’d still like to see how the situation plays out.

Derek Mainhart: I had a mirrored reaction to yours: I liked Animal Man better. The endangerment of Buddy’s family seemed to raise the stakes higher than in Swamp Thing (though I could have done without the return of Shepherd, the Red’s answer to Jar Jar Binks). But then it almost seems odd to contrast the two books, since they really are different chapters of the same story. I admire the level of craft going into the writing, as the books are nearly symmetrical; a level of synergy rarely seen in crossovers. “Organic” applies in every sense of the word.

SC: Thanks to the last two pages of Daredevil: End of Days #1, I’m pretty sure I don’t know if Daredevil’s a dead devil or not. I mean, the dude should be dead: Murdock’s murdered in full view of a mob of indecent flashers; and it’s the mob of Awful Samaritans’ impotent images that bring the bloody end game to life, providing the proof of Bullseye’s coring of ol’ Hornhead. So who the hell is that at the end? Does the Hand have a hand in this? (I deserve a high-five for that one!) The big four hands involved with putting this tale together have crafted something graphic and gritty: Klaus Janson and Bill Sienkiewicz deliver on the viscerals–I mean, visuals; and Brian Michael Bendis bends DD backward–essentially turning a blind eye to what Waid’s doing right now on Marvel’s best book, hands down–toward the the darker tone of his own successful run on Daredevil (Vol. 2). Where’s David Mack’s hand in all of this? It’s not where I was hoping it would be, that’s for sure. I guess this storyline isn’t exactly where I was hoping it would be, either: it seems to rest outside of continuity.

DM: Yeah this seems superfluous. It read like “What If…..Brian Michael Bendis continued writing Daredevil????” It’s a shame because the ending that Benids did supply to his run was just perfect. I was also expecting some David Mack art. As it was, the art seemed as muddled as the story. Klaus Janson is a wonderful artist, but generally stronger as an inker in my view. Bullseye? The Kingpin? In light of Waid’s current, excellent work, this reads like a re-run.

SC: Even still, I’m prepared to give it another issue or two. I mean, I was down on the idea of Spider-Men, and, boy, did I end up with web on my face with that one! Time to dial up the expectations!

Dial H #5 certainly lived up to expectations–expectations that were sky high after a dialed in #0. China Mieville continues to untangle the wires, allowing us to learn along with Nelson about his dial–one without a phone, without a booth; one he dials while calling on “a Superman.” Even Superman, however, couldn’t have seen this one coming: Cock-a-Hoop? I was cock-a-hoop myself as I witnessed this next round of wackiness, this epic battle–drawn up epically by Mateus Santolouco–that leaves some victims in its wake and presents a new challenge for our hero and his elderly sidekick Manteau.

DM: I still can’t believe this freak show of a comic is a DC book. The New 52 can be marked a success if for nothing else than this book’s existence. Mieville’s writing, though occasionally hard to follow, is never less than inspired. To wit: “When nothing eats nothing? It leaves anti-nothing behind. Somethingness.” Brilliant? Claptrap? Whatever man, I’m lovin’ the ride.

SC: Indeed. Mieville’s got it goin’ on–and he knows it: as Nelson remarks on how the shadow “used its dial…like it’s supposed to be used,” Mielville slyly whispers that he’s writing comics like they’re supposed to be written–that he’s writing them like Grant Morrison on Action Comics.

Action Comics #13 Cover

Action Comics #13 certainly doesn’t–it couldn’t possibly–meet the otherworldly standard set by #0. It does, however, have an exciting–if not slightly confusing–reimagining of the Phantom Zone, with phantastic art from Travel Foreman, who set a phreakin’ high bar over on The New 52’s Animal Man–one not yet met, despite some good work from Steve Pugh et al.

DM: It was good to see Foreman’s work again. He does a nice job. But given the sparsity of the interdimensional setting, I think the colorist, Brad Anderson, deserves a lot of the credit for the overall look of the book.

SC: Noted. But what really struck me–what drew a tear of joy from me–was the page turn from page 23 to 24: there’s Krypto, who “waited and waited for what felt like a thousand years–for Kal-El, his Kal-El, [I’m tearing up just typing this] had promised he would return”; and–turn the page–wouldn’t you know, “Kal-El never broke a promise.” No, he doesn’t break promises. That’s what makes him Superman. That’s what makes us love him–whether we’re 9 or 90.

DM: Don’t hold back man! It’s ok! I’m right there with you. Morrison, more than any writer in recent memory, knows what a Superman story is supposed to be. Month-to-month continuity concerns, cosmetic changes, new villains, etc.; all of that is secondary. Superman exists for the big, goose-bump inducing, awe-inspiring moments. And that’s what we get here.

SC: Morrison is making magic–and is conjuring up a showdown with Mr. Mxyzptlk to prove it–which makes his impending exit all the more difficult to deal with. Maybe if we get him to say his name backwards…

Turning pages,

Scott & Derek

Back and Forth: Laborious Bastards

04 Thursday Oct 2012

Posted by ScottNerd in Back and Forth, Microviews

≈ 1 Comment

Tags

Battlefields: Dear Billy, Battlefields: The Green Fields Beyond, Bob Burden, BOOM!, Caleb Monroe, Clerks, comics, Darick Robertson, Doop, Dynamite Entertainment, Fantasia, Flaming Carrot, Fury Max, Garth Ennis, Goran Parlov, Grant Morrison, Happy, IDW, Jason Aaron, Jeff Lemire, Joe the Barbarian, John Constantine, John Layman, John McCrea, Justice League Dark, Kickstarter, Lee Garbett, Mark Waid, Mars Attacks, Mike Allred, Neil Gaiman, Peter Milligan, Roger Rabbit, Steed and Mrs. Peel, Tex Avery, The New 52, Vertigo, Will Sliney, Wolverine and the X-Men, X-Force, X-Statix, Zatanna

Scott Carney: Looks like I’ve finally hit the wall. Or the bag. Or something. I’m staring at the stack for the week (all used, one abused) and I’m struggling–struggling because not a single comic struck me enough to make me bleed words. So let me cut myself…

Derek Mainhart: I feel your pain. I was really excited about this week’s books. Two Grant Morrison books? Lots o’ Allred art? Sign me up! And yet I’m similarly uninspired. I guess we need to start with the book that seemed to have the most potential to make me Happy….

SC: Maybe an allusion to Clerks will make you happy: Seventy-two? Seventy-two? Grant Morrison used the f-word or some form of the f-word seventy-two times!

DM: In a row?

SC: Well done. Can you believe it, though? That’s how many times an f-word flies off the pages of his effusively offensive, belatedly offbeat, and finally fun Happy #1. From the first c-word, Morrison, a true super scribe–and pen-point sniper–in his own write, makes it clear that he’s happy to be writing a book for Image and that he’s, sadly, no Garth Ennis when it comes to four-wheelin’ it with four-letter words. As a result, I really had no use for this book–this is until Happy the Horse reveals who he is and why he needs Sax, our prostrate protagonist. That bit hooked me hard. That’s right: I’m going to accept the fact that the explicit language is meant to exaggerate the dour song of experience of the X-rated adult world and to set up the bizarre yet greatly appreciated arrival of an–as far as we know–innocent child’s hyperbolically-cartoonish imaginary friend. So, despite my initial doubt, I’m going to ride the crazy premise of a loyal My Little Pegasus and its looking to swoop in and save the day with a soiled sidekick; I’m going to trust in Morrison and am going to grab #2.

DM: Yeah, I had a similar reaction. Those first few pages read like a bad impression of Ennis (a true impresario of invective – see below). But I guess that’s the point: Morrison’s satirizing gritty, foulmouthed, hyper-violent crime stories. One of the goombahs even says “We can do this without all the (effin) language.” But the problem is that, in satirizing the dreary, grim and gritty milieu of many a mediocre comic (and movie for that matter), he has created a story that is, in fact, all of those things. Darick Robertson really sells the contrast well; he renders a world that is positively grimy to heighten his rendition of Happy, who looks like a Fantasia character designed by Tex Avery. Unfortunately, that stark visual contrast isn’t matched by the story. In order for the satire to really work, Happy needs to be utterly guileless, standing in counterpoint to the cynical drudgery that surrounds him (think Roger Rabbit). But Happy only looks ridiculous. He’s as wise to the sleaze as anyone; more so, in fact as he informs Nick of his own predicament, “You’re in a mob hospital, they took your weapons, sedated you and now they’ve sent a torture squad to screw some kinda password out of you.” So, no, I’m not buying into the whole hilarity of the situation. Even the conceit (protagonist-goes-on-quest-with-imaginary-friend-or-are-they..?) is something Morrison recently explored in the far superior (thus far) Joe the Barbarian. Sigh. Like you said, it’s Morrison. I’ll always give him the benefit of a doubt (and my 3 bucks for #2).

SC: While Morrison’s f-bombs seemed awkwardly wired, Ennis’s are timed to go off at just the right moment in Fury Max #6. But that’s just Ennis playing to his–and the “one-eyed [a-hole’s]”–strength. The expected explosion of expletives isn’t the only reason why this book wears its warning like a Medal of Honor, however; Goran Parlov goes for the gore with a crushing depiction of a head in a vise and with Fury’s straight-out-of-the-headlines mouthful of face. (I can hear the creators cackling during the process of putting this scene together: “Yes, I’ll have el Cubano, please.”) And how about poor Elgen? This brave soul–this patriot–takes a knife to the nether regions, is tossed to the sharks, loses a couple of limbs, and welcomes a benevolent bullet from the coldly caring colonel. It’s clear: War is hell; and Fury and Heatherly are left to sail the Styx together. Overall, this issue carries a terrific and oft terrifying tune–though, and I think I’m being fair, this time, the Shirley Defabio scenes don’t necessarily reach the height of perfect harmony. Hey, it’s gonna happen. You know what shouldn’t happen? I’ll tell you what shouldn’t happen: the biggest flaw I found stands defiantly on the last page–the very last page–of the book: #7 comes out on 12/5? Really? Really? Bastards.

DM: Nobody writes war comics better the Ennis. Military history is obviously a passion of his and he captures it in all its awful glory. His Battlefields series from Dynamite is even better than this one. I’m eagerly awaiting the next installment, Battlefields: The Green Fields Beyond, due out in November. If you like Fury, you could do worse than picking up a trade. They’re standalone stories and are a great display of Ennis’ true range (Dear Billy being my personal fave). Don’t be a bastard. Check it out.

SC: Hmm. Guess I’ll have to check that out. Speaking of bastards: I love Jeff Lemire’s take on John Constantine. (I love Lee Garbett’s take on Zatanna, as well; “Raeppa,” indeed.) In Justice League Dark #0, the hellblazing S.O.B. is shown to be an insatiable magic whore with a heart–a heart probably plagued with plaque from all the cigarettes he sucks down over the course of the issue. (Hmm. I wonder if Zatanna could help him with that with a simple, “Euqalp eb enog!” That little witch is a keeper, son!) Story-wise, the book is split in two: there’s the well-developed and snappy slow burn of the first part, which ends with Nick Necro’s fully transparent flytrap of a phone call; and then there’s the rest, which lacks any heat at all, thanks, in part, to the aptly named Cold Flame. But it’s OK; it’s all good: the darn thing’s a one and done; and next month, we get back down to business with “The War for the Books of Magic.” Can’t wait for that. Wait. Why wait? Why not try—this: “Htnom ylf yb!”

DM: I gotta disagree with you here. Constantine is a very singular sort of scoundrel. Ambivalent to the point of maddening. Distinct Liverpool accent. Deadpan, world-weary sarcasm. It’s not every writer that can nail the trenchant rhythms of his speech, or his enigmatically contrarian attitude. And, sadly, Lemire is not up to the task (though I commend him for not resorting to using “bollocks” every two panels). His rendition of Constantine has been serviceable within the team format of this book. But in a solo tale like this one, his flawed grasp of the character becomes glaring. A trench coat and a cigarette do not a bastard make. Yes, I realize this is the New 52 version of the character. A good thing too. The Vertigo version would eat this guy alive.

SC: Something for Garth Ennis to explore in a new series: Constantine Max.

DM: I’m already looking forward to it! But–and here’s another one you may not have picked up–a book that has no problem capturing the idiom of its lead characters is Steed and Mrs. Peel #1 (published by BOOM!). What is odd, initially confusing, and finally intriguing about the story (Caleb Monroe’s script working from Mark Waid’s plot with art by Will Sliney), is that it immediately takes those two beloved leads completely out of their comfort zone. A post-apocalyptic London, complete with irradiated mutant zombies? Hardly what we’d expect for our avatars of the swingin’ sixties. Indeed, I kept waiting for the other shoe to drop (you know, hallucination, elaborate hoax, etc.), but apparently Waid and Monroe are sticking to their guns. Here (unlike in Happy) the study in contrasts works: no matter the mind-numbing horror they now face, our heroes imperturbably maintain their stiff upper lip and all that. End of the world? No excuse to lose one’s cool. Good show! (Sorry. I’ll stop.)

Another book making gleeful fun out out of the annihilation of mankind is Mars Attacks #4 (IDW). I do think writer John Layman makes a mistake in portraying the Martians as slightly sympathetic. Still, each issue has been a scorched earth snapshot of the havoc those bloodthirsty, brain-exposed bastards are wreaking, rendered in equal parts comedy and gore by the always engaging John McCrea. The disparate snapshots seem to be coming together at the end of this issue. Not sure how I feel about that. But ancient Aztecs? Giant fleas? Buzzsaws to the noggin? High-octane hilarity.

But even that doesn’t come close to the near-sublime, spasmodic absurdity that is…Wolverine and the X-Men #17. Yes. That’s right. Wolverine and the X-Men. I’ve steered clear of the X-books for quite a while now. Their convoluted, insular story lines have rendered them seemingly impenetrable. But Mike Allred and Doop reunited for the first time since their glorious run on X-Force and X-Statix (written by Peter Milligan)? It was the kind of gift I didn’t realize I wanted until I saw it. Any reservations I may have had about deciphering labyrinthine layers of X-history were quickly dispelled on page 3 with the merciful announcement: “Previously – Lots of things happened, but don’t worry your pretty little head about it. Enjoy.” Reassured, I sat back, relaxed and did enjoy a true MIKE ALLRED COMIC. Certain writers, (Neil Gaiman, the previously mentioned Morrison and Ennis) seem to bring out the best in the artists they work with. Well Allred is one of the few artists who does that with writers. It’s as if they realize they need to up their game, channel their inner anarchist, and let it fly. And happily Jason Aaron (never a timid writer) is up for the challenge. The set-up: Wolverine hires Doop to protect the Jean Grey School For Higher Learning (which I guess is what it’s called now) from the myriad threats lurking, well, everywhere. His haphazard duties include, but are not limited to: ambushing a bowling league, seducing various members of a school board, and teaming up for an interdimensional adventure with the most unanticipatedly awesome guest star of the year, whose identity I won’t ruin. (Suffice it to say, my inner-geek had a heart attack.) Doop – truly an intrepid hero of the people. Really, the book this most resembles in its wondrous lunacy is Bob Burden’s legendary Flaming Carrot (check out his recently successful Kickstarter campaign for happy news on that front – http://www.kickstarter.com/projects/592668574/flaming-carrot-hardback-and-digital-comics). And that is rarefied air indeed. And so, at the end, I was left in a Doop-shaped pickle; was I wrong about my X-aversion? Did I need to start picking up this book? And then I turned to the Next Issue box featuring a Phoenix-enflamed Cyclops tie-in to the monstrosity that is AvX. Thus I find myself in the unique position of declaring: Book of the Week. I have no intention of picking up the next issue.

Wolverine and the X-Men #17 Cover

SC: I wouldn’t pick it up if I were you. Thing is, I’m not; so, I’ll be picking it up as a loyal reader might be expected to–even with the seemingly never-ending AvX tie-in hanging over it like something you really don’t want hanging over something you like. (I’ve already explained–in the previous Back and Forth–how I feel about that whole thing.) Aaron’s sashayed around the silliness well enough; he’s even played it for a laugh or two–done particularly well in #16, with the focus on the snarky Kilgore kid. And, you know, that’s what I’ve liked about this series: the “we’re superheroes, sure, but we’re not super serious” vibe. This issue, however, seems waaaaay over the top–which is fine; I mean, it does focus on Doop, for God’s sake. Thing is, it felt forced at times, like it had to be pushed and shoved–dragged, even–to the apex of wackiness. Don’t get me wrong: I thought the Nazi bowling team was a strike; I laughed heartily at Doop’s daliances with members of both genders; and, oh, how I dug the cameo to which you referred. I don’t know. I don’t know why I didn’t fall into it as much as you did. Maybe it’s because you’ve got the experience with the Allred/Doop tandem that I don’t have. (Thanks for letting me borrow the X-Force trade, by the way.) Maybe it’s because I’m a grumpy bastard who finds comfort in continuity. Speaking of continuity: with all the stuff going down after AvX #12–with titles getting axed and added–I’m left wondering if Wolverine and the X-Men will be a thing of the past or if it’ll be a part of Now! Now, speaking of Now!: I’m pretty sure you’ve got something to get off your chest about the Marvel revamp. Care to share?

DM: Later.

SC: Bastard.

Images and Nerds

~ We're turning pages–and writing about them!

Category Archives: Back and Forth

Back and Forth: Vs.

Back and Forth: One Sided

Back and Forth: The Empire Strikes Back

Back and Forth: Comics Interruptus

Back and Forth : Looking for Comics at the End of the World

Back and Forth: The Great Struggle

Back and Forth: The Art of Turning Pages

Back and Forth: DC Won!

Back and Forth: Dialed In

Back and Forth: Laborious Bastards

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: