Category Archives: Microviews

Little reviews of the week’s books.

Microviews: Winning Over Hearts and Minds

26 Friday Jul 2013

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Unless you’re blind to what’s been going on in the world of comics lo these past two years, you know that Daredevil’s kind of a big deal: thanks to Mark Waid–and at present, the superb Chris Samnee–the sightless savior of Hell’s Kitchen–and Marvel’s very own messiah–is as must-see as ever. Aside from the flagship series–which has recently earned a number of Harvey nods–ol’ Hornhead has found a home in a couple of minis, including the recently wrapped up–and surprisingly effective–Daredevil: End of Days and the current Daredevil: Dark Nights (Marvel). The former has an all-star team of DD vets attached to it, both on the writing side and the art side; the latter, too, boasts a DD vet, artist Lee Weeks, who, this time around, takes quite a leap by wielding two pens: he’s the hand behind the images and the words. Daring, right?

Daredevil: Dark Nights #2

Daredevil: Dark Nights #2

Issue #1, a serviceable offering on its own, suffered a bit for a couple of reasons, neither necessarily related to the issue itself: for one, it came out on the same day as the final issue of End of Days; and two, it’s yet another DD story predicated upon a potentially fatal medical condition. (Get well, Foggy!) In terms of the story itself, Weeks certainly delivers the danger: thing is, the danger’s doubled: yes, there’s the obvious concern for the young girl who is in need of a new heart; but a more pressing danger rears its deadly head: is Weeks tugging too hard on the ol’ heartstrings here?

With #2, we learn that the answer is a firm no: it’s clear that Weeks was simply setting us up for this fearless issue–one in which the Man Without Fear races selflessly against two indefatigable foes: time and the elements. Weeks himself wastes no time establishing an integral element to his story: Daredevil will not bet deterred. He can’t stop; he can’t help poor Jonny–“Not today”; he’s “made [his] choice”: he’s focused on “precious cargo”–on a heart with a little girl’s name on it. Art-wise, Weeks conjures up a Daredevil who is perpetual motion: as the hero strains against the snow, we feel every muscle, each a snow plow, pushing forward, beating like blood through occluded veins back to the heart; as he hangs on a light post, we sense that the post is hanging on just as tightly as he, and both are profoundly exhausted; as he swims in frigid waters, we feel the cold, the desperation, and we hold our collective breath in hopes of his finding “Hannah’s hope.” With heart in hand, Daredevil continues his treacherous trek, stopping only to clean up a small mess in his Kitchen; see: “[s]ome things can’t be ignored.” And one of those things is: he’s a hero. His choice to save the young woman from an attacker–perhaps the easiest challenge he’s faced this night–comes with a price, however; undoubtedly worn from the effort that got him this far–and so agonizingly close to his goal!–he collapses, leaving him defenseless against time, a tireless antagonist–and he’s in no shape to hold back the hands that so heartlessly hold Hannah’s fate with every tick, tick, tick.

Sure, a cliche hangs over this arc like a threatening cloud, but Weeks transcends it with solid storytelling and gorgeous artwork (with an assist from color artist Lee Loughridge) and guides us on a wintery journey into the heart and mind of a true guardian angel.

In Batman Incorporated #12 (DC), Gotham’s guardian–the still grieving Batman–“SSKKKRRRIIIIIII”‘s himself back into the fray, and he’s unstoppable: he’s heartbroken and breaking heads–more accurately, a figurehead. Busted! Sure, it takes a while to get to that point; in fact, the extended fight sequence is not unlike the classic Family Guy battle between Peter and an ill-tempered chicken; but there’s a clear method to Grant Morrison’s madness: it showcases Batman’s untameable rage, which is as honest a response as one might expect from a father who is facing down his son’s killer; and which is only tempered by a startling revelation: his son’s killer is–“Urr.  God.  No”–his son! Well, kind of. And as startling as that is, another scene comes out ahead: Talia decapitates her monstrous progeny and then detonates him, bringing about the literal “fall [of] the house of Wayne.”

Batman Incorporated

Batman Incorporated

Despite the previously mentioned protracted sky-scraping scrap, this issue feels somewhat rushed, especially as the final page plays out. However, Morrison’s the master of making an awkward narrative come off as elevated; and, it’s no surprise, he hits the mark here in the series’ penultimate issue, as well. As he brings his own creation to an abrupt end, with an assist from the always effective Chris Burnham, we’re treated to a ballsy Batman story that continues to defy expectations–which is exactly what we expect from the enigmatic–and unapologetically unstoppable–Mr. Morrison.

A series that, sadly, does come to an end this week is Dean Motter’s brilliant Mister X: Eviction (Dark Horse). Oh, we’ve extolled the many virtues of the first two issues in previous posts: here and here; and now with #3, we’re ready to extol some more. I mean, look at this cover, for crying out loud! Pretty grate, isn’t it?

Mister X: Eviction #3

Mister X: Eviction #3

Part A of the Conclusion cock-a-doodle-doos with a robot painting a wall–yet another clever way of insinuating the title of the book into the story itself–and wakes with Rosetta’s reminding us of “the quest for” Mercedes, who is still holed up in the Municipal Purgatorium.  Motter makes his way through the remainder of the the first half of the finale by employing inventive panel-to-panel transitions, witty banter, a pair of well-placed stories (a fun one about the Ajax and a philosophical one about anatomically-themed tattoos), and by closing the the whole puppet show with a some silly symmetry: Mister X breaks the fourth wall–not the freshly painted one, much to the relief of a certain robot–as he explains how he “just happened to bring cable cutters” to the Purgatorium: he slyly states, “They were useful some pages back.”  I mean, duh.  Oh, and, uh, he and Rosetta get captured, so…

After a trippy–and an all sorts of creepy–little interlude, Motter jumps into Part B by jumping forward in time: two-thirds of the extraction team–the adult portion–face “one slight problem”: they’re bound to tables and about to be broken by “Heartbreak.”  Thing is, Rosetta knows him; in fact, “at one time, [she] called him ‘Sweetheart'” because they “dated years ago–until he fell in with the wrong crowd.”  She uses this “in” to facilitate her getting out: he satisfies her request for a drink and a smoke and ends up with a fireball to the face.  A simple “Thank you” would have sufficed!  From there, Andy, who had avoided apprehension, sets his teammates free, and the three of them liberate Mercedes and the tattooed Mr. Smith–the former, convinced that Mister X has more of a heart than he cares to advertise; and the latter, revealed to be a “doppelgandroid,” who helps Mr. X bring down the Purgatorium.  The reason for the impromptu renovation remains a mystery to Rosetta–so too do the whereabouts of Mister X–but the results are clear: things have changed in Radiant City.

And with a final toast, it seems everything’s all right–even on the aforementioned last page, where Motter juxtaposes the junked–and right-handed–Fasces of Power with Smith’s left hand, a symbol of sacrifice that rests atop some rubble and answers Mercedes’ question with an appropriately “WRONG” answer.

On its own, the issue stands as a testament to Motter’s mastery of the medium; as a part of a whole, it’s a perfectly executed exodus that leaves Mister X–and me–looking toward the future of Radiant City.

But, gosh, as much as I loved Mister X, I enjoyed Matt Fraction and Howard Chaykin’s Satellite Sam #1 (Image) a touch more.  Let’s consider the cover, shall we?

Satellite Sam #1

Satellite Sam #1

What better way to break in the first issue of a series that proudly promises sex and death?  Chaykin essentially treats us to a curiously clad couple’s “first time”: in this case, however, it’s the woman–whoever she may be–who has made the man bleed, and she’s got the smoking phallus–er, gun–to prove her primacy.

Once inside–the comic, sicko–Chaykin thrusts us back in time to the ’50s with his glorious black and white artwork, which sets the stage for Fraction’s simmering television studio.  The intercourse amongst the many characters–equal parts playful and intense–is reminiscent of Fraction’s fantastically busy FF and his endearingly cavalier Hawkeye.  It works especially well here as the writer takes us behind the scenes of a live television show–in this case, one thrown for loop because of a missing star; and then he pulls the curtain back further to show us what goes on behind those scenes: not surprisingly, what ultimately makes its way into America’s living rooms is a means to an end: it’s all about politics, power, and lining the pockets of custom-made suits.

What’s made its way into our hands is a terrific pilot episode.  Fraction and Chaykin have manufactured a murder mystery worth solving–one that borrows from real-life mysteries surrounding the deaths of television personalities, including the pervy Bob Crane (Hogan’s Heroes) and the steely George Reeves (Superman)–and have introduced a sympathetic character worth following in the reluctant protagonist Michael White, a Clark Kent lookalike and heartbroken son of the deceased, and decidedly depraved, Carlyle White.  Like Michael–who extemporaneously stands in for his dad on the set of Satellite Sam and who, in the final panel, exasperatingly sits on his father’s floor with a Pandora’s Box of pop tarts–I want to know “what the hell [Carlyle] was into.”  Here’s something I do know, however: they’ve won me over: Satellite Sam‘s my Book of the Week (7/3)!

Turning pages,

Scott

Microviews: Bombshells

07 Sunday Jul 2013

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OK, I know what you’re thinking: you’ve already got an image in your head: beautiful, busty–how about something…like…this:

The bombingest bombshell of ’em all!

Yeah, it’s certainly plain to see: Adam Hughes has a knack for giving a fanboy what he wants.  But let’s be honest: even in comics, there’s more to a woman–more to Power Girl, even–than spandex-stretching curves, right?

Umm…right?

Well, let’s consider, as exhibit A, Cola, the cloud-hopping heroine of the post-apocalyptic action-adventure Wild Blue Yonder #1 (IDW).

Wild Blue Yonder #1

Wild Blue Yonder #1

She’s a spitfire; she’s full of spunk: heck, she’s Maverick from Top Gun doing her own thing–because her boots are made for flying!  The minds behind this Waterworld-in-the-sky dogfight delight–story credit given, surprisingly, to three: Mike Raicht, Zack Howard, and Austin Harrison; let’s hope this doesn’t end up a case of too many pilots spoiling the flight plan–have crafted Cola as a neo-Night Witch (see Garth Ennis’s incorrigible Anna Kharkova for a WWII/Cold War counterpart) and have outfitted her in an androgynous get-up, allowing her femininity to flow from her character and not from some titillating cleavage-baring caricature.

Amongst men, whether in the “‘local’ bar” The Peak or in the pilot’s seat, she holds her own–in the latter, especially so: no, she doesn’t rely on womanly wiles in the midst of battle; her potency is proven as she uses her plane’s nose-mounted cannon to bring down an enemy aircraft.  And like Janet Jackson, Cola’s in control–that is until her mother lets her have it and leaves her meekly submitting, “Yes, ma’am.”

Yes, sir, this is fun stuff: thanks, in part, to Zack Howard and Nelson Daniel’s beautifully bombastic artwork, reminiscent of the uncanny Chris Bachalo, Wild Blue Yonder is the comic equivalent of a summer blockbuster–one that’s both gripping and grisly and good enough to warrant another date with the deliciously capable Cola.

Speaking of capable women: if you’ve been following Brian Wood and Ming Doyle’s Mara (Image), then you know the turn that the title character has taken in issue #5.

Mara #5

Mara #5

Once worshiped for her athletic prowess on the volleyball court, she’s now an angry god with a grudge; and she’s passing judgment on humanity for the demands it has placed on her; for its “[taking] almost everything from” her, including her brother–who is done away with in a decidedly understated manner, one that emphasizes the brutality of the act and the disheartening cruelty of man; and for its ultimately, and unnecessarily, treating her–a woman with awesome power–as a threat.  A threat!  Oh, she’s had enough, all right: she’s spiking the ball; she’s looking to record one final kill–or, more accurately, megadeath.

To amplify the shift in Mara’s perspective, Wood and Co. brilliantly bookend this issue with sparing splashes–the first depicting Mara’s open hands, perhaps indicating peace, against the vastness of the the starry heavens; and the final, a hailstorm of rapidly descending nuclear missiles.  See: she’s no longer “a member of the human race”; she is the vengeful God of the Old Testament who sends the rain to wash away the sins of man.

While similar to Wild Blue Yonder in some respects, Mara differs in that it’s no blockbuster: it’s more of a critically-acclaimed independent film, thanks to Wood’s distinctively deliberate–dare I say wonderfully wooden–delivery (to which I’ve grown more accustomed now that I’m all caught up with The Massive) and to Ming Doyle and Jordie Bellaire’s subtly volatile sets, which come together to allow Mara–and this terrific issue–to simply and dramatically stand alone.  Worship as you will.  Book of the Week (6/19).

Turning pages,

Scott

In Scott’s Bag (5/29)

02 Sunday Jun 2013

Posted by in I&N Scott's Bag, Microviews

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As I had hoped: things are working themselves out.  Well, first, they worked themselves in–to my bag; and then I had to pull them out–you know, to read them and whatnot.  Now, after having read the lot of ’em, I’ve gained a bit of clarity, thanks, of course, to the creators themselves, who have helped me make my decisions–both for the better and for the worse.

Hey Mr. Shop Guy put comics in my bag/I want to read till I’m unconscious

  • Justice League of America #4 (Read it!  Brett Booth?  Already?  Yup: I judged this one by a name on the cover.  And through just about the entire book, I was content–no, ecstatic in knowing that I’d be casting it off with all of the other Geoff Johns titles I didn’t care for.  [That’s, umm, all the other Geoff Johns titles, by the way.]  Then came the end, which, for all intents and purposes, should have been the end of my JLA experiment; but it didn’t play out that way.  Not that it blew my mind.  Well, it blew somebody’s mind.  Ain’t willing to say whose ’cause that’d be a spoiler, now wouldn’t it?  As it stands, however, looks like I’m on for #5.  Cats!  No: Bats!  Ack!  I mean: Rats!  Aw, heck, whom am I fooling?  I mean all of ’em.)
JLA #4

JLA #4

  • Lost Vegas #3 (Read it!  As of this issue, Lost Vegas is officially off probation.  The story has finally caught up with the art.  I’m doubling down going forward–especially since I’m loving McCann’s Mind the Gap after having knocked out the first trade.)
  • Adventures of Superman #1 (Read it!  Loved it.)
  • The Shadow: Year One #3 (Read it!  Got to the end, asked myself: “Do I really care?”  The answer?  If the Shadow didn’t know before, he knows now: I’m done with this one.  It’s a rarity, you know: usually, if I make it past the second issue of a mini, I’m down with the entire series.  Not this time.)
  • Clone #7 (Read it!  A bit of a backslide, sure, but it’s still engaging enough.)
Clone #7

Clone #7

  • Fury: My War Gone By #12 (Read it!  Some seriously powerful moments.)
  • The Westwood Witches #1 (Read it!  The premise is really smart; the execution, not so much.  Not too sure if there was enough to warrant another issue.)
  • X-Men #1 (Read it!  A better first issue than any of the other X-Now! books.  And I’m not just saying that because I’m hooked on The Massive.  OK, maybe I am.)
X-Men #1

X-Men #1

  • The Wake #1 (Read it!  Speaking of The Massive.)
  • TMNT #22 (Read it!  Not bad.  Santolouco’s art is terrific.  Gorgeous cover.  Not sure if I was grabbed enough by the story to try another.)
TMNT #22

TMNT #22

  • Indestructible Hulk #8 (Read it!  Thank goodness we’re done with the Thor bore.  Plus, it’s worth noting that Mark Waid seems to have an all-of-a-sudden not-so-subtle addiction to fatal afflictions.  If I weren’t aware before, I’m certainly aware now!)
  • Deathmatch #6 (Read it!  Familiarity hasn’t bred contempt till now.  The Anti-Meridian?  Uh oh.)

What did you get in your bag this week?

Turning pages,

Scott

Catch-Up Time!

01 Saturday Jun 2013

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OK kiddies, it’s been a while. This whole “real life” thing sure eats up a lot of time! (Apparently babies need things like “attention” and “food”) But I’ve been able to carve out some time by giving up sleeping and showering, so here are some highlights from the past couple o’ weeks:

Dream Thief #1 (Dark Horse): “What would you do if you woke up in a strange room and didn’t know where you were, or what you’d done the night before to get there?” This is the question, rife with metaphysical implications and narrative possibility, that writer Jai Nitz asks, repeatedly, in the first issue of this promising new miniseries. Or rather, his lead character, John Lincoln, does. Lincoln is an unrepentant  philanderer, thief and all-around lowlife, enlivened by Nitz’s ear for snappy, noir-ish dialogue (John may be heartless, but at least he’s funny). Following his own worst impulses, John comes into possession of a mystical aboriginal mask. The mask somehow connects him to the recently murdered, whom he then seemingly avenges while he’s still asleep. Needless to say, when John wakes up, he finds himself in all sorts of interesting situations. Nitz has created a tightly structured narrative that keeps looping in on itself, heightening the sense of intrigue and possibility. Equally impressive is the way Nitz and artist and letterer Greg Smallwood employ the graphic language of comics in telling their story; insert panels that also function as x-rays, “see-through” sound effects that don’t cover up the action, but rather, emphasize it, and giant punctuation utilized as panel design. Smallwood grabs you not only with his moody drawing style, but with his bold overall aesthetic; this is a great looking book. Moreover, the design smartly reinforces the repetition in the story, as the lead character keeps awakening to new, ever-more-unnerving situations. It’s like Inception, by way of Will Eisner’s The Spirit, with a little bit of The Mask thrown in. These are all good things. If you passed it by the first time, go back and give it a second look.

page from Dream Thief #1

Revival #10 (Image): This has always been a middle-of-the-stack book for me; solid, workmanlike, mostly dependable entertainment, but only rarely exceptional. It’s the type of book I read but rarely feel the need to write about (right alongside titles like Clone, Wonder Woman and Helheim, to name a few). In fact I nearly dropped this comic a couple of months ago after a particularly uninspired installment. Well this issue makes me glad I stuck around. In the past, the various strands of Tim Seeley’s narrative (involving the sudden return of some recently deceased folks in a small town) threatened, at times, to get away from him. Some threads seemed extraneous, or just plain uninteresting, taking precious panels away from exploring the more fascinating aspects of his story. This time out, however, all the pieces click. Seeley performs a hell of a juggling act, cutting and intercutting the various fragments in a way that finally feels cohesive in both mood and plot, with all the pieces moving toward one purpose. The dialogue, which occasionally veered toward the ham-handed in the past, is believable and engaging (that last line!). Seeley is ably abetted by Mike Norton’s reliably strong (and in one instance, memorably grotesque) visuals. As they expertly send their unknowing players careening toward each other, Seeley and Norton have created a feeling all too rare in horror: genuine suspense.

Regular readers of this space (all eight of you) probably won’t be surprised though, that my favorite book of the past couple of weeks was Adventure Time with Fionna and Cake #5 (kaboom!). I’ve been raving about Natasha Allegri’s mini-masterpiece pretty much from the start. This has less to do with my general captivation of the Adventure Time franchise (no, really) than with the innovative way Allegri is playing with it. Simply by switching the genders of the main players in the fairy-tale land of Adventure Time, Allegri has allowed herself room to play with and subvert any number of tropes from familiar sources such as Cinderella and Rapunzel, not to mention that modern staple of girls’ movies: the makeover. None of this comes across as an overt paean to ‘girl power’. That part’s understood. Instead Allegri’s light touch sacrifices none of the action, violence and thrills of the yarn while simultaneously reminding us of the charm of sugar, spice and everything nice.

Adventure Time with Fionna & Cake #5

What tickled your fancy the past few weeks?

Turning Pages,

Derek

In Scott’s Bag (5/22)

25 Saturday May 2013

Posted by in I&N Scott's Bag, Microviews

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I got out of the shop(s) with one less, one less; I got out with one less.

A Little Too Bagalicious for Ya, Babe

  • The Massive #12 (Read it!  Brian Wood’s words trudge on with a palpably painful beauty that, thankfully, thaws most of the frozen flaws in Zezelj and Bellaire’s artwork.)
The Massive #12

The Massive #12

  • Batman Incorporated #11 (Read it.  Now, I’m not against an occasional fill-in issue, an every once in a while one-shot; but If I’m being kind: what a spectacular waste of time!  A major disappointment considering the power position this title had taken in the Batverse.  Sure, it’s not Morrison; but it’s his book, his brand; and this–if only for a month–is a stunning display of corporate arrogance.  Still can’t believe I paid for it.  It’s one book I should’ve judged by its cover.)
  • The Bounce #1 (Read it.  Wish I hadn’t.  Debilitatingly derivative and amusingly late to the extra-dimensional portal party.  Attention to detail?  Not here!  Proof: the brutishly eloquent Crunch assesses: “The pigs are tenacious”; and then he proceeds to assert: “I’m sure they’ll be pissed…”  Oh, I’m sure this’ll be worked out at some point down the road–maybe even in issue #2.  But I won’t be there to find out.  Gotta bounce, bro.)
  • Daredevil #26 (Read it.  Saving my take for a Back & Forth.  In the meantime, let’s take another look at the talk of the shop on Wednesday afternoon: the Samnee-licious cover–one the fanboys are still fawning over.)
Daredevil #26

Daredevil #26

  • The Sixth Gun #31 (Gotta play catch up first.)
  • Nowhere Men #5 (Read it.  No.  No, I didn’t.  Nowhere Men isn’t a comic at all; you don’t just read it: you experience it.  It’s a–you know what it is?  It’s the love child–the product of a miraculous coupling, really–of The Manhattan Projects and Mind MGMT.  That’s what it is.  More than any other book, you’ve got to set aside a block of time; you’ve got to make an appointment.  But it’s well worth the wait and, once inside, worth every second spent with Eric Stephenson, Nate Bellegarde, and Jordie Bellaire’s grand design.)
Nowhere Men #5

Nowhere Men #5

  • Revival #10 (Read it.  Derek’s got something or other to say about this one.  I’ll chime in when he’s ready to purge.)
  • Mind MGMT #11 (Read it.  A sprawling epic in a tidy twenty-two.  Gorgeous as always: every panel, every page a beauty who, if roles were reversed, would never bother to look at me twice.  Noticed: Kindt rolls out another On the Road reference, this time in the back up story.  Makes me want to revisit Kerouac’s classic novel to see what other connections might be made.  Sure, I have some in mind already, but I’d manage a better claim with some reading behind me.  Thank goodness the summer’s almost here.)
Mind MGMT #11

Mind MGMT #11

Update: Went back to the shop and picked up two books, putting me plus one for the week.  Rats!

  • Uncanny X-Men #6 (Read it.  Great news!  The Limbo storyline isn’t over yet!  That means at least one more issue’s worth of Dormammu.  Hooray!  OK, so you know I don’t mean that: I’m actually pretty down on Dormammu.  [It is, however, fun to say–and to type, wouldn’t you know–Dormammu.]  But Bendis makes up for it with a dazzling final page.  Hooray!)
  • Half Past Danger #1 (Read it.  A few outstanding moments.  Definitely warrants another issue–and maybe even a few more words.  I’m going to hold off until Derek gives it a turn.)

What did you pick up this week?

Turning pages,

Scott

Microviews: Viewer Discretion Advised

27 Saturday Apr 2013

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Saga #12: Well, wouldn’t you know, some silly willy–some sucker–rolled out the red carpet of controversy for this issue–and Prince Robot IV relishes the impromptu marketing moment: he stomps fiercely: from his blog-busting fantasy-in-a-dream sequence, which jerks things–I mean, kicks things–off, to his arrogantly ironic prediction.  (Phew, that’s a mouthful!)  The glorious Inglorious Basterds comes to mind as the Prince works over Heist, a principled cyclops, an author who is more than meets the eye and the screen: he’s Vaughn, telling it like it is, isn’t he?  And how about the final page?  Getting there was a treat, even if the turn was as expected as a sunset.  While not as remarkable as #11, this issue still stands as an example of what Vaughn and Staples are capable of: uncompromisingly taut storytelling that swallows certain homogeneous conventions while spitting out a fabulously fresh narrative.  I’m not ashamed to say I raced out to buy this book; nor am I ashamed to say its clearly Book of the Week.

Saga #12

Saga #12

Sex #2: After a month-long refractory period, Joe Casey’s Sex returns without a bang.  It’s no surprise, really: Casey’s erecting something here, and it’s apparent that he’s going to take his time; I mean, why wouldn’t he, right?  (Makes this whole exercise–two issues in, at least–a tad more masturbatory than congressional, no?)  Problem is, seems as if Casey’s going to take more time than I’m willing to endure.  And the Batman analog?  The Millaresque villain?  Turn offs each.  Overall, the darn thing doesn’t come off as sex at all.  Let’s be honest: there’s nothing particularly penetrating here; hell, the story’s about as sexy as Kubrick’s castratingly antierotic Eyes Wide Shut.  It’s not even foreplay, for goodness sake.  If anything, it’s flirting–uncomfortable, unrequited flirting. So, to save myself from possible–more so, probable–regret, I’m going to do the responsible thing: I’m going to say, flatly and forcefully, “No!” to Mr. Casey–I’m going to pass on issue #3.

Batman and Red Robin #19: OK, so, I bought the book primarily to see what Peter Tomasi was going to do with Carrie Kelley, she of DK2 fame–or infamy, which is more like it, I suppose.  Yes: this is further evidence of what I’ve become: I’m a shameless comic book john, looking for cheap thrills under colorful covers every Wednesday afternoon.  Well, as it turns out, the insinuation of the Frank Miller creation was more novelty than anything else: her wearing the Robin costume–in the context of a superhero-themed costume party–was equal parts fun and frivolous, leaving me with the smile of one who knows he’s been worked over.  As it turns, however, that story–as unsubstantial as it may be–acts eagerly as a matted frame for another, much more vital and relevant story–an adventure, for sure–in which Batman goes Batmad.  Tomasi has taken the tack, has made the wise choice, of having Batman become a darker knight in response to Grant Morrison’s unflinchingly fatal and much ballyhooed move over on Batman Incorporated, one that immediately placed Scott Snyder–the crowned king of the colony of Bat books–and his impotent gesture (see: “Death of the Family”) in checkmate.  This Batman is focused; he’s desperate: he’s “a man racked with pain [looking] for light in a world gone dark”; and he does so by, quite literally, tearing an ally apart at the seams.  Poor Frankenstein!  Now, it’s true: Batman promises Red Robin that he has “every intention of putting [the monster] back together”; but that isn’t nearly enough of a salve to heal over the image of Batman as Dr. Mengele using violent science to, in this case, “find a way to bring Robin back.”  That’s right: this isn’t Snyder’s brooding Batman–one who, in Batman #19, seems like a calculated and arrogant protest against Morrison’s competing plot line; this is a father–an understandably rabid Batman–who’ll do anything for his son.  And this is a comic that cannot be judged by its gimmicky cover alone: it has to be held to the ear in order to hear the fierce beat of its broken heart.  Hold it closely enough and you just might hear your own heart keeping the same fractured time.

Batman and Red Robin #19

Batman and Red Robin #19

Turning pages,

Scott


Microviews: Playing Catch Up

07 Sunday Apr 2013

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I’m up to date with my reading.  Writing-wise, as you’re about to discover, I’m a bit behind; but I couldn’t let these books slip by without a word or two.

Saga #11: Opened it up and said, “Hello”–not like “Hello, hi, howya doin’?” but more like “Hell-oh!” in response to yet another remarkable salutation–a tantalizing and titillating page one–from Vaughn and Staples, one in which we find Marko and Alana coming together in a coital splash, followed by a delightfully daring debate that glows like an after-sex cigarette.  That scene is cleverly coupled with The Will’s wordless yet startlingly intimate retrieval of Lying Cat, made possible only by the bounty hunter’s discharging of a decidedly phallic device.  That bit of brilliant storytelling from the book’s creators is humbled, however, by the burden taken on by Barr, Marko’s father.  Be honest: have you ever believed a character more than you believed Barr when he tells Alana, “I’ll hold us together”?  You know that rare rush you get from an unexpected brush with beauty?  Yeah, got that–and more: I mean, have you ever hurt as much as when Barr passes on while peering into Hazel’s “peepers”?  Have you ever tasted as bittersweet a morsel as when Marko manages a magical father-son memory, one cleverly conveyed in two languages, including one we all understand: the language of love?  And for good measure, older Hazel’s commentary ties it all together with a gentle tug or two on our heartstrings–with a final line for the ages.  Truly inspiring work.

Saga #11

Saga #11

My?tery Society Special 2013: Frivolous fun!  Steve Niles and Andrew Ritchie bring together mystery and monsters and, in doing so, deliver the goods and the chivalrous evil, particularly in the form of the gentlemanly Dracula, who steals the show even as he not so surprisingly fails to show up in the book’s final gag: a vampire-free group photo.  Niles’ immaculate timing sells the decidedly dessicated humor, which helps to keep the confidently-wielded familiar–which reminds us of our favorite stories, be they bound to page or screen–as fresh as an undead daisy.  I welcomed the whiff of Frankenstein, “however brief it was”; see, I’ve been in a wicked state of withdrawal since the demise of the fantastic Frankenstein: Agent of S.H.A.D.E. and since I dropped the disappointing JLD–so I’ll take what I can get!

My?tery Society

My?tery Society Special 2013

Five Ghosts #1: Overreaching and underwhelming.  Frank Barbiere throws a lot at us in this first issue of a five-issue mini.  He kicks things off well enough by introducing us to Fabian Gray, an Indiana Jones-type–almost necessarily kicking Nazi ass–blessed and cursed with an assortment of skills derived from five literary archetypes, not entirely unlike Captain Marvel, who too derives his powers from a pantheon of legendary figures.  This one-man League of Extraordinary Gentlemen has some “unfinished business” of a personal nature that he harps on, and then he eventually–after some more harping and an evil-spirited interlude or two–hops on a plane to Africa, where things don’t turn out so well for him–or for us, if I’m being honest.  Africa?  Really?  Already?  Sebastian says it best: “I’m guessing that means something bad.”  What’s not so bad about the book?  Chris Mooneyham’s art is, in and of itself, fine; however, he’s hamstrung a bit by Barbiere’s ridiculously fast pace; and, as a result, too often he’s unable to bring the requisite energy to the page.  Overall, looks like Barbiere is shooting for novel-level complexity to suit the allusions at the center of his concept.  Unfortunately, the result is a few frayed narrative threads.  Will I pick up #2?  I’m thinkin’ it’ll be a comicday decision.  At the rate I’m shedding books, odds are good this’ll sneak its way back into my bag.  And then if I’m two-deep into the series, you know I’ll run it out till the end.  (That’s my blessing-slash-curse.)  Here’s to hoping these two fellas find their groove–because at the core of this story is something I might like to get into.

Five Ghosts #1

Five Ghosts #1

Ultimate Spider Man #21: We kept asking for it and darned if we didn’t get it: a costume-free issue!  And a damn good one, too.  Bendis spares the spandex and spoils us with angst and honesty; he–like a genie granting wishes–serves up a teenage boy’s dream team-up: Miles, Ganke, Mary Jane, and Gwen Stacy.  Gotta love it and the possibilities.  Also gotta love the way Sara Pichelli and Justin Ponsor bring the fantasy to life.  The art is terrific throughout and terrifying when it needs to be.  Yeah, at the start of this arc, I thought Venom would be narrative poison; but I put my faith in Bendis, and it turns out that my faith was put well.  This is an intense issue.  It’s an exemplary issue.  It cements this title as one of Marvel’s best, and it’s another reason why I feel comfortable buying All-New X-Men and Uncanny X-Men despite my lingering doubts about those titles.  Bendis can be this good at any time–and I’d hate to miss it when it happens.

Ultimate Spider-Man #21

Ultimate Spider-Man #21

Turning pages,

Scott

Back and Forth: Vs.

10 Thursday Jan 2013

Posted by in Back and Forth, Microviews

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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:

bw-pg11

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 in Back and Forth, Microviews

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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
—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

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

Microviews: Catching Up Is Hard to Do

03 Monday Dec 2012

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Only if you were wondering:

  • Comeback #1 (Image): I like Michael Walsh’s art a lot.  Not entirely unlike Sean Phillips or Matthew Southworth.  Bellaire’s colors, too, add quite a bit to the flow of the story–a story that shirks narration for the better.  The premise is interesting enough and is developed well with crisp dialogue amongst characters who are relatively familiar.  Nice twist at the end.  All together, worth another issue.
  • Judge Dredd #1 (IDW): Didn’t do it for me.  I haven’t read any Dredd in the past; figured I’d give it a shot.  A bit too silly for me.  Just not what I expected, I suppose.  It’s a one-and-done, for me.
  • Clone #1 (Image): I wanted it to grab me, but it didn’t.  The premise seems like one I’d like to see play out–especially after reading Schulner’s post-story explanation.  I was put off by the wishy-washy dialogue and Ryp’s art.  His characters’ faces bothered me a bit too much; I couldn’t stand looking at them after a while!  (Probably says more about me than anything else.)  I’m not planning on picking up #2–unless it comes out during a light week.
  • Wonder Woman #14 (DC): Enjoyable enough.  Siracca’s backstory and her coming together with Diana are serviceable steps.  (They’re framed by two two-page teasers, the first about an old god and the last about The New Gods.  I’m liking the former and kind of concerned about the latter.  We’ll see.)  A bit of a drag that Cliff Chiang’s on cover duties but not inside anywhere.  Tony Akins isn’t terrible, but he can be inconsistent at times.  Remains a fixture on my pull list, which has been shedding hero books of late.
  • Wolverine and the X-Men #21 (Marvel): Yup, I’ve officially removed it from the aforementioned pull list.  (If you haven’t see me go off about the previous issue, click here.)  Sure, Aaron sneaks in a very funny “Avengers vs. X-Men 2” comment–to provide a possible explanation as to where all the suddenly missing adults have run off to; but it’s buried beneath an ever-growing pile of Who gives a $#!%?  As a result, it’s see ya later.  To think I used to look forward to this.  Yikes.
  • Ultimate Spider-Man #17 (Marvel): I’ve spoken of the danger of the crossover in previous posts.  This title has taken it on the chin for several weeks now.  We’re up to three below-standard issues in a row–unacceptable for a title that was killing it with otherworldly character development by Bendis, who clearly has no use for this United We Stand nonsense.  If things don’t turn back to Miles soon, I’m off.
  • X-O Manowar #7 (Valiant): This title was getting a bit rough with the unnecessary insinuation of Ninjak.  (Is Ninjak ever necessary?)  I’m happy to report that this issue picked it up a bit with the growing Vine story and the disarmingly delightful Vine commando unit target practice.  Finally executed well, this team-up lives to fill my bag for another month.
  • Harbinger #6 (Valiant): My favorite issue of Harbinger so far.  Kris is a character I’d like to hear more from.  With my luck, this is a transitional issue that puts her in play but ultimately leaves her voice behind.  I hope not.  I also like Faith’s psiot persona, Zephyr.  She’s like something out of Mieville’s terrific Dial H.  Solid stuff from Dysart, Briones, and Hannin.
  • The Rocketeer: Cargo of Doom #4 (IDW): Out with a whimper.  Oh well.

So, now you know.

Feel free to let us know what YOU think.

Turning pages,

Scott