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Back and Forth: Warriors and Witches

23 Saturday Feb 2013

Posted by ScottNerd in Back and Forth

≈ 2 Comments

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Alan Moore, Archer & Armstrong, Archimedes, AvX, Batman, Battlefields, Before Watchmen, Brian Azzarello, Brian Michael Bendis, Chris Bachalo, Comedian, Cyclops, DC Comics, Dynamite Entertainment, Ed Brubaker, Emanuela Lupacchino, Fatale, Fred Van Lente, Fury: My War Gone By, Garth Ennis, Gene Luen Yang, Goran Parlov, Grant Morrison, Greg Capullo, Guillermo Ortego, Harper Row, Heart of Darkness, IDW, Image, J.G. Jones, Jack Kirby, Joe Sacco, Joker, Josephine Baker, Larry Gonick, Mad Magazine, Marvel, Matrix, New Gods, Olive Oil, Popeye, Punisher, Rambo, Roger Langridge, Russ Braun, Samuel Jackson, Scott Snyder, Sean Phillips, Uncanny X-Men, Vince Musacchia, Watchmen, we, white man?

Scott Carney: The year’s most highly anticipated book–Batman #17–danced its way onto shop shelves, into our bags, and into our hands; and with every page turn, the story stumbles, trips and tumbles, and falls–along with the intolerably loquacious and ultimately uninspired Joker–from that lofty height of over-hyped expectations into a chasm of mediocrity–into a downright forgettable yawn. You know exactly what I mean. This stunningly inconsequential storyline–with a title that serves only to describe metaphorically what has befallen the Batfamily–delivers a punchline so impotent that I’m left wondering whether or not I will bother with the next arc; and, to be honest, the decision may not be very hard at all: the promise of more Harper Row has me thinking, No. What is it about this issue, in particular, that has left me even less than lukewarm about where’s Scott Snyder’s headed with Gotham’s grim guardian? Well, let’s start at the beginning. Snyder kicks things off by sloughing subtlety–because the Joker ain’t subtle, son–and serving up an overly vomitous villain, which may be a simple send-up of the blathering bad guy or may be a misstep, allowing the Joker’s words to speak much louder than his actions, which amount to pretty much nothing–unless, of course, you count the Joker’s failed attempts to kill the Batfamily as a success because the Batkids, after recovering from their harrowing ordeal (during a real gassy meal!), make transparent excuses not to meet with Batdad. Ugh! That’s right: in the end–which is also where it seems the Joker wanted it the whole time, if we’re to buy the unnecessary homoerotic insinuations, anyway, all implying, and insultingly so, that the psychotic killer’s insanity is somehow tied to his crush on the Caped Crusader–what’s the big change that was promised from the beginning? When all is said and, well, said, is the Joker any different? I guess we’ll find out when he makes his inevitable return, eh? Is Batman any different? Was he tested anew? Not really. Did he have to solve a mystery or do anything clever to overcome insurmountable odds? No. But one thing–one thing!–is different: Dick, Tim, Jason, and Barbara have been infected with an acute case of moroseness, perhaps a side effect of–ahem–hahnium poisoning. Yeah. Hilarious. Sure, the last page is cute, but it’s also pretty telling: as the story laughs its way to the final panel, it’s clear that the joke, friends, is on us.

Batman #17

Batman #17

Derek Mainhart: That’s a bold statement. My reaction was perhaps both less visceral and more at the same time. Less, because I didn’t hate this conclusion. This issue certainly had any number of cop-outs: after the Joker spent the previous few issues amping up the atrocities to truly absurd levels, why in the world wouldn’t he go the distance now? Twice? And good lord, how many times is this character going to fall off a high ledge? Having said that, even with the eventual cop-out, in those first few pages Snyder builds up a palpable tension. And then he delivers a genuine jolt. In a mainstream superhero comic, chronicling a multimillion dollar franchise no less, that’s no small thing. It was enough to remind me why I like Snyder to begin with. And enough to hope that he’ll rekindle the ol’ Bat-magic soon.

SC: All that said, I can’t wait for my American Vampire trades!

DM: Right. There actually were some good books this week so let’s get the rest of the dreck out of the way. My Book of the Weak: Uncanny X-Men #1 (Marvel NOW!). The plot: there’s a group of mutants with unheard of power levels posing a threat to humanity. Cyclops, a messianic zealot, is their leader. Someone very close to Cyclops is set to betray him. Sound familiar? It should. I’ve just described the plot of Avengers Vs. X-Men, easily the worst book of 2012. Looks like the powers that be aren’t done abusing Cyclops yet. But wait! Maybe this is about his redemption! Doubtful. And considering how Bendis and Co. have woefully mishandled the character up until now, I’m not sticking around to find out. Chris Bachalo’s art is great tho’.

Uncanny X-Men #1

Uncanny X-Men #1

SC: I’m not as down on it as you are. But that’s not saying much. I understand–and agree–with your point about its parallel to the abysmal AvX and Bendis’s epic mishandling of Cyclops. I also didn’t care for the fact that the first issue’s framed by this rather sudden betrayal angle. Why not build toward it a bit, for goodness sake? And the reveal at the end? That was an Ugh moment for me, not unlike–but not as apocalyptic as–the end of Superior Spider-Man #1. Hmm. An ironic turncoat? Whatever. That being said, I’m going to ignore all of that and pick up number two. Why? I don’t know. Well, I guess I know: I think, it’s, in part, because I can’t conceive of a world in which I’m not picking up a single X-book. (As it is, I’m already living in a world in which I’m picking up one–only one of the billion Avengers books; and it’s one without Captain America, for crying out loud!) Another part: this is called my not learning my lesson: I’m giving into the siren song that is Bachalo’s artwork. Yes, I remember what happened with Wolverine and the X-Men. He fell off the book after I got hooked; and it took me twenty-plus issues to realize I had been rooked. We’ll see what happens. But for now, I’m calling this a trial run.

DM: While we’re on the topic of “dangerous undesirables,” there is a book out this week that skillfully tackles one of our country’s most hot-button issues: illegal immigration. The threat of deportation, onerous paths to citizenship, official corruption, placing a greater value on certain immigrants over others; all these are handled with a deft hand therein. What’s that you say? Joe Sacco must have a new book? Or perhaps Gene Luen Yang? Nope, it’s Popeye #10 (IDW):

-Popeye #10

That’s right; Popeye. Here’s the scoop: Toar, a behemoth of a man and good friend of our favorite sailor-man, is being threatened by an unnamed government agency that strongly suggests the Dept. of Homeland Security. In order to stay in the good ol’ U.S. of A. Toar must prove he possesses a valuable skill that no other American has. Panicked, and none too bright, he blurts out “TOAR ONLY FELLA WHO KIN BEAT POPEYE IN FIGHT!!”. A rare gift indeed. The government agent in charge of his case fairly salivates over “the potential military applications” of Toar’s boast. Sound a little too heavy-handed (pun intended) for a Popeye comic? Fear not! Writer Roger Langridge has been working wonders with this title, and this installment has all the jokes, antics, roughhousing and romantic misunderstandings (via Olive Oyl) any Popeye fan could want, all in a scant fifteen pages. His light touch seamlessly interweaves the social with the shenanigans. And Vince Musacchia’s retro stylings keep the tone at a safe, 1930’s remove. Most satisfyingly, although Toar is clearly the sympathetic character here, Langridge refuses to be one-sided in the debate. In fact, it is ultimately the viewpoint of the government agent, unsavory though he most certainly is, that carries the day. There are some forces, it seems, even Popeye can’t vanquish.

A bunch of ruffians fighting against menacing global powers though they’re desperately outmatched? That’s Archer and Armstrong‘s bag baby!

Archer & Armstrong #7

Archer & Armstrong #7

Archer, a recently un-brainwashed religious militant, and Armstrong, an immortal lout, have teamed up to save the world from…nothing. That is, an ancient secret sect (aren’t they all) called the Null that has been working for centuries to return reality to the mathematical purity of nothingness. Issue 7 (Valiant) finds that our heroes have been joined (or thrown together more like) by the Eternal Warrior, who happens to be Armstrong’s straight-arrow (pun intended) killing machine of a brother, who’s also a bit of a pill. These two take sibling rivalry to mythic proportions. Rounding out our group is a Geomancer, a sort of earth-goddess-wizard-type. In a delicious twist, the latest incarnation of the Geomancer is a young corporate shill, the type that would be at home as a talking head on Fox News, who’s chosen by Mother Nature (a monkey, natch) for her excellent P.R. skills. Fred Van Lente’s whip-smart writing riffs on a wide swath of sources, both pop cultural and historical: the Anti-Life Equation from Jack Kirby’s New Gods, the Matrix films, ancient Roman history, Archimedean mathematics and World War II espionage, among others. For all its erudite underpinnings, the book maintains a breezy tone, ably abetted by the crisp artwork of Emanuela Lupacchino and Guillermo Ortego. Van Lente’s writing is the star here though, equal parts Grant Morrison, Larry Gonick and Mad Magazine, as he gleefully skirts the line between high adventure and high satire.

SC: Umm, I liked it, too. And, wouldn’t you know, for all of those exact same reasons.

DM: Interesting Factoid Dept.: Both Archer and Armstrong #7 and Comedian #5 make use of the old “We, white man?” joke in the same week.

But there the similarities end. If you want to talk similarities however, it has been fascinating to concurrently read Comedian (DC) and Fury: My War Gone By (Marvel Max). Both books take firmly established characters and place them in the cross-hairs of war and the realpolitik considerations thereof. Comedian would seem the better fit, given Alan Moore’s deliberate infusion of 20th century history into Watchmen (does it need to be said that this was a watershed series at this point?). Nick Fury, on the other hand, carries decades of comic book baggage. And while his origins are tried-and-true war comics, his character has become so diluted and utilitarian over the years that I can’t even tell what he looks like in the Marvel U anymore (classic cigar-chomper or head-shaven Samuel Jackson?). Well, trust Garth Ennis to remedy that. Ennis, simply put, is the best writer of war comics around. (Hey there’s a reason this book was #9 on our Top Ten of 2012). This series, with appropriately visceral visuals by Goran Parlov, puts Nick right in the middle of some of the most nefarious military imbroglios of the last sixty-some years, from the Bay of Pigs to Vietnam. The intrigue abounds as Nick is placed in situation after impossible situation due to sordid behind-the-scenes machinations that he knows all too well, but has little influence over. As such, an appropriate fatalistic air hangs over the series. In fact in the latest issue, (in which our suspension of disbelief is unfortunately tested by the inclusion of the Punisher doing his best Rambo impression) Ennis suggests that Fury wouldn’t change things even if he could. As he descends upon his target, a Vietnamese commander, we’re left wondering who the “bad guy” really is. And if, in Fury’s world, such questions aren’t strictly academic.

SC: Wasn’t my favorite issue of Fury, probably because it was more of a shoot-’em-up this time around. Oh, and because of one of the more awkward time-collapse transitions–signaled more arrogantly than cleverly by Fury’s “No time to f___ around”–I’ve experienced of late. (Sneaky suspicion: a page or two had to be lost in the final edit, and chopping this scene seemed the safest bet.) I do appreciate, however, the fact that Ennis drives home the point–especially in the two scenes with the smug Pug McCuskey–that Fury’s true nemesis isn’t to be found on foreign shores at all. In those scenes specifically, the real war–a war of words reminiscent of Othello–is waged; and, for now, anyway, Shirley DeFabio and Fury are left on the losing side. No matter: as long as Ennis forges ahead with this book, we’re all winners.

DM: For the Comedian, questions of morality don’t even exist. In issue 5 Brian Azzarello and J.G. Jones go straight into the Heart of Darkness. Again, the setting is the Vietnam War. As events spiral out of control, the Comedian takes matters into his own deadly hands. As he does, he bluntly explains the rationale behind his actions. It is a belief system that will support any violence, excuse any atrocity done in its name. It’s easy to imagine something similar going through the minds of soldiers of any stripe, in any conflict, as they perpetrate acts of gross inhumanity. It is simple and it is chilling. And the Comedian makes the Punisher look like a saint.

The whole Before Watchmen franchise has been largely, and justly, maligned. The titles suffer most from a quivering fealty to the source material (much as the movie did) that results in highlighting the most superficial aspects of the original, thus rendering the unique, cliche. But Comedian is the exception. Azzarello and Jones have crafted a book that can stand on its own. And a damn good one at that.

But the best war comic being produced these days is undoubtedly Battlefields (Dynamite)– again, by Garth Ennis (surprise!). Issue 4 begins a new arc entitled The Fall and Rise of Anna Kharkova, in which Ennis returns to the title character, a WWII female Russian fighter pilot (from a previous arc, The Night Witches) and one of his most winning creations. This issue presents the Fall as Anna’s plane is brought down behind German lines. She is taken prisoner, but due to circumstances that Ennis skillfully explains, she is being cared for by Chris Cohen, a medic, a British officer, and a Jew. This issue is largely a character study of the two, taking place in a single room during Anna’s long convalescence. Ennis’ writing is wonderful as the characters get to know each other; one could almost imagine this as a one-act play. He suggests the passage of time merely through tonal shifts in the dialogue. His immense knowledge of history is on full display, but never overwhelms. And then there is the dialogue itself: natural, revealing, funny, angry, human. The tragic Russian and the reserved Brit do occasionally talk like avatars of their respective cultures and historical circumstance. But wouldn’t war naturally engender such conversations amongst its combatants? (Kudos must also be given to Russ Braun: no harder task in comics than drawing pages and pages of two characters talking to each other in the same room.) Given the ending, I suspect we’re going to see a bit more Fall for Anna next issue before her Rise.

Battlefields #4

Battlefields #4

Dare I Hope? Dept.: With Ennis, along with Azzarello, producing such stellar work, could we be witnessing a Renaissance of that classic genre, the war comic?

From Night Witches to real witches: Fatale #12 (Image). I’ve simply run out of superlatives to describe this book. Would you care to take a shot?

SC: A shot? Heh. You motif monger! In this case, how about a stab?

Fatale #12

Fatale #12

Of all the books this week, nothing stands out more than Fatale #12–and not just because of Sean Phillips’ gorgeous cover. Yeah, it’s becoming a bit of a routine now: read Fatale, write about Fatale and name Fatale Book of the Week and then, eventually, Book of the Month. You’d think we’ve been paid to praise it! (Disclaimer: we haven’t been paid to praise it–not that we’d be against such an arrangement.) This time around, Ed Brubaker and the aforementioned Mr. Phillips cement their status as the hands-down Masters of the One Shot. I mean, it’s no secret: #11 was our Book of the Month for January and a stunning example of single-issue storytelling. While that storytelling skill is on full display in this issue as well, the creators take a bit of a risk here: they break from Josephine’s journey and jump across the ocean and back in time to 1286 A.D. Our heroine, Mathilda’s got what Josephine’s got: a mojo she can’t quite explain and that men can’t resist. Bearing this cross, she’s branded a witch and suffers for it–suffers but never dies. She meets Ganix, a kindly old cyclops–one actually worth caring about!–who cares for her, who fights for her, and who ends up suffering for her. Mathilda races to save Ganix and embraces her power over men as she descends upon those who have “come to drag the demon witch away.” Sure, she takes them all down–just as we expected her to; but Brubaker’s better than that: he knows what we’re expecting–because he’s made us expect it! Instead, we’re left with a Wow!, which is exactly what we want to walk away with after the final panel–which is exactly what we expect from Brubaker, a writer at the very top of his game. So, to make it official: Book of the Week.

Turning pages,

Derek & Scott

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Back and Forth: Vs.

10 Thursday Jan 2013

Posted by dmainhart in Back and Forth, Microviews

≈ 1 Comment

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:

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

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MARVEL: NO!

24 Saturday Nov 2012

Posted by dmainhart in Uncategorized

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Adventure Time, Al Ewing, Alison Bechdel, All-New X-Men, Asgard, Avengers Vs. X-Men, AvX, AvX #11, Baltimore, Barnaby, Battlefields, BOOM!, Brendan McCarthy, Brian Azzarello, Brian K. Vaughan, Brian Michael Bendis, Bush administration, Captain America, China Mieville, Chris Claremont, Chris Ware, Civil War, Courtney Crumrin, Cyclops, Daniel Indiro, Daredevil, Dark Horse, Dark Reign, DC, Dial H, Donald Rumsfeld, Douglas Wolk, Dynamite Entertainment, Ed Brubaker, Eric Trautmann, Fantagraphics, Fatale, Fear Itself, FF, Fiona Staples, Flash Gordon: Zeitgeist, Garth Ennis, graphic novel, Green Lantern, Greg Rucka, Hawkeye, Hellboy, House of M, Hulk, IDW, Image Comics, Iron Man, Iron Man 2, Jack Kirby, Jason Lutes, Jean Grey, Jeremy Renner, kaboom!, Mark Waid, Marvel, Marvel Bullpen, Marvel NOW!, Marvel Super Heroes Secret Wars, Marvel Universe, Matt Fraction, Matthew Southworth, Michael Kupperman, Mike Allred, Mike Mignola, Miles Morales, New 52, Norman Osborn, Oni Press, Peanuts, Phoenix, Popeye, Professor X, Robert Downey Jr., Roger Langridge, Saga, Scarlet Witch, Scott Summers, Sean Phillips, Secret Invasion, Sentry, Siege, Skrulls, Snarked, Spider-Man, Stan Lee, Storm, Stumptown, Superman, Tales Designed to Thrizzle, Ted Naifeh, The Avengers, The Zaucer of Zilk, Thor, Tony Stark, Ultimate Spider-Man, Universal Studios, Void, Watchmen, Wolverine, Wolverine and the X-Men, Wonder Woman, X-Men, Zero Hour

“I’m worried about what’s going to happen next. I’m worried that the power they are holding is more than they can handle. In fact I know it is…What happens when they aren’t able to hold it any longer?” – Captain America, AVsX #11

Captain America is right to be worried. The Marvel Universe is facing a dire threat to its very fabric. It’s not from Thanos, Galactus or even Scott Summers, but from an unexpected quarter. The people in charge.

Every comics fan has one – that comic book that hooked them, that opened their mind to the nigh-limitless possibilities offered within its four-colored, dog-eared pages. For me, as I suspect it was for many boys of my generation, that book was Marvel Super Heroes Secret Wars. Here it was, an entire, well-defined universe, brimming with larger-than-life heroes and villains with a shared history, tackling a new, unimaginable threat.  This was my entry point into the master-narrative (a term used by Douglas Wolk, as good a writer on comics as you will find) into the Marvel Universe. And as a primer, it did its job beautifully. My ten-year-old mind was set a-buzz: gods, super-soldiers, mutants, and especially Spider-Man. For the next ten years or so, I would eagerly devour their exploits, breathlessly anticipating each month’s installment, as the previous ones were carefully bagged and filed, to be revisited easily and often.

And then, like many comcis fans, I drifted away. I was in college, reading, creating and experiencing things that made those larger-than-life characters seem more and more inconsequential. This was also a period (the early-mid nineties) that saw some headline-grabbing shake-ups of some of comics’ most iconic characters: Superman was killed! (and then came back), Batman was crippled! (and then came back, like in the movie), and Peter Parker was “revealed” to be a clone! (until he wasn’t). Whatever the merits of these stories, they did, to my mind, have the whiff of desperation. And once the status quo was (inevitably) re-established, there seemed to be no place new for these characters to go. Like never before in my comics-reading experience, a sense of “spinning their wheels” set in. And so I moved on.

I never completely dropped my comic habit, picking up the odd graphic novel or trade paperback (there is a distinction, which I’ll get to later). But for years, I gave up my Wednesday habit (if you don’t know what that is, I both pity and envy you.)

The comic that brought me back into the (stapled) fold was Civil War. Here at last was a super-hero story that had captured the zeitgeist. In the midst of the second term of the Bush administration, we had a story involving heroes fighting passionately over the central debate of the era: To what extent were we willing to sacrifice our rights in the name of security? Like the country, it split the costumed community down the middle. On one hand we had Captain America and his followers, on the side, not surprisingly, of preserving our freedoms. On the other, somewhat more surprisingly, was Iron Man (not yet a movie star) and company taking the security side as a practical manner, with the resources of the U.S. government behind them. Cap and crew, presented as underdogs, were perhaps more sympathetic. But the creators, to their credit, took pains not to take sides; each view was presented as legitimate. Echoes of the real world abounded: people were branded traitors, paranoia reigned, inhumane detention centers were quickly established and filled. Spider-Man, the eternal Everyman, was caught in the middle; he first sided with Iron Man, then switched over to Cap’s team. It was an even bolder move then, when Marvel had Iron Man’s side ultimately claim victory. Iron Man was placed in charge of the country’s security, with all grey ethical dilemmas that implied.

The ending was unconvincing (after seven issues of vicious fighting, Cap, on the brink of victory, surrenders because he’s suddenly worried about losing the moral high ground). But I was thrilled by events (current events, no less!) that truly seemed to shake the good ol’  Marvel U down to its core. That, and (youthful power fantasies aside) there’s just something cool about watching all these super-types get together and throw down. (There’s a reason The Avengers movie made a hundred-gajillion dollars). And so I resumed my Wednesday habit.

With said resumption I quickly learned some things about the Marvel U that had occurred in my absence. It seems the powers that be had, at some point, decided to shift the focus away from the X-Men franchise and toward the Avengers. To speed this along, the X-men’s most popular character, Wolverine, was now an Avenger, as well as the company’s flagship hero, Spider-Man.  All well and good. But at the same time there was a conscious effort to de-emphasize the X-Men.

Now the X-Men had long been fan favorites. Much of their popularity stemmed from their role as perennial underdogs. As mutants, they were heroes who were born different, forced to deal with a world that feared and hated them. This was a simple, brilliant paradigm (especially during Chris Claremont’s unparalleled run) that could encompass any number of themes on a societal or personal level; civil rights, sexual orientation (as seen in the X-Men movies) or just the onset of adolescence. Many was the comics fan who could identify with such feelings of alienation. Well, in the X-Men’s world, the Xavier School for Gifted Youngsters was a learning institution filled with such outcasts.  And the X-Men, more than being just super-heroes, were their role models, what they could aspire to be. This mixture of melodrama, family dynamic (often dysfunctional), social consciousness, and of course all-out action enthralled fans and kept the X-Men at the top of the sales chart, virtually unchallenged, for twenty years.  The decision by the powers that be to give a major push to the Avengers at the expense of the powerhouse X-Men seemed curious. But that’s just what they did in House of M.

House of M was the epic event prior to Civil War; the previous chapter in the Marvel master-narrative, if you will. It centered around the Scarlet Witch, a mutant B – lister who was previously best known for being married to a robot (now that was a comic with potential!) In HoM, her ill-defined hex power was suddenly and without explanation boosted exponentially. Mentally unbalanced at this point in her life, she first creates an entire alternate universe to escape her torment. When that doesn’t work she famously (and somewhat bafflingly) utters the phrase “No more mutants.” And – poof! – 99% of the world’s mutants instantly lose their powers. X-Men de-emphasized. This was actually the first manifestation of the Scarlet Witch’s most advantageous superpower: what I like to call the power of editorial dictum. In other words, why was she able to accomplish these great feats? Because the story needed her to.

Anyway, in the aftermath of Civil War a couple of things happened. Captain America was killed (very temporarily). And Spider-Man (I still can’t believe this, even as I type the words) sold his marriage to the devil. Why? Because it was suddenly decided that it was uncool for him to be saddled with a wife. So instead of having him get a divorce like a normal person, they had their flagship character, Marvel’s most selfless, noble hero, make a deal with the devil to erase his marriage (the devil has always, in literature, had the power of editorial dictum). In what warped view is a Faustian bargain a more palatable option than just ending a marriage? In any case, the result? The adventures his readers had been following for twenty years? Irrevocably altered. A disastrous decision from which Marvel’s most beloved character still hasn’t recovered.

Returning to the overarching master narrative, Civil War was followed by Secret Invasion, a series in which shape-shifting aliens, called Skrulls, had meticulously planted themselves in all levels of society in order to conquer humanity from within. This series was undeniably entertaining for a number of reasons. The Marvel writers (most notably Brian Michael Bendis) had been peppering their stories for years with clues that something was seriously amiss. This story was the culmination of all that impressive, meticulous planning; part of the fun was going back and finding the clues, and being rewarded for your patient detection. Like Civil War, this story pit hero against hero, but this time not because of ideology, but because of paranoia; anyone could be a Skrull. While this was all a lot of fun, it was difficult, in light of Civil War, not to see this in the parameters of society at large. The enemy was among us. It was not much of a leap to replace “Skrull” with “Terrorist” (indeed the Skrulls’ mission was recast in extremist, quasi-religious language). By the logic of the story then, the infringement of rights to ensure security was entirely justified. In fact it didn’t go far enough, since the Skrulls were so successful. In short, the master narrative of the Marvel U had taken a hard turn to the right.

Secret Invasion resulted in a couple of developments. First, Iron Man was fired as head of US security. The reason given in the comic was that the Skrull invasion had happened on his watch. The real reason of course was that Marvel had an unexpected blockbuster on its hands in the first Iron Man movie (largely due to Robert Downey Jr.’s magnetic performance; so magnetic that Marvel gave Tony Stark’s personality and appearance a subtle makeover in the comics to try to match it). With Iron Man suddenly a hot property it wouldn’t do to have him in the unpopular, compromising position of being The Man. But apparently removing him from power didn’t go far enough in redeeming his character. No, Marvel actually took the extraordinary step of having Tony Stark erase his memory (in a story by Matt Fraction, that was actually pretty compelling in an old-movie-serial kind of way). He then rebooted his brain (he’d been saving it on a hard drive. No, really.) But, conveniently, his rebooted memories stopped just before the events of Civil War. Character instantly absolved of all guilt and messy moral quandary! Ready for Iron Man 2! Here we have another disturbing example (along with Spidey’s erased marriage) of selective retcon-ing in order to free a character (and lucrative property) of being dragged down by any undesirable story lines (you know, the stories the fans have been following for years).

The second development was Iron Man being replaced in his national security position by Norman Osborn (aka The Green Goblin). The narrative rationale for handing control of our national security apparatus to a proven maniac was wholly unconvincing (he took the shot that killed the Skrull Queen), though, I must admit, Norman Osborn was certainly a better approximation of Donald Rumsfeld than Tony Stark was.  In any case, this had the sum effect of removing all the grey areas of the previous couple of years. Moral complexity be damned! It was Good Vs. Bad. And the bad guys were in charge. The story title? Dark Reign. The heroes were once again the underdogs.

This was certainly safer from a narrative standpoint. And it did set up a compelling showdown between the forces of Norman Osborn and the newly resurrected Captain America (he’d managed to stay dead for eighteen months!) And that’s what was promised in the next Big Event in the master narrative: Siege. But that’s not what we got.

The conflict in Siege is fairly preposterous: Osborn decides to attack Thor’s home of Asgard (which is floating over Oklahoma for some reason) on the pretext that it’s an incursion on U.S. soil. Whatever, it gets the action going. Osborn’s vaunted forces are fairly quickly (and anti-climatically) dispatched by Cap’s crew (the whole thing lasts just four issues), but Osborn has an ace in the hole; a character called the Sentry.

The Sentry was a fairly new character, whose history had been ret-conned (don’t ask) to establish that he had at one point been the greatest hero of the Marvel Universe, and certainly the most powerful. Someone they all looked up to and admired; sort of their Superman. But he had a dark side/nemesis called the Void, which threatened to take over his psyche. Hence he was highly unstable and easily manipulated by Osborn. Siege culminates with the Sentry losing control, and becoming the Void. The Sentry briefly regains control and begs the Avengers to kill him. Thor obliges, striking him down with a lightning bolt (it appears Thor, too, can wield the power of editorial dictum).

So Siege ends with the Avengers killing one of their own. Not just that, but supposedly their greatest hero. Perfectly understandable right? Had to be done. There was no other way.

Except…isn’t that why we admire these characters? The best of them, like Superman and Captain America, no matter the odds, no matter how hopeless things get, always find a way. Isn’t that why they inspire?

Siege then, seems like a means to an end. Like the decision to kill the Sentry, it was expedient; driven by the need to get from Point A to Point B in a way that was cold, calculated, and dare I say, corporate? This seems to be the new mindset of the Marvel offices and sadly, the Marvel Universe. Now Marvel is, of course, a business. Like any other major publisher, they have to make decisions based, at least partially, on their bottom line; it would be naive to imagine otherwise. But never before has this attitude manifested itself so baldly in the stories, even in the characters themselves. It seems we are a long way from the legendary, free-wheeling Bullpen days of Stan Lee and Jack Kirby.

(The next big event after Siege was something called Fear Itself, a story so bereft of purpose, cohesion and narrative logic, that it made Siege seem like Watchmen.)

Which brings us to the latest chapter in the Marvel master-narrative: Avengers Vs. X-Men. (Deep breath) Like Civil War, AvX features an old-fashioned throw-down between two groups of Marvel heroes. Unlike Civil War, one of the groups is clearly presented as being in the right. The Avengers, having been re-positioned over the previous few years to the center of the Marvel U (and newly-christened as box-office champs) are The Good Guys. The X-Men, overlooked for years, are repaid by being re-introduced into the master narrative not simply as mistaken or misunderstood, but as a threat to the earth’s very existence. And at the center of this folly stands the abused figure of Cyclops.

Now Cyclops is, of course, the X-Man. Central to their mythos, their alpha dog, their leader, their best (not that you’d know it from the movies.) He is their Captain America,  the man with the plan, the one who will always, as I have said, find a way. Destroy his character and you delegitimize the worldview that the X-Men have represented over the last 30 years.

Let us skip the preliminaries and head straight to the nadir of the story (and indeed of the master-narrative in general): AvX #11. This particular issue is worth special consideration, emblematic as it is of the current state of the Marvel Universe. Cyclops has been infused with the power of the Phoenix, an unpredictable cosmic force capable of destroying existence (and which, years ago, caused the death of his true love Jean Grey – but not to worry! No compassion here.) Our issue begins with Captain America making an entreaty for help in the fight against Cyclops from an unknown source (the quote that began this unwieldy diatribe is taken from this plea.) Here are some choice nuggets from Cap’s opening address:

“…I am at the end of my rope.”

“…We just cannot win the fight in front of us.”

“We can’t win it.”

Again, this is Captain America. The man who never lost hope in the depths of World War II. (The fact that he’s supplicating himself to the Hulk, whose strength would be negligible against a force that could destroy the universe, is beside the point.) He may be wearing the flag, the big “A” and the little wingtips on his head, but I do not know who this character is.

To the ignominious climax. The Avengers have Cyclops surrounded, alone and raving, like some rabid dog (spittle, literally flying from his mouth). So I suppose it should come as no surprise when one of them, Hawkeye (y’know, Jeremy Renner in the movie) shoots him in the neck. Another Avenger callously observes, “Nice shot.” I’m sorry, since when do the Avengers resort to attempted murder to solve their problems? Much less the killing of a hero? (Oh that’s right. Since Siege.)

When this fails, Cyclops yells, “You see that?…They’re trying to assassinate us!!” If this is some kind of meta moment, where the character becomes aware of his creators’ intentions, then it is brilliant. Yes, Cyclops, they are trying to assassinate you, or worse, your character.

Storm, Cyclops’ former teammate (and at this point, like Wolverine, an Avenger, I guess?) pleads “Stay down Scott. I beg you.” Good ol’ Captain America adds “I don’t.”, in a misguided attempt to sound, I don’t know, bad-ass? (Maybe he’s a leftover Skrull…)

Cyclops, of course, doesn’t stay down. He is confronted by Professor X, who is, in every way that counts, his father. And then the moment that set the internet a-buzz, (and is possibly the lowest point in Marvel history): Cyclops kills Professor X.

X-Men destroyed. In one fell swoop.

Let’s be clear: it is not the death of Professor X that rankles; this is a character, after all, that has died and come back a lot, even by comic book standards. No, what is galling is the act of Cyclops murdering his father. There are some things even a comic book character can’t recover from. (DC tried a similar tack with Green Lantern nearly two decades ago in a story called Zero Hour. It took the character years to recover, and all he tried to do was destroy the space/time continuum; fairly standard super villain operating procedure. Killing Dad? Not so much.)

So take heed all you outcasts and undesirables! Professor X had a dream. And now it’s over. Society was right to fear and hate you. It turns out you were a menace after all.

(Want further proof that the X-Men worldview has been vanquished? The one holdover X-book, Wolverine and the X-Men, whatever its merits, is virtually a parody of everything they have stood for over the last thirty years. Comic books, too, repeat themselves, first as tragedy, then as farce.)

In the wake of AvX (oh yeah, Cyclops is finally put down when a mutant named – I would argue ironically – Hope, and again, the Scarlet Witch [ah that all-purpose power of Editorial Dictum] double-punch him. Game over!) we have been promised a shiny, sorta-newish Marvel Universe. It is being called Marvel NOW! and its coming has been foretold by months of advertisements which prominently feature Cap, arrogantly posed and smugly staring out at the viewer (who is this dick?) surrounded by various cohorts. These ads are further festooned with thick red-borders and imperative statements in bold, block lettering and resemble nothing so much as poorly-designed Soviet propaganda posters. Some coming highlights: Lot of Avengers books (featuring a bunch of former X-Men – I mean, where else were they gonna go?), a new, darker Spider-Man (oy vey) and, for the beleagured mutants, something called All-New X-Men. The concept: with the current X-Men in disarray, the original X-Men, still teenagers, are zapped to the present (y’know, bypassing all that messy civil rights stuff) as a way to hit the refresh button. The conceit: they are horrified by the current state of the Marvel Universe (well on that we can agree).

Which brings me to a Helpful Suggestion. The Marvel Now! initiative was done largely as a response to DC’s hugely successful New 52! relaunch of last year, in which they wiped the narrative slate clean and rebooted their entire universe from scratch. DC has a habit of doing this sort of thing every so often. A point of pride at Marvel is that they have never taken this approach. The stories you’re reading today are, ostensibly, a continuation of the stories begun by Stan and Jack over fifty years ago. Marvel has taken great pains to explain that Marvel Now! is…um…well, I’m not sure, but it is emphatically not a DC-style reboot. My question is, given the above snapshot of the Marvel Universe, why the hell not? Instead of just playing musical chairs with your established cadre of creators and using that as an excuse to haphazardly introduce some new #1 issues, why not just start the whole damn thing over? You don’t have to abandon your veteran creators, but bring in some fresh blood! Put them on your major books! The ship is sinking! History be damned!

Now. The above should not be interpreted as so much inchoate Marvel-bashing. (Just the fact that I’ve read these comics should tell you something.) They do, in fact, produce a number of very good books (just scroll down and see!) This is meant to suggest however, in the view of this lifelong fan and observer, that the master narrative (last time I’ll use the term, I promise) has been heading in an untenable overall direction for quite some time, and that those in charge (are they still called architects?) are ill-suited keepers of the flame.

So, does this mean that, once again, I’ve been disillusioned? That I’m about to give up my Wednesday habit a second time? Of course not. Having been reintroduced into the four-colored realm, I have surveyed the landscape. And I am excited by what I see. More than that; I’m convinced. The comic book medium has always had the same potential as any other narrative form (films, novels, television, etc.); that is to say, limitless. A casual glance will show that the sheer breadth of talent, diversity, subject matter (of which super heroes are an ever shrinking genre) and experimentation happening now (right NOW!) proves beyond any doubt that they are finally fulfilling that potential. It is my argument, my thesis, my conviction, that there has never been a better time to read comics. Saying you don’t like comics is like saying you don’t like movies. If you think they aren’t for you, you aren’t looking hard enough. A small sample of evidence:

Image Comics: currently the most exciting publisher around. Initially a boutique for a handful of superstars, their current mixture of established names and active scouring for new talent makes them comics’ equivalent of that cool indy music label (back when there were music labels) that is trend-setting by virtue of being fearless. Standout titles include the rollicking, sci-fi space opera, Saga by Brian K. Vaughan and Fiona Staples, and the neo-noir terror of Fatale by Ed Brubaker and Sean Phillips.

Not far behind is Oni Press, with its line of intriguing creator-owned work, such as Ted Naifeh’s moody, supernatural coming-of-age tale, Courtney Crumrin, and the laid-back, funky detective work found in Stumptown by Greg Rucka and Matthew Southworth.

Like a modern-day incarnation of Universal Studios from the 1930’s, Dark Horse Comics has a wide-ranging catalog, but their specialty is horror. And nobody does it better. The cornerstone of their house of horrors is Mike Mignola’s line of books (Hellboy, Baltimore, etc.) that combine a healthy respect for the history of the genre with the cold, unblinking eye of an auteur. They manage to feel classic and edgy at the same time.

The “ID” in IDW might well stand for “idiosyncratic”, as their eclectic range of titles include Roger Langridge’s retro, thoroughly excellent Popeye series as well as the Carrollian psychedelia of The Zaucer of Zilk by Brendan McCarthy and Al Ewing.

Dynamite Entertainment does some wonderful things with the heroes of yesteryear, whether they be of the pulp variety (the exuberant fun of Flash Gordon: Zeitgeist by Eric Trautmann and Daniel Indiro) or more historical in nature (Garth Ennis’ superlative Battlefields series; not only one of the best war comics ever, but also one of the best comics being produced right now, period.)

Speaking of history, Fantagraphics does truly commendable work reprinting the classics of funny pages past (Peanuts, Barnaby, etc). They also publish the funniest comic book on the planet, Michael Kupperman’s Tales Designed to Thrizzle.

How about something for the kiddies? kaboom! (BOOM!’s all-ages imprint) provides a healthy does of childlike wonder with the comic version of Adventure Time! as well as Roger Langridge’s (him again) inspired nonsense in Snarked!.

I haven’t even mentioned the rich world of graphic novels – not trade paperback collections of ongoing titles, but singular, literary works expressly conceived in the comic book medium. There just isn’t enough space to even scratch the surface of the wide array of practitioners of – oh, here’s three: Chris Ware, Alison Bechdel, and Jason Lutes. Go discover.

And, not to leave out the so-called Big Two: DC publishes some fine work, such as Brian Azzarello’s revisionist take on Wonder Woman and especially China Mieville’s nigh-undefinable Dial H. And finally, bringing things full circle, over at Marvel: Mark Waid’s award-winning run on Daredevil justly deserves the accolades it’s been receiving. And Brian Michael Bendis’ bold, risky choices on Ultimate Spider-Man have led to the introduction one of the most engaging new heroes in years, in young Miles Morales. (Hell, I’ll even cop to my excitement over one of the Marvel NOW! titles – Mike Allred drawing a goofy cast of B-listers in FF? Yes please.)

Marvel Comics will always hold a special place in my heart for igniting my love for the medium in the first place, and then again for bringing me back into the fold when I had strayed. And who knows? Perhaps their new initiative will produce some fun comics. But now, given the state of things as I continue to indulge my Wednesday habit, and peruse the embarrassment of riches that today’s comics have to offer (of which the above is only the smallest fraction), I am more likely than ever to say, “Marvel? Nah…”

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Back and Forth: Dialed In

10 Wednesday Oct 2012

Posted by ScottNerd in Back and Forth, Microviews

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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

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In Scott’s Bag (10/3)

05 Friday Oct 2012

Posted by ScottNerd in I&N Scott's Bag

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Action Comics, Adam Kubert, Animal Man, AvX, Brian Azzarello, Brian Michael Bendis, China Mieville, Daredevil: End of Days, David Mack, David Mazzucchelli, Dial H, Ed Brubaker, Fatale, Grant Morrison, Jason Aaron, Jeff Lemire, Klaus Janson, Lee Bermejo, Mateus Santoluoco, Rorschach, Scott Snyder, Sean Phillips, Steve Pugh, Swamp Thing, Travel Foreman, Yanick Paquette

This may be the first week where I left the store with everything I expected to leave with.  That’s right: if you’ve been keeping up, you know that means my bones and my skin were overridden.

Big Star

  • Action Comics #13 (I hope this isn’t just a mini-vacation for Travel Foreman.  Looks gorgeous.)
  • Animal Man #13 (What the heck happened to Hawkman?  Holy crap!  Does this mean Rob Liefeld is the avatar of the Rot?)

Animal Man #13 Cover

  • Swamp Thing #13 (The layouts look lovely.)

Twelve Inch

  • Dial H #5 (Cock-a-Hoop?  I gotta get me some of whatever Mieville’s taking.)

By the way: Hate–absolutely HATE!–the Arrow banner that cuts across the covers.

Limited Serious

  • Daredevil: End of Days #1 (I can’t imagine a reality in which I won’t like this.)

On a Short Leash

  • Fatale #8 (Needs to pick it up a bit–with a new twist or something; otherwise, it might get pulled off the pull-list.)

Shruggin’ So Hard I Pulled a Trap

  • Rorschach #2 (Might be an improvement over #1.  Might.)
  • AvX #12 (The Architects might’ve saved the best for la—  Sorry.  I can’t keep a straight face.  And that always prevents me from typing the word la—  Darn it.  Still soooo not straight.)

I’d say I can’t wait to get into ’em, but I am waiting–against my will, sure; but I’m waiting, nevertheless.  Hmm.  Maybe by using all this wait, maybe I’m losing wait.  I wonder what’ll happen when I lose it all.  No: I know: I’ll be terribly intolerable, which means I won’t have to go and buy new pants–’cause the old ones’ll fit just fine.

What did you get in your bag?

Turning pages,

Scott

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What’s Up?

02 Tuesday Oct 2012

Posted by ScottNerd in What's I&N Store?

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Action Comics, Animal Man, AvX, bag, Bill Sienkiewicz, Brian Azzarello, Brian Michael Bendis, Bumper Carla, China Mieville, comics, Daredevil: End of Days, David Mack, DC Comics, Dial H, Ed Brubaker, Fatale, Grant Morrison, Image, Jeff Lemire, Klaus Janson, Lee Bermejo, Marvel, reading, Rorschach, Rot World, Scott Snyder, Sean Phillips, Superman, Swamp Thing

I never thought I’d be so happy to see the number thirteen.  Though, come to think of it, this crop probably sported the best of the zeroes.

Lucky Me

  • Action Comics #13: Gettin’ chills just thinkin’ back to #0.
  • Animal Man #13: Rot.
  • Swamp Thing #13: World.

All the Tea in China

  • Dial H #5: How will Mieville top Bumper Carla?  Can he?

The Bendis Mack Show

  • Daredevil: End of Days #1: And Janson?  And Sienkiewicz?  Yes, please.

Daredevil: End of Days #1

The Squeeze

  • Fatale #8: Always a highlight of the week.

Every Bone in My Body Says, “No!”

  • Rorschach #2: If only for Lee Bermejo’s art–and to see if Azzarello drops yet another line worth turning into commentary about the whole Before Watchmen [misad]venture.
  • AvX #12: My skin is even joining in on this one.

I usually ignore my bones.  I have only myself to blame.

What are you looking forward to?

Turning pages,

Scott

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Back and Forth: A Stitch in Time

16 Sunday Sep 2012

Posted by ScottNerd in Back and Forth, Microviews

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Adam Glass, Alberto Ponticelli, AvX, Batman, Before Watchmen, Brian Azzarello, Butch Guice, Charles Dickens, Chris Bachalo, Chris Samnee, Comedian, Cyclops, Dark Horse, Dark Shadows, DC Comics, Dynamite Entertainment, Ed Brubaker, Frankenstein, Gene Ha, Greg Rucka, Guiu Vilanova, Hal Foster, Harbinger, IDW, J.G. Jones, James Robinson, Jason Aaron, Jeff Lemire, Lee Garbett, Mark Waid, Marvel, Mateus Santoluoco, Matt Kindt, Matthew Southworth, Mike Mignola, Mike Raight, Oni Press, Oscar Wilde, Prince Valiant, Professor X, Punk Rock Jesus, Rico Renzi, Robert Venditti, Rocketeer, Sandman, Sean Murphy, Stefano Gaudiano, Stumptown, Suicide Squad, The Shade, Valiant, William Shakespeare, Winter Soldier, Wolverine and the X-Men, X-O Manowar

Scott Carney: With a first page that leaves two-thirds of We3 in pieces on lab tables, Frankenstein: Agent of S.H.A.D.E. #0 skulks its way toward a violent origin, one that plays out–thanks to the way Frank is depicted–like the birth of a pre-Atomic Age Hulk.  What a fun book!  Just turn to page 11.  I know what you’re hearing while looking at that scurvy bunch: you’re hearing a salty Obi-Wan Kenobi say forcefully: “Mos Eisley spaceport. You will never find a more wretched hive of scum and villainy. We must be cautious.”  Glorious!  The rest of the story reads well enough.  Necessary comment: Kindt’s father-son showdown–an expected but wholly appropriate climax–makes the mutant patricide of AvX look pedestrian in execution.  Just sayin’.  And, come on: a Nazi robot spider?  That’s right up there with gorillas with guns.  I’d like to also celebrate Ponticelli’s cover, which is my favorite of the zeroes.  Every time I look at the damn thing, I feel like that sword’s gonna come down and cut off something I might need.

Frankenstein: Agent of S.H.A.D.E. #0 Cover

Derek Mainhart: Yeah that cover is really something. Best use of the whole “tearing through the page” conceit. For a book that initially seemed like it was going to be DC’s version of the Mike Mignola’s B.P.R.D., this title has really established itself as one of the most fun corners of the DCU. Jeff Lemire’s initial run was characterized  by  a wanton sense of absurdity, grounded (well, semi-grounded) by Frankenstein’s grave demeanor (pun intended!). Frank’s unwavering character anchored the stories allowing Lemire to introduce whatever wild sci-fi / horror tropes he could come up with. Matt Kindt’s run has continued in that vein but, in exploring the monster’s past, has introduced a level of pathos to the proceedings. This extra wrinkle, combined with Kindt’s refined appreciation of the ridiculous, have produced stories that thrill on a level that I would call epic, if “epics” didn’t take themselves so seriously. (To wit: your apt contrast of this with the “epic” AvX, which is simply awful. But that is perhaps grist for another discussion.) Alberto Ponticelli has visually really made this book his own. Some standout scenes, in addition to the ones you mentioned: page 6 as the freed mental inmates tear through the mansion past the Doctor’s poor sainted wife; and the palpable, kinetic action of the big fight scene in pages 17-20. I’ll be sad to see him go, as he moves over to Dial H (I’m also sorry to see Mateus Santoluoco leave that book). My one quibble about this issue was that it really should have ended at page 26, with the line “You can call me Father”. How apropos, no? The final two pages seemed tacked on for the benefit of new readers, I guess. Still, I’ll forgive it since those last pages include the aforementioned GIANT NAZI SPIDERS! Book of the Week.

A close second however was Rocketeer: Cargo of Doom #2 by Mark Waid and Chris Samnee (IDW). After a shaky first issue, Waid really seems to have found his footing here. There isn’t a wasted moment as the story propels from one improbable action scene to the next. Samnee draws a particularly effective sequence right away on pages 2-3 as the villain of the book is shown incapacitating the dangerous cargo of the title without revealing what the cargo actually is; a neat visual trick. Samnee’s visuals perfectly complement Waid’s retro tone, which is a gleeful combination of Indiana Jones, King Kong and perhaps a touch of Looney Tunes. Like Indy, its an homage to the propulsive movie serials of old, complete with the requisite, exquisitely unbelievable cliffhanger. Don’t miss it.

SC: I liked Winter Soldier #10, too.  Loved Guice’s layouts from the get-go; he gives stunning and shadowy life to the Widow’s unexpected awakening and to Jasper’s selfless final act.  Brubaker brings Captain America, Wolverine, and Hawkeye to Bucky’s side, creating a formidable cavalry to face down an increasingly formidable foe.  The romantic Parisian flashback, juxtaposing the rain and the pain, is tenderly rendered, and rounds out a seriously solid issue.  If this storyline  is Brubaker’s kiss goodbye to Marvel, it’s a French kiss, indeed.

DM: Big fan of Butch Guice’s artwork as well (this book has been blessed with some stellar artists), but this issue just seemed to be treading water to me. Brubaker spends the first nine pages rehashing events that the reader could have surmised from last issue (including a beloved SHEILD agent getting killed a la The Avengers movie). Then some expository dialogue explaining her brainwashing in more detail than is needed. And then the guest stars show up. (Wolverine seems kinda forced. Doesn’t he have enough to do?) It even ended on an awkward beat. Hopefully things will pick up next issue.

SC: Wouldn’t you know, with Wolverine and the X-Men #16, Aaron has pulled another one out of the Phoenix fire.  This time, he’s out of the damn crossover frying pan and into the Hellfire.  This Kilgore kid is bad-ass and has a killer back story to prove it–specifically a black and white one that Bachalo just absolutely blows up.  This is wicked fun that seems to be headed in the right direction–back to where it all started; back to what drew me to the book in the first place.

DM: Glad AvX didn’t ruin this book for you. (Did I mention it was awful?)

SC: The Shade #12 isn’t bad for a final issue.  Too often exceptional story arcs fall apart at the all-too-crucial end; but not this one.  Robinson mixes up some magic with an Oliver twist.  The art’s no joke: when the Scrooge-lookin’ Simon summons Scathach, Ha hits a high note driving the darkness into Dick.  Oh, I’m sure–well, I hope I’m sure–this isn’t the last we’ll see of the good Mr. Swift.  I mean, where else is Robinson going to shine but in The Shade?

DM: I’m going to miss The Shade. If the final two issues weren’t completely satisfying, it’s only because Robinson set the bar so high with the first ten. The roster of artists has been stellar, but the star of this series was the writing. Something about playing in the Starman universe seems to bring out the best in Mr. Robinson, and here we were treated to roguish imaginings in various eras filtered through the arched eyebrow of an Oscar Wilde dandy. Interesting that for this last issue the Shade’s teamed up with Charles Dickens. (It brought to mind the final issue of Sandman featuring William Shakespeare, right down to the lush period illustrations of Gene Ha.) My main quibble is that this didn’t feel like a last issue. The reintroduction of Simon Culp as his arch-nemesis, the mystery of why the goddess chose the Shade to receive his powers, the friendship with Dickens; all of these seem like plot threads of a series in mid-stride, not one that is winding down. Let’s hope you’re right and Robinson returns to this material soon. It’s the best stuff he’s written in years.

SC: The Valiant books were all right.  I wasn’t too impressed by the introduction of Ninjak in X-O Manowar #5.  But I did enjoy Aric’s arrogance; it reminds me so much of myself.  Harbinger #4 was a bit better with Pete’s almost losing Faith and then his really losing it over Joe.

DM: As someone who was, shall we say, less than enthused about the whole Valiant relaunch, I gotta say X-O is growing on me. I’m enjoying the artwork by Lee Garbett and Stefano Gaudiano (a touch of Hal Foster, no? A little Prince Valiant in Valiant?  Have I taken things too far?). And Robert Venditti’s tale of Roman slaves, time travel and pseudo-religious space invaders has never been less than a good time. (The grenade bit on page 12 alone was worth the price of admission)

SC: I may be done with Comedian after #3.  I may be nuts, too, but is there any doubt that Azzarello’s been dropping little hints about how he feels about this whole Before Watchmen venture.  The first hint pops up in Rorschach #1, when “Crime” tells Rorschach that he doesn’t quite live up to the myth.  Here, it’s not-so-hidden on pages 22-23, where Blake watches a dog take a dump on the sidewalk and then tosses a piece of crap at a police chief’s face.  Is it possible Azzarello’s not doing this on purpose?  Is it?  No, really, is it?

DM: Comedian was a bit of a letdown for me as well, though I think I liked it a little more than you. I enjoyed his moral ambivalence as he played all sides against each other simply because, well, he could. (And the art by J.G. Jones certainly doesn’t hurt.)  Having said that, I was disappointed that this is starting to read like an overly comprehensive flashback – “this happened, then this happened, then this, and so on” – an aspect that has been endemic in all of the Before Watchmen books. How about focusing in on just one compelling story and seeing what it reveals about the character?

SC: I am done with Suicide Squad after #0.  My soft spot for the book killed itself a few pages in.  That’s right: the Glass has finally cracked.  What a disaster.

Re: Batman #0: When does #13 come out?

DM: Yeah, what was the point of this issue again? After the laser-like focus and highwire tension of the Court of the Owls arc, this issue and the last one (which was better, a little) have meandered into territory that seems trivial at best. A lost opportunity for a zero issue.

To end on a high note I’d like to show some love to the following:

Stumptown: The Case of the Baby in the Velvet Case #1. (Oni Press) The title alone grabbed my attention. In his end piece, writer Greg Rucka extols the pleasures of the 70’s PI show, highlighting The Rockford Files. This first issue shares that show’s laconic tone and wry humor. No end-of-the-world stakes here. Just a seemingly routine mystery that begins with a missing guitar. Solid art by Matthew Southworth and Rico Renzi. Fans of detective fiction should check it out.

Dark Shadows #7. Speaking of the 70’s, Guiu Vilanova’s art, with it’s shaggy hair, handlebar mustaches and big-honkin’ police cars, captures the era of this book perfectly (This is a compliment. Really). Unlike the recent Tim Burton movie, writer Mike Raight, focuses less on the camp (which is inherent) and more on the horror. Fans of Dark Horse’s line of arcane horror books (Hellboy, et al.) should give this a try. Another solid book from Dynamite.

And finally, Punk Rock Jesus #3, the story of Christ’s second coming via cloning (story and art by Sean Murphy.) The art features a harsh, expressionistic (but never unreadable) line well-suited to its punk rock ethos. The character development and pacing may be a tad forced (I think this is Murphy’s first crack at writing), but this is more than made up for by the anarchic energy and send-up of modern society that the title so ably suggests. Definitely worth a look.

SC: Hmm.  You’re inspiring me to think outside my bag.  (I could hate you for it; but I don’t.  Not yet, anyway.)  Just when I thought it was safe to go back to the comic shop.

Turning pages,

Scott & Derek

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What’s Up?

12 Wednesday Sep 2012

Posted by ScottNerd in What's I&N Store?

≈ Leave a comment

Tags

AvX, bag, Batman, Brubaker, Comedian, comics, DC Comics, Fatale, Frankenstein, Image, James Robinson, Marvel, Samnee, Suicide Squad, The Rocketeer, The Shade, Valiant, Waid, Wednesday, Winter Soldier, Wolverine and the X-Men, X-O Manowar

I may need some help carrying my bag out of the shop this week.

More Than Zero

  • Batman #0
  • Frankenstein: Agent of S.H.A.D.E. #0
  • Suicide Squad #0: Not too sure how much longer I’m sticking with this.

Coo coo ca-choo, Mr. Robinson

  • The Shade #12: You will be missed.  A lot.

The Shade #12 Cover

Funny Business

  • Comedian #3: Dipped a bit after a stellar #1.  Hope it bounces back with a killer punchline.

Marvel Shrinky-Dinks

  • Winter Soldier #10: I’m still all twisted up after the last one.  Unwind me, dammit!  No!  What am I talking about?  Twist me some more!
  • Wolverine and the X-Men #16: Last one was a decent comeback after some terrible AvX tie-ins.

Fat Chance

  • Fatale #8: Brubaker’s baby, baby!  This cradle is most assuredly rockin’.

Soaring with Samnee

  • The Rocketeer: Cargo of Doom #2: The art was the highlight here–a very highlight.  In the stratosphere, even!

X-Oh Yeah!

  • X-O Manowar #5: Suits me just fine.
  • Harbinger #4: Quality, quality, quality.  Valiant’s got it in pspades.

Gee.  Is that it?  I’m gonna need a friggin’ hand truck.

How about you?  What’s gonna be in your bag tomorrow?

Turning pages,

Scott

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