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Tag Archives: Marvel NOW!

Back and Forth: Waid to Go!

06 Wednesday Mar 2013

Posted by ScottNerd in Back and Forth

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Brian K. Vaughan, Chris Samnee, Comixology, Daredevil, Fiona Staples, Gerry Alanguilan, Image Comics, Indestructible Hulk, James Brown, Leinil Francis Yu, Mark Waid, Marvel NOW!, Matt Kindt, Mind MGMT, Saga, Thrillbent

Derek Mainhart: Who woulda thunk it? A few months into the overblown hype-balloon that is Marvel NOW!(!!!!) and here we are about to sing the praises of not one, but two Marvel titles.

Scott Carney: Are we eating crow again?  How would you like that prepared?

DM: Not really. This particular peccadillo is perfectly understandable when you consider that the titles in question are both written by one Mr. Mark Waid. Care to start?

SC: Well, the Marvel NOW! Revolution has been, shall we say, less than revolutionary. But despite one awful X-book after another and four billion Avengers books, each less interesting than the next, Mr. Waid is single-handedly making mine Marvel again.

This week, for instance, Daredevil #23 opens up brilliantly, with a scene that Waid develops so effortlessly that it seems like this is exactly where we’ve been headed ever since Murdock first donned the double-d.  And to let Matt lead us by the arm from panel to panel, page to page, even past the point where we know something’s up, is a stroke of genius–a one-in-a-million, not unlike the circumstances that prove so elusive to the mysterious–and presumed–mastermind behind the toxic attempts to create a DD doppelganger, of sorts.

DM: Waid had a wonderful way –

SC: Say that three times fast!

DM: – of taking the familiar and making it seem new. You’re right about that opening sequence; DD’s well-known origin is told in a manner that is not only incredibly inventive, but also manages to advance the overall arc of the series.

SC: From there, it’s a rollicking good time–even with a hint of mortality in the midst of it all–with a soon-to-be classic Chris Samnee splash setting off a strikingly intimate sequence between ol’ Hornhead and his pudgy pal, Foggy.

DM: The Chrysler Building’s never looked better.

SC: Despite the visuals changing hands a few times on this title, Samnee really owns the art side of Daredevil at this point. He takes full advantage of the opportunity to put the protagonist through his paces–as he’s done so expertly, issue after issue, with issue #19 as a spotty (in a good way) standout–as Waid whips out a horde of hypersensitive newborn daredemons, who prove no match for the man who has had a lifetime to make the best of his chemically-cast curse.  The intensity of the fight scene–again, its outcome never really in doubt—is pumped up to a palpable level by DD’s having to struggle with another–in this case intangible–antagonist: time.  See, prior to the fracas at the fundraiser, he promised Foggy he’d meet him at the doctor’s office; and we’re left hoping, wondering if, even in victory, Matt will let his friend down again, as he had–even if inadvertently–during the Coyote arc.  And while Matt does fulfill his promise, allowing us to breathe easier, if only for a moment, he’s left powerless–despite his superhuman skill set–against the crushing news to come, its deadly delivery amplified by our hero’s hopeful misinterpretation of the heartbeat, which, in the end, leaves him and his best friend heartbreakingly beaten.

DM: Again, Waid takes a well-worn cliche – the doctor bearing bad news – and puts a spin on it that feels completely fresh and organic within DD’s universe.

SC: And that’s only half of it!  Now, four books into Indestructible Hulk, it’s clear that Waid knows how to handle the Big Green Guy; Number 4 is yet another muscled-up example of Waid’s superior vision: by highlighting the man, he’s getting more mileage out of the monster.  And, on a selfish note: I love, love, love the tack taken with Banner!  Wouldn’t you know: it seems I sold Waid short.  Ends up, he’s not just building a House (a glorious homage to the late, great Dr. Gregory House–in all his manipulative, wisecracking glory–and his white-coat coterie: an eager yet exasperated team of young experts and one seriously sexy supervisor); he’s building a goshdarn mansion–with plenty of room for the “mightiest creature…on Earth” to thrash about without too much damage.  To the story, anyway.  If I’m being honest, I kind of shut it down once Banner Hulks out.  In fact, the weight of the final splash is pretty well lost on me (despite Leinil Yu’s and Gerry Alanguilan’s impressive art). I just don’t feel for the Hulk–he’s indestructible, for goodness sake!–the same way I do for Foggy.  Know what I mean?  But it’s a natural flaw in the character, one that necessarily can’t be done away with–one I hope isn’t done away with; because plugging up that hole would mean poking one in his more relatable alter-ego–the one who is, for me, anyway, the star of this smashing show.

DM: Between these two titles, and the plethora of other projects he’s taken on (including his industry-leading experiments on Thrillbent), Mark Waid is the comic industry’s James Brown: not only the Hardest Working Man in Show Business, he may also be the best.

SC: That’s gotta be the first time anyone’s compared Mark Waid to James Brown. Moving on, who woulda thunk this: my hands-down favorite, Matt Kindt’s mind-bogglingly good Mind MGMT #8 came out this week and the only other book I want to talk about is Saga #10 (Image).  Saga?  Yeah, that’s right: I’m finally on board–full time.  And I have you to thank, sir, for your continued celebration of Vaughn and Staples’ astounding epic.

DM: I do what I can.

SC: See, I tried it back in the day, even if only on Comixology.  I thought it was OK enough to read through #4.  At that point, I was turned off–if I’m remembering correctly–by the whole Sextillion pit stop.  At least that’s why I think I kinda gave up on it.  Well, I saw #10 on the shelf at one of my shops; and I figured, if I’m willing to drop $3.99 on underwhelming books like the All-New and Uncanny X-titles, I might as well invest $2.99 on a book that readers rave about on a monthly basis.  So, I picked it up, knowing that I’d have to click back over to Comixology in order to play catch up.  And catch up I did: I read #5-#9 before reading anything else from my big ol’ Wednesday haul.  The result: I was hooked.  Hooked!  There is something absolutely magical about this book; and #10 simply cemented the fact.  What an issue.  What an experience!  Vaughn exhibits such masterful control over his characters that they seem so very real.  Every utterance is perfectly tuned to its utterer.  Every expression, every gesture, as rendered by Staples, breathe life into the lovers–especially in the bit of back story to kick things off; and here I am, sucked into their plight something fierce and, as a result, left vulnerable to Vaughn’s terrifically-timed twists.

DM: Exactly. I’ve written before about the breadth and fertility of Vaughn’s imagination, but just as impressive is his sense of pacing. His transitions are wonderful. From that first page that literally invites the reader into the story, we are expertly guided through lyrical non sequiturs; text contrasting with images lending greater depth to both – nowhere so powerfully than at the very end, highlighting that other Vaughn trademark: the plot twist / cliffhanger.

SC: I mean, talk about collateral damage.  The last three pages?  Remarkable.  Hazel’s narration, insinuated smartly, builds toward the final page turn with stunning subtlety, even as The Will’s ship shatters around it.  Speaking of shattering: turn to that final page and tell me your heart didn’t break into sextillion pieces.  Yeah, tell me that, and you’d be lying through your canines.  I’ll tell you what isn’t a lie: I’m on this one for good.  And, again, I have you to thank; so, thanks, pal. Book of the Week.

DM: Ok, fine, I’ll give Mind MGMT another look. Geez…

Turning pages,

Scott & Derek

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Top 5 Comics – Jan 2013

06 Wednesday Feb 2013

Posted by dmainhart in 5 Comics You Should Be Reading

≈ 1 Comment

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Abstract Studio, Alfred Hitchcock, Bravest Warriors, Dan Slott, Dark Horse, Ed Brubaker, Fatale, Fury: My War Gone By, Garth Ennis, Goran Parlov, H.P. Lovecraft, Image, Joey Comeau, kaboom!, Marvel Max, Marvel NOW!, Matt Kindt, Mike Holmes, Mind MGMT, Rachel Rising, Ryan Pequin, Ryan Stegman, Sean Phillips, Superior Spider-Man, Terry Moore

Preeeesenting the Top Five Comics of the new year! Top Five according to what criteria you may ask? Sales? Nope. Democratic process? Hell no! Blindfolded monkey? Interesting! Maybe in the future.  But for now these are simply the books that tickled our fancy the most in the past 31 days. And while our reading list is impressive, it is by no means exhaustive. in other words, these are the Purely Subjective Favorites of the Books We Happened to Read. But Top 5 sounds better!

In reverse order, ’cause countdowns are fun:

5. Bravest Warriors #4 (kaboom!) – Our heroes get humiliated, decapitated and degraded, as their lifeless skulls are used to put on a puppet show. And that’s just the first five pages! Joey Comeau and Mike Holmes continue to dole out the delightful depravity. And the back up feature by Ryan Pequin: oh, what have you done to our most beloved Founding Father? I’ve said it before and i’ll say it again: despite its trappings, this comic ain’t for kids. But it is most certainly for me. (DM)

4. Fury My War Gone By #8 (Marvel) – Garth Ennis has struck gold with this series–our No. 9 book of 2012; and with #8, he digs even deeper and strikes, well, golder with a violent chorus of well-tuned voices and a series of choices that burns hotter than napalm. (SC)

3. Rachel Rising #13 (Abstract Studio) – Terry Moore’s charnel epic heats up as revenge most heinous is set in motion, even as the narrative takes a time-out for a fairy tale. Suspense, dark humor and semi-dead vixens in beautiful black and white. This comic is so cool it burns. (DM)

2. Mind MGMT #7 (Dark Horse) – Who’s doing more between the covers than Matt Kindt?  He’s a one-man creation crew with clear vision and the enviable ability to convey it–and all its wondrous complexity–with scintillating precision.  And he knows he’s good, too: at the end of this issue, through Henry Lyme, who makes a promise to Meru, Kindt makes a solemn promise to his readers, me and you: “You’re going to get a hell of a good story.”  I’d expect nothing less!  That’s right, folks: our #3 book of 2012 is already staking its claim for the top spot of 2013. (SC)

1. Fatale #11 (Image) – No surprise that our No. 5 book of 2012 leapfrogs to the top spot this month. Ed Brubaker has been putting on a clinic of genre writing with this series, from 50’s noir to 70’s sleaze, and all with an undercurrent of Lovecraftian dread. This issue gives a nod to the pulp origins of our favorite medium, presenting a tale-within-a-tale involving occult shenanigans in the Old West. And what the hell? Frame it in Hitchcockian suspense for good measure. Sean Phillips has proven adept at keeping the tone deadly steady with his art, no matter what Brubaker throws at him. This one’s firing on all cylinders folks. Time to hop on board. (DM)

The Biggest Dis(appointment): Superior Spider-Man #2 (Marvel) – Give up the ghost, already.

So that’s our list folks! What’s yours?

Scott & Derek

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Back and Forth: Infernal Affairs

26 Saturday Jan 2013

Posted by ScottNerd in Back and Forth

≈ 1 Comment

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Abstract Studio, Alan Moore, Alberto Ponticelli, Batman, Brian Michael Bendis, Charles Perrault, Chris Samnee, Court of Owls, DC Comics, Death of the Family, Devil, Dial H, FCO Plascencia, Frankenstein: Agent of S.H.A.D.E., Greg Capullo, House, Indestructible Hulk, Jeff Lemire, Jock, Jonathan Glapion, Justice League Dark, Leinil Francis Yu, Lilith, manga, Mark Waid, Marvel, Marvel NOW!, Matt Kindt, Rachel Rising, Scott Snyder, Sleeping Beauty, Strangers in Paradise, Sweet Tooth, Terry Moore, The Killing Joke, The New 52, Ultimate Spider-Man

Batman #16 Cover

Scott Carney: I kinda feel like I’m about to break the law or punch my ticket to hell or something with what I’m about to say about Batman #16 (DC); but I’m going to say it anyway because it’s my honest-to-goodness opinion, and that’s what Images and Nerds is all about; so here it goes: dude, I ain’t feelin’ it.  And what I am feeling–if this qualifies as a feeling–feels forced, kind of like “How can I take a character who is so far over the top by nature–and by cinematic nurture–that even he can’t see the top anymore and make him over-the-top-er?”  Maybe it has nothing to do with Snyder’s storyline at all.  Maybe it has nothing to do with his take on the Joker.  Maybe it has everything to do with the over-the-top expectations–especially after the revelation that was The Court of Owls arc.  Well, whatever it is, Death of the Family has been decidedly underwhelming.  This issue, in particular, seems to be all about the shock value–and knowingly so–all the way to the electrifying final panel of the story proper, where Batman plays the role of a Tesla plasma lamp.  (He sat so quickly that he must have a trick up his sleeve–or rubber drawers on.  I’m leaning toward the latter; I mean, you know he’s prepared for this; he had amazingly absorbent balls in his belt, apparently, which he used to rescue the Arkham Asylum Dancers.  By the way: I did like the dancers, so it wasn’t a total disappointment!)  How does Batman get there in the first place?  Simple: he fights his way through a bunch of armed inmates over the course of three less-than-spectacular–more so muddled and surprisingly, for Greg Capullo, meager–pages; he “RRRAAAAAHHHH”s his way past a royally horrific–in concept, but, sadly, not in execution–tapestry depicting a history of Bat-tragedies and comprised of, umm, well, people sporting PEG-tubes, which is clearly meant to ratchet up the creepiness, all of them stitched together by the Dollman and rendered–ironically–lifelessly by Capullo and–to be fair–inker Jonathan Glapion and colorist FCO Plascencia, who collectively fail to provide the “pop” as promised while the Joker waxes nostalgic about his equal parts woeful and awful living “love letter” to Batman; he walks through three Rogues (Mr. Freeze, Clayface, and Scarecrow) with ridiculous–almost pointless–ease, as if he’s being guided expertly by some geek through yet another level in some Batman/Arkham video game, and knocking off sub-bosses on his way to the final boss, the Joker, who is flanked, unnecessarily, as it turns, by three more anemic antagonists: the Penguin, the Riddler, and Two-Face; he seems to lose his will to live after watching video footage of the members of the Bat-family getting their Bat-butts handed to them; and, finally–maybe even mercifully–he sits.  Yup: that’s how it goes; and I couldn’t care less–especially since the back-up story just inexplicably continues the primary story, but with a co-writer and a different artist, who nudge the hanger back up onto the cliff for a few pages, only to confuse him by offering him another chance to test his grip.  Oh no!  What’s under the cloche?  Come on: does it really matter what’s on the platter?  Credit where credit is due: Jock’s Joker is exceedingly more terrifying than Capullo’s; and, wouldn’t you know, the story’s undeniably better, perhaps thanks to James Tynion IV’s hand in the telling.  That ain’t how it should be, but that’s how it is.  And here’s another “how it is”: as good as Owls was, its end was pretty darned awful.  So, color my expectations low for the conclusion of this claptrap.

Phew.  OK, well, I guess I’m ready for the comic Geekstapo to come cuff me and cart me away.

Derek Mainhart: Yeah, I’m completely with you here. The whole point of this seems to be Snyder turning the Joker dial up to 11. Between the human tapestry bit (which I was even less impressed with; what’re we, drawing inspiration from Human Centipede now?) and the goofy Bat-gadgets for every occasion, this whole exercise is steering dangerously close to camp. This makes Alan Moore’s The Killing Joke (its claim to definitive Joker story still unchallenged) seem positively restrained by comparison. (Perhaps such comparisons are unfair, but when your publicity machine ramps up expectations this high, they’re inevitable.)

Frankenstein: Agent of S.H.A.D.E. #16 (DC): Now here’s a book that could’ve used some publicity. (Hey, we tried.) This comic is not only the latest casualty of the New 52, but also the second Jeff Lemire-related book we’ve lost in the last couple of weeks (after the elegaic Sweet Tooth). If you wanted over-the-top action mixed with a generous amount of high camp, then this book was for you (emphasis on “was“). Series writer Matt Kindt (like Lemire, an emigre from the indy world) brought a distinct, knowing sensibility to the proceedings; this was well-orchestrated chaos. That being said, this issue seemed a bit of a rush; understandable given that it’s the final issue. Still, Kindt gives fans of the book everything they’ve come to expect: arcane conspiracies, outlandish tech with ridiculous acronyms (B.I.G.F.O.O.T. – you’ll have to read it), explosive violence, and wading through it all, the tragicomic figure of Frank, equal parts determination and reluctance. Kindt frames the story from the point of view of a garden variety secret agent from Homeland Security who witnesses Frank and his fellow monsters wreak havoc upon his well-laid plans. At first I thought this was annoying, even superfluous, taking away precious space in what is, after all, a last issue. Then, at the end, said agent submits his account of the action to his superiors. They recommend he take a leave of absence. Further, they inform him they will be editing his report because it is too “…insane”. Could this be sly commentary on the book’s premature cancellation? Either way I’m saddened that this ragtag misfit of a book, like Frankenstein himself, couldn’t find a place in the world. I’ll miss Alberto Ponticelli’s visceral renditions of viscera. I’m glad to see him on Dial H, a book even odder and better than this one. I hope it doesn’t soon suffer the same fate.

Goodbye Frankenstein!

Goodbye Frankenstein!

SC: Yeah, this is a major loss–not just because we’re losing a consistently clever book, but because we’re also losing another forum for the considerable talents of Matt Kindt.  Was I happy with this hastily-stitched-together goodbye?  Not really.  While I liked Frank’s matter-of-fact well-timed bomb–“That’s why I brought explosives”– and a depressed Frank’s knowing countenance as carved out by Ponticelli in the first panel of page 11, I was put off–as you were initially, anyway–by the insinuation of Agent Martin.  Unfortunately, unlike you, I wasn’t able to analyze my way toward any sort of appreciation.  But, ultimately, that’s my fault and my right, right?

DM: Or maybe you’re just lazy.

SC: Luckily, Frankenstein, the character, isn’t suffering the same fate as the monthly that carried his name: according to Lemire, he’ll be a part of the “core” four of Justice League Dark.  So, in a way, he’s Hrrm-ing his way home.

DM: JLD? Color me less than excited.

SC: But if you like your heroes big and green, they don’t come much bigger or greener than the big green guy in Indestructible Hulk #3 (Marvel).  What a smash hit this series has been through its first three issues!  Looks like Mark Waid has found another perfect partner in Leinil Yu.  But while Chris Samnee, Waid’s daring better half on DD, finds success in humorous subtlety, Yu is all about power–both the potential for and the expression of.  The Hulk’s rage has never been captured as well as when Yu unleashes it in massive splashes–in this case, two ridiculously outrageous splashes: one, page 13, will be a classic rendering of S.H.I.E.L.D.’s newest W.M.D.; and two, page 23, Hulk’s Shining moment: Heeeeeere’s Hulkie!  Great stuff.  But that’s all fluff compared to my favorite part of the book: I mean, I could be wrong, but it looks like Waid’s taking a page from the prescription pad of television’s recently retired Dr. House.  By building a team of quirky scientists around Banner, Waid is, like Yu, playing with potential: the door is now open for witty dialogue–one of Waid’s strengths–and complex human interaction, which will most assuredly balance out–or, more likely, outclass–the inevitable monster moments that may tend to ring hollow no matter how spectacular the visuals are.  (See Bendis’s Miles-heavy issues of Ultimate Spider-Man for the ultimate example of  secret identities besting their costumed alter-egos when it comes to compelling narratives.)  And even though the final few panels petered out with an all-too-familiar–and much too goofy–punch to the gob of R.O.B.–a silly Skeets wannabe and instantly obsolete version of a monitoring device assigned to Banner–this is the superhero book I’m most excited about right now.  

Indestructible Hulk #3 Cover

Indestructible Hulk #3 Cover

DM: From superheroes to the supernatural: Rachel Rising #13 (Abstract Studio).  Okay, so I’m late to this party. But I’ve been hearing the accolades (not to mention your constant badgering, Scott), so I gave in and picked up the first trade. Then the second. And now I’m picking up the single issues, such is my craving for this unholy thing. And unholy really is the word. Creator Terry Moore (of Strangers in Paradise fame) has concocted an intoxicating brew of simmering supernatural suspense set against the seemingly quaint town of (the tellingly named) Manson. The story follows Rachel, a young woman who was recently murdered, and who has since, inexplicably, risen from the grave. Not quite alive, not quite dead, Rachel searches for answers behind her death and current state. She doesn’t have to search very far though, because the answers are also looking for her.

The story has a leisurely, atmospheric pace, with entire passages told wordlessly, that owes something to manga. But the narrative itself is firmly rooted in Americana. Rachel’s predicament has some connection to horrific witch trials that took place in Manson 300 years past. Biblical figures (who often play an outsize role in the American imagination) such as the Devil (or a devil) and Lilith are invoked. And then there’s that most American of fiends (judging from TV and movies), the serial killer.

The current issue (13, how apropos) widens the scope of the mythology with the inclusion of Charles Perrault and the “true” story of Sleeping Beauty (you’ll never look at the fairy tale the same way again). Meanwhile Lilith’s dread agents begin putting  her nasty plan for the town in motion, in revenge for the witch trials. The reader may ask, as Rachel does in an earlier issue, what relevance could such long ago events have on the present? In fact, one of Moore’s themes is the insidious way acts of violence reverberate down through history. Furthermore, the type of violence he’s exploring is specifically, intimately, brutally, violence against women. Just a cursory glance at our world of honor killings and gang rape will show that this theme could hardly have more currency.

Sound too heavy? In lesser hands it might be. But Moore displays a light touch; first in his art, with its delicate interplay of line and texture, positive and negative space, and perfectly balanced use of black and white (I wouldn’t want to see a color version of this book). And, just as importantly, in the relationships of his characters: the warmth, resiliency and wry humor of Rachel’s makeshift family, so reminiscent of Strangers in Paradise, offers a refreshing, necessary tonic to all of the awful things that happen to them.

As I said, I’m late to this party. But, as Rachel herself is ample proof of, better late than never. Needless to say, Book of the Week. And one of the best books being published period.

Rachel Rising #13 Cover

Turning pages,

Scott & Derek

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Back and Forth: The More Things Change…

18 Friday Jan 2013

Posted by ScottNerd in Back and Forth

≈ 3 Comments

Tags

A.I. Artificial Intelligence, Ales Kot, Amazing Spider-Man, Animal Man, Archer & Armstrong, beat poetry, Bloodshot, Change, Chris Eliopoulos, Cormac McCarthy, Dan Slott, DC Comics, Essex County, H.P. Lovecraft, Harbinger, I Am Legend, Image, Jeff Lemire, Jose Villarrubia, Justin Jordan, Lily Tomlin, Marvel NOW!, Morgan Jeske, New 52, On the Road, Patrick Zircher, Rotworld, Ryan Stegman, Scott Snyder, Shadowman, Steve Martin, Superior Spider-Man, Swamp Thing, Sweet Tooth, The Road, The Underwater Welder, The Walking Dead, Valiant, Vertigo, Watchmen, X-O Manowar, Y: The Last Man, Yanick Paquette

(From On the Road to The Road in one comic review? Read on…)

Scott Carney: Two pages in, I knew that Change #2 (Image) would be my favorite book of the week. This trippy little thing is big on bouncing to the beat of an earlier generation. Oh, we’re on a road, all right; I’m just not entirely sure where that road–or where writer Ales Kot–is taking us, and I’m pretty sure that Google Maps isn’t going to help me.  And, you know what? That aspect, which could easily be a deal breaker, is actually one of the endearing qualities of this enigmatic issue–along with the poetry that pulses like poisoned blood through the veins of the sharply shifting vignettes, which all lead back, apparently, to the newly-revealed lungs of the book: New Atlantis. Another draw comes in the form of the fresh characters, whom I still hardly know two issues into the series, but about whom I care more than the hopeless heroes of of the Avengers Arena and more than the trite assemblage of assassins in the frivolous Thunderbolts.  (Each of those NOW! titles is now a THEN!  That’s right: El Droppo.  Would you say I’ve dropped a plethora of books?)  Sure, yeah, I felt lost; but isn’t that what I’m supposed to feel?  (Isn’t that what the characters feel?)  Damn it!  Isn’t that what I want?  Isn’t that what I’m paying for?  For an escape from the grind?  For a change of pace?  Appropriately, “YESSSSssss.”

Derek Mainhart: I agree that this is one idiosyncratic little book. The analogy you make to beat poetry is good one; this book has an evocative, rambling cadence that seems as much the point as the actual events that take place (whatever they are). The experience of reading an experimental, seemingly stream-of-conscious work like this can be an engaging, highly personal one. Like beat poetry, I appreciate the unorthodox immediacy of it (not to mention Morgan Jeske’s Paul Pope-inflected artwork). But it is simply not my groove. (Or maybe between this, Fatale and Locke and Key, I’ve just reached my quotient of Lovecraft-inspired comics.)

The Superior Spider-Man #1 (Marvel)

Speaking of change, this was billed as a BIG one. As regular readers are aware, I’m among those who are appalled by Spidey’s recent history. So when the rumors started flying about this book’s premise, I started picking up Amazing Spider-Man again for the first time in years. And I have to say, I was intrigued by Dan Slott’s story: having ol’ Doc Ock mind-swap with Peter Parker, then letting Parker die in Ock’s enfeebled body did, in fact, feel like a shake-up of the status quo. Letting a megalomaniac muck about in the life of an icon seemed to have potential (It says volumes about the mess Marvel’s made of Peter Parker that killing him could actually improve the book). So I was on board. And for the first twenty-one pages I was not disappointed (SPOILERS!): Doctor Spider-Pus fighting the new Sinister Six, not so much out of moral obligation but because he’s indignant that they’re sullying his legacy. Then, in true supervillain fashion, he defeats them by leading them into a meticulously prepared, elaborate deathtrap. With great ego, it would seem, comes great responsibility. That ego is again on display in a scene in which the brilliant Doctor starts fraying at the edges with the knowledge that all of his future accomplishments will be credited to Peter. And finally, in the best sequence in the book, Otto Parktavius goes on a date with Petey’s beloved Mary Jane. In a hilarious tour de lettering, Otto’s self-absorbed narration is “pasted” over MJ’s dialogue while he blithely ogles her (I assume this was Slott’s decision, but kudos to letterer Chris Eliopoulos anyway for an effect I’ve never quite seen before).  Ryan Stegman’s aggressive artwork, all sharp angles, blocky shadows and speed-lines, perfectly matched the irreverent tone of a story that held the promise of deconstructing super-hero tropes by turning them on their head (not that this is Watchmen or anything, but there is a gleeful audacity in doing this sort of thing to Spider-Man).

And then page twenty-two. Who should show up to ruin the fun? Why, Peter Parker of course! (or his ghost, or whatevyawn…) Now, I’m not naive; we’re talking about a super-hero comic. Of course Peter’s coming back. Nobody stays dead, silly! But so soon? The first issue of the much hoopla-ed big change? Maybe it was Slott’s plan all along, but this reeks of corporate hand-wringing: God forbid Peter Parker doesn’t appear in a Spider-Man comic for even one issue. (Slott even goes to the extent of having Petey verbalize the Game Plan: “I am Peter Parker. And I swear I will find a way BACK!“) Never mind that this retroactively robs AMS #700 of even the illusion of poignancy less than a month after its publication; in one fell swoop, an edgy, promising, even satirical premise has been rendered safe, predictable and pedestrian – the very opposite of a change in status quo. I, for one, am not looking forward to watching Peter play Lily Tomlin to Otto’s Steve Martin. (Name That Reference! Win a prize!) I haven’t been this deflated by an ending since A.I. Artificial Intelligence.

SC:  Yeah.  Me, too!  No, really: you took the web right out of my shooter.  But I–may I vent?  Come on!  They couldn’t’ve given us three issues–just three issues!–to savor this stroke of genius.  No, sir!  Gosh, I wish I were a spider on the wall during the pitches and the planning and any of the other processes that led to–to–this!  I mean, seriously: was this Slott’s plan all along?  Was there some directive from on high to not let this linger too long?  I’ll tell you what I wasn’t thinking after reading the page that shall remain numberless: Oh boy, I can’t wait to see how Peter comes back!  So, yeah, it’s quite possible that as quickly as they won me over, they’ve lost me.  I’m not too sure how far I’ll follow this not-so-superior turn.

OK, then, well, really speaking of change (you’d think it’s a theme or something): a big change is coming for one of our favorite titles.  And, it’s a bag-shattering change, too.  That’s right: Scott Snyder’s almost done with his run on Swamp Thing (DC); so I guess that means I’m almost done with my run, too.  Aye, and it was a good one.

DM: Yeah, talk about change you can’t believe in. It really is a shame; with issue 16, Snyder has recaptured some of the aura of the first year of the book. The extended build-up to the current Rotworld storyline distinguished itself with a steady baseline of unease, intermittently punctuated by surreal spasms of horror (especially when rendered with skin-crawling effectiveness by sometimes-series artist, Yanick Paquette). The series began to lose a little mojo with the introduction of Anton Arcane as the villain of the piece. The terror went from chillingly existential to almost cartoonish super-villainy (Anton would twirl his mustache if he had a face.) When Rotworld kicked into high gear a few months ago, the book seemed to further strain under the expectations of “epic” storytelling. But here Snyder once again hits his stride with a tale split between the struggle of the past to prevent the nightmarish present. The two strands also serve as emotional counterpoint, traversing the oh-so-short distance between hope and despair. In the (alternate?) present, Swamp Thing valiantly struggles to save, not the world, nor reality itself, but the only thing that matters to him in the end; his love, Abigail. More’s the pity then that Abigail’s quest in the past seemingly renders Swampy’s  heroics utterly futile. This is the stuff of tragedy–and of terror: without giving too much away, let’s just say that when Snyder promises a shock (unlike Superior Spider-Man), he doesn’t back down.

Only two more issues of Snyder and Paquette? Now that’s tragic.

SC: Hell yeah it is!  But, come on: do you really think Abigail’s gone for good?  I have a sneaky suspicion that Mr. Thing is going to use some of his bio-restorative formula to bring her back to life–to some form of life, maybe even as a Swamp Thingess.  That’d be a fitting finale, wouldn’t it: another out-of-step ending for the otherwise superior Scott Snyder.  (See the end of his Batman: Court of Owls arc if you don’t believe me.)

Moving on, I’m willing to admit it: I’ve changed my mind about Shadowman (Valiant) with #3.  A little background: I don’t have any background with Shadowman as a book or as a character.  I figured I’d give it a whirl since Valiant’s revamp was 4-for-4 with two home runs (Archer & Armstrong and Harbinger) and two triples (X-O Manowar and Bloodshot).  The first issue really didn’t do it for me, and I pretty much called it quits there.  Then, during a trip to a more well-stocked shop than my home base, I saw #2 and decided to pick it up because I had a few bucks left over.  (Yeah, I’m still working on the whole willpower thing.  Getting better, though!)  I still wasn’t too taken by it.  Flash forward to another trip to my shop on the side: the proprietor offered up #3 as one of his favorite covers of the week.  Yup.  That was enough for me.  And wouldn’t you know: I really liked it: I finally bought Mr. Twist as a terrifying villain.  I dug the descent into the Deadside; more specifically I was taken–along with Jack–by Jaunty, the talking monkey with the sweet hat and the sweeter Cajun ‘tude.  I appreciated the obvious allusion to King Arthur: Jack, in this case recognizing his responsibility, his destiny, draws the scythe from the shadow and becomes the new Shadowman.  And with that, Justin Jordan and Patrick Zircher have earned a new Shadowfan.  Bring on the big baddie: bring on Master Darque!

DM: And finally (and finally), Sweet Tooth #40 (DC/Vertigo), a book that’s all about change. Throughout it’s run this book has always seemed an odd, at times ill-fitting addition to the post-apocalyptic literary landscape. Jeff Lemire’s take on the end of man seemed to lack the visceral drive of The Walking Dead, the gravitas of I Am Legend, or the pointed political commentary of Y: The Last Man (to name but a few well-known exemplars of the genre). The story seemed to have a narrow focus: the young hybrid boy/deer, Gus and his grizzled protector, Jepperd fight to survive against malevolent pursuers, endlessly chasing them through the woods, determined to discover the mystery of Gus’ creation and, they hope, the key to mankind’s survival. And though the cast expanded, the scope of the narrative was never itself expansive in the way stories like this generally are. The same, however, cannot be said of the art. Nobody does desolate landscapes like Lemire (praise must also be heaped upon series colorist par excellence, Jose Villarrubia, he of the muted earth tones and washed out firmament). The setting and spare nature of much of the writing created a lyrical tone of atmosphere and ache. This restrained aesthetic, which is Lemire at his best (see Essex County) is ultimately what separates this book from the rest of the genre. In fact, with its devotion to craft, the work it most resembles is perhaps Cormac McCarthy’s The Road. Both are about fathers and sons (a recurring theme in Lemire’s work, from The Underwater Welder to Animal Man). And both find hope in the passing of the torch to the next generation. But whereas McCarthy’s hope is a flickering candle in unremittant darkness, Lemire’s is a bonfire of celebration. Though the territory covered by the series may not have broad, this generous, and alas, final issue is expansive in perhaps its most important measure: its heart. Book of the Week. Good Night, Sweet Tooth.

Sweet Tooth #40 Cover

Sweet Tooth #40 Cover

Turning pages,

Scott and Derek

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Back and Forth: The Empire Strikes Back

03 Monday Dec 2012

Posted by dmainhart in Back and Forth

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

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

Derek Mainhart: (grumble)

SC: Holiday blues?

DM: …no…

SC: That thing flaring up again?

DM: What? No! Shut up!

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

DM: I don’t wanna talk about it.

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

DM: (grumble)

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

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

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

DM:…ggrrrrrr…

SC: –a Marvel NOW! book–

DM: (choking sound)

SC: —Indestructible Hulk #1.

Indestructible Hulk #1 Cover

Indestructible Hulk #1 Cover

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

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

DM: Dear Lord…

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

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

DM: No!

SC: Are you sure?

DM: NO! Wait – I mean, YES!

SC: Come on….

DM: Don’t make me!

SC: It’ll only hurt for a second….

DM: (resigned sigh) …fine.

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

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

SC: That high? 97% maybe?…

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

SC: Was it the large, metal tentacles?

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

SC: Your eye’s twitching.

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

SC: See, was that so –

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

SC: Like you.

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

SC: Eight legs?

DM: oh dear…

SC: Or should it be tentacles?

DM: Are you finished?

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

DM: Please don’t.

SC: Octopussy!

DM: I’m so very sorry.

SC: I’m not!

Turning pages,

Scott & Derek

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MARVEL: NO!

24 Saturday Nov 2012

Posted by dmainhart in Uncategorized

≈ 8 Comments

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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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What’s Up?

20 Tuesday Nov 2012

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

≈ Leave a comment

Tags

Batwoman, Brian Azzarello, Brian Michael Bendis, Captain America, Chris Samnee, Cliff Chiang, Clone, Comeback, Daredevil, David Schulner, David Walker, Duane Swierczynski, Ed Brisson, Harbinger, Indestructible Hulk, J.H. Williams III, Jason Aaron, John Romita, Joshua Dysart, Jr., Juan Jose Ryp, Judge Dredd, Lee Garbett, Leinil Francis Yu, Mark Waid, Marvel NOW!, Michael Walsh, Mike Norton, Nelson Daniel, Nick Bradshaw, Number 13, Paul Gulacy, Philippe Briones, Revival, Rick Remender, Robert Love, Robert Venditti, Steven Sanders, The Rocketeer: Cargo of Doom, Tim Seely, Ultimate Spider-Man, W. Haden Blackman, Wolverine and the X-Men, Wonder Woman, X-O Manowar

I am officially out of control.  I blame possession by an increasingly independent spirit–and the well-meaning intermediaries who conjured the damn thing in the first place.  Truth be told, however, I’m not in the least interested in an exorcism.

Hey Ladies!

  • Batwoman #14: Just want to lose myself in it.  In a weird way, I wish I could read it with the lights out.

Batwoman #14 Cover

  • Wonder Woman #14: “Who’s reachin’ out to capture Wonder Woman?  Everyone knows it’s Windy.”

Now!

  • Captain America #1: In Cap I trust.
  • Indestructible Hulk #1: In Waid I trust.  I trust Yu, too.

Not Now!

  • Daredevil #20: Head games are always fun–especially when they’re played by Waid and Samnee!
  • Ultimate Spider-Man #17: Running on empty with this one.
  • Wolverine and the X-Men #21: #20 was a disaster–a straight-up embarrassment, really.  This’ll be the make or break issue.  If it’s break, I’ll be X-free.  That’s right:  Thanks to AvX and NOW! I’ll be X-free.  Ridiculous.

Frankie Valiant and the Two Reasons

  • Harbinger #6: “I guess I still like it,” he said with a psi.
  • X-O Manowar #7: Needs to pick it up soon, or I won’t.

Torchwoodn’t You Know

  • Revival #5: I bought the first four last week.  Pretty solid storytelling.  Can you say AMC?

Revival #5 Cover

Sad to See You Go

  • Rocketeer: Cargo of Doom #4: It’s been a blast.

Try Outs

  • Clone #1
  • Comeback #1
  • Judge Dredd #1
  • Number 13 #0

What have we learned here?  An open mind equals an open wallet.

What are you looking forward to on Wednesday?

Turning pages,

Scott

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What’s Up?

13 Tuesday Nov 2012

Posted by ScottNerd in Uncategorized

≈ Leave a comment

Tags

Adam Glass, Al Ewing, Alberto Ponticelli, All-New X-Men, Archer & Armstrong, Batman, Bloodshot, Brenden McCarthy, Brian Michael Bendis, DC Comics, Fernando Dagnino, Frankenstein, Greg Capullo, IDW, Jason Aaron, Marvel, Marvel NOW!, Matt Kindt, Nick Bradshaw, Scott Snyder, Stuart Immonen, Suicide Squad, Valiant, Wolverine and the X-Men, Zaucer of Zilk

My page-turning hand hasn’t even recovered from Super Bag yet and here comes another batch–a thoughtless, thoughtless batch–of books.

A Death of Fresh Air

  • Batman #14: I’m just hoping that, when all is said and done, that the joke’s not on me.
  • Frankenstein: Agent of S.H.A.D.E. #14: Matt Kindt is killing it and I’m buying it.
  • Suicide Squad #14: I was hoping it’d do the honorable thing and take itself out; but it looks like I’m gonna have to get my hands dirty–and print out an updated Squad-free pull list.

Tempered X-citement

  • All-New X-Men #1: Classic characters, an awkward premise and a solid creative team.  Might be worth the trip.  I mean, what’s the worst that could happen?

All-New X-Men #1 Cover

  • Wolverine and the X-Men #20: Around again already?  Good.

Crank Up the Valume!

  • Archer & Armstrong #4: My monthly AA meeting.  Intoxicating!
  • Bloodshot #5: Doubtless, that’ll describe my eyes after polishing off this pile.

Zomething Zilly

  • Zaucer of Zilk #2: ‘Cause #1 was zimply zcrumptious!  (Thanks, Derek!)

That’s what I’ll be picking up tomorrow–weather or not!

What are YOU looking forward to this week?

Feel free to use the convenient comment feature to let us know!

Turning pages–gingerly,

Scott

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In Scott’s Bag (11/7)

10 Saturday Nov 2012

Posted by ScottNerd in I&N Scott's Bag

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Action Comics, Batwoman, Bedlam, Bill Sienkiewicz, Brian Michael Bendis, Brian Posehn, Butch Juice, China Mieville, Chris Samnee, Colder, Cully Hamner, Daredevil: End of Days, Darick Robertson, Dark Horse, Dave Lapham, David Mack, David Marquez, DC Comics, Deadpool, Dial H, Ed Brubaker, Fatale, Frazer Irving, Gerry Duggan, Grant Morrison, Happy, IDW, Image, J.H. Williams III, Jason Aaron, Jeff Lemire, Juan Ferreyra, Justice League Dark, Justin Jordan, Klaus Janson, Mark Waid, Marvel, Marvel NOW!, Mikel Janin, Nick Bradshaw, Nick Spencer, Patrick Zircher, Paul Tobin, Rags Morales, Riley Rossmo, Scott Snyder, Scott Tuft, Sean Phillips, Shadowman, Sholly Fisch, Steve Pugh, Swamp Thing, The Rocketeer: Cargo of Doom, Tony Moore, Ultimate Spider-Man, W. Haden Blackman, Winter Soldier, Wolverine and the X-Men, Yanick Paquette

Two of the biggest weeks in a while collided–as a result of Super Storm Sandy–and blew up into a Super Bag, which I call Candy, ’cause this haul is pretty sweet.

I’m going to keep it simple so I can get to reading.  I pray you’ll understand.

A Little Heavy Reading

  • Colder #1 (This book looks hot!  No, really: it starts off with a fire, for goodness sake.)
  • Winter Soldier #12
  • Ultimate Spider-Man #16.1 (What’s the point, Mr. Bendis?  I mean, really.)
  • Swamp Thing #14 (Flipped through.  Some far-out layouts.)
  • Swamp Thing Annual #1 (Bogged down by Swampy, but in a good way–I think.)
  • Animal Man #14
  • Dial H #6 (Very different look on the book thanks to Dave Lapham.  I wonder if I’ll be so free with my thanks after reading it.)
  • Deadpool #1 (Shh.  Don’t tell DerekNerd.)
  • Batwoman #13 (A reorder.  A beautiful reorder.)
  • Fatale #9
  • Bedlam #1 (Not high on Nick Spencer, but figured why not?  I’ve come to learn from some why they did not, from others why they shouldn’t’ve.  I’ve also read a Tweet or two celebrating it.  We’ll see.)
  • Happy #2 (There’s potential here: potential for really good or for really awful.  I’m not sure Grant Morrison’s allowed this book any middle ground.)
  • The Rocketeer: Cargo of Doom #3 (I don’t care what you’re holding.  This pair–Waid and Samnee–beats it.)
  • Wolverine and the X-Men #19 (The mutant of all the mutant books: it’s actually good.)
  • Action Comics #14 (Hoping for another perfect moment.  Not expecting.  Just hoping.)
  • Shadowman #1 (Are you down with the Zirch?  I am.)

Valiant Entertainment’s Shadowman #1

  • Daredevil: End of Days #2 (We’re still at the beginning of the End, so I guess it’s OK that I’m not too sure what’s going on.)
  • Justice League Dark Annual #1 (Oooh, Frankenstein!  Back in Jeff Lemire’s hands!  Now I really want to see how this war plays itself out!)
  • Action Comics Annual #1 (Oooh, Sholly Fisch.  Not Grant Morrison.  Yeah, looks like I used up all my exclamation points on the last entry.)

What did you get in your bag?

You know what?  You probably didn’t get anything in your bag.  Why?  Because I got it all.  By God, I got it all.

Turning pages–lots and lots of pages,

Scott

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What’s Up?

04 Sunday Nov 2012

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

≈ Leave a comment

Tags

Action Comics, Animal Man, Brian Michael Bendis, China Mieville, Colder, Daredevil: End of Days, Dark Horse, Dave Gibbons, David Lapham, David Mack, DC Comics, Deadpool, Dial H, Gerry Duggan, Grant Morrison, Greg Land, Iron Man, Jeff Lemire, Juan Ferreyra, Kieron Gillen, Klaus Janson, Mark Millar, Marvel, Marvel NOW!, Patrick Zircher, Paul Tobin, Rags Morales, Rot World, Scott Snyder, Secret Service, Shadowman, Steve Pugh, Swamp Thing, Tony Moore, Valiant, Yanick Paquette

Looking forward to this Wednesday, a couple of puns come to mind:

  • I’ll be double-bagging it.
  • I’m double booked.

That’s right: because of the storm, my shop didn’t get its books on Wednesday past.  So, I’ll be getting the books on last week’s list plus this bunch.  What’s up, indeed!

DC’s Most Wanted

  • Action Comics #14: Soaring pretty high right now.  Figures Grant Morrison’d be hitting all the right notes on his way out.  Bastard.
  • Animal Man #14: Rot.
  • Dial H #6: Gotta hand it to China Mieville: ain’t nothin’ like it.

Dial H #6 Cover

  • Swamp Thing #14: World.

Marvel SOON!

  • Daredevil: End of Days #2: Hope I get the David Mack variant.
  • Secret Service #5: Here’s a secret: I can’t wait till this is over.
  • Ultimate Spider-Man #17: #16 was awful.  I’m worried about this one, too.  United We Stand?  More like United We Suck.

Yes or NOW!

  • Deadpool #1: What are the odds that this will be any good?
  • Iron Man #1: I hated–hated–what Kieron Gillen did on the most recent incarnation of Uncanny X-Men.  A big “We’ll see.”

Dark Horse

  • Colder #1: Preview pages (on Comixology’s Pull List) look pretty good.  I hope my guy gets it in.

Colder #1 Cover

Darker Horse

  • Shadowman #1: Worth a try, I suppose.  After all, Valiant’s been doing a darned good job, and Patrick Zircher’s a swell Tweeter.

What are you looking forward to this week?

Turning pages–soon,

Scott

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