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Tag Archives: Spider-Men

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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Back and Forth: The Long Goodbye

26 Wednesday Sep 2012

Posted by dmainhart in Back and Forth, Microviews

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Alexis E. Farjado, Animal Man, Batman, Batwoman, Bob Scott, Brian Azzarello, Brian Bolland, Brian Michael Bendis, Charles Schulz, Charlie Brown, Charlie Chaplin, Chris Samnee, Cliff Chiang, Courtney Crumrin, Daredevil, David Marquez, David Mazzucchelli, DC, E.C. Segar, Eisner Award, Evey Hammond, Flash Gordon, Fleischer Brothers, Fred the Clown, Grant Morrison, Greg Rucka, IDW, J.H. Williams III, Jeff Lemire, Kevin Maguire, Kevin Nowlan, Laurel and Hardy, Lewis Carroll, Mark Waid, Marvel, Merciless: The Rise of Ming, Mike DeCarlo, Monty Python, Neil Gaiman, P. Craig Russell, Paige Braddock, Peanuts, Popeye, Rocket: Cargo of Doom, Roger Langridge, Ron Adrian, Sandman, Sara Pichelli, Scott Beatty, Shane Houghton, Snarked, Spider-Men, Superman, Ted Naifeh, The Shade, Ultimate Spider-Man, United We Stand, V for Vendetta, Vicki Scott, W. Haden Blackman, W.C. Fields, Wonder Woman

Derek Mainhart: So this week was marked by the end of three series I enjoyed (in addition to The Shade from last week – sniff!) Let’s start with the one I liked in spite of myself:

Spider-Men #5: I was all set to not like this series. It seemed pointless – why kill Peter Parker if you’re going to introduce Miles Morales to…Peter Parker? (The fact that he’s from an alternate reality just seemed like splitting hairs.) The only reason I picked it up was that Brian Michael Bendis has created a compelling character in young Miles. And then, about midway through, I found myself getting caught up in it. One of the things that make for a good story are memorable moments. And this series, especially in the last two issues, was full of them. The scenes with Peter “reuniting” (for the first time?) with Aunt May and Gwen Stacy were touching and understated, the reactions of all involved perfectly calibrated. Mysterio almost willing himself to be defeated was wry and knowing. (By pointing out the cliche, Bendis milks it for humor turning a potential weakness into a strength.) And it ended on a wonderful note: a cliffhanger that was organic, inevitable and completely earned. The art by Sara Pichelli was knockout; a touch of Kevin Maguire in the facial expressions, some Brian Bolland in the refined linework. (Yes, she’s keeping that kind of company.) I was still left with a slight, nagging feeling of “having your cake and eating it too” by the whole concept. But when that concept gives rise to a series this good, my reservations (unlike this book, as it turned out) were pointless.

Spider-Men #5 Cover

Scott Carney: Yeah: I agree.  I, too, was lulled into a sense of “Who shoots a web?” about this series.  I jumped into it for a pair of reasons: the creative team–as you’ve said–is top-notch; and wouldn’t you know, I’m kind of caught up in Miles, clearly the most compelling character kicking around any of the Marvel universes.  After the first couple of issues, I wasn’t very impressed.  To be honest, I stuck with it only because it was a five-issue run.  And I’m glad I did: as I’ve described at length in a “Scottlight on” post, I absolutely loved #4.  Oh, I could’ve called it quits there, at the highest of highs, but there was only one chapter left; so I picked up #5 with amazingly low expectations.  And, as one might–and as I did–imagine, those expectations were met–until the end, of course.  What a final page!  Peter’s searching for Miles on the–ahem–World Wide Web–is pitch perfect and honest.  Plus, I think Bendis is making the ultimate statement here: that even Peter Parker–the Marvel hero–is interested, just as much as we are, in Miles Morales, the spiderling who would replace him, more or less.

DM: Which brings us to Miles’ regular book Ultimate Spider-Man #15. As mentioned above, Bendis has more than justified the decision to kill off Ultimate Peter by crafting such a refreshing character in Miles. This book shines when it concentrates on its young protagonist’s private life; his interactions with his best friend (the irrepressible Ganke), his chilling interactions with his murderous uncle (quite a change from Ben!) and especially the ever-growing complexity of his relationship with his father. In Miles’ Dad, Bendis has created a character that is completely decent, full of integrity, and utterly fallible. (It’s a shame that Mom is still a bit of a cipher). The interactions between father and son have been the highlights of the series. Methinks tragedy lies ahead, and not the simple kind caused by burglar’s bullet. Paradoxically, the least compelling scenes are the ones with Spider-Man. The wisecracks seem to have come too easily to Miles and make it difficult to discern any difference between him and Peter Parker, at least when he’s in costume. So if I have on a quibble here, it’s that developments from the “UNITED WE STAND” crossover (there it is, stamped right on the cover, see?!) seem to be pushing the book in a direction of less Miles, more Spider-Man. Hopefully I’m wrong. (Crossovers. Ugh.)

SC: I feel your pain when it comes to crossovers.  I think it’s time to look at any “stamp” or banner or threat of a crossover or tie-in as a sign–a desperate warning sign, like, I don’t know, Bridge Out.

In terms of USM #15, I couldn’t have said it any better.  The book itself is better when Miles is just plain Miles–and when he bands together with his super-free coterie–Ganke and the family–to take on the wicked, and infinitely patient, antagonist Adolescence.  I mean, come on: Ganke’s premature discharge (art by the solid David Marquez)–with Peter’s web shooters in hand–is a all-too-relatable teenage tragedy that calls down the comedy with every web cast toward the ceiling.  With a chunk of ceiling dangling from a strand in his hand, Miles admits, “I gotta have my webs”; but he’s had plenty from the get-go, including the stickiest one–how his dad feels about Spider-Man–which plays out here some, but to no great effect.  Speaking of no great effect: if Spider-Men #5 has a perfect ending, this one has, well, not that.

DM: As good as USM has been, Marvel’s best book (with the Eisners to prove it!) has been Daredevil. Mark Waid has infused, not only the character, but the entire series with personality and style to spare. In this he’s been abetted by some stellar artists including Chris Samnee this issue (Waid and Samnee are quickly becoming the new team supreme – check out Rocketeer: Cargo of Doom). Issue 18 though, is a bit of a letdown. What bothers me, I think, is the shift in tone. Waid’s run has distinguished itself (mostly) from DD’s usual morose proceedings by injecting a good dose of healthy, swashbuckling fun. The somewhat forced conflict between Matt and Foggy in this issue, and now the re-introduction of a tragic character from the ol’ gloom-and-doom, pre-Waid days, is threatening to let the air out, sending DD back into the deep, dank basement from which he so recently escaped. Ah well, Samnee’s art, as I said, is fantastic, with the best bits having to do with DD riding up and down an elevator.

SC: OK, so, I think I know what you’re saying without your saying it outright.  Hidden there in your pristine prose is exactly how I felt about this issue, too: it’s boring.  Like you, I didn’t buy the B.S. rift between Matt and Foggy as it was “developed” in #17, and I certainly am not reaching into my pocket this time around–except, obviously, to pay for the book.  I will say that my spirit was lifted as I turned to page 8, which is where I found Matt and Kirsten, thank God, outside of Matt’s apartment.  Their conversation–two panels’ worth, anyway—whisked me back to the wonderful DD #12; unfortunately, I wasn’t left there very long.  I’m blindly banking on the fact that this issue is a transition into something decidedly more daring and devilish.  If it’s not, I’m going to be darned disappointed.  Despite my display of displeasure, I assure you that I’m not down on the artwork.  Samnee is one of my favorites right now, and I’m happy to see him back here, no matter how dank this month’s delivery may be.

DM: Speaking of dank places: Batwoman #0. The story by J.H. Williams III and W. Haden Blackman is wildly uneven. It further explores our hero’s origin and begins with some quite insightful, sensitive reminiscences of her sister and especially her father. This section fleshes out her character’s past motivations while exploring her bond with her father (lots of Daddy issues – get it? issues? – this week!) We then get an extended Kate-in-training montage. Here the writing goes from heartfelt and specific to numbing and cliche’.  This is followed by an elaborate exercise in cruelty that, it turns out, was a final test of her readiness set up by – SPOILER ALERT! – her father. First problem – this reads like a second-rate version of Evey Hammond’s transformation in V for Vendetta (right down to Guy Fawkes-like devil mask that dad is sporting). If this reference is intentional, it’s a mistake. You shouldn’t highlight a work that is superior to yours; it can only suffer by comparison. (Do you hear me Jeff Lemire on Animal Man? Leave Grant Morrison’s run alone! – ahem.) The second, and larger problem, as far as this book goes – the premeditated masochism of the plan not only runs counter to what we’ve seen earlier in this very issue, it defies everything we know about her father’s character dating back to Greg Rucka’s original, excellent conception. To say his actions are out of character is an understatement. It reads like a friggin’ supervillain origin. The ending however, is a partial return to sanity, and William’s art, it must always be said, is just gorgeous. He employs the same David Mazzucchelli-inspired style he used for the flashbacks during Rucka’s run, and he nails it. He can pretty much just do anything, art-wise. Take page 13 – he utilizes both the simpler flashback style and his more lush, rendered technique in the same splash page. The visual tension between the two is a show-stopper.

SC: Without question: Williams III’s art is the thing here.  But even though his shift in style provides an unexpected and equally as stunning anchor for the pieces of the past, I found myself still somewhat lost in the origin story–and not in a good way.  I may as well have been blindfolded like Kate when she first became involved with the “Murder of Crows.”  What I was reading, for the most part, meant nothing to me.  Could’ve been the Perez-esque (circa New 52 Superman) wordiness of the captions, or the layout of the captions, which was unnecessarily awkward at times; in fact, the gorgeous splash to which you referred is marred only by an almost unreadable caption–red writing on a gray background–to the left of the beautifully rendered Batman.  I had to tilt and turn the book; I had to move into the light and out of it again in order to follow the damn narration!  That’s unacceptable!  It’s something I’d expect from a Marvel book, for goodness sake!  I don’t know.  It could’ve been–as you stated–that the story of how she came to be a hero is an all too familiar one.  Hey, it happens–unless, of course, you’re Azzarello on Wonder Woman #0.

DM: You hit the nail on the head.  With Wonder Woman #0, we have a writer in full command of his craft; not surprising when that writer is Brian Azzarello. Check out how he effortlessly establishes theme and tone on just the first page: We see a pubescent Diana climbing to reach a giant egg while the accompanying caption box announces: “The monthly monster strikes again!” This ostensibly refers to comic book deadlines (wink, wink) but offers, of course delicious counterpoint to the image. We are then informed of the conceit that this is a reprint of that classic (apocryphal) series, “All-Girl Adventure Tales for Men”! So there you have it: a tongue-in-cheek, coming of age tale tackling gender issues through the retro paternalistic tone of a comic of yesteryear. Again, that’s just the first page! This is simply writing on another level. (Cliff Chiang’s art complements the tone with bombastic panel compositions, though perhaps not the retro style that the story seems to call for. Oh well, we can’t all be J.H. Williams.) So, young Diana manages to steal the egg from a shrieking harpy (‘natch!) in order bake a cake (‘natch!) for her birthday. After an altercation with one of her Amazon sisters, she runs off feeling misunderstood and isolated (that common teenage malady) She even asks, weeping, (in a panel worthy of Lichtenstein) “Why must I be different?” A god suddenly appears proclaiming in most manly fashion “I be blood! I be iron! I be guts! I be WAR!” (That he does so while wearing what appears to be an outfit from an S&M flick just adds to the fun.) He offers to train her to be the world’s greatest warrior, once a month, under the full moon (‘NATCH!) By now you may be thinking, “Gender issues? Old-fashioned dialogue? S&M outfits?! Maybe I’ll steer clear of this one…” But NO! Here there be battle! Here there be the Minotaur! And despite the inherent irony in the writing, here there be…pathos. As Diana, in the end, must defy her bloodthirsty trainer, Azzarello defines, with utmost sincerity, the essence of his rendition of Wonder Woman: not her strength, not her prowess in battle, but her compassion, her mercy, her love. That he ties this in implicitly with her womanhood might seem, itself, paternalistic, even condescending. I call it revelatory.

SC: I found Wonder Woman #0 to be a clever combination of a writing style that is clearly aware of itself and a retro art style that proudly profits from its roots.  Overall, I liked it a lot, perhaps more than USM.  I particularly liked the relationship between Diana and Ares, despite its being one we’ve seen a thousand times.  Every panel in which we find them together reflects their powerful connection–until, of course, on page 27, when Ares lets Diana have it after she defies him.  That connection, however, is never actually severed: the Minotaur is obviously a doppelganger for Ares.  (Check out the final panel of page 21 and the first panel of page 26.  How about the last two panels of page 27?  Accidents?  I think not.)  And, in that, it’s clear that Diana, in being merciful, has passed Ares’ test after all.  Ah, the “Merry Men” have done it again–even if it is for the first time.

DM: Another book conjuring impressive literary tricks is Courtney Crumrin #5. This issue takes some time to explore the Crumrin ancestral tree. It does this by employing a story-within-a-story-within-a-story; no mean feat and Ted Naifeh pulls it off with aplomb. With its mixture of folklore and personal history, it put me in the mind of some of Neil Gaiman’s  work, especially the great Sandman (though less subtle, and perhaps not quite as precious). The atmospheric artwork; some Kevin Nowlan influence I think, with just a dash of P. Craig Russell (though I hate the way Naifeh draws hands). If the writing lacks some of its usual irreverent buoyancy, it’s only because the title character takes a necessary back seat this issue. So all in all, another impressive effort in a title that is YA in name only.

Moving further down the age bracket, we have Peanuts #2 from kaboom!, BOOM’s excellent all-kids imprint. I have mixed feelings about the existence of this series. Should the exploits of Charlie Brown et al., be understood as highly individual vehicles of personal expression for their creator, the master, Charles Schulz? Or do they, like Disney characters, now belong to the world, necessitating new stories for a new generation of readers? It’s a matter for legitimate debate. But it makes it harder to complain when the stories (by Alexis E. Farjado, Shane Houghton, Vicki Scott, Bob Scott, Mike DeCarlo and Paige Braddock) are as charming as they are in this issue.

And now, returning to the aforementioned goodbyes, Merciless: The Rise of Ming #4 (by Scott Beatty and Ron Adrian) brings the Flash Gordon spinoff to a close (sidebar – I get annoyed when limited series like this aren’t explicitly advertised as such. I had no idea this was the last issue. Maybe it was mentioned in Previews or elsewhere, but it should be right on the front cover. Perhaps not listing it allows for some editorial wiggle room if something is a hit, or not, but as a customer I like to know what I’m getting into (grumbled the old man)). While I do think more of his depraved rise to the top could have been explored, it was still great fun watching Ming go from backstabbing prince to Despot of the Universe through sheer ambition, callousness and relentless force of will. A true Randian hero.

And finally Snarked! #12 (another unexpected last issue, grumble grumble!). This well-deserved Eisner-Award winning series represents comics at their most exciting; idiosyncratic work by a cartoonist (the inimitable Roger Langridge) at the height of his powers, putting them in the service of a singular, fantastic vision. In this case that vision is a heady brew of Lewis Carroll, W.C Fields, Laurel and Hardy, the Fleischer Bros., Segar’s Popeye, and…and I don’t know what else. This book had it all: high adventure, slapstick comedy, classic art and undeniable heart. If, over the course of twelve issues, some of the comedic bits fell a little flat, it’s only because Langridge’s previous work set the bar so high (What? You haven’t read Fred the Clown, equal parts Charlie Chaplin and Monty Python? One of the funniest comics ever. Get it. Get it now. And while you’re at it, pick up his current Popeye series by IDW. And, oh, just get anything with his name on it!) The final issue of this crown jewel of the aforementioned kaboom! imprint provides a fitting close to the yarn, full of suspense, laughs and a lump in the throat (who knew the sentence “I like bananas.” could be so touching?) In a comic strip afterword, the lead character Wilburforce J. Walrus states that you should always leave them wanting more. Mission accomplished. Book of the Week. Well done sir, and good night.

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In Scott’s Bag (9/19)

20 Thursday Sep 2012

Posted by ScottNerd in I&N Scott's Bag

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bag, Batwoman, Brian Michael Bendis, Charles M. Schulz, Chris Samnee, Cliff Chiang, comics, Dare, J.H. Williams III, Mark Waid, Peanuts, Spider-Men, The Ultimates, Ultimate Spider-Man, Wednesday, Wonder Woman

A rare week: I picked more books off the shelf than I had in my bag.

100% Pulled

  • Wonder Woman #0 (Love the retro look from Cliff Chiang!)
  • Ultimate Spider-Man #15 (Quick flip: mostly Miles out of uniform.  Probably means it’s going to be Bendis at his best.)
  • Daredevil #18 (Owoooooooooooooooooooo!  Chris Samnee’s back!)

100% Picked

  • Batwoman #0 (Mr. Williams III promised us that “[i]t’ll read unlike any previous chapter of Batwoman so far.”  Gave it a little look-see.  I was not expecting a shift in style like that!  Can’t wait to read it.)
  • Spider-Men #5
  • The Ultimates #15 (You heard about it in the news, too, right?  Ugh.  I’m a sucker.  There’s no way around it.  Question is: will I read it or will I just bag it?)

Baby Girl’s Pick of the Week

Peanuts Vol. 2 #1 Cover

  • Peanuts #1 (Last month’s, but we couldn’t pass it up–especially after watching the surfers out at Montauk on Sunday afternoon.)

Looks like a solid week.  Just wish I had some time in my bag, too.

What did you get in your bag today?

Turning pages,

Scott

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What’s Up?

18 Tuesday Sep 2012

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

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bag, Batwoman, Brian Azzarello, Brian Michael Bendis, Cliff Ciang, comics, Daredevil, DC Comics, J.H. Williams III, Mark Waid, Marvel, Miles Morales, Paolo Rivera, Sara Pichelli, Spider-Men, Tuesday, Ultimate Spider-Man, Wonder Woman

I’m marveling at the list: a short one, indeed.

Blind Trust

  • Daredevil #18: The Coyote comes to the big city.  Seems his bite might actually be a helluva lot worse.
  • Spider-Men #5: Loved #4 so much that Scott Lobdell could be a surprise guest writer on this and I’d still buy it.
  • Ultimate Spider-Man #15: I really like Miles.  I bet you do, too.

G.N.O.

  • Batwoman #0: The cover kicks, well, something–maybe your face!  Harvey Award winner J.H. Williams III is the best and is the only reason I’m back on board with the Batbroad.

Batwoman #0 Cover

  • Wonder Woman #0: Looking forward to a revealing story.  If the art’s revealing, too, all the better!

Five books?  Fine with me–and the ol’ wallet.  Looks like I’ll be able to eat this week.

What are you looking forward to?

Turning pages,

Scott

 

 

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Scottlight on: Spider-Men #4

19 Sunday Aug 2012

Posted by ScottNerd in Scottlight on...

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Aunt May, Bendis, comics, Gwen Stacy, MJ, Peter Parker, Pichelli, review, Spider-Men, ultimate

I’m pretty sure that the Aunt May and the Gwen Stacy of this Ultimate universe never in their wildest dreams expected to see Peter Parker in the flesh again.  And, I’m damn sure that I never in mine expected to enjoy this book as much as I did.  I certainly never expected to love it.  But I did.  Yes, indeed: Spider-Men #4 is a surprise top of the pile for the week of 8/8.

Spider-Men #4 Cover

Early on, Pichelli’s powerfully palpable panels–of May’s slapping and felling a stunned Peter on page 2 and of Peter’s apology, culminating in May’s passing out into Gwen’s arms on page 3–anticipate a magically emotional reunion of sorts, effortlessly conveyed through Bendis’s realistic, and often very funny, dialogue.

Speaking of the dialogue: the playful and heartfelt conversation amongst Peter, Gwen, Miles, and, eventually, May, upstairs at May’s house, reminds me of another terrific turn by Bendis: Miles’ conversation with his dad in Ultimate Spider-Man #2.  Amazing work.  Worthy of a wow.  But, wouldn’t you know, while I was reading, I didn’t think Wow.  Instead, I just fell into it; in fact, I felt like I was in the room with them: I laughed with them; I wondered with them; I even hugged them.

One of my favorite page turns: the transition from the bottom of page 15–where May says, with Peter in her eyes, “Oh my God, it is you.  Look at you.”–to the top of page 16, where Peter and May embrace for the first time.  Beautiful stuff.  The look on May’s face–a marriage of belief and disbelief, punctuated with a tear of joy–is perfect for the moment.  So, too, is Miles’ face, which shows just a smidgen of sadness; which tells a silent truth: that he wishes that he could wear his costume without his mask and hug his father in much the same way.

Another touching–or in this case, not touching–moment is when Peter sees MJ and, on the first panel of page 21, reaches for her in such a manner that he looks like he’s going to shoot a web at her to keep her from getting away.  I was so invested in the moment–in the story as a whole–that I wanted him to go ahead and shoot a web at her; I did not want him to let her go.  Even as he closed his hand into a fist–effectively surrendering to the fact that this was not his world, not his MJ–I was still rooting for him; and just like that, I was hurting for him as he got into the car–and hurt for MJ, perhaps even more,  as Peter headed toward heaven again.  I’d say that, like MJ, I was left speechless; but it doesn’t seem that way, does it?  I promise: I was.

The book pretty much ended for me there; so I’m going to end my review with this:

In an earlier post, I wrote that this series–as fun as it might be–doesn’t really have much of a point.  I was wrong.  With issue #4, it’s undeniable: Spider-Men has an exclamation point.

Turning pages,

Scott

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In Scott’s Bag (8/8)

09 Thursday Aug 2012

Posted by ScottNerd in I&N Scott's Bag

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Tags

Archer & Armstrong, bag, Batman, comics, Daredevil, Frankenstein, Insufferable, Lemire, Ozymandias, Scott, Spider-Men, Suicide Squad, The Underwater Welder, Thrillbent, Waid

Here’s what I found inside my bag:

The Expected Lot:

  • Batman #12
  • Suicide Squad #12
  • Frankenstein: Agent of Shade #12
  • Spider-Men #4
  • Archer & Armstrong #1

Didn’t See It Coming:

  • Daredevil Annual #1

Ozymandias #2 stared at me from where he belonged–from the rack.  I smiled back.  I paid up, said goodbye to my guy; and as I turned to leave,  I sensed something strange.  I could’ve sworn that Ozymandias was reaching out for me as I reached for the door.  I smiled again as I twisted the knob and clutched my bag to my chest.  Sure, it felt a little light; but for this week, that’s more than all right because I’ve got a couple “out of the bag” books to keep me busy, including:

  • Lemire’s The Underwater Welder (I’m pretty deep into in and loving every fathom.)
  • Waid’s Insufferable over on his website Thrillbent.  (I’ve started Week 1 and am curious enough to continue.)

Expect a Microview post in the very near future.

And I wonder: which book from this week’s bag will find its way into the Scottlight?

Turning pages,

Scott

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What’s Up?

07 Tuesday Aug 2012

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

≈ 1 Comment

Tags

Archer & Armstrong, Batman, comics, entertainment, Frankenstein, Ozymandias, Spider-Men, Suicide Squad

Looks like a pretty light week.  Here’s my pull list, broken up into sections pretty much for my own entertainment–unless, of course, you like it, too; then it’s for yours, as well.  I’m always willing to share!

Happy Periods:

Batman #12–> Got my talons deep into this one–and vice versa.

Frankenstein: Agent of S.H.A.D.E. #12–> Kindt’s sewing together something special.  I’m completely on board.

Archer and Armstrong #1–> Valiant has rolled out some good stuff the last few months.  Why should this be any different?

Checking Out:

Suicide Squad #12–> Was on board big time at first.  But if this one doesn’t do it for me, I’m gone.

In the Short Run:

Spider-Men #4–> The last issue ended well enough, but it’s not like this series counts or anything.  Right?  Ultimately, this is a Bendis/Pichelli purchase.  Thank goodness it’s a limited series.

And a Surprise Visit from the Mother-in-Law:

Ozymandias #2–> It’s not on the ol’ pull list.  If it’s in my bag, so help me…

What are you looking forward to?

Turning pages,

Scott

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