Upcoming: “Avengers: Endless Wartime” (Marvel)

March 28, 2013 Civilian Reader Comics Avengers, Captain America, Captain Marvel, Endless Wartime, Graphic Novel, Hawkeye, Iron Man, March, Marvel, Mike McKone, Original, Thor, Upcoming, Warren Ellis, Wolverine

This is just a badass image. One of my favourite, recent pieces

In October 2013, Marvel will be releasing the first in a new series of original graphic novels. For those of us who tend to wait for collected editions of the monthly series, this is a great development. We’ll get a decent, “movie-length epic” (according to the press release). Here’s the premise for the first book, Avengers: Endless Wartime:

An abomination, long thought buried, has resurfaced in a war-torn land – but now it wears an American flag. Faced with another nightmare reborn, Captain America will not stand for yet more death at the hands of a ghost from his past. Haunted by his greatest shame, Thor must renew the hunt for a familiar beast. Side by side with the great Super Heroes the world has seen, united to end the threats no one of them could face alone, the Avengers will stare down the greatest threat the team has ever faced. But is even their combined might enough to overcome a force of pure evil?

So, that’s a little vague, but couple this synopsis, the title, the fact that it’s written by Warren Ellis, and also the cover (below), and I think this is going to be pretty awesome. “Chart-topping” artist Mike McKone is providing the illustrations and, while I don’t recall reading any of his work previously, the preview pages suggest an interesting, attractive and clean art-style for the book.

Warren Ellis, whose recent novel Gun Machine has received rave reviews for all corners of the reviewing public, had this to say on the project:

“When Marvel asked me to help re-launch their original graphic novel line, I had to say yes. Their total commitment, from story to design, made it a project I wanted to be part of.”

The graphic novel is bookended by an introduction from Clark Gregg, better known as fan-favourite character Agent Phil Coulson from The Avengers (and other Marvel Studios movies). There will also be an afterword from Stan Lee, who is one of the co-creators of the Avengers.

There’s something about Captain America’s character that really
lends itself to moody, cinematic shots.

Avengers: Endless Wartime will also be released simultaneously worldwide in North America, Italy, Spain, Germany, France, Brazil, Finland and Turkey. Every international edition will be translated into each their respective nation’s primary language. Which is a pretty cool initiative, and something that should be encouraged. (This is apparently the first time this will be done.)

And, finally, and as-normal-for-Marvel, the graphic novel will also include a free code for a bonus, digital edition of the book, redeemable through the Marvel Comics App and online in the Marvel Digital Comics Shop.

I’m really looking forward to trying this out. Roll on October.

Wonder Woman, Vol.2 – “Guts” (DC)

March 19, 2013 Civilian Reader Comics, Review Brian Azzarello, Cliff Chiang, Commentary, Dan Green, DC Comics, DC New 52, Graphic Novel, Guts, Kano, Matthew Wilson, Noah Berlatsky, The Atlantic, Tony Atkins, Volume 2, Wonder Woman

Writer: Brian Azzarello | Artist: Cliff Chiang (#7-8, 11), Tony Atkins (#9-10), Kano (#10) | Inks: Dan Green (#9-) | Colors: Matthew Wilson

Wonder Woman goes to hell! After playing Poseidon, Hades, and Hera against each other, Hades strikes back by kidnapping Zola and trapping her in the Underworld. It’s up to Wonder Woman — with a little help from the God of Love and the God of Smiths — to break Zola out. But what is Hades’ real game, and once you get into the land of the dead, how exactly do you get out?

Collects: Wonder Woman #7-12

I rather enjoyed the first collection of Azzarello’s run on Wonder Woman. Chiang’s artwork is great, and Azzarello’s story has some surprises and is a pretty interesting interpretation of Greek Mythology. Where the first collection, “Blood” was strong, “Guts” didn’t live up to my expectations as much as I had hoped – mainly because there’s a bit of a weak middle-section. Otherwise, though, this is still pretty interesting and it does end on a strong note.

One of the first things that jumped out at me in this book is the sinister, predatory, almost evil character Azzarello imbues the Amazons with (it involves the methods they employ to reproduce…). Wonder Woman and her allies have travelled to Mt. Aetna, seeking the help from Hephaestus (the gods’ weapon-maker). Over the course of the first chapter of “Guts”, we learn of the fate of male offspring of the Amazons, which shocks Diana’s impression of the Amazons’ culture to the core.

While in the company of Hephaestus, we also get the Wonder Woman-equivalent of the “Guns, lots of guns” scene in The Matrix. Only, they don’t just pick up guns (Wonder Woman has, initially, a more conventional, traditional approach to weaponry).

Issue #9 onwards dropped a little in quality, I must say. The story becomes a little more odd, and gets just a tad silly. I still really enjoy the depiction of Greek mythology and so forth, but the story just didn’t feel as strong as past issues. The ending to issue #10 was… A bit meh, too. I’m not sure if it was meant to be a morality tale, or a clunky attempt at a future-redemption tale. Or if it was just a long lead up so they could have that final page, when Wonder Woman employs Eros’s guns in a particular way. I’m just not sure what to make of it. I didn’t hate it by any means, but it was an oddly-written issue.

Ultimately, Wonder Woman has become a tale of squabbling families, deals and bloody betrayals. Which is rather appropriate, I think, given the Greek Mythology that infuses Azzarello’s version of the Wonder Woman story (I have no experience reading any previous Wonder Woman series or storylines, so I can’t comment beyond this). The final chapter ends with a nice twist, before offering quite the tease for the next story arc.

I really love Cliff Chiang’s artwork. Atkins & Kano’s issues/chapters do a very good job of matching Chiang’s style, but we start to see some odd touches coming through (for example, exaggerated facial expressions – particularly Strife’s). Thankfully, Chiang returns for issues #11 and #12. The depiction of Hell is pretty interesting, too.

Although, I’m not sure why a Greek god would re-create a hellish version of London… (Despite some earlier issues taking part there, Diana and everyone else in this series is either a Greek God/myth or American, so London is an odd choice, no?)

To be honest, I didn’t like this collection as much as Volume 1. Despite the very strong artwork and aesthetic, Azzarello’s story (particularly the botched wedding/romance with Hel in the middle) just failed to grab my attention. Nevertheless, apart from that mid-point wobble, it is still not a bad read – I just think there have been better issues in the series, and Azzarello has definitely produced some better comics. If you’re a fan of more “modern” approaches to classic comic heroes, then I think you’ll find something in here to enjoy and meet your needs.

Original Issue Cover Art

***

Further Reading: The Atlantic ran a story on their website about Azzarello’s Wonder Woman, “Wonder Woman’s Violent, Man-Pandering Second Act” by Noah Berlatsky (who also runs Hooded Utilitarian), which I thought others might find interesting. I also had more to say about the article than I did about the book, so if you’ll indulge me…

Berlantsky believes Azzarello has betrayed the original intent of Wonder Woman’s creator. William Marston, who seems to have been quite the polymath in his day, created the character of Wonder Woman sometime in the mid-1940s, in reaction to the comics available at the time. Me being me, I tracked down the original article, and it’s pretty interesting, so I’ve included a couple of quotations from it, below.

In The American Scholar, Marston wrote that, “from a psychological angle” the comics of that era’s “worst offense was their blood-curdling masculinity.” (In “Why 100,000,000 Americans Read Comics”, Winter 1943/4 issue, pp.35-44, in case you’re interested in tracking it down). Berlantsky offers a nostalgic run-down of the classic ideals Marston brought to his series (space kangaroos!), and then moves on to how Azzarello has broken with it. I should mention from the outset that all I’ve read of the character has been the first two volumes of the New 52 series, and a few Justice League-related books (including Geoff Johns’ New 52 iteration of that series as well).

I won’t deal with everything from The Atlantic article, but there is one thing I’d like to pick up on. Specifically, the guns.

He takes particular objection to Chiang’s cover pieces that depict Wonder Woman wielding Eros’s guns:

“Chiang’s interior cover for issue #8 shows Wonder Woman leaping from the side, shooting two golden pistols while discarded golden shell cases rain down around her — the insufficiently swaggering golden lasso nowhere in sight. Elsewhere in the series, we get to see Wonder Woman shot in the chest; a woman displaying her gashed open and bleeding arms, a giant devouring monster zombie creature, and another interior cover showing Wonder Woman with a death’s head toting those cool golden guns again.”

Berlantsky has a point, in some respects. But, given the ending of issue #10 (which I mentioned above), there is a little bit more to it than the chance to just give Diana big, gold-plated (shiny!) guns. I do agree with him that the ending is “banal”, but perhaps I wouldn’t have used quite as strong a word. When maybe I should have. He goes on:

“The fact that the guns belong to the god Eros, and shoot bullets of violent infatuation just emphasizes that, for Azzarello, even love is a blood-curdling business best expressed through phallic firepower.”

Also possible, but part of me thinks Azzarello’s use of pistols may be more of a nod to Baz Lurman’s Romeo & Juliet (“Take up your .45-Magnum-semi-automatic swords!”) and the inspiration for updating classical weaponry for more modern firepower. I have absolutely no proof of this, though, so it’s entirely possible I’m wrong. It’s just an optional theory.

I think Berlantsky’s right, though, about Azzarello & Co.’s “eagerness to demonstrate the adultness of the adult content” of the New 52 series. But, I think he sadly does not appreciate Azzarello’s take on Greek Mythology:

“each [god/character] is rolled out to demonstrate their cool-as-shit, bad-ass powers and complicated dynastic motivations. Everybody – Hades, Wonder Woman, everyone – bargains and schemes and betrays and manipulates everyone else. It’s a god-eat-god world out there – and one built, in every way, on blood”

This is, actually, a pretty faithful interpretation of Greek mythology. In some ways, then, despite the obvious added masculinity, Azzarello has returned Diana’s story and that of her supporting cast to a point closer to the source material? True, this defeats the intended “purpose” (for want of a better word) of the original series, but it is nevertheless an interesting story. Comics writers are frequently criticized for trying new things with characters (often, it is met with Screaming Denunciation from long-time-fans, and bemused incredulity from newer readers).

Berlantsky’s article has an interesting omission, though, which I think supports his point even better than Diana taking up twinned fire-arms. One could argue that there is even more “blood-curdling masculinity” in the way Azzarello changes Diana’s classic weapon. Berlantsky says the guns are more attractive to the “(much smaller) audience of (mostly) men in their 20s, 30s, and 40s” than Wonder Woman’s Lasso of Truth. (I always thought it was a whip, but that could just say something about me…) In this book, Hephaestus gives Diana a different whip (definitely a whip this time), which can cause some pretty nasty, fiery damage/pain/destruction. Surely it is the bastardisation of her traditional weapon (“tool”? “Accessory”?), the one that set her apart as the hero who settles conflict non-violently, that is more indicative of the shift Berlantsky wants to highlight?

Ultimately, the article finishes on a note I agree with: the justification of (using Berlantsky’s terminology) “blood-curdling masculinity” as a short-hand for “maturity and realism”. Or, in fantasy community terminology, short-hand for “grimdark”!

“But making Wonder Woman more violent doesn’t make her more mature or more real. It just makes her more conventional.”

Not mentioned in Berlatsky’s article is a Marston quotation, also from The American Scholar, his reaction after an attempt to submit Wonder Woman to a comics publisher:

“A male hero, at best, lacks the qualities of maternal love and tenderness which are as essential to a normal child as the breath of life. Suppose your child’s ideal becomes a superman who uses his extraordinary power to help the weak. The most important ingredient in the human happiness recipe still is missing – love. It’s smart to be strong. It’s big to be generous. But it’s sissified, according to exclusively masculine rules, to be tender, loving, affectionate, and alluring.”

A lot of the article is rather dated, but there’s something nice about reading an article by a writer back in the 1940s who was so clearly irritated by male-domination of comic literature. I also rather liked this passage from Marston’s article, with regards to why people read comics:

“Nine humans out of ten react first with their feelings rather than with their minds; the more primitive the emotion stimulated, the stronger the reaction. Comics play a trite but lusty tune on the C natural keys of human nature. They rouse the most primitive, but also the most powerful, reverberations in the noisy cranial sound-box of consciousness, drowning out more subtle symphonies. Comics scorn finesse, thereby incurring the wrath of linguistic adepts. They defy the limits of accepted fact and convention, thus amortizing to apoplexy the ossified arteries of routine thought. But by these very tokens the picture-story fantasy cuts loose the hampering debris of art and artifice and touches the tender spots of universal human desires and aspirations, hidden customarily beneath long accumulated protective coverings of indirection and disguise. Comics speak, without qualm or sophistication, to the innermost ears of the wishful self. The response is like that of a thirsty traveler who suddenly finds water in the desert – he drinks to satiation.”

Scarlet Spider, Vol.1 – “Life After Death” (Marvel)

March 16, 2013 Civilian Reader Comics Andre Mossa, Christopher Yost, Edgar Delgado, Graphic Novel, Houston, Kaine, Karl Kesel, Life After Death, Marte Garcia, Marvel, Michael Babinski, Neil Edwards, Ryan Stegman, Scarlet Spider, Spider-Man, Volume 1, Von Grawbadger

Writer: Chris Yost | Artist: Ryan Stegman (#1-4, #6), Neil Edwards (#5) | Inks: Michael Babinski (#1-4), Von Grawbadger (#3), Karl Kesel (#5) | Colors: Marte Gracia (1-2) Andre Mossa (#3) Edgar Delgado (#4-6)

Spinning out of Spider-Island, The secrets of the Brand New Scarlet Spider revealed! Who is the new webbed wonder – and why has he come to face corruption in Houston, Texas?

Collects: Scarlet Spider #1-6

I read a short Scarlet Spider story in a random Marvel Point One issue I picked up on Free Comic Book Day in 2012. I rather liked it, but have only just got around to trying out more of the series. And, I must say, I really enjoyed this. Definitely a series to check out if you want an edgier character in the Spider-Man universe.

At the start of this book, Kaine (who, for those not in the know, is a clone of Peter Parker) is in Houston, and he stumbles across a human trafficking operation. He deals with the criminals, but all of the people in the shipping container are dead. Except for one girl, who takes to the hospital.

Carpet of spiders!!

The first two chapters of the book deal with this case (some, big, flame-wreathed dude comes after the survivor… As can happen in super-hero circles…), and also Kaine’s introduction to Houston. We learn of his tendency to do good when all he wants to do is run away, to escape across the border and buy a beach or something (he doesn’t have everything sorted). I thoroughly enjoyed this intro, and I liked the clear differences that are developing between this series and any of the other Spider-Man titles I’ve tried thus far. And I think Houston’s going to be a cool location (being used to New York, it’s pretty funny when he runs out of skyscrapers, when webbing along…).

That’s gotta hurt…

In the third chapter and beyond we really start to see Kaine’s very different methodology to Peter Parker (see above – yes, he’s holding the perp by his face…). But, there are also some nice parallels between this series and the Spider-Man structure: for example, Kaine meets his own fiery red-head, Annabelle Adams, the barmaid of the hotel Kaine’s living in (remember the thing at the start, when he beat up some human traffickers? Yeah, well he “found” a lot of cash… Wonder if they’ll sustain this, and how…). I liked Annabelle immediately. She joins the group of people who know what he’s up to, including the doc from the hospital, Meland, and his husband (who’s a cop). It was pretty nice to see Kaine’s good side warring with his tendency to want to beat the crap out of people…

Oh, and to make things really awkward, the Guild of Assassins gets involved, as they’ve been chasing Kaine for quite some time. To begin with, I have no clue what was going on, but luckily, chapter four offers a brief catch-up that will give new readers everything they need.

One thing that really stood out for me is the interesting set of powers Kaine has: razor-sharp claws (he shaves with them…), webs, but no Spidey-Sense, and a type of cloaking ability I didn’t quite understand. Then in chapter five he has big fuck-off claws/spikes that extend out of his wrists… In the same chapter, we learn he can also talk to spiders… To find dirty bombs hidden in Houston… Silly, but very awesome.

The final chapter doesn’t tie things up so much as give us hints for so much more cool stuff that is still to come in the series.

Ultimately, despite this not being my most in-depth review, I really enjoyed this book. There’s lots of action, the creation of a new setting (for the character/genre – Houston’s obviously real… No, really!), Yost injects a good and dry humour (sometimes rather dark), and there’s a lot of solid story. Throughout, the artwork’s sharp, with only a couple of strange panels or character contortions.

Scarlet Spider is definitely recommended. As soon as the next few issues are cheaper on comiXology, I’ll be picking up more of this series. (What? I’m a geek on a budget!) I’m also going to try out Venom next, as I continue exploring the extended Spidey-world…

Original issue covers

Variants for #1 (x2) and #4 – I really like that one on the right.

Amazing Spider-Man: “Died In Your Arms Tonight” (Marvel)

February 28, 2013 Civilian Reader Comics, Review Amazing Spider-Man, Bob Gale, Colleen Doran, Dan Slott, Dean White, Died In Your Arms Tonight, Graphic Novel, John Romita Jr, Marcos Martin, Mario Alberti, Mark Waid, Marvel, Peter Parker, Spider-Man, Stan Lee

Writers: Dan Slott, Stan Lee, Mark Waid, Bob Gale | Artists: John Romita, Jr., Marcos Martin, Colleen Doran, Mario Alberti | Inks: Klaus Janson | Colors: Dean White, Jose Villarrubia, Javier Rodriguez

The return of Doctor Octopus, Daredevil, a wedding you never predicted, and the return of one of the most important people in Peter Parker’s life. Doc’s back in town, but it’s only a prelude to darker days ahead as Spidey unknowingly prepares for a gauntlet he can’t predict. Also, several short features showcase some rarely-explored aspects of both Spidey and Peter’s life. And, finally, the second most important wedding day of Peter Parker’s life.

Collects: Amazing Spider-Man #600-601, Amazing Spider-Man Annual #36,
& material from Amazing Spider-Man Family #7

The book is rather uneven. It’s bitty, highly episodic, and the tone veers all over the place, dependent on the writer. The humour works at times, but at others it feels like it is trying so hard, it’s difficult to like it at all (imagine the quippiness of Gilmore Girls, but with a wall-crawling super-hero). It took longer than I expected to read all of this, as I just couldn’t get sucked in. It is not, however, without its moments. Thankfully, the book improved, once we got beyond the first, mammoth issue.

First up, let me just deal with the “Spider-Man Covers You’ll Never See!” features, which are sprinkled throughout the book. They’re crap, and pointless. Moving on…

Issue #600 of Amazing Spider-Man is 101 pages long, including the cover and back-matter/extras (I was reading this via the comiXology app), and man did it drag at times. I’m not wholly new to Spider-Man or the characters that surround him. I’ve read a number of issues from all over the series chronology, as well as other Spidey series. So I wasn’t exactly lost while reading this, but there were times when I just wondered why the hell I should care at all.

“LAST LEGS”

Writer: Dan Slott | Art: John Romita, Jr. | Inks: Klaus Kanson | Colors: Dean White

In this story, Spidey’s incessant quipping was frankly exhausting. Maybe 10% of the comments, retorts and jokes were enough to raise a smile. That is certainly not a success rate that one might expect from such a popular series. Doctor Octopus is a complete cartoon, and his dialogue is just awful and cliché, and had me cringing on almost every page. I was very disappointed. The story dragged, the wedding stuff preparations and Spidey’s ongoing conflict with Mayor Jameson were simply tedious. I’ve read some later Spider-Man stuff written by Slott, and it’s clear to me that he got much better over time, as he became more comfortable with the characters. Given what I know about Superior Spider-Man, and the end of Amazing Spider-Man (issue #700), I can see some foreshadowing.

“IDENTITY CRISIS”

Writer: Stan Lee | Art: Marcos Martin | Colors: Javier Rodriguez

In this first back-up-style story, Spidey has visited a shrink. He reflects on his many, many years of adventures. The writing was a little weak, but the premise was strong: Spider-Man basically goes through all the (very) weird events and experiences that have happened over the course of the 600 issues of the series to this point. There’s a nice, knowing nod and a wink regarding the comics industry’s tendency to upend the lives of their various characters, not to mention ret-conning, poor artistic and narrative decisions, and other things like that. It was amusing, but I do think it could have been better, if written by someone else.

“MY BROTHER’S SON”

Writer: Mark Waid | Art: Colleen Doran | Colors: Jose Villarrubia

This short tale is told from the perspective of Uncle Ben. He’s reflecting on his insecurities about raising Peter, after the death of his father. We see how much he worries about his nephew, how much he misses his brother. It builds nicely, and eventually Ben and Peter confront his concerns. It’s calm, not at all melodramatic. And it is actually a wonderful, moving story. Superb.

“IF I WAS SPIDER-MAN”

Writer: Bob Gale | Artist: Mario Alberti

This story has slightly rougher artwork than the previous stories, but it is a fun story of kids philosophizing (as they are wont to do) about how they would “be” Spider-Man, if they got the chance. They go through all of the things that would be so cool, and the ways in which they’d use their powers for celebrity and other selfish purposes. But then move on to the concerns they have.

“It’s just WRONG — that Spider-Man is cool, but BEING Spider-Man isn’t cool. That’s, like, so totally messed up.”

Tell me about it, thinks Peter Parker, as he wanders past…

“THE BLESSING”

Writer: Marc Guggenheim | Artist: Mitch Breitweiser | Colors: Elizabeth Breitweiser

Aunt May, pre-wedding to Jameson Snr., is visiting Uncle Ben’s grave. She talks to him, going over her various fears, her worry that she might appear to be replacing Ben. It’s a short diversion. Sweet story, interesting art style, but thin and ruined by a silly, schmaltzy ending.

“FIGHT AT THE MUSEUM”

Writer: Zeb Wells | Artist: Derec Donovan | Colors: Antonio Fabella

Wells is also the author of the first few issues of the awesome Avenging Spider-Man. However, this is just another quick jolt of making fun of past bad decisions (the Spider Mobile, in this case). It’s fine, but too short to really do anything beyond make long-time fans chuckle. (In itself, no bad thing, it’s true.)

“VIOLENT VISIONS”

By: Kelly, Fiumara, Chuckry & VC’s Caramagna

This was a very dark and very cool short: it’s clearly a prologue, of sorts, for “The Gauntlet” storyline, which ran from #6??-#6?? (and was collected into five books). I’m quite intrigued by this upcoming story, now, I must say. I had been cool on this whole series (despite picking up the first two collections from #600) at this point, but this short certainly made me sit up and take note.

***

Writer: Mark Waid | Artist: Mario Alberti | Colors: Andres Mossa

Which brings us, after waaay too long, to issue #601. This one features a famous cover – of Mary Jane Watson, sitting suggestively on the couch, breasts pressed together, as Spidey swings off out the window. I have a feeling someone recreated this at some point, perhaps the guy behind Collectors…?

This issue finally picks up the main story from the end of #600. Mary Jane Watson has returned to New York, which has distracted Peter no end. It kicks off the morning after the wedding, with Peter waking up, very hung-over. He turns over, and sees a woman in his bed, who he believes is MJ. Unfortunately for Peter, it’s not his former flame. Michelle (his not-exactly-platonic-anymore roommate) is especially pissed after Peter calls her “MJ”. Naturally: “You’re the reason there’s a waiting period on handguns!” she screams at him.

The issue had a lot of talk about economic downturn and hard economic and employment times (the issue was published in 2010, so that’s not surprising).

“THE BEST VERSION OF MYSELF”

Writer: Brian Michael Bendis | Artist: Joe Quesada | Colors: Morry Hollowell

This was another pretty cool back-up story: Spidey drops in on Luke Cage’s wife, Jessica Jones, and their baby daughter (she used to be a super-hero, apparently). They talk about Jones’s memories of the first time she ever saw Spider-Man, and how much of an impact it had on her own career as a super-powered-person. Spider-Man convinces her that the best way for her to instill the idea of “With great power comes great responsibility” is to show her the best side of herself, rather than to just tell her. (This story continues in New Avengers, apparently.)

***

And last, but by no means least, we get to Annual #36.

Writer: Marc Guggenheim | Artist: Pat Oliffe | Inks: Pat Oliffe & Andy Lanning | Colors: Antonio Fabela

The whole Parker and Jameson wedding party has schlepped up to Boston for a special dinner. This, sadly, meant that a lot of the issue was written in a “Bahstin” accent. Rookie, bad writer mistake. It was fine for one or two speech bubbles, but after that, it quickly got old and annoying (not to mention inconsistent). Mid-way through the dinner, some crazy dude called “Raptor” interrupts Peter in the bathroom (uncool), and just starts wailing on him. It turns out, Raptor believes Peter is Ben Reilly – Peter’s clone from a long-running Spider-Man story-arc, The Ben Reilly Epic. There’s more to come from this story, later in the series, and I’ll be interested to see how it unfolds.

I think the annual should have been placed at the start of the book: chronologically, it would’ve made far more sense, being set before the wedding. It’s not a bad way to finish a book, though. Despite the “Bahstin” accents…

***

So, overall, this book is very hit-and-miss. It’s long, but the first issue makes it feel so much longer. There are moments of excellent story-telling; but there are also swathes of dull, drawn-out and boring sections. If you want to start on Amazing Spider-Man, then there may be a better point either earlier or later in the series. I’ll be investigating later collections (I have already read the follow up to this book, Red-Headed Stranger), so I might be able to give new readers a suggestion for a better starting-point.

Mini-Review: Fatale, Vol.1 – “Death Chases Me” (Image)

February 28, 2013 Civilian Reader Comics, Review Cult Shenanigans, Dave Stewart, Death Chases Me, Disappointing, Ed Brubaker, Fatale, Graphic Novel, Horror, Image Comics, Noir, Sean Phillips, Volume 1

Writer: Ed Brubaker | Artist: Sean Phillips | Colors: Dave Stewart

In modern times, Nicolas Lash stumbles upon a secret that will lead him down the darkest path imaginable… to a seductive and ageless woman who’s been on the run since the 1930s.

And in 1950s San Francisco, reporter Hank Raines crosses paths with that same woman and gets caught in a vicious triangle between a crooked cop and a man who is more monster than man.

But who is Josephine and what is her secret? And how many men will die and kill for her?

Collects: Fatale #1-5

Brubaker and Philips’s Fatale is an interesting, if flawed blend of noir-ish thriller and horror suspense and weirdness. The series has enjoyed plentiful good and middling coverage in all comic-related corners of the internet. I’m not really sure I can add much to the discussion, to be honest. After finishing it, I found I had very little opinion on it – positive or negative.

The story is fine: there are corrupt cops; a rash of strange, “cult killings” all over San Francisco. This first volume follows a number of slightly-muddled story-threads, which all lead up to an underground confrontation with a cult-leader (who is a lot more than he appears to be). Josephine appears to have a strange, powerful allure for apparently all men she encounters – and, of course, a mysterious past. Despite my interest in such stories, though, Fatale never really managed to excite my interest beyond the cursory.

The artwork is good, and certainly enhances the atmosphere and noir-feel to the story, but it is sadly not a style I would spend much time lingering over.

I think Fatale would have worked much better as a prose-novel. It was too fast-paced near the end, despite an almost agonizingly-slow build up at the start. Despite my qualms and reservations, it will be interesting to see how the series develops in the second volume, but I wouldn’t rush to buy it. (Luckily, I recently got Volume 2 through NetGalley, so I could get to it a lot quicker than I otherwise would have done).

In conclusion, then, and coming from a huge fan of Brubaker’s other work – specifically his initial run on Marvel’s Captain America (and Winter Soldier), Gotham Central (review coming soon), and also Batman: The Man Who Laughs – I’m sad to say that this was a massive disappointment.

I borrowed Fatale Volume 1 from the local library.

Green Lantern, Vol.1 – “No Fear” (DC)

February 25, 2013 Civilian Reader Review Carlos Pacheco, DC Comics, Ethan Van Sciver, Geoff Johns, Graphic Novel, Green Lantern, Jesus Merino, Moose Baumann, Nathan Eyring, No Fear, pre-New 52, Prentis Rollins, Simone Bianchi, Volume 1

Writer: Geoff Johns | Artist: Carlos Pacheco (#1-3), Ethan van Sciver (#4-5), Simone Bianchi (#6) | Inks: Jesus Merino (#1-3), Prentis Rollins (#5) | Colors: Moose Baumann (#1-5), Nathan Eyring (#6)

Hal Jordan is back from the dead – now watch as he re-establishes his life as a pilot. Standing in his way, though, is one of the deadly Manhunter androids followed by the Shark.

Collects: Green Lantern #1-6

After reading Blackest Night, its prequel Agent Orange, and Green Lantern: Rebirth, I’ve finally got around to reading the first collection of Geoff Johns’s pre-New 52 run on Green Lantern proper. And I was… well, not exactly bowled over, but nor was I exactly disappointed. It’s a fun book, and I’m sure it would be a good buy if you’re a fan of the character, but haven’t managed to read that much of his back-story or pre-New 52 adventures.

The first four pages of the book are a blitz-through of the story of how Abin Sur selected of Hal Jordan to be his successor. There’s a mention of the yellow impurity, which was properly explained in Green Lantern: Rebirth. The main story begins, as Jordan is trying to get a new job, back in the US Air Force. He’s struggling a bit, given that the guy he clocked to get his initial discharge is now heading up the program and division he would have to join to get re-upped. Awkward, for sure…

The next two chapters focus on a rogue “Manhunter 2.0” and Hal’s attempt to put it down. As it turns out, Manhunters are not so keen on humans…

The book is a little uneven beyond this, as we’re informed that an entire, new Green Lantern Corps is being called up, after the ravages of Parallax, which at least means they don’t know what Jordan became and what he did when he was possessed. Very strangely, at the start of one chapter (#4), what appears to be an alien, a gray, stepped out for a cigarette and is hit by a military jeep…

There’s a lot of cryptic information and nuggets throughout this book, but it didn’t really feel like it was going anywhere. Jordan goes to see Hector Hammond. Who has a huge head… I wasn’t entirely familiar with the character, but he features in the rest of the book.

In Chapter 5, we get… SHARKS!! Big, f**k-off evil ones. In another example of characters evolving “millions of years” in one go by an apparent freak accident… It gets to the point when it feels a bit like a narrative crutch. Thankfully, we do get an explanation for all this rampant evolution. And also a huge fight against a shark-beast that Jordan apparently has clashed with in the past.

Also, while reading this book, I was initially very confused about the creepy little German-speaking gremlins that kept cropping up at seemingly random moments…

In the final chapter, everything is finally tied up, and the German-speaking gremlins are explained. This was really weird. Quirky, not necessarily in a bad way, though. They appear to be experiment-obsessed aliens who like to dick around with others species’ genetics, technology, and evolutionary stage.

The artwork throughout is strong, as you can see from the samples included here. It’s not particularly stand-out, but it serves its purpose well – Johns’s story is well-realised. It was not, however, anything I felt particularly strongly about.

“No Fear” is not a bad book, overall, nor is it a bad start to a newly re-booted series. It’s a little bit unfocused, but at the same time it is starting to show signs of the quality I’ve seen in later books and the New 52 Green Lantern (which is the reason I decided to pick this up in the first place). At this point, pre-New 52 Green Lantern isn’t nearly as strong as the first two volumes of the New 52 re-boot. I’m not sure it’s as good for new readers, either. That’s a lot of dissembling after I said it was a good book… But, in view of the series at large, “No Fear” just isn’t as strong as other collected editions or story-arcs. It’s rather quirky, though.

Will I read volume two and beyond? Absolutely. I’m just not in as much of a rush to do so as I was after reading Blackest Night and the New 52 Green Lantern.

“Green Lantern: Rebirth” (DC)

February 24, 2013 Civilian Reader Review DC Comics, Ethan Van Sciver, Geoff Johns, Graphic Novel, Green Lantern, Marlo Alquiza, Mick Gray, Moose Baumann, Parallax, pre-New 52, Prentis Rollins, Rebirth, Sinestro

Geoff Johns re-boots the Green Lantern series

Writer: Geoff Johns | Artist: Ethan van Sciver | Colors: Moose Baumann | Inks: Prentis Rollins (#2-6) & Mick Gray (#5-6), Marlo Alquiza (#6)

Hal Jordan was considered the greatest Green Lantern of them all. But Jordan lost control, allowed himself to be corrupted and transformed into the villainous Parallax. Later, Jordan reappeared and made the ultimate sacrifice – a sacrifice that allowed him to become the Spectre, the Wrath of God. After several years of activity on Earth, The Spectre became restless and sought a way to prove himself worthy of that noble reputation. See how a man born without fear and seeking to rebuild his life, puts cosmic forces into motion that will have repercussions not only on Earth but across the universe.

Green Lantern: Rebirth is the book that re-booted the franchise and character pre-New 52. Penned by Geoff Johns (who is fast becoming one of my favourite comic authors), it explains how Hal Jordan, who killed himself while possessed by the malevolent entity Parallax, comes back to life. As super-heroes are so very wont to do. It’s not a bad place to start, but this could be because I’ve read other Green Lantern books and series, not to mention later chapters in Johns’s run (don’t ask why, but I’m reading it entirely out of order).

So, as this book begins, there’s a lot of new and weird shit going on. First off, Hal Jordan is no longer the being Parallax. Instead, he appears to have become the Spectre, an incredibly powerful being created (maybe by a god) to go around the DC Universe meting out justice. Secondly, one of Earth’s other Lanterns (there are four), Guy Gardner is some kind of alien-shape-changer-hybrid, and no longer in the Green Lantern Corps. He is still on good terms with another Earth Lantern, John Stewart. Kyle Rayner, the fourth, final, and youngest human Lantern, who we meet in the first pages as he crash-lands back on on Earth, is oddly absent for a lot of this book.

The first chapter is very focused on scene setting, for which I was grateful. The Justice League make an appearance, as they try to figure out what’s going on: Gardner appears to have gone biologically nova – he unwittingly unleashed a massive power blast that destroys a Green Lantern-themed bar (a bit tacky, but there we go), and seems to have lost control of his shape-changing abilities. It’s a big mess. There are signs of Jordan returning, and not in a good way, as many of his former colleagues in the Lantern Corps and also the Justice League only see him now as the Spectre. Batman, on the other hand, is highly suspicious. As he is wont to be.

We learn more of Hal’s powers as the Spectre, when the Justice League confront him after he fixes the old, dilapidated airfield where he learned to fly, where his dad died, and where he met Carol. But then the other Lanterns start going nuts – Stewart attacks the Justice League members, and then Guy Gardner gets his ring back and then he, too, goes mental and starts attacking everybody.

The third chapter finally gives me the catch-up I’d been waiting for; as we get a very good history of Parallax, the Guardians’ battle with him (it?), and also the nature and cause of the “yellow impurity” that has a strange, detrimental impact on the Corps: they have a weakness against the color yellow… (This made me snort. I think it’s daft, and I can’t see how they managed to get this past the editors way back when. At least now, though, they have a decent explanation…)

Then, of course, everything come to a gigantic battle-crazy climax, as revelations are had and surprises dealt out. Sinestro enters the mix, and things get even crazier and more brutal. I think I preferred the second half of this book, but I do see why Johns took the approach he did. I have a feeling that, had I read this issue-by-issue as released, rather than in one go, I may not have continued with it all the way. So yes, the final half of Green Lantern: Rebirth saves the book from leaving me completely lost and disappointed. It was still more all-star than I would like (why does the Justice League have to appear all the damned time?). I enjoyed the portrayal of Batman, as a suspicious… well, dickhead. And the pathetic fallacy of having him portrayed as always deep in-shadow was nicely done.

If you want to delve back into the pre-New 52 relaunch, then this is a book that could help. But, at the same time, maybe starting with Volume 1, “No Fear”, would be enough?

(I have already read “No Fear”, and I can say that both would have worked as starting points for me – with, again, the caveat that I’m not entirely new to the setting and characters.)

The Ultimate Avenging Spider-Men Review (Marvel)

February 21, 2013 Civilian Reader Comics, Review Avenging Spider-Man, Brian Michael Bendis, Chris Samnee, David Marquez, Ferran Daniel, Graphic Novel, Greg Land, Joe Madureira, Justin Ponsor, Leinil Francis Yu, Marvel, Sara Pichelli, Spider-Man, Spider-Men, Sunny Gho, Ultimate Comics, Zeb Wells

I’ve been doing a fair bit of comics-reading the past couple of weeks, but I haven’t been reviewing much. Therefore, I’ve decided to clump some of them together. This time, as the title may suggest, I deal with some Spider-Man series: Ultimate Comics: Spider-Man Vol.2, Spider-Men and Avenging Spider-Man Vol.1. A mixed bag, but overall some good stuff on offer for fans both new and old.

Ultimate Comics: Spider-Man Vol.2, “Scorpion”

Writer: Brian Michael Bendis | Artist: Chris Samnee (#6-7), Sara Pichelli (#8-9) & David Marquez (#10) | Colors: Justin Ponsor

A brand new chapter in the saga of Miles Morales, the all-new Ultimate Spider-Man! The new Ultimate Scorpion is introduced! Still discovering the limits of his skills and powers, Miles must learn how to be a hero from… Peter Parker?

Collects: Ultimate Comics: Spider-Man #6-10

In this second volume of the post-Peter Parker Ultimate Universe, Miles Morales is still figuring out how to actually be the new Spider-Man. He’s had the nod from the Ultimates, who also gave him a pretty cool new outfit (something he realises needs washing a lot).

The main thrust of this book is his continued exploration of his powers, as well as his continued struggle to juggle his normal life (at a boarding school) and his family life. Mostly, though, he seems to be having a blast, figuring out his limits.

His uncle Aaron, though, has guessed what’s going on and what has happened to Miles, and has decided to make himself a part of Miles’s life, and isn’t above blackmailing him. Miles must also face off against the Scorpion, a crazed criminal boss from Mexico, who has come to New York seeking out Aaron for retribution. It’s not pretty, but there is a ton of action.

Perhaps too much action, actually. I think more time could have been spent on Miles and his attempts to balance his life as a school kid and son, and being Spider-Man. There is some of this, of course, and that includes lots of nice touches – this is a a modernized version of the Spidey origin story, basically: he’s at a special boarding school, has a smart phone, and so on. It’s quite well done. I like his parents, too – they feel very natural, dealing with a young teenager going through his own… Issues.

The artwork in final issue is my probably my favourite, but I also have a soft-spot for Pichelli’s.

Generally speaking, a good follow up to the first collection, and this continues to be a series I look forward to continuing with.

Spider-Men

Writer: Brian Michael Bendis | Artist: Sarah Pichelli | Colors: Justin Ponsor

It’s the ULTIMATE AMAZING SPIDER-MAN EVENT OF THE YEAR, as Spider-Man comes face-to-face with… Spider-Man! Can even Peter Parker and Miles Morales – the Spider-Men of two worlds – defeat Mysterio, the Master of Illusions? And what happens when Miles encounters an older, wiser version of his inspiration, Peter Parker? Guest starring Nick Fury and the Ultimates!

Collects: Spider-Men #1-5

Overall, this isn’t a bad comic. I do think it’s a little too gimmicky, though. Given how much Spider-Man and Peter Parker history it goes over, I think it may probably only be a must for real Spidey-fans, who are familiar with the long back-story of the various Spider-Man related series (as well as Ultimate Comics: Spider-Man pre- and post-Death of Spider-Man story arc). I knew some of it, of course, but I don’t think it had as much effect on me as it could have if I’d read a whole bunch of Spider-Man comics.

I chuckled a few times, as there are some moments when the two Spider-Men are getting familiar with each other, and as other people get used to the idea of Peter Parker, grown-up, back in their lives (even if temporarily).

Mainly, though, I enjoyed the artwork: Pichelli is a superb artist, in my opinion; able to keep things fresh and bright, filled with nice details and small touches throughout to keep us looking at the panels. Bendis’s story isn’t bad, either, but… Well, I’ve read much better Spidey stories.

This was, ultimately, a novelty and sadly a tad thin in the end. One for die-hard Spidery fans, but perhaps that’s it.

Avenging Spider-Man Vol.1, “My Friends Can Beat Up Your Friends”

Writer: Zeb Wells | Artist: Joe Madureira (#1-3), Greg Land (#4), Leinil Francis Yu (#5) | Colors: Ferran Daniel (#1-3), Wil Quintana (#4), Sunny Gho (#5) | Inks: Jay Leisten (#4), Gerry Alanguilan (#5)

A brand new Spider-series that teams the wall-crawler with some of the greatest heroes in the Marvel Universe! Spider-Man and new Avengers teammate Red Hulk kick things off by taking on a Moloid army during the New York Marathon. Spidey and Rulk raise and lead an underground army in this action packed extravaganza – but when Red Hulk falls, only Spider-Man stands in the way of the Subterranean invasion of Manhattan!

Saving the best for last, we move on to Avenging Spider-Man. This series was always meant to be one that focused on team-up stories. The first three chapters feature Spidery’s quite hilarious team-up with Red Hulk (and, in a way, Mayor Jonah Jamieson); the fourth is with Hawkeye, offering quite an amusing intro for the marksman; and the fifth is a surprisingly heart-warming story featuring Captain America.

The Red Hulk issues had me laughing out loud a couple of times. It’s filled with amusing quips, asides, background details and more that had me at least smiling all the way through. There story is pretty crazy, featuring a lot of bizarre underground shenanigans, as the Moleman and his little goblin-esque minions capture the Mayor during the start of the New York City Marathon. All is not as it seems, however, as something else – something bigger – has been pulling the strings, and wishes to come in and taken over the land above and below. A great introductory story-arc for this series.

In chapter four, Hawkeye is pretty arrogant. I haven’t had much experience with this character beyond the Avengers Assemble movie, and a few other issues here-and-there, in which he is part of a larger ensemble cast or peripheral at best. The issue starts as a simple team-up, with Spider-Man having to suffer Hawkeye’s constant bragging and posturing (as well as a moment of honest vulnerability as he explains why he is constantly training) as they are sent on a mission. It morphs, however, into a very good ending, in which Spidey shows readers why many consider him the heart of the Avengers team. (I thought it was very touching, actually.)

The final issue is a heart-warming story with the Avengers, but really focuses on Spidey’s relationship with Captain America. Again, we’re shown the role Spider-Man plays as team mascot and heart. Peter helps Cap loosen up and remember (fondly) some of the more nerdy interests and passions of his youth. This was a really good issue, with some good action-scenes, but what really made it for me were the sweet and endearing final couple of pages.

The issue marries some very good, zany humor with a good amount of depth. It’s not too nuanced, but there’s an obvious love for the characters and medium on display throughout this book. I think it works really well, actually, making this not only a a great Spider-Man series, but great series overall. I’m really happy I picked it up.

(The sixth issue of the series is a tie-in to the “Omega Drive” storyline that was also in Greg Rucka’s The Punisher and Mark Waid’s Daredevil – which is how I came across Avenging Spider-Man in the first place.)