Bought/Thought, March 7th, 2012 - SPOILERS

[TheCorpulent1]

Figured I'd kick this off since one thing in particular seemed worth commenting on:

Fear Itself: The Fearless #10: A relatively good issue marred only by its last page. A keychain of hammers? Really? Who looked at that and thought it was a good design? That sort of made the whole thing fall apart for me because I realized I was looking at the Red Skull's daughter controlling the Serpent's wannabe Destroyer and wielding a bunch of wannabe Mjolnirs. Bad copies all around (although Sin is actually kind of cool).

[runawayboulder]

In other news, my hunch was right - Kid Vision died today at the age of who gives a f**k.

[THANOSRULES]

since he's been in like 5 issues of any comic in 10 years

[JewishHobbit]

You know that whole "dropping comics" thing that I'm all talk about? I suck at it. I "dropped" Venom, Defenders, and Avengers Academy but ended up buying them all. What is wrong with me?!

Venom 14 - Glad it's over. Next.

Defenders 4 - This one I actually enjoyed more than the previous 3 issues. I just kept thinking that those first 3 might have just been a bad arc. This issue ended up being fairly interesting with good art. I liked the overall standalone story and I might have been pursuaded to stick around a while longer. We'll see.

Avengers Academy 27 - This book is technically dropped but I was curious about the Runaways story and since I'll be buying all of the AvsX issues why not start two issues early? I'm glad I did, it was a good plot. I stopped reading Runaways when Vaughn left and have been trying to get back issues of late. I've not read much since Whedon took the reigns (and others after him) but I know the jist. I just love these characters and was sad that I missed out on the Daken arc with them. I'll get it eventually. Should have gotten it over the Invincible issues last week come to think of it. Oh well. Runaways aside, Striker shines in this issue. Fun character.

X-Men 26 - Yet another book that was at one time dropped but I picked it back up for this arc. Deadpool, Lady Bullseye, and others join the fight as assassins and bounty hunters come after Raizo. The X-Men put aside their differences to help Raizo and his crew to fight and it ends up being a pretty good story. People criticize Gischler's run but I've honestly enjoyed all the Vampire-centric arcs. From Fall of the Mutants to the Raizo introduction issue to this arc. I just think it's all been interesting. Good stuff.

Uncanny X-Men 8 - I liked this issue. I think Gillen is doing a great job with this new location in the Marvel Universe. Tabula Rasa is stated to be a place with story potential like the Savage Land and it's true. Gillen crafts the place that was created in Uncanny X-Force and makes it interesting. Greg Land's art fits the arc and is actually likable (and that's wierd for me to say) and all in all I think it was just a good Uncanny X-Force companion story. This might have been my favorite arc of Gillen's run so far. The Phalanx solo issue was still better but this one was close.

Avengers: The Children Crusade 9 - And the story that never ends finally ends and I can't say I'm pleased with it. It was just so disjointed in my opinion. My main gripe is that Stature's death sticks, which ticks me off. She was the heart of the team and arguably the most interesting. Vision 2.0 dies and it isn't relayed well. I turned the page and suddenly he was dead. I had to flip back to see how. And despite the words spoken I just didn't feel anything from either of those deaths. I don't feel that the emotion was translated well, whether it be from the writing or the art. It was very plain I think.

Then we have Iron Lad kinda sorta turn bad by killing Vision 2.0 out of grief and jealousy and then flee into the timestream hinting at his traveling the path to becoming Kang. I felt that this was a sudden turn and that it wasn't built to much at all. He was so developed in the first 6 issues of the original ongoing and this just felt out of character for him. I didn't like it.

Then we have the disbanning of the team. Patriot leaves (again) and Hawkeye leaves and then everyone else does as well. When Cap calls them back together to declare them Avengers only four show up and I guess these people are the Young Avengers: Hawkeye, Wiccan, Hulkling, and Speed. That doesn't feel like a very good line up to me. I'd rather Patriot take Hawkeye's place so it's the original team minus Iron Lad. That'd feel better to me but I guess that's all just a matter of opinion.

And did anyone else find it wierd that they kept refering to Scott Long as being gone when he's right there in the scene with them? Vision 2.0 mentioned Cassie being gone with her father and then the statue in the end had Vision 2.0, Cassie, and Scott... presented to the Young Avengers by Scott himself. There was a bit of a time shift there but this was the real Scott Lang. He's not dead. That was just wierd for me.

All in all I don't really mind Vision 2.0's death since the real Vision is back and he was rather redundant. Iron Lad going bad was unfortunate but I can see how good plot could eventually come out of that, though I'd rather it have had a proper emotional build up. My biggest gripe is Cassie's death and Patriot's departure. The team has a solid line up even without Vision but take those two away and it's just missing something.

I'm pitching an idea... Kristoff learns of Cassie's death and dispairs. He uses time travel to save her, being joined by Iron Lad, and they end up saving her life. A war rages between Iron Lad and Kristoff and in the end the Young Avengers save her. Seeing her back motivates Patriot to join up again and we have the group together again. I'd be happy with that.


Best and Worst of the Week

Best: Uncanny X-Men 8 - A good conclusion to a decent story. I think Gillen did a great job here fleshing out one of Remender's ideas and for once Greg Land's art was good. Good issue.

Worst: Venom 14 - Despite all of Avengers' flaws, Venom was just boring and dumb. I didn't enjoy a single moment of it. This six part arc could have easily been condenced to 2 issues, ditching X-23, Strange, and Damian in the process. The rest had a decent place in the story but much of what we saw told could have been left out. It was all a waste of money and I'm glad it's done.

[JewishHobbit]

since he's been in like 5 issues of any comic in 10 years

Actually, I'd guess that he was in more comics than anyone else on the team save Cassie. He was in the Collective arc of New Avengers, Captain America Reborn, Slott's Mighty Avengers run, and I want to say a few other hit and miss stories when a "Vision" would be required.

The rest of the team pretty much just stayed with team appearances minus Stature, who was in Initiative and Mighty Avengers.

[runawayboulder]

The ending to Children's Crusade was pretty lousy but what else could you expect from a story that starts in 2007 and needs to lead into AvX years later? The one good thing I hope stick is that this is the last we see of Heinberg. F-him and his schedule that Marvel is forced to work around.

[THANOSRULES]

i forgot he was in mighty...he wasn't explored much anywhere

[CrimsonMist]

Swamp Thing #7: Was flat out awesome. While I was always quick to defend this title as being one of the two best books DC has out, I admit that with issue 6, I was getting more than alittle anxious for the arc to end and the actual Swamp Thing to appear. I wasn't let down this issue. Alec, on the verge of death, is cocooned in leaves by the dying Parliament of Trees. He is told that the Parliament doesn't have enough strength to transform him into the Swamp Thing and that they're disappointed in him for refusing his destiny and for being with Abby Arcane, who they claim is now lost. Alec refuses to believe that Abby will be the avatar of the Rot, that she's too strong to simply be Sethe's champion. Alec argues back that without humans to keep The Green in check, the Green is nothing but the same kind of greedy savage force that the Rot is. So Alec tells the Parliament that he has some left over bio-restorative formula his pack that should boost the Parliament enough to transform them. The Parliament realize the error of their ways in judging Holland, and in an act of forsaking his humanity(they tell him he can never be human again) and doing it only for Abby, Holland is transformed into the Swamp Thing and on his terms, declares war on Sethe and the Rot.

The transformation and the ultimate reveal of Swamp Thing is absolutely both painful and beautiful. Paquette's art really shines here. I'm thankful Paquette was able to deliver the art duties on this issue. It feels right. Back are the beautiful trippy layouts and insane, articulate detail and disturbing grotesque monstrosities. Snyder's writing was great here, too. To say that this book was anything less than epic would be wrong. The stage of war has been set. The next batch of issues should be something to behold.

Animal Man #7. I think I made a mistake reading this book AFTER Swamp Thing. Or maybe not. This was a good issue, not a great one. It takes a back-seat to Swamp Thing this month. The family drama that Lemire excels at it in top shape and I found myself laughing at all the right moments. I can't help but fall in love with Buddy and his family. We get a glimpse at a possible future that shows what happens if Buddy can't protect Maxine. She's older and fighting the Rot along with Swamp Thing and Constantine. There's a shotgun toting old woman there too and I don't know who it is. It's either Ellen, or they spoiled(maybe) a future plot point and it's really Abby Arcane. It was pretty cool and if Constantine being here implies that once Lemire takes over Justice League Dark, we'll see Constantine and some others team up to take on the rot(like back in Moore's run when they took on the great evil in Hell), consider me even more excited for the eventual cross-over between Swamp Thing and Animal Man later this year.

The story here was good, but compared to Swamp Thing it kind of paled. That might have something to do with the fact that Swamp Thing #7 was the end of an act while Animal Man #7 is the beginning of a new act so the stage is still be set for what's to come. Another reason is that Steve Pugh, as much as I like his artwork, doesn't really compare to Travel Foreman who is leaving the title. Foreman's artwork was grotesque and disturbing and as a whole, rather unconventional in it's layout presentation. Pugh, by contrast, illustrates the book in conventional manner and it simply felt a little, well...boring. I'll deal with it though. Lemire still takes the cake when it comes to writing.

Fatale #3. God damn. I LOVE this book. If Brubaker decided one day to stop writing superhero comics and decided to dedicate all of his time working with Sean Philips on super badass pulp/crime/noir/horror comics, I would not complain. His Catwoman work is amazing, as is his work on Gotham Central, Incognito, Batman: Gotham Noir, and Criminal are all top-notch. His less overtly superhero stuff is where I feel Brubaker really shines and Fatale is no exception. This book has it all: classic noir, nazis, Lovecraftian monsters. What more can you want? Philips' artwork really absorbs you, totally sucks you in. And Brubaker's writing is just hardboiled goodness. In the little afterwards letter to the reader, Brubaker explained that his aim is for this to last 15 issues long, or as long as he deems it necessary to tell the whole story. I am not complaining. This is some great stuff. More people need to read it.

Secret Avengers #23: Totally forgot about this issue when it came out last month so I bought it this week. I like it. The artwork is pretty damn good and not all shiny and typical of the medium. Remender is a good writer, which I knew from his work on the Punisher before he took it off the deep end. But I like it. The banter between Cap, Flash and Jim Hammond was nice. My ass wasn't kicked by this book, but I found myself absorbed by Eric O'Grady's redemption into a hero. Kind of hope he isn't dead though. That was a bummer. Kind of liked him. The biggest problem, really my only one, is the fact that this is a 4 dollar book. I was quite excited to drop all the 4 dollar books from my pull-list for the time being once PunisherMAX was over(yea, I dropped Action Comics too. I simply don't care about it.) but Secret Avengers is just too good to miss. But I don't know how long I can sustain picking it up. New Deadwardians comes out at the end of this month and that looks fairly interesting and if it is, it's gonna be on my pull-list. Batman becomes a 4 dollar book next month and Ennis's SHADOW series at Dynamite launches next month at 4 bucks as well(2 books that are FAR more interesting to me than Secret Avengers, good as it may be). We'll see, I guess.

[Harlekin]

Children's Crusade #9 was a travesty. Choosing to kill Cassie over her father is wrong on quite a few levels, as I've noted in a previous post. And my prediction of it having little impact rang true. I'll bet ya nobody is going to mention Cassie until she comes back (that I do believe will happen eventually, even if it'll take ten years). So that's a big waste, in favour of a character that was dead ten years already and who arguably doesn't contribute more to the Marvel Universe than his daughter. He's already been redeemed and Hank Pym is active again.

But then Heinberg decided to hit and run. Killing Vision 2.0 was bad from all angles. As a story decision and as a scene. You've got Avengers and X-Men standing around as he just straight up murders this teen Vision. Okay, so he can get off the first shot. After that, any of the other characters should be on top of him (Quicksilver? Ms. Marvel? Rogue?) and stopping him. Instead, they just let him do his thing.

Besides that, it's really one of the most redundant kills. Vision 2.0 could've happily co-existed with his older brother. In fact, that could've led to some really great stories and interactions. And saying it would've been confusing is ********. There was no really reason to kill Vision 2.0 other than to get Vision 1.0 back his spot (which, considering he's already in the adult Avengers, he never lost). I get the Young A's motivation for not bringing him back, but it also shows how they ultimately don't regard Vizh as a human being. If androids are like people, they can grieve and move on as well. But, like I said, I can understand it when you think of Vision 2.0 as a person and a mortal one at that.

Crap end either way. I was recently reading some Busiek issues. Wanda is just completely wrecked. They would've been better off finding the real her in a cocoon at the bottom of the Hudson Bay.

[RockSP]

The one good thing I hope stick is that this is the last we see of Heinberg. F-him and his schedule that Marvel is forced to work around.

Heh, "forced". Right.

[runawayboulder]

Well, more like they "cater" to.

[kguillou]

Wow, now I have a question for you guys, I actually made myself wait until Children's Crusade was over (because I knew the wait would be long) to get the whole thing in trade and read it all at once....but it seems the response to the final issue is lukewarm. You guys think i should still get the trade?

[runawayboulder]

Wow, now I have a question for you guys, I actually made myself wait until Children's Crusade was over (because I knew the wait would be long) to get the whole thing in trade and read it all at once....but it seems the response to the final issue is lukewarm. You guys think i should still get the trade?

It will probably translate better in trade because the actual issues came out one every two months (there were a few delays making some issues once every three months). Honestly, the story had some great moments. Most of the issues came out when Fear Itself was coming out and it was way better than Fear.

The issues I had with the story overall was the bad characterization for some of the characters. The Avengers acted like a hit squad acting highly unreasonable towards the kids. Wolverine was in full mindless stab first ask questions later mode, while in his solo book and WATXM, he is all about protecting younger heroes after being tricked into slaughtering children he didn't know he had. The X-Men show up led by their more douchier than usual leader Cyclops, looking like the Schism never happened. Wonder Man was there totally coherent as opposed to the raving nutjob that's convinced he's still dead in the recent Avenger Annuals.

The story was originally conceived to take place prior to Civil War and ended needing to fit into current Marvel events, namely the upcoming AvX. It ended up looking like a big clusterf**k.

Bottom line - the crap planning and shipping of this book killed it. Heinberg is totally over-rated. I hope this signals the end of him with Marvel. He's a screenwriter by trade that Marvel fell in love with because he's Hollywood, just like they did with Kevin Smith, who has quite a few unfinished comic projects himself.

As for the dissolving of the Young Avengers, I won't miss them all that much. Wiccan being a gay teenager was a bit unnecessary to me since he's one of the long lost children of Wanda and the Vision. Isn't that enough back story for him as it is? Does he need to be gay too? How about throwing in a rare bone marrow disease as well? For a character that is rarely around, it's overkill. Vision Jr was worthless now that the regular Vision is back and most fans weren't going to accept him as much as the original anyway. Cassie is expendable just like her dad was in Disassembled. There's no real need for the rest of the team to exist while Avengers Academy is out there. Speed, Patriot and Kate Bishop could just resurface there.

[kguillou]

^ Hmmm, interesting. I mean, when this started 2 years ago I was real excited because I loved the original mini-series and I was hoping that this would be a nice self-contained story to read (with some awesome art to boot). But the people's responses I'm hearing, I'm not as enthusiastic (do know how HARD it was for me to wait two years for this thing to wrap up? I've been dying to read it all along).

[RockSP]

As for the dissolving of the Young Avengers, I won't miss them all that much. Wiccan being a gay teenager was a bit unnecessary to me since he's one of the long lost children of Wanda and the Vision. Isn't that enough back story for him as it is? Does he need to be gay too? How about throwing in a rare bone marrow disease as well? For a character that is rarely around, it's overkill.

:huh: Wow.

I don't get it...what does who his parents are have to do with his sexual orientation?

I've been buying the issues but not reading them so I can read them all at once. According to what you say I guess he and Speed do end up being the children of Wanda and Vis. Is it every explained how they are so old?

[WOLVERINE25TH]

Gay people exist. Get over it.

The biggest disservice done to the YAs was the wait for their "creator" to be able to continue their saga. They missed years of potential stories that could and should have been handled by more competent and reliable writers. Like Zeb Wells, who did the Runaways X-over. And now they're gone, likely because with Avengers Academy they're believed to be redundant.

Think Joss Wheadon had it right. Supervise the overall story, but get people to handle the actual writing. And, when the time permits, write a few yourself.

[runawayboulder]

:huh: Wow.

I don't get it...what does who his parents are have to do with his sexual orientation?

I've been buying the issues but not reading them so I can read them all at once. According to what you say I guess he and Speed do end up being the children of Wanda and Vis. Is it every explained how they are so old?

Because the children of the Vision and Scarlet Witch already have a storied history. The past 20 years of storytelling with Wanda and Viz have revolved around these 2 kids, from their 4 issue mini back in the old WCA days, to thru their WCA days, and leading into Disassembled. There's plenty of different stories you could do examining their lives other than resorting to making one of them a token gay teenage to bolster sales on a comic. I find it a bit shameless to be honest and since Heinberg is openly gay (and he created Wiccan) making it even more so.

Like I said in my first post - it's overkill.

[RockSP]

Because the children of the Vision and Scarlet Witch already have a storied history. The past 20 years of storytelling with Wanda and Viz have revolved around these 2 kids, from their 4 issue mini back in the old WCA days, to thru their WCA days, and leading into Disassembled. There's plenty of different stories you could do examining their lives other than resorting to making one of them a token gay teenage to bolster sales on a comic. I find it a bit shameless to be honest and since Heinberg is openly gay (and he created Wiccan) making it even more so.

Like I said in my first post - it's overkill.

You really haven't explained anything though. I mean their history before Young Avengers is being babies and toddlers. Their sexual orientation isn't something that would be explored at that point. I don't see how making one of them gay takes away from the character.

[runawayboulder]

You really haven't explained anything though. I mean their history before Young Avengers is being babies and toddlers. Their sexual orientation isn't something that would be explored at that point. I don't see how making one of them gay takes away from the character.

It doesn't take away from the character, it compounds on it when it doesn't need it. I've been a fan of Wanda and Vision that's followed them for a long time. I've read many of the stories that had the twins lives as the backdrop, stuff like, are they real/are they not so on and so forth. Now that they're running around playing Avengers and Wanda and Viz are back from the exile Bendis put them in, it would be nice to see some payoff and a writer explore their relationship. Wiccan being a gay teenage will either get lost in the mix or will complicate an already over-complicated story.

An angle like that helps certain characters, like Northstar for example. He was a C-list hero that nobody gave a s**t about until he was written as gay. Now he's got some well needed depth and a larger fanbase. I didn't care for Northstar until he came out. I thought, hey this is new and interesting to read and I was pretty excited that he joined the X-Men in Eve of Destruction, I was bummed he didn't stick around. I've liked him ever since. You ask me, Wiccan doesn't need that angle to be a good character.

I'll put it to you another way: Think about the history between Cable and Cyclops.

Way before Cable first appeared he was constantly in Uncanny and X-Factor as baby Nathan Christopher Charles Summers. He was the centerpiece of Inferno, one of the biggest crossovers I've ever seen Marvel produce. He was a major supporting character in X-Factor just as a baby. Then Apocalypse poisoned him and Scott sent him in the future as his only option to save him.

Fast forward 5 or so years and it's finally been revealed that Cable is baby Nathan. All the speculation and rumors have finally come to fruition and there's a ton of roads that writers can go down, Cable/Scott/Jean/Maddie Pryor/Stryfe - their all officially connected now. Now ask yourself this....wouldn't it be a little silly if at the end of Cable #8, Cable's like, "Oh pop, by the way, is it just me or does Logan have a sweet ass"?

[RockSP]

Yeah we're just gonna have to agree to disagree. I don't see how it complicates anything. He's gay...the end. It doesn't have to be (and shouldn't be) the focus of every story involving the character.


I've been buying the issues but not reading them so I can read them all at once. According to what you say I guess he and Speed do end up being the children of Wanda and Vis. Is it every explained how they are so old?

...anyone?

[runawayboulder]

Yeah we're just gonna have to agree to disagree. I don't see how it complicates anything. He's gay...the end. It doesn't have to be (and shouldn't be) the focus of every story involving the character.



...anyone?

I remember it being explained back in the 2006 Young Avengers series when they hooked up the Vision's memory banks. They found out the history of Wanda and her children and discovered that they were most likely conjured up again when Wanda lost it during Disassembled. It's never been explored in depth. They're still a production of her powers and imagination but they are still as real as real can be.

[THANOSRULES]

since they were born in the 80s its about right!

[RockSP]

since they were born in the 80s its about right!

Comic book time they were born just a few years ago. Wanda isn't an old lady in the "present", after all.

[RockSP]

The Manhattan Projects #1: Somebody on another board called this "the best comic of 2012". I wouldn't go that far (especially since I haven't read every comic that has come out this year so far, heh) but it is definitely off to a good start. In this world Oppenheimer is recruited into the Manhattan Projects, which is really about crazy "Moore meets Morrison" superscience rather than developing the atomic bomb (which they do just as a cover). Also, Oppenheimer has a psycho twin brother. And Einstein is kept in a locked room at the Projects (at least the general in charge thinks it's locked, heh). Hickman is crafting a cool crazy story here.

Batwing #7: Even though I've enjoyed this first arc, it is really time for it to end. The fact that nobody from The Kingdom seems likely to survive kinda sucks.

Valen the Outcast #4: I don't think I've read anyone else on here talking about this book since it's been out. Hopefully sales are decent enough that it will continue. Fun, "sword and sorcery" adventure! :up:

[KingMob]

The Manhattan Projects was pretty great. I loved the overall design/look.

[Dread]

Today is my birthday, it is a big comic week and I am tired. Some of these reviews will thus be short. On with the spoilers of many happy returns!

DREAD'S BOUGHT/THOUGHT FOR 3/7/12: Part 1

ACTION COMICS #7: Iconic launch writer Grant Morrison once again teams up with regular artist Rags Morales after a two issue detour in both the storyline and the regular artist position. It is a bit strange that Morrison would end the fourth issue on a cliffhanger only to write a strange time travel story with the Legion of Super-Heroes alongside one of the Kubert brothers in the middle of the series' opening arc. In recap, the alien Collector (who is the New 52 version of Brainiac), who played a role in the demise of Krypton, has set his sights on Earth, the new home-world of Krypton's sole survivor (aside for Supergirl). His gimmick is selecting one city to "bottle" for historical collection purposes before destroying the rest of the world; the iconic "Bottle City Of Kandor" is the city Brainiac chose from Krypton which was shrunken, and a large section of Metropolis (New Troy) was chosen from earth - where Lex Luthor, Jimmy Olson and Lois Lane are all within. While John Henry Irons/Steel attempts to hold the peace across the rest of Metropolis - chronicled in a back up strip by writer Sholly Fisch and artist Brad Walker - Superman leaps into space to battle the evil technological aliens and save a large chunk of Metropolis. He is forced to choose between his old and new worlds, and stumbles upon his new costume. The character conflict with Superman is effective, and the re-imagination of Brainiac is very clever. The artwork by Morales is exceptional, and is backed up well by Rick Bryant on inks and Brad Anderson's colors. The Steel back-up strip is also effective at portraying the man as a genius human hero who does the best he can with what he has - which include a suit of armor, a hammer, and a genius I.Q. Overall, this was the first issue in months which genuinely felt as great as the first couple of issues, and hopefully there will be no further strange detours in the general plot.

JUSTICE LEAGUE INTERNATIONAL #7: Dan Jurgens once again reunites with regular artist Aaron Lopresti, who only took the last issue off. It is good to see a regular artist for one of the initial New 52 books who seems to be sticking around for the long haul. This would have been the most depressing comic of my stack, if not for AVENGERS: THE CHILDREN'S CRUSADE #9. The JLI assembled for their first mission, which ended up seeing them save the world from an alien salvage tycoon. It was a public relations debacle and Booster Gold and the rest of the team had to plead their case to the U.N. to retain their authority. However, just as that happens, the team finds themselves under assault by domestic terrorists; one of which blows up a U.N. stage event to introduce the team. Their new enemy is a villain named Lightweaver, who can create energy constructs in a similar way to Green Lantern, who is working for a mysterious master. Much as with the previous arc, Jurgens is making up a new villain rather than revamp an old one, which may be bold in terms of creativity but won't do the book favors for attention. The bombing takes the team entirely by surprise and while Booster Gold, Guy Gardner, Lady Godiva, August General in Iron and Lady Godiva emerge mostly unscathed, the rest of the team isn't so lucky. Ice and Vixen are both practically crippled, Fire is TKO'd and Rocket Red does what he always seems to do in comics - die. While Rocket Red has long been a legacy character who is increasingly replaced, it is difficult to assume the other heroines will be fine since this is the DCnU, in which times are bleak and the war on women endures. On the final page, Bat-Wing appears, and it seems as if he may be set up as replacing some of these team members; given that he also represents Africa, that seems organic. This continues to be a fine team book, although I was looking forward to learning more about the characters than seeing them blown apart after the first arc. What is this, NEW AVENGERS? I also yearn for a villain I can recognize and get psyched for, even if I understand Jurgens capitalizing on the new universe to make new villains. Jurgens is very good at what I call "meat and potatoes superhero comics", and Lopresti's artwork is stunning as usual (especially alongside inks by Matt Ryan and colors by Hi-Fi). Flawed as it is, I feel this book is better than the end of BOOSTER GOLD, which is still a net win for me.

AMAZING SPIDER-MAN #681: This is the second part of a brief two part team up story with Spider-Man and the Human Torch in space; the artist is Giuseppe Camuncoli and regular writer Dan Slott is joined by Chris Yost on the script. In the previous issue, Spidey sought help from the Fantastic Four (or the Future Foundation or whatever they are now) to help save astronaut John Jameson from a crisis on APOPGEE 1; he was left with only the recently resurrected Johnny Storm. They have found that Dr. Octopus’ “octo-bots” have taken over the rest of the space crew, and Spidey’s old nemesis continues to exert his influence over the station to try to kill the web-slinger once and for all.

This creates an issue of suspense, although it is different from some superhero tales. There isn’t much combat against villains here, more a horror-like tension as the heroes try to stay one step ahead of Doc Ock as well as survive aboard a crippled space station full of “Octo-Zombies”. John Jameson plays the straight man to Spidey and Johnny, who continue to engage in a battle of quips as they both try to find a way to overcome the overwhelming odds. Given that Spider-Man has vowed “no one dies” on his watch after the death of Martha Jameson during the SPIDER-SLAYER arc. Much like the conclusion of SPIDER-ISLAND, it is Spider-Man’s mind and not his powers which end up saving the day. However, it turns out that not even superheroes can solve everything without making a few mistakes. The tone shifts between suspense and comedy, and mostly pulls it off. Much like the previous issue, it is a concern that the resurrected Johnny Storm as depicted here by Slott and Yost seems to be “more jokey” than the one written by Jonathan Hickman in the core Fantastic Four books. They are writing Johnny as he usually acts, forgetting that he is supposed to be a bad-ass Negative Zone general who casually orders bug-minions to blow up Kree warships. Is this an editorial dilemma, or a sign that Johnny will naturally revert to type in due course – especially as Hickman will be leaving the Four titles at the end of the year.

While this is an entertaining diversion, this two part story also serves as a prelude to the ENDS OF THE EARTH storyline which will be flowing through the series starting next month. The premise is that with Doc Ock on his death bed and literally within an iron lung which is also a tentacle weapon, he and the Sinister Six are engaging in his last “master plan” for world domination. Slott treats it as an event style storyline without the spare tie-in’s, and that is a proper approach. Previous alliances of the Six also attracted the attention of other superheroes besides Spidey; REVENGE OF THE SINISTER SIX in the 90’s also included Nova, Ghost Rider, Solo, Deathlok, Hulk, Sleepwalker, and the Fantastic Four in the finale. This time, the Six are a more honed and focused unit, mostly free of the lunatics and boastful ones who divided or betrayed the team. The irony is that in at least two major Sinister Six stories, Sandman’s growing morality ended up being key to their defeat; since then, Sandman has reverted back to his criminal sense thanks to Wizard’s “Id Machine”.

Camuncoli’s artwork remains exceptional; his replacing Marcos Martin as the third regular artist on this title (besides Humbert Ramos and Stefano Caselli) has proven to be a tremendous boon. Klaus Janson’s inks also add a bit of a classic Sal Buscema vibe to the artwork, and Buscema used to be the regular artist on SPECTACULAR SPIDER-MAN for years during the 90’s. Frank D’Armata’s color work also gets a chance to shine here, especially in the finale when Johnny Storm’s flame powers get a chance to shine.

In a slight way, this story pays homage to AMAZING SPIDER-MAN #1, which was the first time Spidey saved John Jameson during a space-flight crisis. Besides the slapstick comments between Spidey and Johnny (amid Spider-Man’s desire to save everyone), J. Jonah Jameson’s concern over his son and John’s cool during the crisis, all of the characters get key moments to shine. Quiet stories done in two part chunks over the past four issues have provided a proper breather for this series as it shifts into gear for the next “epic”, and the series continues to be one of the best “big books” Marvel publishes.

AVENGERS ACADEMY #27: The previous issue resolved the opening arc of the new direction this series was taking post-FEAR ITSELF, and this issue starts a two issue meeting with the RUNAWAYS. Having been created by (now hot) writer Brian K. Vaughan and artist Adrian Alphona as part of the failed TSUNAMI imprint back in 2003, the RUNAWAYS quickly attained cult status and survived in print across three volumes, three creative teams and 62 issues of material. It seems every teenage franchise which debuted since has to go through an unofficial rite of passage and team up with the RUNAWAYS to please fans new and old; the YOUNG AVENGERS (who debuted in 2005; more on them later) teamed with the RUNAWAYS twice in two mini series. Had YOUNG ALLIES lasted beyond six issues, they would have met them as well. Now that AVENGERS ACADEMY is nearing a 30th issue, it seems about time for the Avengers cadets to go through the process as well. This allows for series writer Christos Gage - who is often at home with teenage characters - to re-introduce the characters to the audience (their title was canceled at the end of 2009 and they've only appeared in odd guest appearances such as in DAKEN: DARK WOLVERINE since). He is joined by artist Karl Moline, who worked alongside Gage for a stretch of AVENGERS: THE INITIATIVE issues and previously filled in for Mike McKone earlier in this series' run, with inks by Jim Fern and colors by Chris Sotomayor. The plot is simple and goes through basic motions; the Runaways need help from the Avengers - in this case to be re-united with their pet dinosaur Old Lace - which leads to a predictable battle with the Avengers cadet before they team up. The other standard storyline for Runaways appearances in other superhero books is the adult superheroes seeking to "take them in" for foster care or other "safe-keeping", especially as some of them are minors; two of them are under 14 years old. At the very least, Gage acknowledges the prior predictable storyline with the characters themselves, and has fun having his kids meet Vaughan's kids. He captures the voice of the Runaways well, and while this the second "talking heads" issue in a row, the conversations are all amusing or interesting. The beginning bit with Striker "coming out" to a press conference is also hilarious. The Runaways seem like a natural fit for the Academy, although the seeds of them remaining differing groups is also sewn. An issue with this many characters on panel should be a mess, but instead it works out quite well for all of them. It was good for this old RUNAWAYS fan to get another dose of the franchise one last time, and the next issue can't be anticipated enough.

AVENGERS: THE CHILDREN'S CRUSADE #9: While not as bad as FEAR ITSELF, in the end this series has been a well intentioned disaster on nearly every front. Creators Allen Heinberg and artist Jim Cheung ended their first volume of YOUNG AVENGERS back in 2006, and Marvel kept that franchise in a lock-box in many ways for almost five years waiting for these two to return on the series. Cheung is hardly a speedy artist and Heinberg has done all but admit that his TV writing work is his "day job". Utilizing artwork from years earlier, this mini series started in 2010 and was slated to ship one issue every two months, and even under THAT schedule, this series has run late. In fact, the previous issue shipped at the end of December 2011. While the artwork by Cheung alongside inks by Mark Morales and colors by Justin Ponsor has always been great, Heinberg's script has often been the stumbling block. He has mainly relied on the old Hollywood script trick of making teenagers seem reasonable and justified by painting almost every adult around them as either a lunatic or a jerk. Aside for Billy Kaplan/Wiccan, most of the Young Avengers have been lost in a sea of guest characters like Dr. Doom, Magneto, the X-Men, X-Factor, and the Avengers. The positive side of this series is that this series returns Wanda Maximoff/Scarlet Witch to the Marvel Universe in a habilitated way, since Dr. Doom has been used to explain her shocking shift in character back in 2004. The negative side of this series is that it depicted a lot of adult heroes acting foolishly (the X-Men and Avengers literally dismissed Wanda's promise to "re-power" millions of mutants in a battle over who got to punish her worse) as well as have killed off several characters in the finale.

This finale itself is a soul crushing affair. Stature (Cassie Lang) and Vision 2.0 (Jonas) are both killed off. Scott Lang/Ant-Man has been resurrected and mourns the loss of his daughter, but aside for two lines, he vanishes from even background panels midway through the book. The Young Avengers break up, two members ditch the superhero game entirely and the entire issue seems to be too busy to accomplish a lot of things well. Billy and Teddy/Hulkling's relationship gets a good scene and the last page is a bit more upbeat, but the sheer loss of potential from this series is almost as galling as it taking almost two years to ship nine issues of material. This series seemed to be too busy to accomplish a lot of things well while also running at least 1-2 issues too long. Stacked alongside a regular issue of AVENGERS ACADEMY, the contrast in quality is stark. Had a writer like Christos Gage, or someone else with talent such as Sean McKeever or even Zeb Wells been allowed to run with this franchise, it could have become something great. Instead, Marvel waited almost half a decade for this story, and this story isn't anywhere near good enough to reward that investment of time. While the growth of Billy, the redemption of Wanda and the positive depiction of his relationship with Teddy are strengths, this is not a series I will be remembering too fondly.

[Dread]

DREAD'S BOUGHT/THOUGH FOR 3/7/12: Part Two

DEFENDERS #4: Matt Fraction has been considered one of the "Marvel Architect" writers, in charge of major books and developments across the Marvel Universe, for a couple of years now (at least). He wrote the last big event, FEAR ITSELF (which was terrible), and is currently continuing a long run on INVINCIBLE IRON MAN as well. He previously wrote UNCANNY X-MEN for quite some time as well as relaunching IMMORTAL IRON FIST successfully alongside Ed Brubaker. His star has faded a bit in terms of quality for some readers (this one included), with INVINCIBLE IRON MAN getting a bit slow at stretches as well as FEAR ITSELF being dreadful. Thankfully, the launch of DEFENDERS at the end of last year has seen Fraction bounce back into something resembling quality. The previous three issues were drawn and co-written by Terry Dodson, as this series is handled in "Marvel Style" akin to how Stan Lee, Jack Kirby and/or Steve Ditko used to write comics in the 60's. The next few issues will feature fill-in artists and will focus on one member of the team per issue, and presumably those artists will have more of a say in the script than in other comics as well. In this issue's case, Michael Lark is the guest artist, alongside Matt Hollingsworth on colors and two inkers in tow. As Dr. Strange has often been attached to the Defenders franchise for what seems like the longest time of the founders, starting off with focus on him seems appropriate.

In summary, the Hulk sparked the assembling of a new incarnation of Defenders to track down Nul, who had possessed the Hulk during FEAR ITSELF and was now detached from him and causing destruction across the physical and mystical planes. Unable to battle Nul himself (which would risk being possessed by him again), the Hulk suggested Red She-Hulk (his ex Betty) fill his spot on the team, while leaving Strange to re-assemble the rest of the founders (Namor and Silver Surfer) alongside another newcomer, Iron Fist. The mission against Nul caused the team to stumble into New Wundagore in which they "liberated" a strange cosmic machine from Prester John and the New Men which Strange had seen in mystical visions. In this issue, Dr. Strange attempts to devise the meaning of the machine, while examining his own lot in life and having a grad student who he had a casual fling with back in issue one return to complicate matters. Strange learns the machine can apparently grant wishes, as a beloved ex from his youth literally appears in physical form from his memories, despite her being dead in "real life". When the grad student borrows one of Strange's magical tomes for her thesis on magic, a low level magician named Tyson plans a scheme to blackmail Strange into opening up his storage of enchanted tomes for his twisted purposes.

Lark's artwork is at home with a plot revolving around Dr. Strange, with Hollingsworth's colors flanking it nicely. More to the point, Fraction writes a simple tale in which he focuses on all of his characters as they come into contact with each other. While Strange and his own midlife crisis is the centerpiece, Fraction also gives time to Molly the grad student, Martha the conjured ex and even Tyson, the ambitious wanna-be mystic master. There sheer amount of narration boxes on the panels could be annoying if they weren't as effective at projecting the character's point of view and voice as they are. While Dr. Strange no longer being the Sorcerer Supreme is a move not everyone is a fan of, tying that into a midlife crisis storyline isn't a back track to take it on. Above all, this is a simple and effective done-in-one story which still ends in a manner that leads seamlessly into the next issue, rewarding both monthly and trade readers.

This was a stronger issue than the last and if all of the "guest artist character focus" issues are going to be this good, then readers are in for a treat this spring.

VENOM #14: The heroes win. Blackheart loses and they all live to fight another day, or possibly have another team up story.

Oh, you want a real summary? The master plan of the four heroes (Flash Thompson/Venom, Red Hulk, X-23, and Alejandra/Ghost Rider) was to have Red Hulk become host to both the alien symbiote and the Spirit of Vengeance to become a flaming skull monstrosity who says things like "FEEL OURR PENANCE PUNCH, PUNKK!" In the meanwhile, X-23 does what she can to get Johnny Blaze to reverse the flow of Hell into earth as Alejandra and Thompson attempt to merely survive. While Alejandra continues to be a seemingly irredeemable ***** who literally leaves a legless soldier to die, Thompson and X-23 actually manage to get in some good teamwork against Blackheart's demon girlfriend. Blackheart's own deus ex machina (the mirror which creates your opposite) is turned on him, and the road to Thompson joining the Secret Avengers is laid in. In fact, Cap's acceptance of things is amazingly, almost refreshingly simple. Red Hulk vouches for Thompson, Thompson notes he just saved Vegas and New York, and the eggheads of the Avengers (Beast and Pym) promise to figure out a way to keep his symbiote from going evil (which they do). Considering this is the same universe where a convicted serial killing terrorist became the popular secretary of defense after shooting an alien queen in the head on TV, this gels very well. Former regular artist Tony Moore returns for another issue on art, and it is always good to see his stuff on VENOM.

Overall, the "CIRCLE OF FOUR" was far from the worst aimless team up story I've read, but at six chapters was overlong. It never shook the obvious fact that this was an editorial stunt, which was moot as two of the titles meant to be promoted were canceled. It will be interesting to see if VENOM's hardly stable sales will endure this and if Marvel tossed a fragmentation grenade into a modest book to try to boost 2-3 dying ones, and wound up losing them all. The next issue looks to get back to the VENOM book and it's own subplots and dynamics, and that is something I very much want to get on with.

VILLAINS FOR HIRE #4: The finale of Dan Abnett and Andy Lanning's run on HEROES FOR HIRE style material and any non-NEW MUTANTS stuff comes to an end here. This was a series initially promoted as five issues but was cut down to four due to budgetary concerns, and some rush is evident in this final issue as assembled parties set about explaining things. Puppet Master took control of Purple Man's crew, and allied with Misty Knight and Paladin who played Killgrave to get revenge for various reasons. Paladin was actually posing as Scourge - a possibility I guessed at back during the promotional phase - and all of the villains are captured. The series ends with Misty and Paladin seeming to take their relationship to the next level. Misty's next appearance is confirmed for DEFENDERS #6, and I am very curious whether Matt Fraction will acknowledge this bit at all, or just have Misty hook back up with Danny again. One can see that Misty has a "type" - wealthy, combat skilled, handsome white dudes with short blond hair. People having "types" of men or women that they go for is perfectly normal, and if Paladin was willing to commit - something Rand never seemed able to do - the relationship could have legs. For the moment, Misty is on the rebound while Paladin seems to genuinely love her, which could make things complicated. Renato Arlem's art is good with two colorists aboard, and he has a lot of rapid action to plow through. While this finale does seem rushed, I can easily say that DnA's era in street heroics has had a stronger finale than their space operas did with the ANNIHILATORS minis.

WINTER SOLDIER #3: Three issues in, and I believe I am officially enjoying this more than CAPTAIN AMERICA's relaunch at this state. It has more of the feel of the Bucky Cap era, which I enjoyed in that series. This is mostly a set-up issue, but it advances the plot accordingly. Lucia Von Bardas, last seen in SECRET WAR, is back for revenge upon Dr. Doom and the world at large. To this end she has united with Red Ghost and his Soviet era agents to acquire a Doombot to manipulate international events by faking an assault on the U.N. by Dr. Doom (in retaliation for a botched hit which they staged to manipulate things). Bucky and Natasha get wind of this thanks to Nick Fury, and naturally set out to go around the villains by meeting Doom directly - which naturally is never something that goes down painlessly. The art by Butch Guice is great, although there seems to be enough inkers and colorists in tow to be the starting line-up for the Knicks. The dynamic between Natasha and Barnes continues to be very entertaining, as he's the more refined agent and she has more of a devil may care attitude. Brubaker is a patient methodical writer, but if I have to choose between Barnes & Nat or Rogers & Carter one day, the former will win out easily, and not just due to price.

[Harlekin]

It doesn't take away from the character, it compounds on it when it doesn't need it. I've been a fan of Wanda and Vision that's followed them for a long time. I've read many of the stories that had the twins lives as the backdrop, stuff like, are they real/are they not so on and so forth. Now that they're running around playing Avengers and Wanda and Viz are back from the exile Bendis put them in, it would be nice to see some payoff and a writer explore their relationship. Wiccan being a gay teenage will either get lost in the mix or will complicate an already over-complicated story.

An angle like that helps certain characters, like Northstar for example. He was a C-list hero that nobody gave a s**t about until he was written as gay. Now he's got some well needed depth and a larger fanbase. I didn't care for Northstar until he came out. I thought, hey this is new and interesting to read and I was pretty excited that he joined the X-Men in Eve of Destruction, I was bummed he didn't stick around. I've liked him ever since. You ask me, Wiccan doesn't need that angle to be a good character.

I'll put it to you another way: Think about the history between Cable and Cyclops.

Way before Cable first appeared he was constantly in Uncanny and X-Factor as baby Nathan Christopher Charles Summers. He was the centerpiece of Inferno, one of the biggest crossovers I've ever seen Marvel produce. He was a major supporting character in X-Factor just as a baby. Then Apocalypse poisoned him and Scott sent him in the future as his only option to save him.

Fast forward 5 or so years and it's finally been revealed that Cable is baby Nathan. All the speculation and rumors have finally come to fruition and there's a ton of roads that writers can go down, Cable/Scott/Jean/Maddie Pryor/Stryfe - their all officially connected now. Now ask yourself this....wouldn't it be a little silly if at the end of Cable #8, Cable's like, "Oh pop, by the way, is it just me or does Logan have a sweet ass"?
You must be kidding. Being gay is a backstory now? Considering Bishop's already convoluted story from the beginning, did they really have to make him black too?

Being gay doesn't complicate anything in terms of Wiccan being Vision and Wanda's kid or not. It just means he's gay.

[runawayboulder]

You must be kidding. Being gay is a backstory now? Considering Bishop's already convoluted story from the beginning, did they really have to make him black too?

Being gay doesn't complicate anything in terms of Wiccan being Vision and Wanda's kid or not. It just means he's gay.

It adds another dimension to the character in order to make him/her more appealing or interesting to the audience. It's the same as Flash Thompson being a paraplegic or Tony Stark being an alcoholic or Bruce Banner the victim of child abuse.

Like I said before, in some cases like Northstar, it helps. In Wiccan's case, I find it not necessary to make him more interesting when he already has an interesting dynamic to him.

[hippie_hunter]

and Rocket Red does what he always seems to do in comics - die. While Rocket Red has long been a legacy character who is increasingly replaced,
The weird part is that while I often expect Rocket Red to get killed, I found myself getting really attached to this version and I was kinda upset by this one's death :csad:

it is difficult to assume the other heroines will be fine since this is the DCnU, in which times are bleak and the war on women endures.
They'll be fine

[Dread]

The weird part is that while I often expect Rocket Red to get killed, I found myself getting really attached to this version and I was kinda upset by this one's death :csad:

Part of me sees Grasshopper from GLA as a parody of heroic identities like Rocket Red who always seem to die and be replaced as soon as they can. The fact that Red was trucked off as the first casualty shouldn't have been surprising.

That said, I do agree that Jurgens wrote this version well. It was a shame to see him go, until I remembered he was Replaceable Red. ;)

They'll be fine

That's the thing with the DCnU; that isn't as much of a given as it once would have been. This is the era where Starfire is an soulless alien tramp, where Lois Lane is either absent from Superman's life or dead on Earth-2. Where Cassandra Cain and/or Wally West simply don't exist. Where the only heroine of color who gets her own book has to start is as a stripper on her knees. DC has more heroine books than Marvel does, but they also seem to treat them worse in their universe. Yeah, Marvel had Mephisto end MJ's marriage; DC would have had Darkseid or Norman Osborn kill her off. It's borderline pathological throughout the company.

If Jurgens' editor wanted some of those heroines replaced with some newer ones, then they will be, to keep things "edgy". Remember the reports of the battle that was writing/drawing STATIC SHOCK, where the writer wanted a story and the editor & artist wanted an endless gore fest to try to maintain sales, and all sides lost.

So, they could be fine. Or they could all be shuffled off to be replaced by Brokeback Girl and Bendover Lass if that's what DC wants. It's hard to tell, and maybe there's something in the fates of certain characters being uncertain. It does add some drama, if not frustration.

[Harlekin]

It adds another dimension to the character in order to make him/her more appealing or interesting to the audience. It's the same as Flash Thompson being a paraplegic or Tony Stark being an alcoholic or Bruce Banner the victim of child abuse.

Like I said before, in some cases like Northstar, it helps. In Wiccan's case, I find it not necessary to make him more interesting when he already has an interesting dynamic to him.
Haha, being gay is not the same as being paraplegic. And no, not even from a storytelling perspective. Sure, having a character be gay is something that might be dealt with especially in one issue or get focus in a story arc. Like Striker in Academy right now, because he's coming out. But Wiccan, Anole or Karma are concerned with other storylines. All you see of Wiccan's homosexuality is his relationship with Hulkling, which has been written like any other romantic relationship in comics, except they only got to kiss for the first time this week.

And you might want to rethink your equating gayness to being the defining tragedy or suffering of a character's life is, like alcoholism is to Iron Man and paralysis (plus alcoholism) is to Flash Thompson.

In short, I have no idea what could possibly be 'complicated' about a character being gay. It's not so much a dimension or a back story as that it changes his love interests from other sex to same sex and that they might deal with other issues related to that, but then love is never easy in comics or any other medium. Being gay is not Batman's parents being killed at age eight or being the possibly imaginary child of the Scarlet Witch, it's part of the character's make-up, just like his skin colour, height, weight etc.

P. S. Have you considered that maybe the audience in this case isn't you, but gay people? The only way to speak to a diverse audience is through diverse characters.

[hippie_hunter]

Where Cassandra Cain
Cassandra Cain has not been erased like Wally West. Batman continuity has barely been effected and it has been stated that both Cassandra Cain and Stephanie Brown have both been Batgirl.

Where the only heroine of color who gets her own book has to start is as a stripper on her knees.You are aware that this is the way Voodoo has always been. Being an exotic dancer has always been a huge part of the character even when she was in the WildStorm universe.

Granted that they could have done the scene a bit better, but DC stuck with what has been around with the character ever since she was created.

DC has more heroine books than Marvel does, but they also seem to treat them worse in their universe.While Starfire and Voodoo are pretty bad, DC tends to treat Batgirl, Batwoman, Wonder Woman, Supergirl, Power Girl, Donna Troy, and other heroines far better.

Yeah, Marvel had Mephisto end MJ's marriage; DC would have had Darkseid or Norman Osborn kill her off. It's borderline pathological throughout the company.No they wouldn't have.

If Jurgens' editor wanted some of those heroines replaced with some newer ones, then they will be, to keep things "edgy".Considering how long Vixen, Fire, and Ice have been around, I doubt they're going away.

Remember the reports of the battle that was writing/drawing STATIC SHOCK, where the writer wanted a story and the editor & artist wanted an endless gore fest to try to maintain sales, and all sides lost.I think that without McDuffie, Static was doomed no matter what.

[JewishHobbit]

Yeah, Marvel had Mephisto end MJ's marriage; DC would have had Darkseid or Norman Osborn kill her off.

A far better direction to have gone in in my opinion.

[RockSP]

I think that without McDuffie, Static was doomed no matter what.

Why's that?

[hippie_hunter]

Why's that?

Because name one person who cares about Static in today's day and age. I also think that McDuffie probably would have been the only person who would have put in the heart and soul necessary for the book to be successful.

[RockSP]

Because name one person who cares about Static in today's day and age.

Do you mean creators or fans?

I also think that McDuffie probably would have been the only person who would have put in the heart and soul necessary for the book to be successful.

Robert Washington III--one of the co-creators of Static --would have done a good job, IMO.

[hippie_hunter]

Do you mean creators or fans?
Fans, I think that the only people who really care about Static in todays day and age are the people who read the original comic or watched the television show. Which is few and far between. I think that there are also only a few creators that are genuinely interested in taking on Static. DC only absorbed Milestone due to them wanting to capitalize on the Static Shock cartoon a decade late.

Static has a lot of potential of being a hit, but it takes the right creative team to do so. The fans didn't show up for this book and the fact that it was a bad book just made it even worse.

Robert Washington III--one of the co-creators of Static --would have done a good job, IMO.
Probably.

[Dread]

Cassandra Cain has not been erased like Wally West. Batman continuity has barely been effected and it has been stated that both Cassandra Cain and Stephanie Brown have both been Batgirl.

But aside for BATMAN, INC. material, where are they?

You are aware that this is the way Voodoo has always been. Being an exotic dancer has always been a huge part of the character even when she was in the WildStorm universe.

Granted that they could have done the scene a bit better, but DC stuck with what has been around with the character ever since she was created.

So why choose Voodoo over no end of other heroines?

While Starfire and Voodoo are pretty bad, DC tends to treat Batgirl, Batwoman, Wonder Woman, Supergirl, Power Girl, Donna Troy, and other heroines far better.

How may people still get angry about Barbara not being Oracle anymore?

Considering how long Vixen, Fire, and Ice have been around, I doubt they're going away.

But they're not popular.

I think that without McDuffie, Static was doomed no matter what.

It shouldn't be that way, though.

Fans, I think that the only people who really care about Static in todays day and age are the people who read the original comic or watched the television show. Which is few and far between.

Really? "STATIC SHOCK" was on network TV for 4 seasons. It had MILLIONS of viewers. When reruns started airing on CN, they beat "JUSTICE LEAGUE" in ratings for a spell. Yet DC can't translate that into some sort of reading audience? Doesn't feel it is worthy of respect?

Yes, Marvel has failed to capitalize on Blade's movie success in similar fashion. But is that what the industry is left to - repeating the mistakes the other guys made?

[Harlekin]

Actually, the writer for Static did have the passion for the character and had great plans for him. However, he was overruled by the editor and the artist (Scott McDaniel), who thought it'd be better to chop off Static's arm.

[Dread]

Actually, the writer for Static did have the passion for the character and had great plans for him. However, he was overruled by the editor and the artist (Scott McDaniel), who thought it'd be better to chop off Static's arm.

That's the impression I got from reading what has become a very public spat online about what happened behind the curtain.

Given things that have happened since, I think a lot of micro-management is happening at DC. Hence why I don't automatically assume any character maimed in JLI will just be peachy in 1-2 issues. It may happen, but I don't assume it.

[WOLVERINE25TH]

What needs to be pointed out is that the people who ran Marvel during its lowest period are the ones currently running DC, so yes, mistakes are bound to be repeated.

[hippie_hunter]

But aside for BATMAN, INC. material, where are they?
DC wants Barbara to be more firmly established as Batgirl before they get used once more. Gail Simone has come out saying that she has plans for both Cassandra and Stephanie.

So why choose Voodoo over no end of other heroines?
That's what baffles me as well. It would have been much smarter to do a WildC.A.T.S. book as opposed to giving solo titles for Grifter and Voodoo. And it's not like people were begging for a Voodoo book either.

How may people still get angry about Barbara not being Oracle anymore?
A very vocal minority. Barbara Gordon's Batgirl book sells better than Cassandra Cain's ever did. Most people associate Barbara Gordon with Batgirl.

But they're not popular.
Not popular, but liked enough to be supporting characters in books like Justice League International.

It shouldn't be that way, though.
Agreed.

Really? "STATIC SHOCK" was on network TV for 4 seasons. It had MILLIONS of viewers. When reruns started airing on CN, they beat "JUSTICE LEAGUE" in ratings for a spell. Yet DC can't translate that into some sort of reading audience? Doesn't feel it is worthy of respect?
They should have capitalized on Static's success when Static Shock was on the air. Not a decade late when most people don't remember it anymore.

Yes, Marvel has failed to capitalize on Blade's movie success in similar fashion. But is that what the industry is left to - repeating the mistakes the other guys made?
Obviously :oldrazz:

[hippie_hunter]

What needs to be pointed out is that the people who ran Marvel during its lowest period are the ones currently running DC, so yes, mistakes are bound to be repeated.

Very good point there sir.

[WOLVERINE25TH]

We said the same thing about Batman Beyond back when the comic was announced, Hippie. For some reason, DC is 10-20 years behind. 20 years after the anti-hero/Image movement, they've entered into the realm of darker storytelling, and 10 years after their shows get cancelled they've begun publishing comics inspired by them.

Though, to be fair, Beyond did get have a show-based comic back during its run, but the point is waiting 10 years for an out-of-nowhere resurrection is a bit bizarre.

[CConn]

Um, how is DC just now delving into a darker realm of storytelling? Their books have been pretty consistent in their tone for the past decade now.

And as for Beyond, that got resurrected purely because it's mini, and subsequent ongoing series (both of which were published before "the people who ran Marvel during its lowest point" came on board at DC) had sold well enough to warrant continuation.

[hippie_hunter]

We said the same thing about Batman Beyond back when the comic was announced, Hippie.
Yeah, and I thought the same thing then too.

For some reason, DC is 10-20 years behind. 20 years after the anti-hero/Image movement, they've entered into the realm of darker storytelling, and 10 years after their shows get cancelled they've begun publishing comics inspired by them.
It's sad, true, funny.

Though, to be fair, Beyond did get have a show-based comic back during its run, but the point is waiting 10 years for an out-of-nowhere resurrection is a bit bizarre.
It really is. But it's as CConn says, there's a tad bit more demand for Batman Beyond than Static Shock. The miniseries and previous ongoing series before the New 52 were successful enough to warrant a continuation.

[CConn]

You know Static Shock was just an attempt to bring more black characters to the forefront of comics. Which, I guess you kinda have to give DC credit for; since Cyborg, Batwing, Mr. Terrific, John Stewart and Static were all at the forefront of the relaunch.

Of course, everyone just complained about DC not having enough female writers, so they lost all of their diversity points over that. :o

[hippie_hunter]

It's kinda hard to have female writers when the overwhelming vast majority of comic book fans are well.....dudes.

[CConn]

Which also means the people actually interested in writing comics will be mostly dudes as well.

[Themanofbat]

Happy belated birthday Dread... :up:

:yay:

[CConn]

I feel as though the only truly fitting birthday wish would be a detailed summery of Dread's life that has to be split up between 5 posts due to its excessive length. :o

[WOLVERINE25TH]

CC, while their stories have been dark till now, they've never had a period when all the heroes, even Superman, were met with fear and suspicion. Basically, the era of blind hero worship is over at DC and now the era of skepticism, which Marvel has been doing for a while, has begun.

There are quite a few women out there who write books. I know a small group half women that promoted a book they made at NYCC. Then there's the Womanthology funded through Kickstarter. I'm directly friends with several. The creators are there, just the opportunities are not. Mainstream comics are an exclusive club, and if you hadn't gotten in at a certain point it's damn hard to do so now. That's why people have to spread the wealth around and explore indies, because that's where you find the diversity in creators and storytelling.

[CConn]

CC, while their stories have been dark till now, they've never had a period when all the heroes, even Superman, were met with fear and suspicion. Basically, the era of blind hero worship is over at DC and now the era of skepticism, which Marvel has been doing for a while, has begun..But all Grant Morrison is doing with Superman is returning him to his original characterization. From the '30s.

[WOLVERINE25TH]

I'm neither talking about JUST Superman or Action Comics, but using his as a prime example and moreso referencing his current series.

[CConn]

Then who are you talking about?

Because I'm readi about 20 DC books, and I don't see any less "blind hero worship" then there's been in the past 10 years.

Like I said, Action Comics doesn't apply to what you're saying at all.

[WOLVERINE25TH]

Because Action takes place in the bloody past where it makes sense, whereas I'm talking about the present.

Aquaman, mistrusted and constantly insulted.

JLI, mistrusted and not even wanted.

Batman, hunted by the Gotham PD, even if not wholeheartedly.

Flash, seems to be regarded as more of a nuisance than someone who deserves their own museum.

[CConn]

Aquaman is just a representation of people's real world opinion of him.

The JLI is UN-sanctioned. That's actually more tied into the public trust than the JL has been in years.

Where is Batman being hunted by the Gotham PD? In JL? That takes place in the past.

And yes, because it's early in his career. He's Spider-Man-esque at this point in his career.

[hippie_hunter]

He's hunted by the police in Detective Comics. Mayor Hady wants Batman taken down which makes no utter sense considering that Batman, Inc. is still in continuity.

[CConn]

I feel so out of the loop by not reading the utterly pointless Detective and Superman titles. :o

[hippie_hunter]

I dropped Detective after the first arc.

[hippie_hunter]

I also interpreted the dislike of the JLI to be linked more to the public's distrust towards the governments of the world than the superheroes, which they love.

[CConn]

Which makes sense.

Most of the instances of DC "going dark" makes sense when you actually look at it beyond its surface level.

So far, it's really only Earth-2 that looks out-of-date extreme, and we can't even say that for certain as its not released yet.

[RockSP]

The creators are there, just the opportunities are not. Mainstream comics are an exclusive club, and if you hadn't gotten in at a certain point it's damn hard to do so now. That's why people have to spread the wealth around and explore indies, because that's where you find the diversity in creators and storytelling.

:up:

[TheCorpulent1]

Which makes sense.

Most of the instances of DC "going dark" makes sense when you actually look at it beyond its surface level.

So far, it's really only Earth-2 that looks out-of-date extreme, and we can't even say that for certain as its not released yet.
The concept of "making sense" in narratives has lost pretty much all appeal to me. Yes, killing off everyone Tim Drake holds dear was a good way to have his turning into a total emo d-bag "make sense," but why would you ever want to do that with a character who was basically the only lighthearted, hopeful holdout in the Bat-family? Mark Waid mentioned something like this during his run on The Flash: Wally West is and always has been a pretty light, fun character, so even when Waid was dragging him through some pretty horrible ordeals, he kept that optimistic core of the character intact. Dark stuff would happen and Wally might grieve or be sad for an issue or two, but there was never a year-long (or more) stretch during Waid's run that you could point to and say, "Man, Wally was such a sad sack there." I don't know, to me, "making sense" in the context of a reality that is entirely determined by creators' conscious decisions is often used as an excuse to trample over the cores of some characters or darken them to wacky extremes.

Then again, Waid himself is sort of indulging in the flip-side to that in Daredevil right now. Matt Murdock had some terrible s*** happen to him, but Waid had him zig instead of zag and throw himself into a facade of upbeat positivity rather than letting his grief and pain consume him, and I'm enjoying the hell out of Daredevil now.

[CConn]

That's not really want I was referencing you. I agree with what you're saying.

I'm more talking about the "mistrust" of superheroes. That's different from the grimdark stuff you're referring to.

[TheCorpulent1]

It's the same thing, basically. DC's world governments mistrust their superheroes now because DC thinks that's going to make their comics more profitable. It's a conscious decision on the part of the people behind the comics, so "making sense" doesn't really enter into it. Anything can be written in such a way that it makes sense. Robin could want to kill Batman. Crazy, you say? Red Hood, I reply.

Maybe I'm just bitter in my old age. :o