Very hefty week in comics for me, in terms of quantity. In terms of quality, it wasn't a bad one. As always, rants and spoilers ahead.
Dread's Bought/Thought for 10/13/10:
BOOSTER GOLD #37: Ironically, while the cover features a bit of "tentacle rape" innuendo (which Joe Quesada has never heard of), the lady sharing it with Booster is actually more dressed on the cover than within! And how she looks under Dan Jurgens' pen is not the same as under the pencil of Chris Batista. As I have said for a few months now, this title under Giffen & DeMatteis has mostly ceased to be a superhero title as it was and has often devolved into a traveling comedy hour. While in theory Booster Gold is still protecting the time line (which he did exactly one during their run, the first issue) and is hunting for some evidence in his fight against Max Lord of the present, in practice it has simply become an attempt to relive nostalgia with more JLI era stuff. And to be fair, that's fine. Time travel allows for that sort of thing to happen. After all, it's no accident that Chuck Dixon's run involved a lot of Bat-family stuff, or the Flash family got involved when Geoff Johns was still co-writing. So why not cater to their strengths? Why let a pesky thing like Ted Kord's death and editorially mandated insistence that he stay there get in the way of some good Blue & Gold romps; just set a tale in the past! What this has done for me is make this book into a read that, while I am reading it, is often very funny, and a good time. But I then have trouble remembering it. I like to imagine Giffen & DeMatteis as the grandfathers of the sort of half comedy, half dramatic adventure style of writing that Greg Pak & Fred Van Lente have done so well on Hercules material. Unfortunately, they don't seem as on the ball, or at least seem more willing to keep the envelope in the bwa-ha-ha territory.
This issue is better than the last two. Why? I happened to find it funnier. No other reason. Comedy is often very subjective. To recap, Booster went back in time to the 80's continuity to find some artifact from the past to prove Max Lord exists in the modern day, so they can stop him and avenge Kord (again). In practice, that has allowed Booster to join Ted in another of his madcap schemes, this time to recover a magical book. The affair involved Barda and Mr. Miracle for a while, but went haywire. The book wasn't recovered, Ted was turned into a chipmunk, and Booster was arrested, falsely, for stealing some planet destroying gizmo. Now they're in a space prison with Vril Drox, until a rampaging warrior woman arrives on the scene. Her name is Estrogina, and if that name doesn't tell you what kind of issue this will be, nothing will. She wants to punch her way out of the jail, kidnap Booster to be her "boy toy", and apparently eats Ted-munk. If it sounds crazy, that's only because it is. But don't worry. It all works out in the end.
To be honest, Giffen & DeMatteis have played the "very aggressive lady warrior shows up and is flirty while attempting to de-masculate the title hero" twice before in this run, with Emerald Empress and naturally, Big Barda. I just happened to find it was funnier this time around, for some reason. Maybe it was Estrogina's barely-there torn uniform, from the EMPOWERED collection. Maybe it was Booster's counter banter. One can perhaps see where some future stories could lead, and this comedy adventure that initially seemed like a lark will continue to stretch on. The quest for the Lord artifact has been abandoned, beyond a monthly whine about it from Skeets or Booster. The subplot of Booster taking an orphaned kid from the future and bringing her to the present with he and Rip only pops up for one page schtick every other issue. Maybe I should be reading the TIME-MASTERS mini series if I want more serious fare from Jurgens. At any rate, I think the problem comes down to there being little substance behind the comedy to stick with me. There is one bit where Skeets admits he's jealous of Booster's friendship to Ted, while acknowledging he shouldn't be so, since he's a robot. But all that does is introduce a funny bit later on. Still, this month managed to work out better than the last. I do wish a chase after a magic book in a story that doesn't really matter (because it is in the past) would get along a bit, though. But then again, maybe that's why people don't read IRON MAN LEGACY.
I AM AN AVENGER #2: The anthology series that has replaced AGE OF HEROES, this issue is more of a hit than the last. Anthologies tend to be that way, dependent on the collective collection of whatever tales are within. This month's collection is pretty good.
The first and feature story is a Steve Rogers tale by Greg Rucka, with art by Michael Lark & Stefano Gaudiano, with colors by Matt Hollingsworth. It's a small private story but it works on that level. Apparently, only one U.S. soldier actually died during the SIEGE (murdered by Daken), and Steve Rogers takes time out of running "I can't believe it's not SHIELD" to attend the funeral services. All of the military officers are honored and amazed that Rogers turned up, but the only one not in awe is the solder's widowed wife. She's in the "anger" stage of grief and directs a bit of it at Rogers. Other, worse, writers would have tried to make the story into some sort of political argument; Rucka doesn't. He portrays Rogers as a sympathetic soul who cares about every man he "loses" in combat, and always has, especially the ones who don't wear spandex. It's about 11 pages but very good. Greg Rucka is a writer I've heard about around the DC circles (supposedly, the only writer of the decade who handled Wonder Woman well besides Gail Simone), and I am curious if he will do more for Marvel. It may not be easy to impress anyone with short anthology stories, but I definitely liked this one.
The second tale is actually a multiple parter; the first in a Marvel anthology series since the last ASTONISHING TALES ended (and that had replaced another MARVEL COMICS PRESENTS relaunch). It's by Sean McKeever, who at this point is back to where he was at Marvel in 2006; a fine writer whose books just don't sell. Laugh at his TEEN TITANS run, that sold a lot better than his just canceled YOUNG ALLIES. In reality, his tale really is a YOUNG ALLIES story, focused on giving "Closure", the title, to Firestar and her ex, Justice. Of course, both of them were Avengers, and Justice is part of the Avengers Academy staff, so it counts as Avengers stuff, too. There is a little Old New Warriors reunion at a bar that is actually a cute scene. Things between Vance and Angelica are, naturally, awkward. She's just survived cancer, and he's on the rebound with Ultra-Girl. She retired from the spandex for a long time after the start of Civil War, and only dons it for emergencies; Justice never left it. They used to be engaged, until Angelica called it off. Unfortunately, some threat literally forces them to team up, and they run into the two opponents they least expected. The art by Mike Mayhew is "photo-realistic" and takes some getting used to, but I didn't mind. It wasn't so bad that their costumes had zippers or anything, and he's good with facial expressions. I liked the little nods such as Robbie Baldwin having long sleeves on, to hide the cuts. I suppose the continuity junkie in me might note how McKeever had Baldwin act WAY more fun than he has in AVENGERS ACADEMY, but it makes sense that if anything could get him to loosen up for an hour, it'd be a reunion at a bar with Rider and Vance (and Angelica happening to be there with her fellow Marvel Divas). It's these sort of "hey, the heroes know each other, and hang out like friends" scenes that the CIVIL WAR era robbed from Marvel comics, and I am glad they're back.
Paul Tobin may have climbed out of the MARVEL ADVENTURES ghetto, but his solo SPIDER-GIRL title hasn't debuted yet, so he's gotten another short strip, a two page Jarvis story. It's not bad, although Logan wanting to go out bar-hopping and land women is a tad out of place; the bar, yes, the "brats", no. He doesn't go out trying to land women like a college senior; he growls, goes to bars solo and women happen to be attracted by his short hairy manliness. The artwork's fine, and I loved how every Avenger has their own meal, that Hawkeye really loves pizza, and to Thor, a whole pig is just lunch.
The last story by Jacob Chabot is a D-Man story titled, "Pie Of The Tiger". If that alone doesn't tell you you're in for a good time, nothing will. It's one page long, but I've seen Bendis accomplish less within a whole issue of ULTIMATE SPIDER-MAN. The artwork is very funny, reminding me of Al Jaffie from MAD Magazine in some ways, in that there are all sorts of little bits going on in the background of large panels. I won't ruin it, but it features a damn lot of Avengers and perhaps the best use of Noh-Varr since he became "the Protector", ever.
Last issue, while I liked the Iron Fist/Misty Knight story, it wasn't enough for me to justify recommending it for $4. This issue, though, is more justifiable, and it doesn't matter if one missed issue one, so long as you like good, entertaining tales with Steve Rogers, Justice, Firestar, D-Man, and even Jarvis. At least it is technically "extra sized", 23 story pages instead of 22. Take what you can.
INVADERS NOW! #2: Second part of this installment of the Alex Ross helmed Invaders series of mini's that Ross himself apparently barely writes. Christos Gage is the guy who gets the nuts and bolts installed in the script every month, and that was why I am aboard. This issue is basically an extended flashback sequence from WWII, which is the rarest scene of flashback sequences in all of comics (as rare as giant robots are in Japanese animation). Still, it manages to work out and elaborate on the plot of the first issue, while also elaborating on a little bit of continuity. Always wanted to know what provoked Arnim Zola to stick his head in a robot's torso besides just to survive the war? Now you'll know.
The "we murdered a whole town" gasp line is still true, although of course there are mitigating circumstances. Zola and the Nazi's had unleashed a virus on the town's populace that turned them into hulking monsters who infected anyone they touched, such as Allied soldiers. The only few who aren't immediately monstrous are still infected, and will eventually mutate. The Invaders were faced with a horrific choice, and had to make it. They didn't enjoy a second of it, though. The artwork by Caio Reis with colors by Vinicious Andrade is pretty good. All the heroes and mutated people look as one would expect.
To a degree this is an exposition issue, but it isn't bad, and I am still glad I decided to give this mini a chance. The original Vision is interesting, and while it is often overlooked, Spitfire is one if Marvel's oldest and longest serving super-heroines. The modern Union Jack is an outsider to the 1940's stuff as a more modern link in his legacy, which keeps him interesting. I wasn't surprised to see the old Nazi villains return (Master Man, Iron Cross, U-Man), but to be fair, they've shown up in prior Invaders material, so it isn't like Ross or Gage are doing something unexpected. Even Brubaker brought on a new Master Man quickly in his Cap run. It isn't an "essential" series, but it's entertaining for anyone who sees, or would like to see, the Invaders stand in as Marvel's version of the JSA. Gage, naturally, is a very competent writer and the artwork's good.
INVINCIBLE IRON MAN #31: Was THIS CLOSE to dropping this. I gave UNCANNY X-FORCE #1 a flip through, as it was recommended. But in the end, it came down to sticking with a $3 book (versus a $4 debut issue) of a series I was already invested in, that at least had characters I was invested in (versus X-Force, a team roster in which I literally don't care for any one of them enough to toss an extra $4 at my clerk). And the irony is I predicted how this issue would likely go, and I wasn't entirely wrong. Stark naturally survives the explosion. He gabs with Pepper a bit. The Stane women gab some more. And it ends with those drones starting to attack. It's so easy, a caveman could do it.
Yet this issue didn't seem as boring as some of the ones of the past, perhaps because we know the climax is in the horizon now. Still, if any title would benefit from being released as two trades a year, it would be this one. If I was reading this series in two chunks twice a year, it would likely be fine, and we'd all be heralding the pace. But in 22 page installments, it doesn't work. I don't think every American comic should follow the Japanese manga model. But some should, and this would be a poster child for it.
It's standard Fraction/Larroca/D'Armata stuff. The art is lovely, especially with the cars. Fraction is able to build genuine suspense. He has some flair for narration and some entertaining banter. But for a book about a man who can fly in a suit of armor, it is often in no rush to get to where it is going. STARK RESILIENT is on it's 7th chapter, and we know it'll stretch to at least nine. NINE. Not even CIVIL WAR, as in the story written by Mark Millar and drawn by Steve McNiven, was NINE chapters long. Not even HOUSE OF M, by Bendis The Horrendous was that long; his Ultimate Clone Saga was. This isn't nearly as bad as that, but while I do like that there is more of a sense of urgency in part 7 than in part 4, I do wish editor Stephan Wacker would encourage Fraction to whack out the stories faster and shorter. It's not Bendis level decompression, if only because Fraction is better with dialogue. There needs to be some sort of litmus test or board approved standard for making a story beyond six parts, as even at that length many are too long. Stark Resilient has a mole. Brilliant. Do we need to spend 19 pages going over this?
This was a week where, if anything should have encouraged me to drop this book and cut bait for good, it was a $30 week. But instead I want to finish the arc, and maybe see how Fraction will handle the Mandarin. That means I still have some sort of faith left for the future of the title. Maybe I fell for some of the NYCC buzz for Jan. 2010's IRON MAN #500, which will reward my loyalty with a $5-$6 price tag. I think Fraction may have replaced Bendis as the worst big name writer whose monthly work I haven't been able to leave easily. God forgive me. At least it isn't as bad, nor does it trash continuity as badly as a Bendis work (he's turned Aggomotto into a cluster**** of stupid, I am told).
The best action scene in the whole issue is on the cover. That's starting to get a little old by issue 31. If Fraction and Fred Van Lente could just switch Iron Man books for a month, I'd love to see what Van Lente does with an Iron Man book that "counts".
The problem is comic books are not being paced like comics anymore; they are being paced like TV shows or films. But if comic book writers want to work on those, they should. Comics should be a different sort of style, at least if the big two had a shred of creative integrity. Instead, this book is really just there to help the writers of "IRON MAN 3" come up with a plot.
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