This was a modest but efficient week. Only one Marvel comic north of $3 and it was worth it. Spoilers.
DREAD'S BOUGHT/THOUGHT FOR 2/2/11:
BATMAN BEYOND #2: Curiously, while the fact that DC's "Holding The Line At $2.99" push has come at the cost of 2 story pages, I actually didn't notice at all. It wasn't until I counted the pages that I realized it was only 20. While there was some hoopla about losing some pages, the reality is that given the pace at which most writers tell their stories, the loss of two pages really may not hinder them much. In fact, given how decompressed some writers are, such as Brian Bendis or Matt Fraction, losing 7 pages would if anything encourage them to speed stuff up. At any rate, this is a solid issue, even if it seems very clearly a "part 2 of 3" issue.
After a seemingly dying transmuter takes a mall full of hostages (which include Terry's mom and brother), Batman doesn't want the JLU to meddle with what could be a delicate extraction. They spend most of the issue fighting before Terry decides he's somewhat more of a team player than the old man and decides to work with them, at least for now. The transmuter decides to focus on his powers better and becomes a full on Matter Master 2040. That is pretty much the summary of the issue. Hero vs. hero battles are a standard trope, often done to settle fan disputes and/or kill time. I suppose that it bares remembering that in the "Beyond" universe, Terry at least shared one thing with Wayne; a dislike with teaming with others long term. Plus, assuming the continuity is similar, Superman spent decades as the slave of Starro while "leading" the JLU, which surely is a bad first impression. Plus, Gotham is Terry's turf and, as Aquagirl surmised, people he cared about were hostages. Still, it did seem a bit daft to waste valuable time fighting the JLU, regardless of any concerns. Surely wasting time and effort, as well as risking injury, is just as much of a danger than if the JLU had stormed in guns blazing.
Adam Beechen has captured the flair of the show and universe more here than he did in the mini series. These last two issues have "felt" more like the show than how the last series ended, which is a positive sign. Naturally, the JLU of Beyond are the aforementioned Superman (who is absent), Green Lantern (a young Asian boy), Warhawk, Micron, Aquagirl, and Big Barda. Given how Beechen has been willing to alter Beyond's continuity to make it fit better with the DCU, I am curious if Warhawk will still be the son of John Stewart and Hawkgirl in this series, or if it just won't come up. To be fair, that only was revealed years after BEYOND signed off. It is interesting that Beechen chose to keep Barda on the team as well; reportedly, she was only on the team because at the time, Bruce Timm and company were having difficulty getting the rights to Wonder Woman for TV guest appearances (a situation that has only cleared up recently). Thus, Barda was there because she basically had a similar power set and warrior attitude.
The artwork by Ryan Benjamin and John Stanisci is good and appropriate for this series. I did enjoy the story, although it was basically a middle chapter to the finale and still read like it. There is a preview for FLASHPOINT in the back and apparently when people told me there were two Flashes, they were not kidding. Apparently the only difference between the two is one has a yellow outline around his chest emblem, and one doesn't. I know one is Wally and one is Barry, and I could try to guess which is which, but I will probably be wrong. If DC is going to have two or three or 15 versions of one character, can they at least look different enough that a lay-person could tell them apart? I am sure some hardcore DC fan knows perfectly which is which by eye color and whatever, but I'm not that guy. At the very least, when Rogers and Barnes were both Capt. America during SIEGE, there was no way to mix the two up.
AMAZING SPIDER-MAN #653:The true sign of whether Dan Slott's "Big Time" push for his solo writer run on AMAZING SPIDER-MAN is when an issue of it, and not even the first or third issue, on the same week as an issue of Robert Kirkman's INVINCIBLE and it manages to out perform it. This is the second arc of "Big Time" and the second of a three issue story featuring artwork by the second regular artist in the bi-weekly rotation, Stefano Caselli (with colors by Edgar Delgado). This issue is actually more of a collaboration, at least according to the interior page credits, with writer Fred Van Lente; he is credited with the script of the main ASM story, while Slott is credited with the plot. Fred Van Lente also writes the Power Man back-up strip, and has written on ASM in the past. His successful comics column is roughly as long as Dan Slott's, and the two make great comics together. While the rest of this week's pull list from Marvel was $2.99, this is one $3.99 comic that is always worth the extra buck in terms of quality and page count - at least thus far.
Picking up from the previous issue, Alistair Smythe (the Spider-Slayer), a vastly upgraded Scorpion (Mac Gargan, back in the saddle) as well as a small army of cybernetic bug-themed minions have descended upon the Andru Air Force Base to get revenge upon mayor J. Jonah Jameson. The air base is naturally named after legendary artist Ross Andru, who had a lengthy run on ASM in the 1970's and is probably best known for co-creating the Punisher. Smythe and company seek to slowly torment Jameson by killing everyone he cares about, including his astronaut son John as well as his wife Marla (who just happens to be at a spa with Peter's own Aunt May, who is married to her father in law). Fortunately, the shuttle launch was being tended to by Horizon Labs, who happen to employ Peter Parker. Thus, Spider-Man is able to meddle in Smythe's revenge scheme - but it turns out that he needs far more help than usual to thwart this threat. His allies the New Avengers (although after over 6 years, how "new" can they be) show up as well as a rival villain in the shadows. There is also a cameo by Squirrel-Girl, "earth's mightiest nanny" as well as a cliffhanger that may or may not "go there" with someone figuring Peter Parker's secret.
The mastery of this run so far isn't so much that every story is the most original work yet, but in the execution. All of the action and comedy beats work well together. Slott and Van Lente display a working knowledge of past and current continuity, yet weave it organically into their story so it never feels forced and helps make their own story stronger. Peter Parker has long been a genius; why not get a job with that instead of taking pictures, and take that to a conclusion? He's been on at least one Avengers team for nearly six years now; why not utilize that for back up against an incredible threat? Sure, there have been no end of stories in which someone may or may not have found out he's Spider-Man, but at least in this one, it isn't a girl, and the resolution is truly up in the air. In fact, Peter Parker's current romance is merely a subplot and doesn't hog the real meat of the story, which stands on its own. Scorpion has been returned to basics and made better after years of being Venom, and Alistair Smythe's revenge motivation is at least not complete baloney. J.J. has left a lot of people in the dust during his career, and has funded the creation of many villains in his vendetta against Spider-Man; thus, this feels like an organic reaction. In fact, the only major flaw in the main story is that Caselli seems to believe Luke Cage wears contacts to hide his pupils.
The back up strip, by Van Lente and artist Reilly Brown, finishes the two part tale of Power Man (Victor Alvarez, new hero and pupil of Iron Fist) and Spider-Man having an awkward team up to thwart an plot by the Looter. He's one of those villains who is often mocked for how lame he is, but Van Lente does a good job of playing him straight as well as for some laughs, and making it work. It all involves the key to the city (New York City), a secret passed down among 33rd Degree Freemasons, an alien and "yo mama" jokes. It is only eight pages long (and the second half of a 16 page story), but it definitely reads better than many full length comics, and it is essentially a bonus story.
Why did Dan Slott need some help on the script? This month will not only see a second issue of ASM, but issue #564.1, which is an extra "bonus" issue that will be utilized to promote the next arc on ASM as well as the new VENOM series. Slott often puts such care into his stories that he can rarely write more than two issues of something within a month, and thus he likely needed the extra help. Usually his frequent co-writer is Christos Gage (who has worked alongside him on AVENGERS: THE INITIATIVE and a few issues of MIGHTY AVENGERS), but Fred Van Lente is a more than suitable alternative as collaborator. The two share similar senses of humor as well as character history and a flair for action. The last few issues missed taking the top spot of the pile "by this much", but this one broke through. Once again, if one hasn't been reading ASM for years, regardless of the reason, "Big Time" is a good reason to give it once more chance. Characters as long lasting as Spider-Man are bound to have their ups and downs in terms of long term editorial decisions and intentions; the best thing to do is to appreciate the good runs and executions when they last.
INVINCIBLE #77: While unable to quite match ASM's luster this week, this is still an effective it not simple and somber issue of "the best superhero comic book in the universe". This is the 7th and penultimate chapter of the Viltrumite War storyline, and it shows that writer/creator Robert Kirkman and artist Ryan Ottley can handle things well even when there is little action. This series is running a bit behind schedule (the last issue came out just before Christmas), but hopes to get back on track soon. It is actually difficult to review this issue without giving away the key twist in the plot. Invincible, as well as his father Nolan and ally Tech-Jacket, race back to earth after figuring out that is the likely next destination of Thragg and what is left of his empire of massively powerful aliens. Given that even one rampaging Viltrumite can ravage the world, Invincible is restless imagining what may be going on back home, and the ride back becomes tense. Once they arrive back on earth, however, is when the real drama of the issue begins. FCO Plascenia continues with astounding color work while Cliff Rathburn, as usual, handles the inks. This series continues to be a roller coaster, running the gamut from humor to action to shocking gore to slapstick comedy and back again.
There is also the return of the Tech-Jacket back up strip, co-written by Aubrey Sitterson with art by E. J. Su. It basically continues Tech-Jacket's story from where it was left off back in 2003 or so when it was canceled, much as Kirkman did with his CAPES, INC. back up strip several years ago. Given that this series is still $2.99 for regular issues, that increases the page count of content for an incredible value. INVINCIBLE remains Kirkman's opus of a series (besides WALKING DEAD), and every issue is a pleasure.
SPIDER-GIRL #3: Things certainly have taken a turn from where this series debuted back in November. At first a seemingly fun and lighter hearted series about Anya Corazon rebounding from losing her powers as a sort of low rent heroine with connections to Twitter and the Fantastic Four (through her father, Gil Corazon), writer Paul Tobin has decided to take things darker. In December's second issue, Anya's father was seemingly killed in a battle between the Red Hulk and the Fantastic Four; he was her only surviving family member. Naturally, the tone has changed considerably. The last issue was about the immediate sting of the loss, and this one is more about finding answers and taking steps towards emotional recovery. Tobin has often made his money writing "kid friendly" books in the MARVEL ADVENTURES line, so perhaps this is his attempt to showcase a talent for things other than being "light". While he hits all of the appropriate beats, and executes things properly, it perhaps isn't what some may have signed up for in issue one. The unfortunate thing is now Anya is an orphan whose parent has essentially been killed by a villain she must avenge; a trope as old as fiction itself. Far too many heroes, especially female ones, are nomadic and seem to have no stable family life. The first issue introduced a retcon that Gil was a close contact with the Fantastic Four after no mention of such a thing happened for nearly seven years; this issue has perhaps the end result of that, as Anya seeks out to rebuild her support system without Gil. The irony is that without her powers, only her connection to AMAZING SPIDER-MAN's "Gauntlet/Grim Hunt" storyline is what keeps her as Spider-Girl and not as "Fantastic Girl" - that, and the fact that a Spider-Man spin off supposedly had more of a chance of survival. Even that chance may be slim, as her sales are not terribly high, and this book may struggle to see a 6th or 7th issue.
In many ways, Anya Corazon's past has been dumped into a bin regardless of how awkward it is. If Paul Tobin wanted her to have a blond heroine mentor figure, she DID train with Ms. Marvel during CIVIL WAR and was her partner for a while (until she got injured fighting Doomsday Man). While I understand why Tobin prefers Sue and why it probably works better (as Sue is a mother figure), it still comes off awkward to do retcons so long after the fact. This isn't even getting into one of the shoddiest bits of Marvel editing in years; the fact that Anya lost her full Arana powers yet no writer actually wrote it happening on panel. I am dead serious. It never happened. Editorial just says it did in recap pages or "sagas", and no two agree on when this happened. The editor's note for YOUNG ALLIES said it happened during ASM's THE GAUNTLET - it didn't (if it did, in no way was it clearly stated on panel in any scene). Then, future recap material (sagas, the recap for SPIDER-GIRL #1) claimed it happened beforehand - it didn't. The fight with Doomsday Man took away her armor, but she retained her powers. Clearly, editorial wanted Anya to lose her powers for this new shift into Spider-Girl, but never got around to asking a writer to write it. That's just shoddy, plain and simple. It's needless baggage for a new launch, and fits the sort of "details are for nerds" mentality that plagued the Joe Quesada EIC tenure.
Regular artist Clayton Henry has also been unable to complete full art for any issue but the first; in this issue, Tim Seeley (HACK/SLASH, ANT-MAN & WASP) and Sergio Cariello draw many pages. In the letter page, it is told that Henry will take the next two issues off altogether; a lack of a stable artist every issue can doom a book further. At any rate, this issue has Anya once again run into the Red Hulk, who claims he was not the one responsible for her father's death despite outward appearances. There's yet another secret evil organization out there that must answer for it. While deciding to continue as a masked vigilante, Anya needs and seeks out emotional support from those around her - at the very least, she is not becoming a brooding lone wolf. Overall the art work flows well despite the three artists, although Cariello's style is probably the most different, which is why it is kept to a flashback sequence. Chris Sotomayor's colors tie all of the art together. Next issue brings some demons from "Grim Hunt" to roost, and this I wonder if picking at ASM's leftovers, rather than trying to better branch out on her own, is the wisest choice for this title. At any rate, this is a promising relaunch of a dynamic young heroine who has a lot to offer the Marvel Universe, if only fans give her a chance. I like this series and how Tobin is writing it; I'm probably critical of the road to get here and whether it will bare fruit.
t: 
Also, this is the best Fenris Wolf has pretty much ever been. Before this, he's just been this giant wolf with the absolute bare minimum of personality. Glad he's finally getting some development. Edwards' art is a bit bland for my tastes (in part because I suspect he spends more time trying really hard to make his art look like Bryan Hitch's rather than just doing his own thing), but it's all right. Looking forward to the conclusion.
from me.
