Despite having a cold and not much sleep this week, I managed to get comics. Spoilers and sniffles ahoy.
Dread's Bought/Thought for 2/9/11 (Part 1):
HAUNT #13: This is how you do it. While HAUNT is actually one of Image's best selling titles (it may be one of their Top 5 sellers, at least when it ships), that isn't enough for Robert Kirkman, Greg Capullo, and Todd McFarlane. So they offer the first issue of a new arc at $1.99, a discount to encourage retailers to order a few extra copies and to maybe encourage some new fans to have an impulse buy. Image gets it. Yet, Image is about 4% of the industry - a company that can afford this sort of thing to backfire the least. So why are they willing to do so, yet neither Marvel or DC are as eager, when they can afford it the most? On the other hand, this issue seems to have at least 3 variant covers, to encourage over-orders, which is itself deceptive. I got the Erik Larson cover, because that's the one my shop ordered. While McFarlane was the first to design Venom, people forget it was Larson who exaggerated many of his features into what we know today. McFarlane's Venom didn't have as much drool or the insane tongue.
At any rate, this is the 3rd arc of this series, and it appears things are taking a twist away from drama about black ops and mobsters, but to the supernatural. The downside is that things are laid on thick very quickly - another agent tells Daniel Kilgore not to rely on his powers as often and to "actually do the job". Can anyone guess what happens next? Some strange, demonic Apparition seems to devour the ghost of Kurt Kilgore, which naturally means that Haunt's powers may be gone when he may need them most. The irony is the "hero loses his powers" trope is one that Kirkman has avoided for over 75 issues of INVINCIBLE, yet barely makes it past a year before engaging in here. The real twist of the issue is probably seeing Daniel's reaction to it compared to the start of the series. He and Kurt never got along in life and it took a while for him to get used to their supernatural dual-existence. Now he has gotten so used to having his brother's ghost around that the lack of him suddenly gets him anxious.
The artwork is as a reader of this would expect; Greg Capullo has been penciling the series since Ryan Ottley left after issue five, and McFarlane as well as Jon Glapion have been inking it. It probably says a lot when Todd McFarlane is the one who isn't so busy that he can't answer letters, while Kirkman usually has been lately. I've gotten used to it by now and in all honesty I have attached Ottley so firmly into INVINCIBLE that I am probably more comfortable with Capullo and company now. The inks actually helped both of their styles merge so the transition was very smooth - its more than just "tracing", after all!
At this point I usually go on about how this is Kirkman's Spawn, but in all honesty by now I am settled into this as a perfectly fine and entertaining supernatural black ops series. It is an ancestor of some of Marvel's horror comics of the 70's, in which supernaturally empowered people got odd costumes but still fought things that many superheroes didn't. It isn't the greatest thing in the universe but it is better than a damn lot of it, and at $2.99 (or less) an issue it is perfectly fine. If you like supernatural action or are a Kirkman fan, I'd suggest checking it out - it beats his run on ULTIMATE X-MEN, and maybe even TECH-JACKET.
AMAZING SPIDER-MAN #654: This is the conclusion of Dan Slott's second arc on this title as the new solo writer, and things continue to move at a high quality and high caliber pace. "Revenge of the Spider-Slayer" concludes with an ending that is actually a bit darker than the bright cover implies. Continued from last week's issue, Spider-Man and the Avengers are finally able to overcome Spider-Slayer, the Scorpion, and his army of cyborg bug-minions. The mystery of whether Peter's new boss has discovered his identity takes an interesting twist, and once again Spider-Man proves willing to sacrifice his own life to protect others when it counts. Same as last issue, Fred Van Lente contributes to the script (even if he isn't credited on the cover), Stefano Caselli completes his arc on art, with colors by Marte Garcia. The conclusion of the main story is not only tragic (making J.J. a two time widower), but also opens the door for some interesting character development for J. Jonah Jameson. Even as NYC's mayor, he is often on the verge of becoming a parody of himself with his hatred of Spider-Man and his own cranky nature. While it is a shame that the course that this possibility takes had to occur this way, it does have potential for Jonah to finally evolve a bit past where he was in the 1960's in terms of persona, much as Peter has. Slott and Van Lente are able to perfectly weave in a Spider-Man adventure with his ties to the New Avengers, and they're probably more amusing here than in their regular series (Jessica Jones even has a better code name, and dresses for work for once). The only downside (as the death is variable on your opinion) is that after all the talk and high damage that Gargan takes, he basically goes down in one punch (that looks very much like Spider-Man performing his "Spider Sting" move from the Capcom fighting games).
In the back up strip, written solely by Slott and with art by Paulo Siqueira and Ronan Cliquet De Oliveira (and three colorists in tow), the identity of the next Venom as well as his origin is revealed. Or rather, Marvel already leaked in a Newsarama phone conference that he would be ex-soldier Flash Thompson, but it is the nature of how he becomes "the monster" that is unknown. It is an eight issue strip meant to promote the upcoming AMAZING SPIDER-MAN #654.1 as well as the new VENOM ongoing series by Rick Remender and Tony Moore. It is an interesting take on the "Venom as federal agent" type of set up that the Eddie Brock incarnation enjoyed at the end of his popularity during the 1990's. The fact that it is Thompson allows this new Venom to feel like more of an organic spin off of the main title, as well as give him more to do than date Betty Brant in background panels. The only drawbacks to the issue are Scorpion's swift defeat and the possibility that Brant may be left in the dust of Flash's new status quo. Thompson's military boss also proves to be a typical "bad guy who cares nothing of the hero's overall safety" type seen dozens of times. Overall, however, this run of ASM is proving to be one for the ages, able to entertain both old, new, and jaded fans alike. Full of humor, emotion, solid art and imaginative ideas, it is a franchise title with its current popularity.
HEROES FOR HIRE #3: Writers Dan Abnett and Andy Lanning, the tag team responsible for space based titles like NOVA and GUARDIANS OF THE GALAXY as well as space epics like ANNIHILATION CONQUEST, WAR OF KINGS and THANOS IMPERATIVE, continue their domination of the top spot of my comic week with their foray into "street heroes". This is their third issue, and the second to earn the top spot over some very honorable mentions. Despite having a mostly rotating cast, Abnett and Lanning have turned what could have been a simple "bounty hunter" type series into a work that does feature that, but has an engaging mystery subplot and very imaginative ideas. The writers prove that their knowledge of the Marvel Universe extends past the stars, and they utilize that lore to bring new twists to old "crime series" type plots. While this issue offers "yet another sex trafficking ring", it offers a detail to it that is distinctly Marvel.
The roster of the series changes every issue, although this is the second (of three thus far) to feature Moon Knight as one of the heroes for "hire" for the evening. The series' regular characters remain Misty Knight and Paladin; relatively obscure characters compared to Wolverine and Spider-Man (or even Colossus) who some writers would not risk as their leads. The last incarnation of HEROES FOR HIRE, for instance, had Black Cat and Shang Chi as part of the regular cast. Yet Abnett and Lanning handle their stars with the utmost care that any character deserves. As the cover notes, Iron Fist - one of the original Heroes For Hire, as well as Misty Knight's ex fiancé - appears in this issue and becomes part of the central plot. He is sporting his NEW AVENGERS costume and it does take some getting used to (and makes Rand seem as if he has taken fashion tips from the Phoenix). While Misty organizes the "heroes" via radio contact as "Control", she is anything but. She isn't where she is supposed to be, nor does she seem quite like her old self - a mystery that Paladin plans to get to the root of. Not every series can pull off a small regular cast as well as a rotating cast, but this one does. The core mystery subplot, which is leading to an ultimate conclusion, is enough to engage the reader past the more mundane "mission of the month" main plot of most individual issues. Despite the serious nature of most of the issue, there are still moments for an entertaining wisecrack. Brad Walker continues with his exceptional pencils, backed up well by Andrew Hennessy's inks as well as Jay D. Ramos and Guru eFX's colors. It is a treat to see this art team tackle characters and situations that aren't cosmic for a change.
Many of the things stated for issue two can apply for this issue as well. The relaunch of HEROES FOR HIRE is proving to be action packed and engaging. The same care that these writers brought to Nova, Star-Lord and Drax is applied to Paladin, Misty Knight and now Iron Fist. It was good to see Moon Knight put in a repeat appearance as well; although the Punisher remains the only character featured on the cover of the debut issue who has not yet appeared. While there are actually many good new series or runs from Marvel being published right now, HEROES FOR HIRE is perhaps one that, alongside SPIDER-GIRL, is at risk of falling below the radar and being canceled after the first arc. Such a fate would be a shame for a series with this much potential.
INVADERS NOW! #5: Skipping January, this brings this latest series to an end and if the last page plea to email demands for more is to be believed, the end of the road for Invaders material with Alex Ross' involvement. While AVENGERS/INVADERS probably sold far above expectations, THE TORCH didn't sell so well and neither has this. This one I read because it was co-written, possibly mostly written, by Christos Gage and he rocks. This issue has the final battle between the Invaders (both new and old, mostly old) and the Uberkommandoes as well as their latest master, the demon Shuma Gorath. Between this and THANOS IMPERATIVE, he has been getting around lately. Having tricked the last survivor of a town the Invaders couldn't save from Arnim Zola's experiments, Gorath and his minions are sent for conquest.
Most of this issue is pure combat, with quote a few splash pages or double page splashes - and many pages with 3 or less panels. The interesting thing is I thought this battle was a better one than the finale one in IRON MAN LEGACY #11 last week - perhaps because it involved more characters. The Golden Age Vision (otherdimensional cop Aarkus) gets to fulfill his destiny by having organized the reunion of the Invaders in time to repel the threat of Gorath. I liked the many minor nods to utilizing continuity - such as Namor being the one who knew of Gorath, which makes sense given all the years he was a Defender alongside Dr. Strange (and that Atlantis has its own share of mysticism). Most of the heroes get at least one notable moment, and there is an interesting trend of passing Cap's shield back and forth in battle for others to use. After the battle is done, the team mourns the town and stands ready to assemble if they are ever needed again. Naturally, Rogers and Barnes are both busy, Spitfire and Union Jack are involved with MI-15 stuff, and the rest mostly have limbo.
Imagine if Aarkus met the Silver Age Vision (Victor Shade) and the 21st century Vision (Jonas). That would either be amazing or ridiculous.
The artwork by Caio Reis and Vinicious Andrade is up to par with past issues. Some elements seem to have too many details (like hands) but the rest is pretty good. Naturally, every artist has to draw a tentacle demon at some point in their career in comics. The Invaders are Marvel's closest thing to the JSA and I wouldn't mind if one day that started having similar expansions, having some of them train their own legacy members and so on. Heck, you could expand the roster a little with some of those forgotten but perfectly decent "old time" heroes via retcons, such as Blue Marvel from the 1960's and Yankee Clipper from the 80's so the team covers a few more decades. DC has the Titans, Teen Titans, and two JSA squads, so this wouldn't clash with, say, Avengers Academy at all. It is an unlikely direction given low sales, though, but we'll see. While $3.99 priced series can usually irritate, I did enjoy this run. I am curious if Gage may have any of these Invaders show up for a training drill or something at Academy. I mean, what else is Toro doing lately?
A story I want to see happen; the Invaders team up with the Agents of Atlas. Make it happen, Marvel!
ONSLAUGHT UNLEASHED #1: This mini series, unlike POWER MAN AND IRON FIST, is priced at $3.99 an issue. While in theory this is a new mini series, in practice this is the second arc of YOUNG ALLIES, had the title not been canceled back in November. Writer Sean McKeever continues where he left off with his plucky teenage team, especially the star heroine, Rikki Barnes/Nomad. As the cover suggests, the Secret Avengers also appear, and while Rikki has a positive plutonic relationship with her mentor, Steve Rogers, it is unknown if this Avengers team were always intended to be in this arc, or if McKeever edited them into the script so it could be packaged as another series. The art for the series is by Filipe Andrade, who draws McKeever's NOMAD strip in CAPTAIN AMERICA; he is joined by colorist Ricardo Tercio. Andrade's artwork can take some getting used to for those who don't like an angular, sketch-cartoonist style, but the work is stronger here than in some of his NOMAD strips. Gravity's possible romantic subplot with Firestar continues, and to be honest considering that Justice waited all of 5 seconds to rebound with Ultra-Girl after their engagement was broken off, Angelica may as well follow suit for a bit.
Perhaps the only drawback is the finale treats it as a surprise that the former 90's epic villain Onslaught becomes unleashed - despite the fact that that is the title of the series. The Rob Liefield variant covers are also atrocious, but easily avoided. McKeever cleverly mixes in the return of this threat with the appearance of Toro's old rival, the Dragon - who had appeared on the cover for the solicited, but never produced, 7th issue of YOUNG ALLIES. The ability to resolve unwritten plot threads while adding in more would make Steve Gerber proud. The squad of Secret Avengers is missing War Machine & Valkyrie (probably because they were too powerful), but is successful in providing things that are lacking with the team in their main title - specifically, Beast leaving the lab and taking part in banter, and battle, with Ant-Man. Plus, the Secret Avengers always seem to fight established villains everywhere but their own title, and Onslaught is the biggest they've faced as a squad. A helpful recap of the villain makes up the back pages (and shows how many terrible stories Onslaught has been in), and this is a solid start to a series that both fans of YOUNG ALLIES and SECRET AVENGERS should enjoy. Will Onslaught finally appear in a story written by a decent writer? We have another 3 issues to see how well it went.
Besides, how many superhero comics have a team of teenage heroes arrive to a battle in a "flying Datsun"?
