April comes to a close and many of Marvel's comics are in a bit of an interesting place. While some are clearly in the middle of SIEGE waiting for it to finally end in May, other titles have clearly moved onto bigger and better things, making SIEGE look like that Uncle who won't leave. Which is funny because, even with the Prelude and the month gap, it hasn't stretched on as long as the last few events. And in 5 months, Marvel apparently hasn't found a title for "FALLEN" beyond a "working title", at least according to their checklist. As usual, rants and spoilers ahoy, and for more timely reviews, I always post them at my Examiner column link below sooner than here, because Examiner pays me.
It is funny how Marvel is capitalizing on the "KICK-ASS" film, and how it helped them sell 100,000 copies of the hardcover, by advertising other Mark Millar hardcover stories, and yet out of the lot of them, the only one that is close to being good is his original THE ULTIMATES, which was written, what, 6 years ago (and thanks to pop culture references, REALLY shows it)?
Dread's Bought/Thought for 4/28/10 (Part I of II):
INVINCIBLE #71: While the INVINCIBLE RETURNS one shot ran a few weeks late, at the very least, this issue shipped in April 2010, on schedule. Makes me think that the only reason RETURNS ran behind was due to Corey Walker, who has usually needed quite a bit of lead in time. RETURNS was basically INVINCIBLE #70.5, to the point where part of me wonders why they didn't just sell it as an extra issue. Robert Kirkman claims that RETURNS helped spike sales for INVINCIBLE, and it has gotten a second print, so perhaps the strategy worked, at least in the short term to a small degree. INVINCIBLE on average sells about 15k an issue, which is fine for Image, but cancellation range for Marvel.
As the cover says, the VILTRUMITE WAR story, which has been in the works for about 4-6 years on this title, is funny upon it. But, there is another Kirkman mini series to set up; thus, a quarter of the Guardians of the Galaxy head off into another dimension to take care of a semi-reoccurring threat once and for all, which of course leads into the GUARDIANS OF THE GALAXY mini that will start soon. The one that Kirkman used to mock Marvel's Avengers promotions, before literally employing the same strategy himself. Is it satire to mock a technique before exploiting it, or hypocrisy? At any rate, the reasoning does seem fluid, if not sudden. It also provides Invincible a last chance to punch stuff on Earth, at least for the next seven issues. He spends a final evening with Eve, who still hasn't told him that she's eating for two with his child.
The shortest, but one of the best, scenes in the issue is when Nolan finally faces his estranged wife again, and Ms. Grayson hardly forgives him, but is obviously emotionally distraught by the entire event (as is Nolan). Mark seems to have a bit of an understanding with his father, which does seem a bit odd, although they did have an adventure on "Mantis World" together to work out some of their differences. When Nolan decides to overrule Mark by having Oliver tag along with them into space, it did seem odd that Mark didn't question it. Especially since an adult Viltrumite can pretty much tear Oliver apart without much of a sweat. Or at the very least Conquest could. Another treat is Kirkman bringing in one of his first franchises for Image, TECH-JACKET. The series only lasted about 4-5 issues and one trade, and was about a teenager stumbling onto a cybernetic alien suit that bonded to him. It actually isn't a whole lot different of a premise as THE GUYVER, although I doubt Kirkman had heard of that manga/anime. I was a bit surprised that aside for one or two cameos, Tech-Jacket didn't show up in the "Kirkman Universe" of titles as much as some other characters did, such as the cast of Capes, or Brit, or even Wolf-Man. However, Kirkman seems to be making up for it now, bringing Tech-Jacket in as another space fighter for the big war to come. Ottley manages to draw his armor very well, which is expected. Kirkman also teams with original TECH-JACKET artist E.J. Sui for the first of eight 6 page back up strips. Unlike Marvel, Image doesn't used that as an excuse to jack the price a buck, even though as a measily 3% of the industry, they could use the money more. I mean Marvel will charge you an extra $1 even if the issue has nothing extra but glossy paper or a hot writer's name.
The issue ends with another visit with the space crew that is an obvious homage/parody of STAR TREK: NEXT GENERATION, and quite a cliffhanger against a villain Mark thought was dead, but is very much alive. And did they just TKO Allen in one strike? While I am glad that this story is finally underway after years of build up, part of me wonders what Kirkman will have to rely on for the next few years of stories if he takes the Viltrumite stuff to a logical conclusion. The task cannot be easy, but if he pulls it off, then this series will become all the more legendary. As always, a can't miss series for fans of superhero comics, or good comics in general that happen to have super heroes in them.
CAPTAIN AMERICA #605: The end of "Two Americas" after four issues, as James Barnes has a final showdown against the Grand Director (or "Captain Unamerian" or "Bad Cap", as Barnes has quipped; hey, there literally was a guy named "Anti-Cap" who made it into the Official Handbook) at the base of the Hoover Dam, with an assist from Falcon. Luke Ross does the art with the reliable Butch Guice on art, and while every issue of the arc has been solid, this has been the best of the last two issues, I think. Brubaker's trademark solidly paced action along with a satisfying resolution. Will Grand Director be back? Of course. Death isn't assured when one DOES see a body on panel, but when one isn't, it's almost a given that a return is inevitable. That's not the point of the story, though. The point was Brubaker once again utilizing the current political climate to add some ore to his story. It has earned him some ire from bloggers, although the controversy has done nothing to boost sales. I guess that old credo, "there is no such thing as bad publicity" isn't always true. The message of the story was that it is dangerous to not only take one's issues with the government or society to fanatical levels, but that holding an idealized vision of the past that is more myth than fact, such as 1950's America (which was a lovely time...unless you weren't a white, American born male of middle class income).
The story did run the very real risk of repeating a trend, as this was the second story in which James Barnes took on an evil version of the original Capt. America; at least in terms of art. While the Grand Director has a surgical scar at the top of his neck that gives him away from Rogers, with a mask on, one can't tell. Fortunately, this arc had less editorial interference than REBORN, and thus the climax is more entertaining. Rogers may have found a way to win without having to shoot the Grand Director in the chest at least three times, but Barnes couldn't, because he isn't the same Capt. America. He is just trying his best to live up to the ideal while still saving the day, which is what has made him so interesting, and popular, and commercially successful, in the starring role on the book (sales are still up 20-50% over where they were pre-Civil War, when Rogers ran the show). Now, though, fans have the best of both; Barnes on CAPTAIN AMERICA while Rogers will be on SECRET AVENGERS and his own mini, all written by Brubaker. Fans always criticize Marvel for one bone headed editorial move after another, or failing to see reality, and are often right. But in this case? Marvel's played a Royal Flush just right. The real test will be if Marvel can stay the course past July 2011, when the CAPTAIN AMERICA film debuts, but that still is a whole year from now.
The back-up strip is NOMAD, by Sean McKeever and David Baldeon, which is a quieter strip than the last, and leads into the upcoming YOUNG ALLIES by both cleanly. I will be curious if Baldeon can handle pencil duty on a monthly series AND an 8 page strip a month; that is quite a workload that few artists could handle on time (unless their names are Mark Bagley or John Romita Jr.). At any rate, Rikki Barnes survived the Secret Empire's gas trap last issue, but only on account of Arana, the ally she never wanted. Sofia ends up attending the same high school as Rikki has enrolled in (via standard comic convenience) and Rikki finally decides to make a real friend in this dimension. Which I guess means she didn't talk much with the other Young Avengers, considering she could call them at a moment's notice in NOMAD: GIRL WITHOUT A WORLD #4. Ideally, Nomad would be with them, but because they're a franchise handcuffed to Allen Heinberg like a nuclear explosive, she'll settle for McKeever's own teen hero team franchise that I can almost guarantee will debut poorly and be dead in 12 issues (or less). Absolutely no one but a small minority of fans will buy a #1 issue of a teen team full of characters they have barely heard of for $3.99. Out of the line up, ARANA will technically be the most well known (having one headlined her own book for years); that should be a clear warning sign. Still, I like McKeever's work, and I will be one of the few who tries it out. This strip was a simple little bit about friendship. Some could probably try to see some sort of lesbian romance there, but I don't. Least not yet. Can't heroines be friends without being assumed to be homosexual like male heroes can?
FANTASTIC FOUR #578: This is a bit of a build-up issue, which seeks to bridge a gap between issues onto better things. Annihilus is on the cover, but he doesn't appear within. Who does he think he is, Thor? Still, the issue does a good job of telling a simple tale while utilizing the tidbits from prior issues. Some Negative Zone insects have worn the skin of a sexy woman at a cult that seems to worship the N-Zone, and managed to lure in Johnny Storm. The bugs naturally manage to steal their way onto Reed's N-Zone projector in order to teleport into Prison 42, which Blastaar has now turned into a city, to bomb it. Hickman actually makes good use of the events from the various Abnett & Lanning space books, using the idea that Annihilus' forces are waging a stealth war against Blastaar's rule of the dimension, as it seems to fall apart on itself. Reed does put the onus on Johnny to, basically, after 48 years to FINALLY grow up a bit and mature, and it remains to be seen where Hickman will take it. Johnny Storm, like Hank Pym, is a character that has been stuck in a rut for decades, who seems to always have one redemption story after another, or at least one "Johnny is forced to grow up" story after another; almost more that Bobby Hill in KING OF THE HILL.
In the meantime, Sue Storm leads a representative from Namor's Atlantis who smugly tells the "Lost" cities under the ice caps that Namor won't bother with them unless they stop hiding and rise from the sea. Which seems a bit hypocritical as Namor's people have basically been hiding underwater for quite a few years now, with Namor only showing up on the surface either to avenge some Invaders ally or to smite some whaler. The lost tribes, in fact, rise their city to the surface immediately, calling Namor's bluff. And the aliens on the Blue Corner of the Moon who kind of want to take over Earth (eventually) decide as a tribute to send their six best warriors into the Negative Zone to prove their worthiness. Which is sort of like a country proving it's worthiness of the Olympics by gathering their best athletes, and shooting them out of a canon into a brick wall. Ah, aliens are so weird sometimes, least to us pitiful humans.
The art is by Dale Englesham, and part of me wishes more happened, because inevitably when the plot moves onto the real intense stuff, it'll be done by a fill in artist. The thing is, I do like a slow build sometimes, and I am liking overall where Johnathan Hickman is taking the Four. I don't need someone on the Four like Mark Millar who is always doing, "Wooooo, LOOKIT MEEEE!" stories like a class clown on LSD. I actually like the stories that get back to basics with the Four, and Hickman is indulging quite a lot of space fantasy with the Four while expanding on their universe. That is precisely what to do with the franchise. If the downside is an occasional slow issue or two, then it is worth it. More happened here than a typical issue of NEW AVENGERS anyway (in which a few heroes yell at a TV for 20 pages, and then for the last two pages, the villain, the Hood usually, does something nefarious). Still, issues like this read better as the middle section of a trade more than a monthly issue at times. But I still liked it. I am interested in how Hickman handles Johnny, since he seems to have a better handle on him that some. The only problem is "Johnny grows up" stories never last, because too many writers & editors rely on archetypes.
This is a run where the whole may be more than the sum of it's parts.
INVINCIBLE IRON MAN #25: The 25th issue of Fraction/Larroca/D'Armata, without needing a fill in artist AND this being the second "extra length" issue within the last 7-8 issues, as issue #19 was also longer than 22 pages (this one has 38). This is a title that has clearly moved on past SIEGE into HEROIC AGE and hasn't so much as looked back, lest it turn to salt. So we get an issue in which Tony Stark sees where he is and starts heading in his newest direction, while setting up the next threat.
Predictably, it is Hammer Industries, which, HEY, SHEER COINCIDENCE, is where the sequel film is going. Kind of like how Sandman & Venom kept popping up in 2007. However, rather than revive Justin Hammer through some contrived circumstance (although, given that he was cryogenically frozen and sent into space, his resurrection could probably be more reasonable by comic book standards than, "we shot you with anti-time bullets"), Fraction has moved on. Justine Hammer, formerly the cackling Crimson Cowl, has traded her caped spandex for a red power suit, and has a daughter in tow, trying to horn in on the hi-tech army supplier game with "Detroit Steel", a star spangled mecha soldier. The old generals turn her down, seeing as Tony Stark is "back in the game". Naturally, Tony only refuses to stock the military again for, what, the 4th time in a row, so the generals go running back to Ms. Hammer. It actually does feel rather organic, especially when Justine buys up all the stock in a HAMMER (Osborn's) auction, which is complete with a few spare Mandriod units no one used. I liked that touch.
Tony Stark, meanwhile, forgot to "save" his brain at regular intervals between adventures, so he basically doesn't remember anything since before Civil War. Hmm...this is funny. Marvel is trying to pretend the last two years never happened...much like their fans! However, none of Tony's friends and allies have forgotten, which places them in an awkward position. And on his part, while Stark is appalled at what he reads about what he did, he doesn't apologize for it either, figuring he'd likely make the same decisions again anyway. Which one could argue is classic d-bag behavior, but at least it is self aware, which makes it almost honorable. At least that is the point Thor takes, when he basically helps bury the hatchet between them. Maybe someone should tell Thor that his cybernetic clone WAS partly made by a Skrull of one of his Avengers allies. I still can't believe that as much as Marvel bleats about how the Skrulls can't be blamed for it all, how a Skrull being the #3 man involved in Civil War is brushed aside. It is as if we found out that the Speaker of the House, 3rd in line to the Presidency, was replaced with a spy for the last 1-3 years. Then pretended, oh, there was no WAY that had any effect on policy. But, I digress.
Tony, naturally, acts like Tony to the bewilderment of Pepper Potts. While his company exists on paper only, he is willing to sell his own "clean energy" generator technology to the captains of industry to build himself up again. While the series pretends like this is the first time down the "corporate rebuilding merry go round" for Stark, it isn't. Just about every time it becomes politically unsympathetic to be a rich, arrogantly greedly corporate tycoon (even if you ARE a super-hero), Stark usually goes through some rags-to-riches tale and rebuilds his company as doing some politically safe venture. In the 1980's it was space travel (building a space station in particular). In the 90's it was I.T. And now it is clean "alternative" energy; Al "Captain Planet" Gore would be proud. One would think in a world in which the latest technology has been invented by Reed or Stark for the past 13-16 years, their Earth would be far beyond fossil fuel by now, or even gravity limited vehicles, but I digress again. Still, this is a timely story, well executed.
This was a solid issue, perhaps the best in quite a while. It knows where it is going, has a good way of getting there, and brings back some old enemies in new and exciting ways. And yes, we get a new suit of armor, but Stark remakes his armor at least once a year. Shockingly, artists tend to be more faithful in getting his armor right than in getting Beast's cat form consistent. Third digression.
Unlike IRON MAN LEGACY, which looks to be "just another Iron Man title" to capitalize on the film (albeit written by Fred Van Lente, who has yet to write anything that could be called "bad"), this is the core Iron Man title, keyed into the mainstream and written by the writer who is writing UNCANNY X-MEN and about to take over THOR; the only book that is likely more important to the life of Stark is AVENGERS with Bendis & Romita Jr. I did like the mention of Rand Corporation and if Iron Fist could somehow team up in some issue (I imagine the title or solicitation would read, "The Iron Man and the Iron Fist", and some drone would expect a promotion for such wit), that'd be grand. At any rate, INVINCIBLE IRON MAN overall has been a solid book, averaging "good" and occasionally hitting "greatness". If Fraction and his editors can only learn how to trim the fat from some arcs (nearly all of them thus far could have been at least one issue shorter, if not 2-3), then this could be a defining run. Even as is, it is better than some of the Iron Man stuff from the 1990's.
t:
... how you feel reading it is 
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