Dread
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After dividing my review due to time constraints (something I've never done; how'd y'all like it?), I'll post the rest of my B/T. Spoilers as always.
DREAD'S BOUGHT/THOUGHT for 11/8/09 - Part II:
BATMAN & THE MAD MONK #4: Fine, fine, it's not as good as BATMAN & the Monster Men, but when Wagner's first work was an A-, a solid B+ is good enough for me. Sure, nitpickers may claim the narration/dialogue is sometimes hammy or over the type, but it's fitting for the noir mood. Honestly, take Frank Miller's SIN CITY lines and say them out loud enough times, and they sound VERY cheesy. "You got some man's love stink all over you"-- PLEASE. Wagner's just playing the same card as Miller did with Batman and, frankly, doing better in art and story. He's telling Golden Age esque stories (a time when Batman fought mobsters and garish monsters, some scientific and some supernatuiral, even vampires) and doing it in a "Year 2" sort of format. I'm enjoying the hell out of it, especially since this issue naturally moved faster than the last to start building to the climax. The appeal of a "younger" Batman here is that he doesn't always have to fight costumed rogues, he's not an unbeatable JLA'er yet who prep-times for anything, and he's still low tech enough that he can be challenged by "normal" threats. In this issue, Batman follows his vapirized/mind-controlled girlfriend to the spooky castle of the "Mad Monk" (who just punished the grunt who squealed a few issues back, with gorey results), and not only is caught in one of the castle's traps (two by the cliffhanger), but literally fights for his life against two timberwolves. In the DCU, you need Darkseid with a Green Lantern ring AND the element of surprise to do that without fanboys whining. Methinks much like Wolverine, Batman in modern times got overexposed and overrated into oblivion (something Morrison's JLA is partly to blame for) and lost his humanity and fallibility. What fun would James Bond be with Darkseid-stomping armor or gadgets to beat the JLA? Anyway, I digress. Wagner's style and art fit this gritty tale as well as usual. And yes, the whole "spikey room" has been done a gazillion times since INDIANA JONES and probably before, but no big. Another solid issue, and I'll naturally be seeing this to the end. I hope Wagner goes exclusive and keeps cranking these out for years. They're consistantly solid, readable Batman tales with the Dark Knight at his best, yet with another wonky stuff like monsters and vampires to keep it from just being a rehash of LONG HALLOWEEN or something.
HUNTER/KILLER #9: I forgot to mention that I bought & read it last post, but I did; got the Silvestri cover because it was the rarer of the two. The title is now on it's 2nd artist since it began anew after a 10+ month lapse with issue #6 (Silvestri's last on interiors); good to know that Top Cow is actually serious about putting this up monthly again after so long and isn't playing "The MARVEL CARD", which is to cater indefinately to primadonna artists in the name of "quality" and leaving fans hanging up to dry with a "yeah, yeah, you'll buy it anyway like guppies so quitcherwhining" response. It may not last, but it's nice to know at least one comic company can be taken for it's word once or twice. Rocafort isn't as good as the last artist was at imitating Silvestri's "mood", but he handles it competantly enough that it still looks as it should and still is a smooth transition; again, Marvel could learn something like this (rather than almost consistantly swap artists on books that look nothing alike and pretending something like "style for a book" doesn't matter). Basically, Morningstar's 2 issue exposition on the status quo of the world (basically, he took over the world to save it from holocaust via predictions from Cassandra, but every move he makes only starves off oblivion for a few months or years and this time, he can't escape the X-Mas, 2006 date) gets interupted by the Hunter/Killer squad's fight with yet another rogue Ultra-Sapien, this time a J-Pop artist who "melds" things and murders people in "artsey" ways. Wolf returns to the scene to help out as we learn that the guns Sam needs to channel her energy are only "placebo's", so an illusion keeps her from going nuke while Wolf & Ellis chase after the guy. Wolf warns Ellis not to buy everything Morningstar says and to instead "find his own answers", but they immediately are attacked by another faction of Ultra's who want Ellis for his genetic coding, but the duo prevail. They also take out the J-Pop Art guy. This isn't the best "non big two" comic out there but I'm definately glad I stuck on after it's long lapse after issue #5. Waid is crafting a story that is free of stifling franchises in which you never know who to trust and anyone could die at any moment (although no one major has, yet). Yeah, the art still reminds you of 90's Image but Waid's a far better writer than any of those dudes were. The story does move a little slow but enough happens each issue now, especially with them being timely and monthly, that I don't mind it so much because the story is interesting, and, again, has some twists. After a first few issues of decompression, some good one-shots and a long haitus, this title could be "the ballz" if the next few issues crank it up and #12 ends well. This series basically says, "90's Image/Malibu, only done well."
MARVEL'S AXIS OF AWESOME: Sometimes I come off angry and bitter about a particular story, or a trend, or an event, or whatnot. As I am a Marvel Fan at heart and read mostly Marvel books (although I have read more DC and non-big two books in recent years), a lot of this anger comes off at Marvel. When I am disappointed, I letcha know. Even if I like a work overall, I tend to focus on the flaws a lot. But these three Marvel books were just incredibly good and were, honestly, the highlight of yesterday for me. They were all a pleasure to read, all written/drawn well, all of them featuring non-A-listers (but who SHOULD be A-Listers), and all of them are leaps and bounds better than the main CIVIL WAR title...or hell, even most of 52 has been. If you're not reading or haven't read any of these issues, what the hell. Seriously. They proved that Marvel still puts out great books and that even good things come in unexpected places. In alphabetical order, they are: ANNIHILATION #4, YOUNG AVENGERS/RUNAWAYS #4, and DR. STRANGE: THE OATH #2
ANNIHILATION #4: Now officially better than CIVIL WAR and free of all the pretentious political angst, Annihilation offers kick-arse heroes doing kick-arse things with Giffen putting in another classic and DiVito all but rising up to be this generation's George Perez, IMO. Every issue of this series just seems to get better than the last, and unlike so many other Marvel comics, doesn't feel the need to APOLOGIZE for the conventions and expectations of both superhero & space opera comics in general via making it more angsty or "urban", but simply does it well. It also doesn't place "head talking characterization" ahead of actually moving the plot FOWARD, a pratfall more writers should avoid; granted, Giffen has over a generation of experience. Drax, who seemingly sacrificed his life to allow Cammi and the others to escape, secretly survived his gambit and did it so he could both keep Cammi safer and persue his true goal without any distractions; the murder of Thanos at any cost. So he slaughters past an army of bugs, kills off one of Annihilus' queen drones and steers a ship right for Thanos, an act Thanos can "feel" the closer he gets. Meanwhile, Moondragon (who, recall, lost an ear to Thanos) is kept in check via worms and Thanos even BURNS OFF HER SKIN FROM HER ARM to keep her in line. However, he uses her psychic powers to read Annihilus' mind and learn his true goals for his Wave and the Power Cosmic being sucked from Galactus; he doesn't merely want to conquor the universe, but DESTROY it. Now, I could see many a "modern" writer like Millar or Bendis being "ashamed" of so "simple, or hammy" a motivation, but Giffen doesn't care about all that, lays it bare and makes it work for him, like all classics do. Thanos, having joined Annihilus merely out of curiosity about where his war would bring him, decides to unhook the machines keeping Galacus in tow, only Drax arrives at the worst possible time.
Elsewhere, Nova has decided to go on a suicide mission to take out Annihilus to finish off the Wave since a conventional war is unwinnable. In a conversation with Starlord (Peter), Giffen simultanously vents some opinion about CW and also evolves Nova further as not merely a kid flying around, but a scarred, war hardened MAN.
Nova: "If I don't kill Annihilus...[looks at Earth], they DIE."
Peter: "Earth's got it's protectors. Hell, the FF alone stood down Galactus--"
Nova: "You've been monitering the transmissions from Earth. You know what's going on down there. 'A house divided cannot stand.' We had a united front and look where it got us! They're split into warring factions down there... of no use to us, to ANYONE! It's as if they've forgotten how to be heroes. I'd just as soon bring in the Badoon."
Peter: "They'll unite against a common foe, Richie. We've seen it a thousand times. The Annihilation Wave will--"
Nova: "-- RIP THE PLANET OUT FROM UNDER THEM WHILE THEY SHOOT AT EACH OTHER! I BECAME Nova because of them. I'll STAY Nova in SPITE of them."
ANY future writer who bungles Nova after this has no right to write comics. Period. Before Annihilation, Nova might have been worthy of joining the Avengers. If it keeps pace by it's finale, he could LEAD the Avengers.
So Nova, Starlord, Phyla and Cammi cobble together some bootleg teleport device which gives them a 60% chance to 'port to where Annihilus is to make their last stand. The transport begins, with Cammi seemingly left behind. But naturally the real bit that will make the fanboys squeal is Drax's quick and efficient dispatching of Thanos. He just drills through a shield and tears out his heart. Now, Thanos has come back from worse; I mean, he's an Eternal and they're basically unkillable, but it was still an incredible moment of kick-assery that makes you remember that once upon a time, Wolverine had whiskers and lost to Hulk after barely getting hit with one punch. While most series take time to get to the good stuff, Annihilation has been gaining steam with every issue and has no hints of quitting. A must read for any fan. Great characters, great stuff, great everything. I honestly can't find much to quibble about. Even the "sci-fi gibberish" that Mike Carey is DROWNING in with UFF isn't present here. Just go out and buy it. Don't wait for the trade; track down the back issues, support it monthly, and be a man. Or wo-man.
YOUNG AVENGERS & RUNAWAYS #4: While CIVIL WAR still has 3 acts and a MESSLOAD of tie-ins to go, it may go down in the annuls of fandom that the best thing to come of it, at least story-wise, was this mini. This is an accomplishment considering that despite the cult-like status of both franchises (YA sells within the top 35 as a monthly; good but not record-breaking, and the Runaways are indie hits all over), it was being written and drawn by NONE of their creators and the CW climate is a climate that embraces things like character assassination and death in the name of blunt-force shock value; an event that gleefully will kill a C lister because it can. As Zeb Wells was last known for being the FINAL writer to run the New Warriors into the ground to the point that they were good sacrificial lambs for Millar & Marvel (although underwhelming stuff throughout the 90's provided the majority of the nails into that coffin), many of us wrote him off and doubted he could really "capture" the spirit of Heinberg & Vaughan. Heck, most of us, admit it, would have been satisfied had he merely not screwed up. Instead he, like Giffen, managed to capture the heart & soul of his characters, embrace them, and take them seriously while at the same time providing a rarity from CW; a back-to-basics superhero story that, yes, isn't the most original, but is efficient at what it does and unashamed of it. Unashamed to have heroes be heroes (even having them do the obligatory "first meet fight", although that is seen as less of an issue as they're all teenagers and the Runaways usually misread and fight damn near anyone they encounter) and villians being villians (the Warden, with Noh-Varr as an efficent lacky). In fact, if I had to pick one flaw, it'd be that the Warden was in the "arrogant to the point of utter stupidity" camp, but that really wasn't a concern because he was still loathesome and brutal. You're not supposed to like him and want to see him go down. He digs into Hulkling and seeing that his form "shifts" away vital organs, decides to keep cutting just because he enjoys it. He puts devices in Wiccan's ears so he can't hear his own voice and can't do his spells, yet allows him to keep mumbling because the Warden likes hearing his pleas (and to sticklers wondering how it is possible, then explain first how Banshee & Siryn can do their sonic-scream AND talk at once with only one throat & mouth). And the Warden leaves the seemingly-dead corpse of Xavin right across from his bride, Karolina. Even still, he lowered his security around the lab and should have known Skrulls regenerate (especially young super-Skrulls). Ah well.
The YA & the Runaways team up to kick arse, and kick arse they do, but Zeb provides more than action, he has them interact in fun ways that please fans of both camps. Vision 2.0 uses some Latin to provide Nico more fodder for spells. Cassie stands by Victor's side, making Vision jealous that he's losing out to not just another "robot", but his bloody BROTHER. Speed and Molly continue to get along, with Speed later emploring Chase to not be as rough on the kid. And Caselli's art, as usual, rocks. Great for action & shiney costumes. He even manages to make Speed & Marvel Boy look different, a task harder than it seems. The gang goes on their ad-hoc rescue after Vision 2.0 hacks the security, and Chase naturally rips through soldiers with the rest, 'till Noh-Varr starts ripping into Old Lace and Molly saves him. Chase steps up and vows to protect her, even in the face of death. Luckily, Wells remembers that Vision 2.0 isn't a robot, but is actually ARMOR, and provides a great use by having Vision literally cover Chase to save him (and bring back Cheung's cool "armor Vision" look). However, Xavin snaps his neck back into place, frees his comrades and all but wants to kill the Warden, but Hulkling & Karolina talk him out of it. At first chastising Hulking for his "lack of resolve", Xavin later waxes philosophical about how Karolina is all he has left and by keeping him in check, Hulkling's proven he has some leadership skill. Vaughan may have made Xavin, but Wells did a great job of making him more likeable with this series & issue, IMO. Finally, Victor uses smarts to short out Noh-Varr (who is still the most efficient speedster at Marvel now), which beats him, but also leads to the collapse of the Cube as it frees him from control and he now runs it (cueing the way for Marvel's upcoming mini about him; it was hinted at in a past JOE FRIDAYS). The series didn't kill anyone or provide any "shawks", it just told a really good team up between the teams. I love comics that do what they promise to, and do it well. Buy it in trade, or support the back issues. The best thing from CW.
Wells naturally gives hope that someone other than Vaughan can do RUNAWAYS, so if Whedon screws up, then he should just stick to Wonder Woman and milking the Buffyverse forever.
DR. STRANGE: THE OATH #2: Even when not on Runaways, BKV shows why he's one of the best talents at Marvel with this book, a mini that seeks to "re-establish" Dr. Strange from B-List guest star to a possible solo-runner just in time for a DTV next year. Two issues in and this mini seems to be to Strange what MADROX was to Multiple Man, IMO. That is, instead of seemingly overwhelmed or hesitant about the character, or eager to "change" him, Vaughan simply understands the history, the pathos and plays it straight and well. Here Dr. Strange is the Sorceror Supreme, but still very human; when he is shot by a mystically enhanced gun by Brigand, it nearly kills him. Vaughan remembers that while Strange is CURRENTLY a noble, compassionate and selfless man, in his past he was an irredemably arrogant jackass, to the point where he lashed out his friends and left poverty-stricken patients to die (thus, probably creating Vaughan's mysterious new villian). Vaughan also actually remembers that Strange's hands suffered nerve damage, and has them shake when the Doctor gets aggitated; a great little detail. Even Wong is done justice; recent writers have played him for laughs, but Vaughan protrays him straight as a devoted friend and ally, even in the face of his own death via brain tumer. Dr. Strange seeks to save him because he is "tired of letting friends die" as they have in the past. Night Nurse, a creation from Bendis that actually doesn't suck, is inserted to round out the cast and add a good "token female" to it, without it feeling so as she trades barbs right with the Doctor, and unlike most female leads, isn't half the male's age (Stephan has grayed temples and Night Nurse could actually be, gasp, 30 or over; ancient by heroine standards). Like many fans last issue, the gang immediately presume Baron Mordo as they start to track down leads; the doc sent a sample of his "cancer cure-all" elixir with a friend, who has been killed by a mystically empowered foe (Brigand). They get to the villian's lair and dispatch of some robots, only for Night Nurse to be taken hostage by Brigand, who just oozes calm, creepy charm for an underling. Ask Bond fans; cool henchmen rock. And he isn't some demon or poorly clad monster either. Dr. Strange has been waiting years for something like this and after DEFENDERS and JMS RIPPED THE MATRIX (called STRANGE in the States), it's about damn time. Hopefully Vaughan leaving Runaways will have some consolation if he's allowed to write a DR. STRANGE ongoing next year. His dialogue is as crisp and biting as usual, his grasp and embracing of character mythos extrordinary, and with a shorter cast than most of his team books (Ultimate X-Men, Runaways), his action sequences flow MUCH better here. And Martin's art is classy and fitting to the tone.A must read, even if you've never heard of Strange before, there's something for fans new and old. Get it!
ETERNALS #5: Still overpriced a little and not as good as the AXIS OF AWESOME, but still pretty darn tootin'. Gaiman does what he can to reintroduce the Eternals while still providing a story that keys into their past for old fans...all 5 of them. But he manages to mix urban stuff with trippy Devient landscape stuff and for that Romita Jr. is a perfect fit. However, Gaiman is bringing in Eternals who haven't shown up before and having them be the "master manipulator, but oops, ***** is going wrong" card, while the characters who were the stars of the book have all but become bit players, save for Sersi. Ajak apparently hired the two Deviants to kill Ikaris because the best way to "undo" Sprite's meddling is another death/resurrection, but now the Deviants want to use the Sleeping Celestrial to warp the world. The Eternals are gathering for the showdown. It's good, but may end up being overrated at the end. Still, it's made me care about the Eternals, so it's done it's job. If you don't mind the price, get it. But if you want to wait for trade, it'll probably read better.
DREAD'S BOUGHT/THOUGHT for 11/8/09 - Part II:
BATMAN & THE MAD MONK #4: Fine, fine, it's not as good as BATMAN & the Monster Men, but when Wagner's first work was an A-, a solid B+ is good enough for me. Sure, nitpickers may claim the narration/dialogue is sometimes hammy or over the type, but it's fitting for the noir mood. Honestly, take Frank Miller's SIN CITY lines and say them out loud enough times, and they sound VERY cheesy. "You got some man's love stink all over you"-- PLEASE. Wagner's just playing the same card as Miller did with Batman and, frankly, doing better in art and story. He's telling Golden Age esque stories (a time when Batman fought mobsters and garish monsters, some scientific and some supernatuiral, even vampires) and doing it in a "Year 2" sort of format. I'm enjoying the hell out of it, especially since this issue naturally moved faster than the last to start building to the climax. The appeal of a "younger" Batman here is that he doesn't always have to fight costumed rogues, he's not an unbeatable JLA'er yet who prep-times for anything, and he's still low tech enough that he can be challenged by "normal" threats. In this issue, Batman follows his vapirized/mind-controlled girlfriend to the spooky castle of the "Mad Monk" (who just punished the grunt who squealed a few issues back, with gorey results), and not only is caught in one of the castle's traps (two by the cliffhanger), but literally fights for his life against two timberwolves. In the DCU, you need Darkseid with a Green Lantern ring AND the element of surprise to do that without fanboys whining. Methinks much like Wolverine, Batman in modern times got overexposed and overrated into oblivion (something Morrison's JLA is partly to blame for) and lost his humanity and fallibility. What fun would James Bond be with Darkseid-stomping armor or gadgets to beat the JLA? Anyway, I digress. Wagner's style and art fit this gritty tale as well as usual. And yes, the whole "spikey room" has been done a gazillion times since INDIANA JONES and probably before, but no big. Another solid issue, and I'll naturally be seeing this to the end. I hope Wagner goes exclusive and keeps cranking these out for years. They're consistantly solid, readable Batman tales with the Dark Knight at his best, yet with another wonky stuff like monsters and vampires to keep it from just being a rehash of LONG HALLOWEEN or something.
HUNTER/KILLER #9: I forgot to mention that I bought & read it last post, but I did; got the Silvestri cover because it was the rarer of the two. The title is now on it's 2nd artist since it began anew after a 10+ month lapse with issue #6 (Silvestri's last on interiors); good to know that Top Cow is actually serious about putting this up monthly again after so long and isn't playing "The MARVEL CARD", which is to cater indefinately to primadonna artists in the name of "quality" and leaving fans hanging up to dry with a "yeah, yeah, you'll buy it anyway like guppies so quitcherwhining" response. It may not last, but it's nice to know at least one comic company can be taken for it's word once or twice. Rocafort isn't as good as the last artist was at imitating Silvestri's "mood", but he handles it competantly enough that it still looks as it should and still is a smooth transition; again, Marvel could learn something like this (rather than almost consistantly swap artists on books that look nothing alike and pretending something like "style for a book" doesn't matter). Basically, Morningstar's 2 issue exposition on the status quo of the world (basically, he took over the world to save it from holocaust via predictions from Cassandra, but every move he makes only starves off oblivion for a few months or years and this time, he can't escape the X-Mas, 2006 date) gets interupted by the Hunter/Killer squad's fight with yet another rogue Ultra-Sapien, this time a J-Pop artist who "melds" things and murders people in "artsey" ways. Wolf returns to the scene to help out as we learn that the guns Sam needs to channel her energy are only "placebo's", so an illusion keeps her from going nuke while Wolf & Ellis chase after the guy. Wolf warns Ellis not to buy everything Morningstar says and to instead "find his own answers", but they immediately are attacked by another faction of Ultra's who want Ellis for his genetic coding, but the duo prevail. They also take out the J-Pop Art guy. This isn't the best "non big two" comic out there but I'm definately glad I stuck on after it's long lapse after issue #5. Waid is crafting a story that is free of stifling franchises in which you never know who to trust and anyone could die at any moment (although no one major has, yet). Yeah, the art still reminds you of 90's Image but Waid's a far better writer than any of those dudes were. The story does move a little slow but enough happens each issue now, especially with them being timely and monthly, that I don't mind it so much because the story is interesting, and, again, has some twists. After a first few issues of decompression, some good one-shots and a long haitus, this title could be "the ballz" if the next few issues crank it up and #12 ends well. This series basically says, "90's Image/Malibu, only done well."
MARVEL'S AXIS OF AWESOME: Sometimes I come off angry and bitter about a particular story, or a trend, or an event, or whatnot. As I am a Marvel Fan at heart and read mostly Marvel books (although I have read more DC and non-big two books in recent years), a lot of this anger comes off at Marvel. When I am disappointed, I letcha know. Even if I like a work overall, I tend to focus on the flaws a lot. But these three Marvel books were just incredibly good and were, honestly, the highlight of yesterday for me. They were all a pleasure to read, all written/drawn well, all of them featuring non-A-listers (but who SHOULD be A-Listers), and all of them are leaps and bounds better than the main CIVIL WAR title...or hell, even most of 52 has been. If you're not reading or haven't read any of these issues, what the hell. Seriously. They proved that Marvel still puts out great books and that even good things come in unexpected places. In alphabetical order, they are: ANNIHILATION #4, YOUNG AVENGERS/RUNAWAYS #4, and DR. STRANGE: THE OATH #2
ANNIHILATION #4: Now officially better than CIVIL WAR and free of all the pretentious political angst, Annihilation offers kick-arse heroes doing kick-arse things with Giffen putting in another classic and DiVito all but rising up to be this generation's George Perez, IMO. Every issue of this series just seems to get better than the last, and unlike so many other Marvel comics, doesn't feel the need to APOLOGIZE for the conventions and expectations of both superhero & space opera comics in general via making it more angsty or "urban", but simply does it well. It also doesn't place "head talking characterization" ahead of actually moving the plot FOWARD, a pratfall more writers should avoid; granted, Giffen has over a generation of experience. Drax, who seemingly sacrificed his life to allow Cammi and the others to escape, secretly survived his gambit and did it so he could both keep Cammi safer and persue his true goal without any distractions; the murder of Thanos at any cost. So he slaughters past an army of bugs, kills off one of Annihilus' queen drones and steers a ship right for Thanos, an act Thanos can "feel" the closer he gets. Meanwhile, Moondragon (who, recall, lost an ear to Thanos) is kept in check via worms and Thanos even BURNS OFF HER SKIN FROM HER ARM to keep her in line. However, he uses her psychic powers to read Annihilus' mind and learn his true goals for his Wave and the Power Cosmic being sucked from Galactus; he doesn't merely want to conquor the universe, but DESTROY it. Now, I could see many a "modern" writer like Millar or Bendis being "ashamed" of so "simple, or hammy" a motivation, but Giffen doesn't care about all that, lays it bare and makes it work for him, like all classics do. Thanos, having joined Annihilus merely out of curiosity about where his war would bring him, decides to unhook the machines keeping Galacus in tow, only Drax arrives at the worst possible time.
Elsewhere, Nova has decided to go on a suicide mission to take out Annihilus to finish off the Wave since a conventional war is unwinnable. In a conversation with Starlord (Peter), Giffen simultanously vents some opinion about CW and also evolves Nova further as not merely a kid flying around, but a scarred, war hardened MAN.
Nova: "If I don't kill Annihilus...[looks at Earth], they DIE."
Peter: "Earth's got it's protectors. Hell, the FF alone stood down Galactus--"
Nova: "You've been monitering the transmissions from Earth. You know what's going on down there. 'A house divided cannot stand.' We had a united front and look where it got us! They're split into warring factions down there... of no use to us, to ANYONE! It's as if they've forgotten how to be heroes. I'd just as soon bring in the Badoon."
Peter: "They'll unite against a common foe, Richie. We've seen it a thousand times. The Annihilation Wave will--"
Nova: "-- RIP THE PLANET OUT FROM UNDER THEM WHILE THEY SHOOT AT EACH OTHER! I BECAME Nova because of them. I'll STAY Nova in SPITE of them."
ANY future writer who bungles Nova after this has no right to write comics. Period. Before Annihilation, Nova might have been worthy of joining the Avengers. If it keeps pace by it's finale, he could LEAD the Avengers.
So Nova, Starlord, Phyla and Cammi cobble together some bootleg teleport device which gives them a 60% chance to 'port to where Annihilus is to make their last stand. The transport begins, with Cammi seemingly left behind. But naturally the real bit that will make the fanboys squeal is Drax's quick and efficient dispatching of Thanos. He just drills through a shield and tears out his heart. Now, Thanos has come back from worse; I mean, he's an Eternal and they're basically unkillable, but it was still an incredible moment of kick-assery that makes you remember that once upon a time, Wolverine had whiskers and lost to Hulk after barely getting hit with one punch. While most series take time to get to the good stuff, Annihilation has been gaining steam with every issue and has no hints of quitting. A must read for any fan. Great characters, great stuff, great everything. I honestly can't find much to quibble about. Even the "sci-fi gibberish" that Mike Carey is DROWNING in with UFF isn't present here. Just go out and buy it. Don't wait for the trade; track down the back issues, support it monthly, and be a man. Or wo-man.
YOUNG AVENGERS & RUNAWAYS #4: While CIVIL WAR still has 3 acts and a MESSLOAD of tie-ins to go, it may go down in the annuls of fandom that the best thing to come of it, at least story-wise, was this mini. This is an accomplishment considering that despite the cult-like status of both franchises (YA sells within the top 35 as a monthly; good but not record-breaking, and the Runaways are indie hits all over), it was being written and drawn by NONE of their creators and the CW climate is a climate that embraces things like character assassination and death in the name of blunt-force shock value; an event that gleefully will kill a C lister because it can. As Zeb Wells was last known for being the FINAL writer to run the New Warriors into the ground to the point that they were good sacrificial lambs for Millar & Marvel (although underwhelming stuff throughout the 90's provided the majority of the nails into that coffin), many of us wrote him off and doubted he could really "capture" the spirit of Heinberg & Vaughan. Heck, most of us, admit it, would have been satisfied had he merely not screwed up. Instead he, like Giffen, managed to capture the heart & soul of his characters, embrace them, and take them seriously while at the same time providing a rarity from CW; a back-to-basics superhero story that, yes, isn't the most original, but is efficient at what it does and unashamed of it. Unashamed to have heroes be heroes (even having them do the obligatory "first meet fight", although that is seen as less of an issue as they're all teenagers and the Runaways usually misread and fight damn near anyone they encounter) and villians being villians (the Warden, with Noh-Varr as an efficent lacky). In fact, if I had to pick one flaw, it'd be that the Warden was in the "arrogant to the point of utter stupidity" camp, but that really wasn't a concern because he was still loathesome and brutal. You're not supposed to like him and want to see him go down. He digs into Hulkling and seeing that his form "shifts" away vital organs, decides to keep cutting just because he enjoys it. He puts devices in Wiccan's ears so he can't hear his own voice and can't do his spells, yet allows him to keep mumbling because the Warden likes hearing his pleas (and to sticklers wondering how it is possible, then explain first how Banshee & Siryn can do their sonic-scream AND talk at once with only one throat & mouth). And the Warden leaves the seemingly-dead corpse of Xavin right across from his bride, Karolina. Even still, he lowered his security around the lab and should have known Skrulls regenerate (especially young super-Skrulls). Ah well.
The YA & the Runaways team up to kick arse, and kick arse they do, but Zeb provides more than action, he has them interact in fun ways that please fans of both camps. Vision 2.0 uses some Latin to provide Nico more fodder for spells. Cassie stands by Victor's side, making Vision jealous that he's losing out to not just another "robot", but his bloody BROTHER. Speed and Molly continue to get along, with Speed later emploring Chase to not be as rough on the kid. And Caselli's art, as usual, rocks. Great for action & shiney costumes. He even manages to make Speed & Marvel Boy look different, a task harder than it seems. The gang goes on their ad-hoc rescue after Vision 2.0 hacks the security, and Chase naturally rips through soldiers with the rest, 'till Noh-Varr starts ripping into Old Lace and Molly saves him. Chase steps up and vows to protect her, even in the face of death. Luckily, Wells remembers that Vision 2.0 isn't a robot, but is actually ARMOR, and provides a great use by having Vision literally cover Chase to save him (and bring back Cheung's cool "armor Vision" look). However, Xavin snaps his neck back into place, frees his comrades and all but wants to kill the Warden, but Hulkling & Karolina talk him out of it. At first chastising Hulking for his "lack of resolve", Xavin later waxes philosophical about how Karolina is all he has left and by keeping him in check, Hulkling's proven he has some leadership skill. Vaughan may have made Xavin, but Wells did a great job of making him more likeable with this series & issue, IMO. Finally, Victor uses smarts to short out Noh-Varr (who is still the most efficient speedster at Marvel now), which beats him, but also leads to the collapse of the Cube as it frees him from control and he now runs it (cueing the way for Marvel's upcoming mini about him; it was hinted at in a past JOE FRIDAYS). The series didn't kill anyone or provide any "shawks", it just told a really good team up between the teams. I love comics that do what they promise to, and do it well. Buy it in trade, or support the back issues. The best thing from CW.
Wells naturally gives hope that someone other than Vaughan can do RUNAWAYS, so if Whedon screws up, then he should just stick to Wonder Woman and milking the Buffyverse forever.
DR. STRANGE: THE OATH #2: Even when not on Runaways, BKV shows why he's one of the best talents at Marvel with this book, a mini that seeks to "re-establish" Dr. Strange from B-List guest star to a possible solo-runner just in time for a DTV next year. Two issues in and this mini seems to be to Strange what MADROX was to Multiple Man, IMO. That is, instead of seemingly overwhelmed or hesitant about the character, or eager to "change" him, Vaughan simply understands the history, the pathos and plays it straight and well. Here Dr. Strange is the Sorceror Supreme, but still very human; when he is shot by a mystically enhanced gun by Brigand, it nearly kills him. Vaughan remembers that while Strange is CURRENTLY a noble, compassionate and selfless man, in his past he was an irredemably arrogant jackass, to the point where he lashed out his friends and left poverty-stricken patients to die (thus, probably creating Vaughan's mysterious new villian). Vaughan also actually remembers that Strange's hands suffered nerve damage, and has them shake when the Doctor gets aggitated; a great little detail. Even Wong is done justice; recent writers have played him for laughs, but Vaughan protrays him straight as a devoted friend and ally, even in the face of his own death via brain tumer. Dr. Strange seeks to save him because he is "tired of letting friends die" as they have in the past. Night Nurse, a creation from Bendis that actually doesn't suck, is inserted to round out the cast and add a good "token female" to it, without it feeling so as she trades barbs right with the Doctor, and unlike most female leads, isn't half the male's age (Stephan has grayed temples and Night Nurse could actually be, gasp, 30 or over; ancient by heroine standards). Like many fans last issue, the gang immediately presume Baron Mordo as they start to track down leads; the doc sent a sample of his "cancer cure-all" elixir with a friend, who has been killed by a mystically empowered foe (Brigand). They get to the villian's lair and dispatch of some robots, only for Night Nurse to be taken hostage by Brigand, who just oozes calm, creepy charm for an underling. Ask Bond fans; cool henchmen rock. And he isn't some demon or poorly clad monster either. Dr. Strange has been waiting years for something like this and after DEFENDERS and JMS RIPPED THE MATRIX (called STRANGE in the States), it's about damn time. Hopefully Vaughan leaving Runaways will have some consolation if he's allowed to write a DR. STRANGE ongoing next year. His dialogue is as crisp and biting as usual, his grasp and embracing of character mythos extrordinary, and with a shorter cast than most of his team books (Ultimate X-Men, Runaways), his action sequences flow MUCH better here. And Martin's art is classy and fitting to the tone.A must read, even if you've never heard of Strange before, there's something for fans new and old. Get it!
ETERNALS #5: Still overpriced a little and not as good as the AXIS OF AWESOME, but still pretty darn tootin'. Gaiman does what he can to reintroduce the Eternals while still providing a story that keys into their past for old fans...all 5 of them. But he manages to mix urban stuff with trippy Devient landscape stuff and for that Romita Jr. is a perfect fit. However, Gaiman is bringing in Eternals who haven't shown up before and having them be the "master manipulator, but oops, ***** is going wrong" card, while the characters who were the stars of the book have all but become bit players, save for Sersi. Ajak apparently hired the two Deviants to kill Ikaris because the best way to "undo" Sprite's meddling is another death/resurrection, but now the Deviants want to use the Sleeping Celestrial to warp the world. The Eternals are gathering for the showdown. It's good, but may end up being overrated at the end. Still, it's made me care about the Eternals, so it's done it's job. If you don't mind the price, get it. But if you want to wait for trade, it'll probably read better.
? I'm going to laugh my ass off if we come to the fifth issue and it turns out that Iron Man is the bad guy behind all of this.
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