Everyone is talking about JUSTICE LEAGUE #1, so I may as well briefly. I didn't buy it. I flipped through it and it didn't strike my fancy. To be honest, at $3.99, it would have taken a lot to get me to try it. I probably have more interest in JUSTICE LEAGUE INTERNATIONAL at the moment. Everyone praises Jim Lee's artwork, but the dilemma is he truly did define a generation...the LAST generation. Every time I see him draw something, I think I already saw it in X-MEN circa 1992. It was all Batman and Green Lantern, with Superman showing up at the end; anyone who thinks Wonder Woman hasn't been replaced in the trinity, look no further. But, in fairness, I didn't read it. Maybe Johns' dialogue is great, and it does have a lot of popcorn movie style action - Lee's strength as an artist (besides cheesecake and outdated fashion). Still, team books that don't have the team in it for a few issues are SO 2004. It has been massively pre, post, and over ordered, so I imagine it will be the #1 seller of August by a wide margin. It's been rumored for 2 years and that creative team on a JL relaunch alone would sell in the Top 10-15 for ages. It's the safe bet for success regardless of what one feels about DC or the New 52.
And yes, that IS brief for me.
Onto the rest of the spoiler reviews of things I actually bought and read!
DREAD'S BOUGHT/THOUGHT FOR 8/31/11:
HAUNT #17: Having skipped July and almost August, this series is in the ramping up phase before a shift in the creative team. Writer Robert Kirkman and regular artist Greg Capullo will be leaving for greener pastures after the next issue – the latter of which to draw Batman comics for DC Comics. As of issue nineteen, Joe Casey will be the monthly writer with Nathan Fox on art. That would thus make it the third artist in less than two years, and the second creative team shift. While that is odd for a creator owned comic from Image, it isn’t bad compared to many Marvel comics. Co-creator Todd McFarlane will remain involved as unofficial editor and co-inker, although this issue is very much by committee. An artist simply dubbed “Mr. Sheldon” aids Capullo on pencils while inker LeBeau Underwood aids McFarlane on inks. In case readers missed the point that HAUNT very much wishes that it was part of that initial Image age of the 90’s, the cover features a scantly clad woman baring her rear end beside a character carrying guns larger than his head with bullets in pouches all over him.
Kirkman has spent the last few issues getting all of the key exposition about the “rules” of the Haunt that were left dangling from the first arc into the fore now that he’s ending his launch of the series. As per the conversation last issue between the ghost of Kurt Kilgore and “Not God”, when he merges with his living brother Daniel, they become the mystically powered warrior Haunt. If they remain merged too long, Daniel will die and Kurt will take over his body, hence why Dan gets sickly after too much action. Yet Kurt’s ghost is not supposed to exist, so some Grim Reaper like monster called “The Apparition” chases after him and hopes to “delete” his essence. There is some cosmic purpose to the creation of Haunt and what they’re supposed to do, but what that is will likely be best left to Joe Casey.
This issue is stronger than the last in that most of it isn’t Kurt walking around in a white background talking to “the narrator” essentially – which had to be an easy issue for the time strapped Capullo. Despite the extra penciler and inker, the art for this issue is up to the usual speed as many of the prior ones. Alegria – the strange voodoo lady who seems to have been designed from leftover McFarlane sketches of Calypso from the 80’s – sacrifices herself to end the Apparition subplot, at least for now. The odds of her coming back are very high, as she gives the ol’ “death is merely the next stage of my development” type line that Obi-Won Kenobi and Gandolf The Gray said. Meanwhile, a subplot between the villains Hurg and Cobra comes to a head, and I’m still unsure if I am supposed to take Cobra seriously, or as a sort of self-parody. The guy has a deformed face and walks around in bulky red/purple Kevlar armor with butcher knives attached to every free spot, yet those knives bend so he doesn’t puncture himself.
HAUNT has very much been ULTIMATE SPAWN for this new century, with a new creator at the helm in Kirkman. McFarlane sees it as a part of his “studio” that is strong enough to survive without Image’s hottest writer, but that remains to be seen. Image doesn’t sell like it used to, and usually the best books are creator owned, not “franchise” ones. While SPAWN is still one of Image’s Top 5 sellers or so, it’s been overshadowed by THE WALKING DEAD or INVINCIBLE or other titles. It doesn’t get the “indie” buzz that Casey’s BUTCHER BAKER or Nick Spencer’s MORNING GLORIES gets, to cite some examples. Even SAVAGE DRAGON benefits from Erik Larson writing and drawing every issue since day one. McFarlane wants to run HAUNT like SPAWN, only SPAWN had his heyday in the 90’s that is long since faded; HAUNT is in a different market. I’ve often liked this book just enough to continue to read it monthly half the time, and even I am hesitant to try out a new creative team. That’s just how things work these days. I stuck around for the next creator on SECRET AVENGERS and regretted it, for one recent example.
For the moment, HAUNT is a solid 90’s Image comic…for 2011.
INVINCIBLE #82: While it seems longer due to the fifth Wednesday this month, the previous issue did actually ship at the end of July; whether this means that this Image Comics mainstay by Robert Kirkman and Ryan Ottley will be able to get back to a monthly schedule (as it did in 2009) is unknown. The colorist position has seemed to be a fluctuating role for this series for the past several issues; this time, regular Marvel and DC Comics colorist John Rauch lends his digital talents for this issue, and does a great job. As has been true of the past couple of issues, Kirkman is exploring things on earth with Mark/Invincible now that he has back from yet another long space war. He is investing quite a lot of panel time to some of his newer villains, which is good to keep the rogues and character cast fresh.
Rex/Robot is reintroduced to the series while Invincible pays a visit to a character he and Eve defeated roughly a year ago in real time - Universa. Finding a suitable solution with dealing with her highlights a current character arc for Invincible, which benefits the long time reader. When the hero debuted, he was young, spunky, and full of naive idealism. When he was exposed to the ugly reality of the business through betrayals and gory battles, as well as the grays that are explored by Pentagon head Cecil Stedman, he often flexed against them. For a time he was swallowed by the darkness and sought to kill threats immediately - complete with a dark costume. Now, after another space war and personal drama, Invincible is seeking to employ other approaches besides violence. Tiring of villains who seek endless revenge on him (and others), Mark is seeking to find compromises when possible. As Cecil warns, Mark may be going "all in" on this strategy when there still will be maniacs who need to be punched - but that tends to be Mark's standard operating procedure. The ending pays homage to the finale of issue 49 - or rips it off, whichever you prefer.
What makes the book succeed is what has made most other issues succeed - a strong and vibrant supporting cast, flowing subplots and character arcs, ramifications to past actions, crisp dialogue and top notch art. In fact, this issue took longer to read than quite a few others on this list because of the dense dialogue - which didn't make it boring. Plus, 22 pages for $2.99 is fast becoming a luxury in comic books. While new fans may be lost by the dense storyline at this rate and be obligated to catch up via the armada of trade collections for INVINCIBLE, it remains one of the best superhero series for fans of the genre.
AMAZING SPIDER-MAN #668: This is the second chapter of "SPIDER-ISLAND", or the third if you count the prelude issue. This was very close to being the top of the heap, although HERC #6.1 won out due to being more timeless, standalone, and with a legendary artist. That isn't to say that Dan Slott and Humberto Ramos, alongside Victor Olazaba on inks and Edgar Delgado on colors, are not producing a very entertaining and riveting Spider-Man epic. With the disappointment of FEAR ITSELF an ongoing dilemma this summer, and with the modest SHADOWLAND of last winter still fresh in memory, "SPIDER-ISLAND" is quickly standing head and shoulders above competition of recent memory, whether big or small. That isn't to say that it is flawless, but usually "mini events" don't get this solid unless they're written by Dan Abnett and Andy Lanning and about space. While this issue naturally picks right up from the last issue, it's awkwardly scheduled after VENOM #6, which actually takes place afterward (and Spider-King really was Captain America, it seems; so much for the Reilly theory). At any rate, the Jackal has succeeded in his plan to infest "thousands" of Manhattan citizens with his genetically enhanced bed-bugs to induce within them powers similar to Spider-Man. The immediate effect is now hundreds of people are manifesting super-powers, and not all of them are good. Jackal has assembled an army of those who were criminals (or inclined to be), clad them in various Spidey costumes and sent them on a rampage. The Avengers, the Future Foundation, Cloak and Dagger, what's left of the Young Allies as well as Shang Chi (and apparently Storm) have all assembled to stop them, while Spider-Man quickly realizes it is a situation where he seemingly isn't needed and can be of no use. At least my nitpick last issue was addressed in that Wolverine COULD determine the real Spidey (as could Chi). However, inspired by the women in his life, Peter very quickly realizes that he can showcase how to be responsible to others without a mask. Mayor Jameson is vindicated as his "Anti-Spider Patrol" was put to use to deploy technologically advanced cops to help ease the brawl. Jameson then deputizes everyone and seals Manhattan's borders, but will it be enough to stem the plague? What role does Spider-Man play in that, and is there a dark side to being infected down the pipeline? Who is that mysterious scientist at Horizon Labs? All questions for another issue.
This issue naturally starts out with a lot of action and then manages to hit the rounds for interaction and even a few chuckles. A cynic might note that even without being married, Mary Jane seems to fill the same role for Peter as she always did - as his rock and voice of reason - to the point that ONE MORE DAY merely seems like an effort to bring back love triangles into the title. If there is any quibble, it is that Peter's refusal to acknowledge how useful it is to be working alongside Carlie Cooper is bordering on insanity. Due to this situation, Peter and Carlie both have super powers and are both employing those powers, skills, and their brains to try to solve this mystery. Given that Carlie is a fan of Spider-Man (and masked vigilantes in general), there is no reason for Peter to have kept his secret from her beyond either his unwillingness to commit or sheer stubbornness. He did once unmask for a cat-burglar, people! Yet all Peter can gush about is not having to change clothes in an alley before web-slinging. A story that was willing to claim that Peter is too insecure to date any woman who isn't either a civilian or inferior to him in power level would be fascinating if it were intentional. On the positive, this event is playing up all of the Marvel Universe elements of BIG TIME while focusing on the fact that Peter can be a hero without a mask, and he can win a fight without being a brawler. So far, this has been a rare comic event that has lived up to it's own hype. On the downside, this is one of the first issues since November to be priced at $3.99 despite only having 22 pages, and unlikely to be the last.
HERC #6.1: Another week, another .1 issue as part of the Point One Initiative. In theory, it was Marvel's way to try to entice readers to hop aboard an ongoing series in mid-progress with a one-shot tale that summarizes what is going on, while giving longtime readers of said series a story they can enjoy, too. In practice, they have merely replaced annuals - although many sell better than annuals usually do. Often, the Point One Initiative issues written by the same creative team as the ongoing series they promote fair better, as they become extra issues of content - such as HERC #6.1 (or AVENGERS ACADEMY #14.1). Greg Pak and Fred Van Lente - the regular HERC/INCREDIBLE HERCULES/CHAOS WAR writers for several years of material - naturally produce another stand out single issue story that accomplishes the mission statement of telling a tale new and old readers can get. While someone who has never read INCREDIBLE HERCULES since 2007-2008 might be a bit lost, someone who hasn't read HERC since it debuted in the spring will have a fair refresher course on the status quo of the book. An added treat for this done-in-one story is legendary artist Mike Grell on pencils - the same Grell who is best known for creating WARLORD at DC Comics as well as JON SABLE FREELANCE and STARSLAYER at the creator owned First Comics, along with notable runs on IRON MAN and GREEN ARROW. His work is inked by two inkers and colored by regular HERC colorist Jesus Aburtov.
This issue provides not only a solid story that takes place in current HERC continuity, but it also explains the gap between CHAOS WAR #5 and HERC #1. As this issue summarizes, Herc had become a "super god" during CHAOS WAR and destroyed the Chaos King, who sought to destroy all of reality. He used all his power to undo the damage of the battle as well as restore all the lost gods - mostly the Greek pantheon - to life and vigor. This left Hercules in a mortal, and somewhat brighter, form. Here, we learn through the eyes of Hermes - the messenger god - that Herc tried to remain in Olympus, but it was no place for a mortal. When even his wife Hebe ends up condescending to him - as most gods tend to with mortals - Herc fled to Brooklyn to answer the call of his worshippers (who wound up being about 3-4 nerds in robes). This issue also explains how Herc acquired his godly weaponry; in fact, it is that theft which puts Hermes on his trail. Initially seeking to catch a thief for Zeus (who is once again seducing women in far off lands away from Hera), he winds up in the middle of a fight between Herc and Mr. Negative and gains perspective on the situation.
The story is simple and not one that offers many twists and turns, but it doesn't need them. The art is very effective for the godly scenes as well as the combat, there's a dash of humor along with the heart, and Pak and Ven Lante manage to convey why Herc is a cool lead character even in a tale where he isn't one. Grell's artwork is enhanced well by the inks and colors, and is of such a timeless style that readers who are less knowledgeable may have no clue that Grell's an old hand who's been in the business since 1973. Even the choice of villain in Mr. Negative works because HERC is about to start a crossover with AMAZING SPIDER-MAN next issue for "Spider-Island". Mr. Negative - created in 2008 - is getting a lot of traction lately and will also appear in SPIDER-ISLAND: CLOAK AND DAGGER. It is possible that other writers are thrilled to be given a crime lord who is Asian-American who isn't dressed as a ninja, a martial artist or a samurai. Alas, such a gesture is moot, as the latest issue of PREVIEWS has announced that HERC will be canceled with issue ten. Given the sales, it is great that it lasted that long.
This issue is what good comics should be - $2.99, done-in-one, with a story anyone can pick up and enjoy with great artwork.
SPIDER-ISLAND: DEADLY HANDS OF KUNG FU: While I really should be cutting back on spare comic purchases, I bought this for two reasons. One, writer Antony Johnston did a fine job with a few C and D listers in SHADOWLAND: BLOOD ON THE STREETS; in fact, it was a fair prelude for HEROES FOR HIRE. Secondly, because it will have Iron Fist and the Immortal Weapons in it in a story that isn't in IRON MAN 2.0 or part of FEAR ITSELF. To a degree this is a dilemma as Shang Chi is actually the star, and I'm not really a fan of his - I have nothing against him, I just prefer Iron Fist. The art is by Sebastian Fiumara and he does a solid job of making some attempt to capture the feel of some of those old B&W magazine stories, only this time in color via Dan Brown (with inks by John Lucas). Things start off simply, but that's fine for a debut issue to a brief 3 issue tale.
Shang Chi is apparently one of the infected of Spider-Island and thus has gained the powers of Spider-Man, which enhances his natural kung fu skills. He's been having dreams of apparently attacking the Immortal Weapons as some sort of spider-creature. He naturally takes part in the big Spider-Brawl from ASM #667-668 where he runs into Iron Fist, and another Immortal Weapon, Bride-Of-Nine-Spiders. She's really an obvious foil, er, character for a SPIDER-ISLAND story. He tails them, and tries to help Iron Fist when he's double-crossed, but despite his new powers, fails. But is it all what it seems? While Bride-Of-Nine-Spiders in past depictions was rarely a pure heart, is she really the baddie here?
Naturally, SPIDER-ISLAND has provided an excuse to do one-shots or mini series around characters either loosely connected to Spider-Man (like CLOAK & DAGGER) or characters with spider-themes (such as Spider Society stuff in AMAZING SPIDER-GIRL). Thus, this is really an excuse to do a Bride-Of-Nine-Spiders martial arts story. It still is amazing to see the influences that the Fraction & Brubaker run on IMMORTAL IRON FIST seem to have on so many martial arts hero books that have come later; even Johnston imitates the style well.
The downside is that while this issue isn't bad, it isn't especially memorable as of yet. The art is great and it's a perfectly solid debut to a Marvel martial arts story, it isn't a home run or even a double. Now, that could be because I'm not a Shang Chi fan, and that likely is because he seems to recite the same sorts of "karate man" cliches in narration or dialogue since the 70's when Bruce Lee was leading pop culture. Being zen is who he is, but if I liked that, I'd like Silver Surfer. Still, I like that Johnston and Fiumara remember the details of Shang's old apartment, complete with his "karate kitty". For fans of IMMORTAL IRON FIST or Shang Chi or even Iron Fist, it's likely worth a get for the adventure and/or completism. Just don't expect it to be the top of your stack. Still, I could argue that more writers should be as reliable as Johnston. He seems at home with "street characters". I am curious what HEROES FOR HIRE by him would have read like. The end of the issue has an essay about Chi by editor Alejandro Arbona that goes on to stress how Chi is cool because he has no super powers...to launch a mini in which he actually does have super powers. Awkward!
t:
So missing the man JMS made him.
