Today is a blissfully quiet week, even amung quiet weeks; a 3 book week for me is very rare, at least over the past 2 years. Some people make up for it by buying trades, I usually just enjoy the extra greenbacks in my tattered wallet. It also is a good week in terms of quality books: 52 delivers a decent read as usual, and two of Marvel's better and underappreciated titles, at least in terms of monthly sales figures.
It appears the EMUSIC cardboard insert has been placed in all Marvel's book this month as their usual willy-nilly tag 'em all sort of advertising. It being in the two books I bought doesn't surprise me, as they're bottom feeders in terms of sales charts and you could argue, hey, Marvel needs to recoop some bucks. It just still boggles me a week later that the insert's placement was so indescriminate that it appeared in CW #6, a mini that sells some 250,000+ copies and being almost an automatic #1 seller for December 2006. So, let me get this straight; you want to cram ads into poor selling books, because you need to recoop money, and into high selling books, for exposure. Basically, then, fans are "either way" suckers. One would think some discrimination, vs. a blind cover-all tactic, is possible (because, hey, isn't it a waste of ad space if an ad for IRON FIST #1 appears in the actual IRON FIST #1 comic?). But fortunately for Marvel, many fans react the same way they react to me when I mention it. "Who cares?" The comic fan in recent years has been exposed as an almost desperate creature, willing to endure high ad counts in 4th quarter months, delays that have become the rule and not the exception, prima-donna writers and artists who don't even respect their fans enough not to do side work while some of their own comics are late, and a doubletalking EIC who literally prides himself with being able to manipulate readers in much the same way that "politicans and CEO's" do, fellas usually savvy enough not to admit that, just so long as they get their funnybooks sometime between birth and death. Some people have risked removing the EMUSIC ads, but that risks a totally worthless item, so it's best to ignore it and move on. What seems to be done every time Marvel makes some ill, some error, some misstep, whether big or minor; the community en masse (and by en masse I mean the majority we rarely see online) shrug it off, don't care, don't react, and Marvel learns little. It becomes a vicious cycle. Marvel claims they're merely reacting to fans whenever they screw up, and the fans don't hold Marvel to task because they love it too much, like a parent who'd rather watch their kid drop out of school and become a selfish crack addict then dare risk a teardrop at age 5 by telling him/her, "NO". I wait desperately at times for some fan reaction or outrage to make a dent in Marvel's armor, but there never is one that is well mounted, so Marvel never changes suits. I love Marvel too, but sometimes I grow frustrated waiting for it to grow up and be mature and innovative in many areas again. Still, I can say that 2006 was a far better year than 2005 was, for what it's worth.
And I decided to seperate this from the book reviews because the EMUSIC ad and many of Marvel's ills have nothing to do with these actual books. Just had to get it out of my system. Admittedly, as I have at times also bought late books (lord knows I'd buy ULTIMATE WOLVERINE VS. HULK #3 if it shipped next week), I too may be part of the problem. I at least admit it. And this top section of my post will recieve the most replies, and not the positive praises below.
That out of my system, onto some goodness! As usual, my posts are canned peaches served in heavy spoilers...and syrup.
DREAD'S BOUGHT/THOUGHT for 1/10/07:
52 WEEK #36: After 36 weeks some reviews for this book seem repetitive. Even at it's worst, it is usually an enjoyable read for $2.50 and has dozens of slowly moving plot-threads. This week, like some of the past several, things are starting to move in high gear; since we're in the last 3rd of the mini, it's about time. Only 20 weeks (or 5 months) left. Heaven knows what DC is going to do in July or so when 52 ends, as it's been a goldmine for cracking the Top 10 (without relying on JLA, JSA, or one of the Batman or Superman books, which can be more sporatic, or the even rarer All-Star books) with an automatic 4 slots. But, I'm a fair weather DC fan at best, so I honestly don't care, only so much that so long as DC at least puts up a fight, Marvel might actually have to break a sweat and produce good things; when Marvel has it too easy due to DC slack, their books suffer. Anyway, onto this one. The "Lost in Space" story reaches an apex as Lobo brings in Starfire and Animal-Man for Lady Styx using the "bounty" as cover, and this segment begins to show obvious Morrison influences as his "fishy" god translates that Lady Styx plans to betray Lobo, but insults his religion and his manhood. Naturally Lobo can't take that sitting down, so a bloodbath ensues. I will say that this subplot has worked for Lobo; normally he's a bit of a generic combat monkey who overkills that point at best, but 52 allowed him some restraint so that the combat has buildup and you are anticipating it more, vs. just going, "ho-hum, Lobo can't die and kills someone AGAIN", like one used to do in the mid 90's. Although I'm sure Giffen, Lobo's creator, may have had a hand in it. I still have to say that while the "LIS" trio has been one of 52's better plot threads, it pales in imitation to Giffen's solo ANNIHILATION, which is a little unfair, but there it is. Speaking of unfair, Animal-Man gets hit with some tranq after seemingly convincing Styx's armada that he loves his family, and dies. It seems tragic and a little anti-climatic that it is that easy. Speaking of dying characters, apparently "Charlie" isn't dead quite yet and Montoya wants to repay the favor by getting him back to Nanda Parbat, a trip that may be instant death for both, but she goes, much to Kathy's chagrin. I wonder if they are setting up a "Charlie lives but can't leave Parbat" sort of in for Montoya's reign as Question? And the one-page sequence where Animal-Man's wife learns of his death is good because it is subtle. There is an issue, though. Osiris talks to Sobek about the Suicide Squad incident, and one dialogue balloon that seems to obviously be spoken by Osiris is connected to Sobek (unless Sobek, for a few seconds, called himself by 3rd person and took on that tone). It's a goof, one that is bound to happen in a book where everyone has to race to make a weekly deadline, but it's still a noticeable mistake, and slightly annoying. Oh, and apparently Supernova is aware of Skeets targetting time-travellers and attempts to hide Rip Hunter in the shrunken city of Kandar, as Skeets closes in. Does this mean Supernova may well indeed be Booster Gold, as some people have long suspected? If he is, Supernova's much cooler, IMO. Adam Hughes (who is going to take a stab at ALL-STAR WONDER WOMAN sometime) does the origin for Power Girl and naturally it looks pretty. The promo for the next issue's cover is not even colored, showing some crunch times. It's been a while since the "time is broken" subplot was established so I look forward to next issue. Most of all, 52 is usually a book that tries to do a lot in 22 pages, which is always a good quality in a book.
MARVEL'S DIAMOND DUO: After titling some collections of good Marvel books (to give fair time to when Marvel does it right) as an Axis of Awesome or a Cube of Awesome, here are two of Marvel's better books shipping at once, and both were pleasures to read. Shame that one is a mini.
AGENTS OF ATLAS #6: So good it should be an ongoing, but plagued by horrible sales. Starting out moderately, it's 4th issue plunged at selling #171 on the sales charts, which is about 12,400 copies. To indicate how low that is, the also good-but-underselling IMAGE title INVINCIBLE sells 9 slots better and 1,000 more copies. The MARVEL HANDBOOK is 23 slots better. And RUNAWAYS sells MORE THAN TWICE AS WELL. Which is a shame because Parker has created a quirky little pulp book here reviving some of Marvel's forgotten Golden Age characters who, with the exception of Ken Hale (last used in the abysmal HOWLING COMMANDOES), were either ruined or underused for about 30+ years. Now, I am sure Marvel knew well enough that a series that wasn't terribly promoted starring forgotten 50's characters with a less-than-A-list creative team was never going to score big numbers, especially for a mini, but this is stunning. Between this and X-MEN: FIRST CLASS (also stumbling down the sales charts but remaining far higher as it is an X-book), writer Jeff Parker has proven himself a writer who embraces, not ignores, past continuity, even when it may date older than he does, and manages to be willing to rework it without denying it. He has a natch for research (his last issue of XM:FC literally was a sequal to UXM #33 or so) and enjoys pulpy, feel good, heroes-punching-stuff sort of plots. He definately likes "old school" comics but writes them in more modern ways. Maybe in time he could be another Slott or Kirkman. Leonard Kirk also produces some good work after successful runs on FRESHMEN and BLOODHOUND (an underselling DC book that I also liked). The ending makes sense as a sort of introduction to this team and justifies the series title, but does feel a little anti-climatic. The team finally has a showdown with Golden Claw's base at the Atlas Foundation, only to meet Mr. Lao, a dragon, who reveals that Jimmy Woo is an ancestor to the Khan dynasty and his Golden Age fued with Golden Claw (who has the unfortunate real name of "Plan Chu", nicknamed, Master Plan, ugh, them corny 50's) was just a ruse to try to get him up the ranks in the U.S. government before recruiting him. Rather than destroying Atlas, Woo accepts leading it so he can redirect their funds and actions towards good work, and has a "counsel" of assistants in this team he has assembled to keep him and Mr. Lao from going corrupt. Parker is a far braver man than some, willing to risk low sales and obsurity on a book that did a lot to flesh out and clean up the backhistories of characters long left forgotten (and in some cases dead, like Namora was). He's also turned Ken Hale into such an amusing and enjoyable character that I for once understand the "apes are always gold" mantra of some fans. The final pages even clean up M-11's origins a bit and turn him from a mysterious robot to a tragic, more primative version of andriods that came later like Jim Hammond and Vision (or Victor Mancha). It seems like a waste to spend 6 issues setting up this new team and secret cabal just to abandon it for sake of sales, and I hope Parker returns to this franchise in some capacity. Surely they'd have something to contribute to a post-CW world. Derek lies to SHIELD about their final battle to cover while learning that even his Wakandan heritage ties back to Khan. Parker even admits Fu Manchu and Mandarin as part of that, rather than omit it. He also brought a sense of humor to his work here. I won't call AGENTS OF ATLAS the best book there was, but it was an enjoyable pulp mini that made me enjoy a team of 50's castoffs in new ways, and shouldn't be missed. Give it a try in trade. Parker doesn't seem out to "shock" the reader or reinvent the wheel, just provide a good ol' time with classic stuff, and that's notable. This was a mini I looked forward too in the end of 2006 and even with a little anti-climatic ending it still read well for me. They even have a fairly potent little team in terms of power in Agents of Atlas (Namora and M-11 are heavy hitters, and Marvel Boy & Gorilla Man aren't to be counted out either).
RUNAWAYS #23: Just when I used to gloat about how this was a "great book that shipped on time", this issue is 3 weeks late, causing RUNAWAYS to skip December. I can still say it's a title that throughout it's run has RARELY been late (as in maybe 1-2 late issues a year), which is still very skippy considering today's market. And, yes, it does sell poorly in the monthly totals, although it has a small-but-loyal fanbase of some 23,000-25,000 readers who have managed to keep this plucky book within the Top 100 for the past year. And Marvel does seem to like the book and has tried to promote it; their HC's consistantly sell out. Marvel inserted the RUNAWAYS into their FREE COMIC BOOK DAY 2006 story (even if, since it was a bit lame, a bit of a waste) and into a CW mini with the Young Avengers, which sold within the Top 35 (which, admittedly, was where the YA title sold before it's ending). Marvel is also willing to invest in an A-List lineup of Whedon & Ryan after BKV departs AND sell a one-shot specifically to "catch up" more casual readers to the RUNAWAYS history so they won't need to dig through a handbook to jump aboard Whedon's run. Plus, Marvel's cancelled some books for selling around where RUNAWAYS has (even some X-spinoffs), but RUNAWAYS is still with us for another go. So, it would be unfair to say that in 2006, Marvel didn't try hard to promote RUNAWAYS in some fashion given it's sales. And it is a title that deserves it because it's been a rollicking ride with some of Marvel's best teen creations in a decade that span across several Marvel genres (mystics, mutants, aliens, time-travel, tech, etc). Vaughan also is leaving the book on his own terms, much like Tiki Barber from the GIANTS, claiming he wants to leave when he's still been at his A-game, not a few years down the road when he's been slacking compared to his prime. It sometimes is hard to accept, but man, imagine if Claremont had done that for the X-Men, instead of smelling up his 20 year legacy with trash. Vaughan also feels it's best for the book, for him to leave on-top in terms of quality and then pass the ball for another, and considering Whedon is expected to at least double sales for this book by namepower alone, that may bare fruit. But while Vaughan seems to feel as if Whedon is going to easily outshine him, to me his shoes on this franchise will perhaps always be too large to fill. Whedon at his best is going to have to break a sweat to keep RUNAWAYS as hotly anticipated a book it has been to me under BKV. And naturally Alphona's quirky art and designs will be missed.
Naturally, though, BKV & Alphona have 2 more issues left and they're setting up the book for a bang, keeping the storyline tense and the fans guessing. Initially leading all sorts of speculation about "Chase turning evil", it stands revealed that he's simply become self-destructive and desperate for Gert after her death; he wants to sacrifice HIMSELF to the Gibborum, and wants to "save" Nico too by removing her Staff of One, which he claims is "evil" (as it was an artifact from her wicked parents, he may not be off; he's used it before and it seems to be a trial using spells from it). He also provides her with some "shutdown" codes for Victor from the Abstract, which seem to be for emergency only...but it has to provide a helluva bargaining chip to give a teenage girl the power to literally shut down her boyfriend (Chase "pulls a Kirk" and confuses Vic's programming, crossing his "super-faith" with "super-logic"). BVK also throws in an abscure sitcom reference by having Chase call Victor "Small Wonder" (that was an 80's sitcom in which a family has a daughter that's a robot). Xavin also takes on Nico's form to try to please Karolina before revealing he "doesn't know who he is", and Molly continues to mourn Gert, before mysteriously "hearing her voice" (or A voice) in her head that leads her to gather the others. And so the team assembles to basically stop Chase from killing himself for the Gibborum, and even Old Lace wants to help by leaving a "marker trail" for Xavin to follow. But I wonder, is it a coincidence that all the kids lately have dreamt of their parents? Does Molly "hearing Gert" mean perhaps her powers are psionic as her parents' were and she is developing some weird sort of telepathy or intiution (Johnny Gallo, Ricochet, had a mutant power that warned him of danger). Or is Gert actually a ghost? BKV also has the kids finally get seen leaving the Tar Pit, which sets up a life of them on the road for Whedon's arc, presumably starting in April. The third and final issue may be a showdown with the Gibborum where, once again, we have no clue who might actually bite it and what does happen, as Vaughan sometimes likes throwing us. He's gone back and forth with Chase with revealing a "darker past" and now revealing that Chase merely "imagined" and internalized bad things about himself to justify his parent's abuse, which is psychologically possible. The last issue of BKV's launch certainly has more anticipation than the book has had in years (despite being a looked-forward-too fave of mine) and it has me buzzing.
Whedon may be the best A-list choice, especially as he is a professed fan of the franchise, but he definately is going to have big shoes to fill no matter what he wrote in the past. RUNAWAYS #24 can't ship fast enough, exactly as it should be.
t: 9/10
