This was a sizeable week for me, especially since its was another "heavy" week of CW related Marvel stuff, both new issues (and tie ins) and reprints of past ones for those who missed out on them (or want to collect a new cover). Oh, and other Marvel books, some of them major events, that aren't CW related, so Marvel doesn't give a fig about promoting them, and then wonders why they sell below the Top 45. Yes, I am talking ANNIHILATION and RUNAWAYS.
And as always, my reviews are uneditted and have full spoilers.
DREAD'S BOUGHT/THOUGHT for 7/19/06:
52 WEEK #11: The one with the new/old Batwoman who is "GASP-- a Lesbian!" Yes, I know, DiDio made that statement about a month ago, and I've made a few jokes at its expense. But Joe Q takes flack whenever he says something that's kind of dumb (which seems to be weekly), so turnabout is fair play. Batwoman Begins in this issue in a full combat sequence, and surely she's a lesbian to sort of make her more "inclusive" with the times...of course, that would mean not using her sexuality as a selling/attention point in interviews, if its not that big a deal, yeah? I mean did Heinberg announce in interviews that Wiccan and Hulking were "behold...HOMOS!"? I think not, and YA remains one of the best examples of how to include characters with "diverse" sexual orientations without shamelessly exploiting it to be "hip", or using it as an endless "after school special". That said, the issue is a very effective noir issue. Ralph tackles some "cult of Conner" folks, but is shocked to find out how young some of them are, and is beaten off one gang of them with a bat. His storage locker is broken into as Sue Dibney's clothes are stolen to finish off a psuedo-"dummy" of her that Cassie and the Cult seem to believe they can resurrect into flesh. Hey, I've seen that sort of thing done magically all the time -- it worked for Dr. Octopus back in the 90's, right? The A story is Montoya and "Charlie" (a.k.a. The Question) following up on their lead on Intergang, which has reorganized, has some legal "fronts" and is moving into a Gotham that's without Batman (and Robin) protecting it. They manage to find an Intergang stronghold, but get collared and are about to get ripped to bits by some shape-shifting Were-Flunkies until Batwoman shows up and turns the tide almost effortlessly (although the Question got in at least one good spinning roundhouse kick). Montoya uses her "detective skills" to seemingly learn Batwoman's identity as her ex Kathy Kane almost immediately. Talk about awkward! I loved some of the interplay between Montoya and the Question, and the fact that Intergang is dealing with weapons from Black Adam's nation and their goons are now mysteriously all metahumans may suggest that many seperate "threats" may be more intertwined than we imagined. But we're about a 10% of the way through the story, so some pieces were bound to start fitting together soon. And Jurgens finishes up his history of the DCU, which probably could count as a Labor of Hercules. Anyway, 52's been an enjoyable read ever since it started with hardly one issue that felt disappointing so far, but this one was easily my favorite of the month so far. Maybe I just like urban vigilantes more than space stuff.
ANNIHILATION: NOVA #4: Speaking of space stuff, the only ANNIHILATION mini that I bothered with wraps up its prologue to ANNIHILATION, and it was an enjoyable, action packed finale that I really enjoyed more than I expected to. I'd read this series from the end of PROLOGUE and enjoyed it, but I really wasn't expecting a finale that was this flipping cool. This climax was probably the best issue of the series for me after the first, which is actually something many stories take for granted. Its easy to forget that ANNIHILATION is even happening, though, as Marvel's engines of hype are locked fully on CIVIL WAR, and the sales figures show. After the standard "first issue push" that everything gets, most of the ANNIHILATION books are lucky to see the Top 50, and some sell worse (I've heard RONAN sold pretty poorly). NOVA and SURFER, the titles with the two most "well known" solo characters, obviously did better, although I felt Marvel, like many things, lost interest after the push out of the nest. Which is a shame because this was really a good space operetta, and I have to be in the mood for that kinda thing. Anyway, it picks up from last issue's climax; Nova's used his "Nova Force" to make a space warp thingie to evacuate a planet, but he needs to buy the ships time to evacuate from the Annihilation forces, so he takes them on...head on. Quasar joins the fray and even Drax gets in a few pointers to Rider as the pages are full of nice energy explosions. The finale comes with a confrontation with Annihilus himself (someting I didn't see coming until ANNIHILATION at least), where he seems to have been boosted from F4 B-Lister to cosmic powerhouse, controlling destructive insect-like attack drones and being able to consume any sort of energy...even Quasar's. It fits into the "death & destruction" kick that Marvel's been on this year; Quasar doesn't seem to survive the encounter, and even the greatly empowered Nova barely escapes with his life, but manages to "trick" ol' Bug-Breath into calling off his attack, saving the evacuees. With a friend to avenge and a war hardened Drax serving as his surly version of Yoda, Nova seems ready to tear into some arse for ANNIHILATION, and I can't wait for it. If only it had some more support. I mean, RANN/THANAGARIAN WAR didn't seem to fit into IC at first, but DC didn't abandon it. This is probably Nova's best act in years.
SHE-HULK #8 (second print): Not being a regular reader of SHE-HULK (I just never cared for the character much), I passed on this tie in issue to CW last month, only to hear both great reviews for it and the fact that this perennially poor selling title was "sold out" because of the tie-in, making SH #8 an incredibly rare comic. Thankfully, Marvel had some mercy and offered us poor saps a reprint of some of their past CW material just in time for new stuff. True, someone could claim that "reprints" are also another way of having a varient cover (which is back in style), but for once it seemed to be done out of genuine compassion for their readers, rather than just blind greed, so a tip of the hat. Slott works his usual magic on this his "core" ongoing and Paul Smith does art, and Smith is good enough; nothing too spectacular, but nothing cringe-inducing or incoherant like Scottie Young or Chris Bachelo. The plot is basically about reflecting more backlash against the NW due to Stamford and tying up some of Shulkie's plot threads, to try to interest readers who're only on board for the crossover to read the next issue, which is a good strategy. I knew the plot already from the 'net, but it was still a great issue; Justice and Rage taking what's happened to their teammates the Warriors to heart, especially when a website is deliberately outing the ID's of various NW's to the public, which is making their lives miserable (and dangerous, as they're liable to get mobbed any moment like Human Torch). She-Hulk trades barbs with Iron Man on the stand (which was just "delicious" to see), before IM gives up the website designer, Hindsight-Lad. Slott does his homework on the New Warriors, even having "side" members like Slapstick and Ultra Girl (PAD's Marvel/Kree version of Supergirl, circa the late 90's) show up. The remaining members seem intent on regaining the good name of the Warriors in a tale that has some chuckles but isn't "goofy" at all; Slott's sometimes typecast as a "funny man" when his stories always have more than that, they have genuine heart and emotion and come off very well. Even if you already read a summary of this issue on Wikipedia or something, grab the reprint while you can. You won't regret it.
CIVIL WAR #3: I'm not sure if too many of you have noticed, but ever since CW started in full swing, a lot of my posts have seemed to get more pessimistic and bitter about some Marvel policies and tendancies, even moreso than usual at times. This is I guess a bit of an emotional response to CW, so I think I should get out some facts about the series now. Firstly, despite all the times I complain about the tone, or the mindset, or the Liberal bias it has most times, it IS a rivetting, action packed read. HOUSE OF M, to compare, was tedious. Two issues passed without anything being done but background imagery, and then the remaining 6 issues were slow, plodding, and unfullfilling. CW is anything but. EVERY issue is like a powerkeg, which has ripple effects in some of their tie-ins. Every issue matters. Every issue has crap hit the fan. Every issue, no matter how much it makes your blood boil at times, delivers on getting an emotional response from this reader, and that's far better than just sheer boredom (or dread of future boredom) as I got towards the end of HOM. Even if the general tone of the story and what happens in it is getting me almost sick to death of "darkness, death, destruction and hero-infighting", I can't say I don't eagerly await each issue, because I do, even if what happens inside makes me wince. Its like seeing characters you like in a TV series get brutalized with one obstacle after another, and you hate seeing that happen to them, but your eyes can't leave the screen. And even though we know in the end that the anti-registration, Liberalist side eventually HAS to be morally right in the end, issues like that make one wonder if we really are going to get an ending that feels like a triumph rather than a tragedy. Finally, unlike HOM, which had a reasonable moral dilemma at its cornerstone and pretty much dismissed it in passing, the entire CRUX of CIVIL WAR is a moral dilemma, which continues to be debated, with pro's and con's on both sides, in almost every installment or chapter. I appreciate that. Even if it does seem one sided at times (but not ALL the time), it at least attempts to spark our own minds for debate, offers us something to ponder about before the fisticuffs, and I can respect that.
That said, however, the bleak tone of it all is starting to get to me. You can only take so many drudges through the mud until your just go numb and don't flinch in pain at the blows anymore, and all that happens is feeling angry, bitter, etc. You can only watch so many acts of injustice, so many character betrayals, before it simply becomes almost a chore to sit through, even though you HAVE to watch every second of it. I imagine this is what readers of NEW X-MEN have felt for the last few months, but I don't read that book. I'm seeing characters I've liked just become total *****ebag sell-outs, and other characters that I like being on the moral highground (IMO, of course), but facing odds that are almost unsurmountable. It makes for great suspence, but the tie-ins and the core title have just been going on that drumbeat for a while, and with it happening in every chapter, there are moments of overkill. War IS hell, I guess.
The issue wisely doesn't focus much on Spider-Man, as his outing has been focused to death in his own titles and others right now. Black Panther refuses to join Reed's pro-SHRA campaign, but seems too preoccupied with Wakanda and marrying Storm to really do much but voice objections (and tell Reed not to abandon his wife for his work; when you have to get marriage hints from BLACK PANTHER, you know you're in a rut). Dr. Strange also refuses to join the pro-SHRA, but abstains from doing much against it, either. The same deal happens with Emma voicing for the X-Men, although Bishop (Mr. "I'm a Cop From the Future"/"I'm a Human Battery, Pal!") seems interested. Meanwhile, Cap's little "resistance" is continuing to do what they've always done; fight bad guys and save people, just as a collective group that violates the SHRA by not submitting to being registered and having their privacy stolen (and perhaps their families in jeopardy because of it, as Parker's had to deal with). This causes some debate amung the civilians, who are still a little divided on it (and Johnny awakes from his coma, only to find himself alone because the rest of his family are busy either being narcs or running to Namor. Poor bastard). And then, Cap's resistance is "suckered" into a "fake disaster" by Iron Man's pro-SHRA taskforce, which seems to have numbers and experience on its side (many in Cap's number are still "younger" heroes). The pro-SHRA force, to their credit, seems to honestly not want to fight against their comrades, but on the other hand, most supervillians wouldn't fight heroes if they just backed down from trying to stop them, either. And they score first blood by tranqing Cloak and Wiccan immediately (the two heroes who could instantly transport Cap's team out). There's no room for middle-grounds, its submit or be taken. So Cap reads that and uses some cunning to disable Iron Man, at least in the short term and attempt to use the element of surprise. The battle begins but starts to quickly turn against Cap's resistance (although seeing Stature take down Atlas was bloody cool). And yes, it was a little frustrating seeing characters I like and who I would assume that by their demeaner would be against acting as little toadies, well, being toadies. The Thing goes on about wanting to be "neutral", but naturally is there in force throwing haymakers at Hulkling. And Spider-Man's using his new armor, which he's seemingly sold his soul to Stark for, against "respected colleagues" like Daredevil or Cap without losing a bead on his smug one-liners (of course, where is Spidey without one-liners). And then Iron Man seems to "regretfully" pummel Cap with his superior power in a scene that seems to remind be a little of Superman vs. Armored Batman in DARK KNIGHT RETURNS, before Hercules goes bat-crap-crazy, and charges foward before being hit by a bolt of thunder, and there's Thor, the godly thunder-whielder, in a bit that reminded me of Capt. Marvel from KINGDOM COME. No, I'm not complaining really about these storyline simularities; those were both DC stories, and as I've said a lot of times, if you're going to "imitate" something, at least do it right, and Millar does it right. Still...Thor with the pro-SHRA? Taking orders from SHIELD against his fellow "Avengers in arms"? He's disagreed with Cap and fought Herc sometimes, but DAMN. And yes, Thor marks his debut by taking out Hercules, Cage, Kate Bishop and Dagger with ease. And it makes a helluva cliffhanger.
But at this point, even if I know some of the characters "switch sides", like Spider-Man probably will, at this point when the hammer falls on the stooges, I may not even feel sorry for them. I may look at Spider-Man, a character who probably is my favorite Marvel hero ever, and go, "You deserved that for being a sellout". It really stings seeing him sellout, on fighting against the same YA that he was vouching for in their core title, and so on. And regardless of which side wins, IF any side wins, in the end there is going to be nothing but smoldering bodies, broken ties and probably bitterness. That may be rivetting, and accurate, but its not a pleasure to read about. "Bad stuff happens, and people feel bad about it" is not really something unexpected or even original anymore in comics. In fact its become so common that both Marvel and DC should seriously send royalty checks to their local prisons and the Bush Administration for providing them with ample fodder (yes, I know the latter is called "taxes", but cut me a break, I'm being a loudmouth here).
CIVIL WAR is one of Marvel's best events in years, hands down. Its suspenseful and tugs at the emotion while still providing an intellectial debate between haymakers. Its also been one of their most despressing to read so far. If Marvel or anyone else ever wondered why most fans are always so dark, so cynical, so bitter, so ANGRY at times, well, stories like these don't help. You reap what you sow. Very few people are in a good mood when they watch a tragedy. Fewer still when they watch several in a row, no matter how excellent they may be. Thus is CIVIL WAR.
CIVIL WAR: X-MEN #1: After a comic that made me feel pained to watch some of my fave characters sell-out, here comes a CW mini, like some of them, where I am proud when some don't. The past year hasn't been so good for the X-Men. There was DECIMATION, where most of their race was depowered. And then there was O*N*E* and THE 198, in which the X-Men are seen as almost accomidating stooges to anti-mutant bigots because they don't want to ruffle feathers in Washington by being "outlaws" anymore, and so they don't mind turning their front lawn into a mini concentration camp for mutants (without barely offering the poor saps on the grass a frickin' bed to sleep in or a pot to piss in, while simultaneously kicking out all students who were "depowered" - tolerance my rear). Hine's an iffy writer at times, his COLOSSUS was readable but not terribly fantastic or did much for the character aside for complicate his backstory more. Basically, some rogue members of X-Force feel like "liberating" some of their mutant fellas from the camp, and the X-Men can't bring themselves to shoot down mutants who only want to be "free", FINALLY taking a moral stand. Bishop has seemed to side with the gov't forces who want to keep the mutants "contained" and the Sentinals in operation, which suits me fine as I can't stand Bishop anyway. Caught between two unmoveable philosophies (the de-facto position of the X-Men), the remaining original members; Cyclops, Beast, Angel, and Iceman, embark on a quest to find the rogue mutants, but NOT allow them to fall into the clutches of the O*N*E* squad, which has more "shoot to kill" orders and are employing mutants into their teams (such as Sabra and Micromax). Paquette's art is fine enough, although I really think Marvel needs to have a "penciller summit" and get them all to agree on what Cat-Beast looks like. Some artists give him the head of a housecat, others a lion, others a Thundercat, and everything in-between. Its been happening since Morrison & Quitely introduced the trend and it really has to end. Paquette seems to go with "panther Beast", but in some shots he comes off looking like a shaved bear that's been dyed blue. Considering Beast is a core member of this book's team, this does not bode well. It just gets silly seeing so many wide, loose interpretations of "feline Beast" as not all feline creates are the same. It'd be like one artist depicting Thor with a beard, and one without, and one as a red-head, and the other as a bald man with a few noserings, and so on, ALL within a few years and in the same continuity. Please, for god's sake, if you can't even figure out what you want Beast to look like after three damned years, Marvel, then don't expect a lot of confidence in keeping more important stuff together. Aside for that, a good first issue and for once a good reason to return to a leather look. The cliffhanger is also effective for Emma.
To Be Continued...
Oh well. The little scene at the end was weird. Attack of the wicker-zombies!
