Small week, but still an eventful one. Spoilers ahead.
Dread's Bought/Thought for 6/16/10:
AGE OF HEROES #2: Probably a "no, duh" revelation, but this series so far has been more of a promotional event than an anthology proper. Sure, the stories are okay; in fact, I liked this issue more than the last. But the stories in the end are to promote another launch of another comic, whether another mini or new ongoing, that will also be $3.99. This issue seeks to promote YOUNG ALLIES #1 as well as a new AMERICAN SON mini. The stories are in a way a means to an end. But I suppose that was true of ENTER THE HEROIC AGE and the last issue, although I preferred ENTER last month. This issue, though, I thought had a stronger lead story, or at least one that I was more interested in. Sean McKeever finally writes a new GRAVITY story, and he brings with him his same art team from NOMAD: GIRL WITHOUT A WORLD material as well as YOUNG ALLIES: David Baldeon, Chris Sotomayor, and N. Bowling. That means that between this issue, and YOUNG ALLIES #1, and the Nomad back up strip in CAPTAIN AMERICA, this art team has done about 40 pages worth of material within a month's time. While I am curious how long they can keep it up before Baldeon or someone else on the team needs a fill in break, but that alone is an accomplishment. Few art teams could put out about 2 issues worth of material within about 3 weeks without either a heap of lead in time or a clone. Aside for Mark Bagley and John Romita Jr., no penciler in recent memory has been able to handle that. While having to do AGE OF HEROES or other anthology stories will probably not be a regular thing, doing art for one monthly ongoing and one back up strip would be more than enough to break many artists.
At any rate, this McKeever GRAVITY story actually works on a few fronts. Yes, it is promotion for YOUNG ALLIES; so much so that I imagine it will be collected in the first trade along with FIRESTAR #1 for it. But it also works as an exercise to try to take the character as McKeever left him at the end of GRAVITY #6 four years ago, and acknowledge what happened to him in BEYOND! and FANTASTIC FOUR and AVENGERS: THE INITIATIVE while slightly hand-waving it away to get somewhere in the middle. As the narration sums up, a lot happened to Gravity since McKeever left; he died, got resurrected by Epoch, had and lost cosmic powers, had his identity revealed, got put into an Initiative team (that he led), fought/killed Skrulls during a war, and finally got sent home to room with the GLA. Part of me actually wouldn't have minded a GLA story from that era, with Gravity a bored, beleaguered competent trapped in a team of goof ups or bizarre heroes in a 'burg where you're lucky if you fight a robot and some animated Christmas trees (or Deadpool) once a year. At any rate, McKeever hand-waves it away to basically put Gravity back to square one. His identity was mind-wiped away from everyone (by the Watcher in FF in exchange for helping to save Eternity; so much for not interfering), but Greg himself remembers it all. Which I would think should put an awkward strain on his interactions with Lauren, much like he had in YOUNG ALLIES #1. I mean, in BEYOND! #1, he had unmasked for her. They were a couple. She showed up to his funeral, in tears. And it isn't some Mephisto deal in which the entire universe pretends it never happened; the implication is it did, but all the principle parties involved but Greg don't remember it. And as Gravity even in death was a minor hero, that Watcher mind-wipe wouldn't have been severe; over maybe half the country, tops. But, still...Gravity would remember macking with Lauren and enjoying "post battle nookie", and now he's fine just sitting with her on the grass making small talk like it never happened? That's...weird. I can understand why McKeever would perhaps want to develop something between Greg and Lauren more organically and slowly (McDuffie in BEYOND! #1 just had it happen in a few narration boxes), and I could even understand Greg going along with it to try to avoid putting stress on Lauren, maybe using the experience to learn about the risks she is in dating him. But he makes none of those points and seems to instead just be going along with it because it is convenient, which has the side effect of making him a little unsympathetic. Or at least less so than the "aw shucks everyman" that he is supposed to be.
But, I'm probably just a Continuity Nazi for even caring this much about such a minor hero. And to be fair, it's at least acknowledged and I suppose just letting something go out of sheer convenience is a fairly human reaction, especially for modern young adults. Greg decides to capitalize on his "second chance" and quit being Gravity while he is ahead, going back to NYU in New York to just be a student. Only while passing over Ohio, he encounters Warhead, son of Radioactive Man and one of the "Bastards Of Evil". Wonder why Gravity seemed to have such a relentless, hard edge about him in YOUNG ALLIES #1? This tale explains it pretty well. Warhead is perhaps the most ruthless villain Greg had encountered in a while, and that is why he decided to keep his costume and be a hero again.
The rest of the stories are fine, but nothing major. There's the AMERICAN SON story by Brian Reed, Chad Hardin, Victor Olabaza with Sotomayor working on the colors of that one, too; the man's a machine. The gist is that a reporter who was covering American Son in his last mini runs into him again, and like Spider-Man, assumes it is Harry. Only it apparently isn't. Dun Dun DUUUUNNN!
There is a bit of unintentional comedy when Spider-Man gets on American Son for killing a monster rather than just defeating it, which could be perfectly in character...if Spider-Man hadn't shrugged and not given a care about Wolverine or Ronin or even Punisher icing people in about four years worth of team comics and guest appearances. Spidey has literally sat on a couch drinking beers with Logan, and he's killed about a country's worth of people by now. Oh, NOW suddenly for Heroic Age Spidey is Anti-Death again? Does anyone in Marvel editorial realize that with all his personality fluxes, no honest fan takes Spider-Man seriously anymore? Oh, well. The art's nice.
And finally, the rest. Cornell does another 2 page story about one of his forgotten set of characters, in this case the Young Masters. I've read a few people who complain that the "Bastards Of Evil" aren't quite all that, but I've found them way more entertaining than the Young Masters, who try too hard. But, at least in two pages they're fine, although all they really do is sit in their "invisible mansion" and talk about what to do now that Osborn is out of power, and deciding on absolutely nothing. Big Zero is still obviously a villain in training, with her haplessly programmed Egghead robot along for the ride. Executioner still wants to murder any criminals he can see, which included his own mother (Princess Python). Coat Of Arms is on the fence regarding Speed, but that's still the same as before. In fact the only real development is that Sylvie/Enchantress, who was empowered by Loki, is now "sick" or "needs treatment" with him dead. This naturally upsets Melter, her boyfriend. Mark Brooks does the art, and apparently his own inks and colors. Egghead is probably the funniest of the bunch, because he's so weird.
The last page is a Dan Slott Gauntlet story in which Gauntlet goes back to Afghanistan and shrugs off questions about why he didn't stay with the Avengers by saying that soldiers there are the real heroes. It's been said enough to be a cliche, but it's still true and simple. Fine for a one page story. Part of me imagines servicemen overseas who collect comics will want that page in particular sent to them.
Frankly, though, I'd have rather had Cornell or Slott get a chance to do a story that is about 6-8 pages long, not 1-2 pagers. Overall, I liked this more than the last issue, but since every issue is still only 22 pages, it would be nice if Marvel cut back on the $3.99 per issue price tag for some of these. They're promotional stories; treat them as such and make them cheap!
ATLAS #2: The "book of the week" over at my Examiner article. Second issue of, basically, AGENTS OF ATLAS volume two (or three if you count the original mini series). In many ways it is a by-the-numbers issue, but I enjoyed it as much as I enjoy most of this franchise material by Jeff Parker, Gabe Hardman, and the rest. Delroy Garret, the second 3-D Man, has been on the receiving end of mysterious stuff these days, and some of it got the only friends he has hurt and killed. He's tracked it down to the Atlas Foundation, and charges in for answers. It may surprise some, but Delroy and the Agents actually don't fight it out. What this arc accomplishes, besides doing some solid work on Delroy, is to reintroduce the Agents of Atlas to a new set of eyes as well as summarize the last ongoing series and their origin. This includes a little tussle with Mr. Lao, the dragon that lives with Atlas (and basically allows a mortal to run it). This also includes some origin summaries, and finally a standard adventure where the volcanic eruptions in Iceland are blamed on yet another branch of Atlas that didn't get Woo's memo and is making monsters. In this case rock golems.
In a way, 3-D Man is the Temujin of this volume; the forgotten D-List character who Parker is dusting off and adding to the cast to spice up the dynamic a little. Since AGENTS OF ATLAS #11 gave Temujin a good reason to leave the book (to manage their affairs in China after the Suwan incident), now they should have another member. The original 3-D Man was part of the WHAT IF story that inspired this franchise, so why not connect the chain. 3-D Man has the proper mix of experience and inexperience, as he really hasn't been on teams for very long. He's "as strong as three men" and thus tougher than Jimmy Woo, but he's hardly a powerhouse compared to M-11 or Gorilla Man. Through his eyes you get to meet the team again, an exercise for new readers, but it still works in the context of the story. The dialog between the characters is always fun and entertaining; the highlight of the stories. Even Derek Khanata, the Wakandan ex-SHIELD agent who has been involved with the Agents a while, shows up for the second half of the story. Frankly, I always thought he showed up too infrequently in the last volume, and hope to see more of him. He's a solid character, and he's another "agent" like Woo, relying on guns, wits, and skill, rather than powers or alien gadgets.
There still is the question of the menace that is plaguing Delroy, and the subplot about the Uranians who aren't all as nice as Bob Grayson and want to invade the Earth eventually. But those are subplots for another issue. Part of the mystery is that Delroy is reliving memories of the original 3-D Man involving a zombie battle he supposedly had with the Agents, but the Agents do not recall having. In fact, their version of it plays out in a back up strip, drawn by Ramon Rosanas, that continues the 50's style zombie battle in a graveyard. It, naturally, was another test by Lao and Golden Claw to prepare Woo for taking over Atlas. Parker has used flashbacks to add weight to a current story before, so I assume this will come together. If the series has had any flaws, it is that since Suwan in the last volume, the Agents have fought pretty mundane enemies, and need some real villains besides Osborn or other Atlas cells. Hopefully that will come. But to be honest the characters are so fun that they could be fighting a blank page and I'd be amused.
The dilemma is that sales between AGENTS OF ATLAS #11 and the end of AVENGERS VS. ATLAS #4 fell horribly low, to about 14k. The question will be if this new launch spikes them up, and for how long. The last volume got 11 issues and Marvel has been very patient with this franchise, but if this series is still selling at the bottom of the Top 100 at 20k an issue with no end in sight, Marvel could pull the plug sooner this time around. So, give the book a hoot before it's gone.It still is a shame that X-Men team books that everyone lambastes having events people seem to not like will still vastly outsell a unique, entertaining team book like this.
BOX 13: This is a Red 5 Comics trade of a comic that is making a splash on the iPod, iPad and digital download from ComiXology. It is a story that is loosely based around a radio serial of the same name that ran from 1948-1949, but takes on a life of it's own. Much like the old radio shows, it is being distributed to it's audience through a medium other than the printed page, that anyone with the right machine can access from the comfort of home, or on a bus, or so on. It's 114 pages (about 5 issues of material) for $13 even, which is a very good price in today's day and age for something like that. The digital version will be sold in 7 page installments, and that is how the book is laid out in print. I've seem demonstrations and it does read well on a screen, panel by panel. I was invited to a release party for this and met with the creators behind it, so I figured I should at least read it. It's written by David Gallaher and drawn by Steve Ellis, the creators of "HIGH MOON".
It's definitely a thriller sort of story, where the lead character is put through a hellish ordeal and never knows who to trust, or what clue or danger is around the next corner. Author Dan Holiday has switched from writing spy novels to investigating a weird CIA experiment, and meets a devoted fan, Olivia. Unfortunately, immediately after he encounters numbered boxes that do a number on him, and propel the story forward. There are bits that are predictable or standard for the genre, but there are also a few twists and solid artwork that sets the tone. There's some action movie style action and chases, but it is more about the mystery and the two characters having to deal with it as it unravels. The ending sets up more, although works as an ending unto itself.
Personally, while Marvel and DC are scared to death of things like "the internet", "the future" or "anyone under 35", smaller companies like Red 5 as well as more independent artists are embracing it, seeing it as a better bet for the future. After all, PENNY ARCADE would have gotten buried and forgotten on the direct market, but online has made the creators wealthy businessmen (who employ staff and take care of themselves). Competition is good for the market, so every now and then I support something small in between being a Marvel Zombie.
OFFICIAL HANDBOOK OF THE MARVEL UNIVERSE: A - Z UPDATE #2: My shop ordered one (1) copy of this, perhaps proving that the vaguely titled handbooks patterned after a franchise sell better than the general ones. Which is a shame because this is, as always, a solid investment for a nerd. For $4 you get hours of entertainment, especially on subways or buses. It also is great to get summaries of old and new characters, with updates and so on. You get to see how ridiculous some of them are, and how hypocritical editors are now of mocking the past, when some characters today are pretty silly. "Lady Bullseye" has about the least functional costume since Emma Frost started gluing stuff to her torso. And I have to admit, having Agent Brand and Marquis of Death in the same Handbook at least shows me that if Brand annoys me, there is always much, much worse. Seriously, the fact that Mark Millar is still paid to write anything other than restaurant menus after that ridiculous Moppet Of Dust character proves how easily editors and fans mistake flash and bluster for substance. In fact, Marquis Of Death might actually be a worthy contender for a "Worst New Character of The Decade 2000-2010" list. He's unfathomably, terribly bad, and I only got to know the part that was in Fan Four. Of course, then you get characters like Fat Cobra or Derek Khanata, who are awesome. I also think Patrick, the last surviving Scarlet Spider MVP clone, has maybe a year or so to be written somewhere with a personality and a life, before becoming a footnote. Skeleton Ki also has a pretty cool costume for a D-List Iron Fist villain. As always, I love these things. I could buy one every month, but I'm a minority here.
; second is a 
; and, the final two quickies and the price of this comic get a 
t:
