On the rare 29th day of February, as well as a 5th week, there seemed to be minimal material produced by the Big Two to a degree. However, there still were offerings and spoilers to behold, as half my books were non-Marvel!
DREAD'S BOUGHT/THOUGHT FOR 2/29/12:
BATMAN BEYOND UNLIMITED #1: After a six month break, writer Adam Beechen returns to writing his BATMAN BEYOND comic, which successfully adapts material from the hit Kid's WB TV show alongside typical DC Comics lore about the "alternate future" of 2040. DC launched BATMAN BEYOND in January 2011 after a modestly successful mini series by Beechen in 2010, but canceled it as the New 52 started to begin in ernest last September. This time, Beechen is joined by artist Norm Breyfogle and colorist Andrew Elder, who are given a script which is full of action to kick off this opening issue. Picking up where the last ongoing series left off, Terry McGinnis (a.k.a. the new Batman) has been dumped by his long suffering girlfriend Dana Tan, whose brother Doug has returned home despite a mysterious past. Terry's friend and confident Maxine "Max" Gibson has been contacted by Undercloud, a cabal of hackers who commit wide scale computer crimes, and she has decided to allow herself to get in deep to figure out how to take them down - without notifying Terry. These subplots are all woven into the opening plot, which features members of the Jokerz gang (who idolize the infamous criminal Joker) converging upon Gotham City from all parts of the country - a brilliant homage to "THE WARRIORS". Beechen and Breyfogle's lead story is followed up by a reprint of the JUSTICE LEAGUE UNLIMITED digital comic series by Derek Fridolfs and Dustin Nguyen, with colors by Randy Mayor. The plan is to initially sell this comic as a digital comic, and then when 20-22 pages are completed, include that as part of this BATMAN BEYOND UNLIMITED package for $3.99 an issue - which for 42 pages of material is actually quite a good value. Marvel has sold comics for $4.99 which didn't have nearly as many story pages, in comparison. The JLU story features the League - which include Batman - battling a gang war between the Jokerz gang and a gang of "spliced" animal people called the Animal Kingdom. Terry's agreement to join the League was done against the advice of his mentor, the octogenarian Bruce Wayne, and this issue showcases why as Terry is forced to abandon a crisis near Dana for "League business". This secondary story runs very well in artistic and script tone to the opening one by Beechen, and the entire experience overall is becoming awash in great material based on what was at one time one of the most innovative TV cartoons of the turn of the century. Fans of the cartoon series should be as pleased with the past nine issues worth of material as Ninja Turtle fans may be of IDW's comic book series, in it's use of the established universe to craft new stories - at least for the moment. Hopefully DC's editorial board won't have enough manic stunt which derails this series once more.
TEENAGE MUTANT NINJA TURTLES MICRO-SERIES #3: IDW's relaunch of the TMNT comic book series can't seem to do any wrong; even this secondary mini series that a cynic could see as a cash grab is in fact both essential reading and very good to behold. Brian Lynch has been writing this "micro series" thus far, although this issue is co-written by Tom Waltz, who co-writes the regular ongoing series alongside Turtle co-creator Kevin Eastman. Each issue of this series spotlights a different artist who caters to the tone of the particular Turtle each issue stars. In the 1980's, Mirage Studios published four one-shots starring each Turtle which also had stories that tied into the main series of that run as well; IDW has paid homage to this by having this micro-series be four issues long and follow the same pattern of Turtles per issue. Raphael had the first issue, and Michelangelo had the second at the end of December; thus, this issue is Donatello's issue. In addition to paying homage to the original Mirage one-shots in Turtle order and relevant continuity, these issues also pay homage to the tone of each issue. Raph's issue was about a gritty night out for him; Mikey's issue was about a lighter hearted caper. Don's issue is about him stumbling across another eccentric genius after feeling underappreciated, much as DONATELLO #1 in the 80's was about. The art is by Valerio Schiti with colors by Ilaria Traversi and Scarletgothica (pen name, hopefully), and it is fantastic here, matching the humor and action which the script offers perfectly.
Donatello feels like an outcast among his brothers at home in the sewers; while they all work as a well oiled unit in battle, his fascination for innovation, technology, and the Internet in particular places him as different from his brothers. Technology in real life has advanced by leaps and bounds since 1984 when the TMNT franchise began, and the Internet in particular provides a great vessel for Don to interact with the world outside the tunnels. His screen-name is a clever homage a lyric from the theme song to the original 1986 TV cartoon, while the handle of this issue's fellow genius also pays homage to the original DONATELLO #1. While in an Internet chat-room, Don discovers a New World Expo being sponsored as a competition of the world's best technological geniuses, which fascinates him to no end. Deciding to sneak out, Don quickly runs into quirky scientist Harold Lillja, whose inventions include a gauntlet which can move heavy objects with energy, as well as a way to turn invisible - the latter has some bugs to work out. As quickly as Lillja seems to make his presence felt, he is whisked away by henchmen working for Baxtor Stockman, a billionaire genius of his own responsible for the creation of the Turtles and currently their nemesis. He offers Lillja a deal which is too good to be true, and Donatello has to both fend off Stockman's goons and convince Lillja to avoid manipulation. This proves to be harder than anticipated once Don and Lillja realize they're hardly strangers thanks to the miracle of the Internet. From the design of the gauntlet to Don's use of the phrase "Turtle Power" in a manner which isn't as corny as one may think, this issue is chock full of references to past Turtle lore, while all woven into a unique story in their own right. Younger or less knowledgeable fans may miss those details, but their enjoyment of the story overall is not diminished at all.
As mentioned before, the artwork by Schiti, Traversi, and Scarletgothica is exceptional here. There are cute details such as the fact that Don has to use jumper cables attached to a car battery to power a lab top to the sign that his hard drive was obviously ferreted from the trash - in the past, quite how the Turtles got their technology was often left unknown. The energy surrounding Lillja's machines include "Jack Kirby dots", and the lines and colors are all smooth and vibrant. If the issue has a downside, it is the continued insistence that a mutant Turtle can avoid notice in a crowd simply by wearing a trench coat and a fedora. Admittedly, this has been part of the Turtle franchise forever, and originates from 1960's issues of FANTASTIC FOUR when the Thing sought to hide himself that way. As an extra treat, the IDW ad pages after the issue include a strip by classic Marvel humor artist Fred Hembeck.
Overall, this story provides another great done in one story featuring one of the titular Turtles which not only fleshes them out more and provides a solid adventure, but offers a hint at what is in store for the excellent ongoing series. Fans of the Ninja Turtles new and old should continue to be pleased by IDW's relaunch and handling of the franchise. The last issue of the micro-series will feature Leonardo, and if it is similar in tone and premise to the 1980's one shot, then fans can expect a lot of action indeed. This relaunch honors the past of the Ninja Turtles and the memories of their fans, while still being bold enough to craft new innovations, re-invent certain dynamics, and most of all create enjoyable new stories from the foundations of the past. While buying more comic books at $3.99 may be a tall order for many comic fans whose wallets are already stretched by such prices at Marvel and DC, this micro-series is a "can't miss" for fans of the regular series.
INVINCIBLE #89: As Robert Kirkman's seminal Image Comics superhero series nears a 90th issue - and isn't long from hitting triple digits - alongside longtime regular artist Ryan Ottley, the series continues to turn the status quo on its head. The biggest demerit of this issue is unfortunate implications, even if this may not be intended as following a trend or even as vague satire. At the end of the previous issue, the titular hero was accidentally infected by a deadly virus and his life hands upon a thread. With both his enemies and allies surrounded around him attempting to save his life or simply react, Guardians Of The Globe member Bulletproof decides to fill in for Mark Grayson during this rough patch. The irony here is that Bulletproof himself was actually a prototype for Invincible back in 2002 when Kirkman and Cory Walker were creating the series; Bulletproof was intended as the lead's name, and his initial costume design included "solar energy storage discs". Once that was scrapped, the two decided to make Bulletproof into his own character as one of the many supporting cast superheroes who inhabit the universe of INVINCIBLE. The character got more focus than usual during the GUARDING THE GLOBE mini series which wrapped up last year (and sold poorly). Thus, the fact that Bulletproof/Zandele was "almost Invincible" has now become a subplot which finally comes to a natural conclusion here, as Zandele now literally IS Invincible, complete with the hero's iconic costume. The unfortunate implication here is that this is INVINCIBLE's attempt to ride the coat-tails of Miles Morales, who became the new Spider-Man in ULTIMATE SPIDER-MAN amid much fanfare. The appeal for ethnic equality in superheroes becomes twisted when in 2011-2012, it is still supposed to be a "shock" to see a person of color as an iconic superhero. This is too important of a thing to be treated as a "fad" like "bad girls" in the 90's were. The cover even has the words, "1ST ISSUE IN A BOLD NEW ERA", which is something Marvel has attached to the covers of come of their comics which are entering a new arc. This becomes curious to behold since Robert Kirkman himself has been very critical of "big two" comic companies in recent years, Marvel in particular - despite the fact that worked for Marvel for a long time. Calling out the company for transgressions while blatantly imitating their promotional tactics is hypocrisy - although Kirkman has also spoofed such things in the past, such as ripping off the "I AM AN AVENGER" advertising trend for GUARDING THE GLOBE. Aside for this drama, this issue serves as a character piece regarding Mark's supporting cast, with former antagonist Thragg (the Viltrumite regent who looks exactly like Freddie Mercury from QUEEN) hinting at a secret within Mark's very DNA. The dialogue is quite good, the colors by John Rauch pop and implications aside, the idea of Bulletproof filling in as Invincible in itself is a fine idea for an arc. There still is a nagging suspicion that Kirkman is focusing more on his series being unpredictable than anything else - which when done poorly, becomes prop comedy - and some issues have preachy moments. Overall, INVINCIBLE continues to merge the tropes and details much beloved with superhero comics with the independence and originality of any creator owned comic, even if certain arcs may not please all longtime fans.
AMAZING SPIDER-MAN #680: The build up to the ENDS OF THE EARTH storyline heats up with this latest tale by Dan Slott, Chris Yost and artist Giuseppe Camuncoli. While Slott has been the head writer of AMAZING SPIDER-MAN since November 2010, he has occasionally been joined by a co-writer or even replaced for a couple of issues by a fill in writer so he can gear up for an incoming event. Not only is ENDS OF THE EARTH being treated as a big story like SPIDER-ISLAND only with fewer tie in comics but Slott has also been tasked with writing Marvels official kiddie comic based on the AVENGERS: EARTHS MIGHTIEST HEROES cartoon. Yost was the producer and story editor for that series, and the two likely also collaborated for an episode for FANTASTIC FOUR: WORLDS GREATEST HEROES back in 2005-2006. At any rate, this story continues to do what Slott has done best in this story; utilize subplots from past stories to plow forward with newer ones, thus rewarding the reader. Thus, John Jamesons space mission, which was last seen over a year ago during the SPIDER-SLAYER arc, returns to the fore here. The plot is almost as simple as the plot of AMAZING SPIDER-MAN #1 back in 1963; a space mission featuring the pride and joy of ol J. Jonah Jameson goes wrong, which leads Spider-Man to have to leap into action once more. This time, Peter Parker is working with the actual special mission in his civilian capacity as scientist at Horizon Labs alongside his ever suspicious boss Max Modell to supervise the mission at the APOGEE 1 space station. A simple video visit between now Mayor Jameson and his astronaut son goes wrong. Fortunately, Spider-Man is now a member of the Fantastic Four (or technically still the Future Foundation) and they are a team that specializes in space missions. Unfortunately, the resurrected Johnny Storm is the only team member on site, which means readers are in store for another buddy comedy superhero mission with two wise-cracking rivals.
Read by itself, this comes across as little different from the other Torch and Spidey team up stories that Slott has written in the past; he wrote a mini series featuring such things which was arguably one of his first critically acclaimed series at Marvel before his work on SHE-HULK hit full steam. The two heroes constantly try to top each other in one-liners while having to cooperate on a mission, and the dialogue is flippant and fun. The dilemma is when this is read alongside Jonathan Hickmans FANTASTIC FOUR, where that writer seems to have written a different Human Torch. As a recap, Johnny was believed to have died sacrificing his life to allow the Thing as well as his niece and nephew to escape the hordes of a new incarnation of Annihilus. However, in the Negative Zone, things are reversed so death simply means being reborn again through pain. Ultimately Johnny led a revolt from the gladiator pens and took over the Zone before returning to the traditional universe with Spider-Man being the first to greet him. In essence, Johnny has thus gone through the plot of SPARTICUS, or PLANET HULK to a degree, and has come back with a twisted arm, additional powers, an army of bugs to command and a more stern battle nature. In FANTASTIC FOUR, while Hickman does write Johnny as still being a man who delivers a one-liner, he also writes Johnny as a man who blows up Kree warships in space without batting an eye. The transition is awkward, and it borders on overcompensation for the old criticism of Johnny that he never grew up. In contrast, with the exception of a single panel, Slott writes Johnny as the same ol character he was pre-resurrection; he sings in his underwear, hes more concerned with making jokes than being efficient, and on the whole comes off as a slacker who needs to be dragged kicking and screaming into a mission. This is an open criticism when Marvel often sells their comics as existing in one universe and thus their characters are supposed to be consistent across the board. In practice, of course, this varies the Beast, for instance, sometimes is written as a science exposition bore in some comics while being a wisecracking ball of fur in others. As someone who reads AMAZING SPIDER-MAN and FANTASTIC FOUR together, this issues depiction of Johnny didnt seem consistent with each other. That all said, Slott continues to be at home providing entertainment every time Torch and Spidey team up. In the end, the two may have stumbled upon the opening salvo of Dr. Octopus latest and grandest scheme to take over the world.
Camuncolis artwork in tandem with Klaus Jansons inks and Frank DArmatas colors is on display here. From scenes in space to octobot robots to a guy dancing in his skivvies, it all flows fine from one panel to the next. Facial expressions seem to be Camuncolis stock in trade. Overall, the story works because Slott (and Yost) manage to mingle tension with humor properly, which is probably as good a way as any to sum up Slotts approach on ASM as a whole.
THE TWELVE #10: JMS and Chris Weston continue to wind their long, THREE YEAR DELAYED murder mystery revolving around twelve obscure WWII era superheroes flung into the future (of 2008). This issue has Phantom Reporter pull the old gag of gathering all the suspects into a room and presenting his case, which is all circumstance and accusation, hoping the REAL killer will out himself. In fairness, the characters themselves dismiss this approach as a cliche, but it proves effective as it stands revealed that Dynamic Man - who has been portrayed as nothing but a racist, bigoted jerk since issue #1 - has formed a mechanical bond with the mechanical Electro, and used the robot to kill people who were irking him (such as men at a gay bar, and fellow hero Blue Blade). Dynamic Man's origin is retold, as all of the characters have had done for them in this series, and his tale proved to be disturbing to say the least. While this series has attempted to deal with the culture shock all of the heroes face - the funeral of the elderly wife of Mister E starts the issue - but by this phase in the plot, the murder mystery and building to a climatic battle are the rules of the day. Weston's artwork is good, and it is has become sadly refreshing to see a Marvel comic sold at $2.99 which has 22 story pages that doesn't treat such a thing as the reason why Marvel editors aren't millionaires. The major criticism remains; this is a fine story, but the 3 year gap between chapters hasn't done it any favors, and the story isn't good enough to withstand the effect of such a lapse. That said, at least JMS will actually finish something he starts - although I still got more enjoyment out of MYSTERY MEN by David Liss and Patrick Zircher.
