Dread
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Part II:
CAPTAIN MARVEL #1: About a year and change after the fictional dud that was CW: THE RETURN, and after his cameo in CW #7 that, I was told, the editors kept Millar from trying to treat as something other than a royal rumble appearance, Marvel has decided to pursue Capt. Marvel as a franchise. He died over 20 years ago, so many of Marvel's current readers really never knew him, beyond reprints of various AVENGERS sagas. There's no movie in sight and he's had three kids pop up without him to claim his legacy in some manner. I seriously question why Marvel seems so interested in reviving a character that at least a chunk of their audience either never knew or cared about, and doing so literally over a year after their first stab at it was met with near universal gripes. The idea of it, plucking Capt. Marvel from the past via some cosmic/N-Zone hiccup to a time when he has been dead for at least 5 years of "Marvel time" where he will eventually have to go back to die, lest he either ruin time or create some alternate reality of nightmares, seems a bit daft to me. I fail to see any point at all, other than to dazzle people with yet another revival. Yes, there is a reason why I have begun my review by bashing the idea itself, and that is because the second issue of the execution, from Brian Reed & Lee Weeks, is actually quite good. By reminding some posters how utterly stupid the idea is, I can hopefully call attention to the skill of the execution, because that is actually critical. A poor execution can ruin a good idea, and make a mediocre or bad one seem even worse (see: every Bendis written 616 Marvel comic, aside for Daredevil, much of Illuminati, and some random NA & MA issues, or a lot of CW). A good execution can not only elevate a great idea, but make an idea that has been botched from inception worth something. I really don't care about Capt. Marvel at all, and I only gave the issue/mini a try because of the good impression I got from Reed from, literally, his 2-3 issues of MS. MARVEL that tied into CW, which were better than they had any right to be. Part of this execution is that Reed is writing Capt. Marvel as a Superman-ish character, an alien from another world who grew to love the Earth's people and culture enough to defend them and embody their ideals. Also like Superman, he has seemingly risen from the dead, and like in 52, he has amassed a cult of followers who worship him as a god. The media apparently caught a glimpse off him during the final SHRA showdown, which depicted him seeming to immediately be disgusted with the present situation and fly off, a statement unto itself. As the world questions whether the once mighty, U.S. defending Capt. Marvel has returned, especially in a time when Capt. America is dead and Thor spent a while taking a dirt nap, Mar-Vell himself is in France, studying both art and humanity's treasure of it as he tries to peg down his time and fate. He only ran the N-Zone prison because Stark kept him in the dark and they needed his help, and now he has taken time to re-evaluate things, from his Kree past to the fact that he pretty much knows that he dies, when, and how, and is distressed that it isn't becoming of a soldier. That ties into his Kree past and culture, but many people would like to envision their demise as being for some noble purpose, or a sacrifice, and not dying in bed from cancer (or age). Especially men. In-between his contemplation, he performs random feats of heroism without being seen, like kicking the tar out of a new (and short lived) Cyclone. SHIELD agent Heather Sante is tasked with finding Capt. Marvel and getting him back on the grid before he dies too soon and messes up the time-space continuum thing. Which Stark would care about, having battled Kang so many times (especially during the most recent YOUNG AVENGERS, like, 2 years ago). Heather naturally fulfills the role of "quirky supporting female" rather nicely, and the issue ends with Capt. Marvel coming out of hiding to save the Mighty Avengers from a giant robot (which in no way looked like Ultimo). Meanwhile, the one woman Marvel talked to during that final CW battle has become Mother Star and leaders an Earth sect of the Brotherhood of Hala, who see Mar-Vell as a Christ like figure. 52 did this recently with Superman/Superboy in 52 but I have faith in Reed playing with it in a different and unique way. Apparently any Marvel book whose title begins with "Captain" these days ends up being good, because I was completely against the idea yet the execution of the issue won me over, and I'll be getting the rest. Lee Weeks, naturally, does some great art that is iconic and noble, with excellent inks and colors to go with it. The creative team has convinced me there is a story to be salvaged from the Mess of 2006, and while it may not explore every angle that fans could come up with (Phyla is across the universe, Rick Jones is "busy", Hulking has to wait for his mini, and Genis is in limbo), I get the impression that it will be good and work anyway. This book proves that you can go into something with a certain attitude and be won over despite that, which shows my Bendis-Bias would end if he could stop sucking for a length of time. Rambled a bit; a solid first issue of five, and worth a look, even to the most jaded RETURN reader.
GHOST RIDER #17 & GHOST RIDER ANNUAL #1: May as well cover both in one section, although they are not connected. Brubaker & Fraction showed the best way to make an annual count these days, and few other franchises have followed suit. GR #17 has Ghost Rider confront another avatar of Lucifer to discover where the Little League team that has been taken hostage is, and it is revealed that every "avatar" of Lucifer seems to have some sort of distinction, and each wants to be "the final one" left with all his power. Ghost Rider rides in for the rescue, but would have botched it without the arrival of those two angels, out to seek Ghost Rider's aid. His GF is also still baby-sitting that demon-corpse and awaiting Blaze's call, which the angels provide. It is another cog in the story and while I find it unoffensive and sometimes fun, I am losing interest and am glad this will be Way's last arc. Saltares' art is always cool, though. The annual has a story by Stuart Moore with art from Ben Oliver, last seen ruining action sequences in Ultimate X-Men. Oliver is actually better here; did he change inker, colorist, or just had more time? Or did Moore pace things better for him? In any case, the annual deals mostly with Mammon, a.k.a. Mr. Eleven, a demon from hell that winds up in a bar where one of Lucifer's avatars tears through. Apparently Mr. Eleven is a sort of double agent, serving both Heaven and Hell, but has been at it for so many eons he has forgotten who he originally was, angel or demon? For that he hangs around Lucifer enough for Ghost Rider to show up, and employs his "Penance Stare" to peel through the magic layers to find out who he actually was (an angel, I guess; but weren't many of "the fallen" originally angels?). It had a slow pace but it wasn't a bad read. Way has left things to the Marvel Zombies Handbook to clear things revolving GR's origin. The story now? Most of the Hell-Lords, including Satan (Marduk Karios), Lucifer, Mephisto, etc. have all claimed to be "Satan" at some points and even merged into a combined form on occasion, so all and none of them are responsible. What is this, DC? GHOST RIDER isn't as exciting now that he has been back over a year and a half and the buzz has died along with Nick Cage's hairline, but it usually amuses me enough that I enjoy every issue. Still, I look forward to seeing what another creative team does in Way's place.
MARVEL COMICS PRESENTS #3: The three stories from the prior installments lurch on, with one short one-shot of Magneto and the original Brotherhood meeting a like minded mutant master named Whisper, who can absorb all knowledge. When Magneto recognizes his name as a former Nazi soldier, however, he kills him, in the philosophy of "anyone who kills the innocent is unworthy of the cause", which almost seems laughable when you consider how many sociopaths Magneto has let into the Brotherhood. Still, Aushwitz was a critical juncture for Magnus so him lashing out against any Nazi's when he finds them is accurate. And it is good seeing Suayan do other stuff besides MOON KNIGHT. The Vanguard story continues along and it is interesting (the very dead Yelena Belonova has her prints found around the murder scene, and Stacy Dolan connects it to a Muslim terrorist she busted trying to get MGH back in issue #1, but the format of the anthology just seems to be taking a toll. Faring better is the Weapon Omega story, which has Arana and Sasquatch bust some perps and Pointer continue to be conflicted by his guilt, the suit, and his massive power. He is starting to remind me of Sentry, though, a character who is a walking mound of phobias, but DiVito naturally draws great stuff and it makes sense for Pointer to be reacting this way. The Immonen Couple's Hellcat story moves along as Isaac Christians, Hellcat's old teammate Gargoyle shows it, and her split forms are actually magical manifestations of all her fantasies, regardless of whether she actually lived them. The story itself seems aimless, but it is zany and madcap enough that it is fun to read so I don't care so much. Still, MCP at once a month vs. two is a slower method to the old format and the market hasn't been able to support an anthology Marvel comic for, oh, the past decade, so I am not surprised that many aren't biting. For fans of OMEGA FLIGHT, this is the best place to get your fix; the Hellcat story isn't bad and the obligatory 1-2 one shot side stories have usually been good. I don't see it lasting past issue #12 though. Enjoy it while you can.
NEW AVENGERS #36: Y'know, it seems especially frustrating that my main complaints about this title, Marvel's best selling, with their #1 writer, which is the #1 ongoing title of the entire comic biz now, have been virtually the same for over 3 years now. Bendis' sense of continuity is astonishingly poor, making errors that even fair weather fans wouldn't miss. He sometimes has random adventures with threats that just seem more like gimmicks than stories; first ninja, now symbiotes. Dude, you missed the boat on symbiote popularity by about 11 years; way to be "hip". And Bendis' "realistic" dialogue is among some of the most annoying lines you will ever read; contrary to Bendis' statements, not only do real people NOT talk like he writes them, but if I found someone who did, I would immediately want them sterialized. The fact that any message board complainer can imitate and mock his dialogue style with 100% accuracy proves how robotic and annoying it has become. Finally, he writes superheroes as spazzing, immature children in adults' bodies, to the point where you wonder why the hell the villains haven't won already. And his new phrase is, "oh c'mon!", or "oh, come on!" which he feels the need to state about 24 times an issue, along with lines that just repeat the line beforehand, like everyone has a hearing aid. Like everyone has a hearing aid? Like everyone has a hearing aid, yes. See how easy it is? And how annoying!? Made harder is this issue was meant to tie into the symbiote issues of MA, which are at least 2-3 months behind thanks to Cho. Yu struggles with it, sometimes drawing manic chaos and other times sketches that the colorist saves. The story is mainly Luke Cage taking to Jessica Jones about the event, where a "symbiote bomb" explodes in NYC and anyone who doesn't have a physical super-power is mutated. Cage is safe, because of his dense skin. But Logan has issues with his healing factor. But Black Widow is somehow safe. Spider-Man, who has had the most experience with symbiotes and their weaknesses, offers ZERO to the event, leaving Iron Man to save the day. Neither the magic of Dr. Strange nor the chi of Iron Fist are worth much. Turns out the bomb was seemingly sent by Dr. Doom, which the Mighty Avengers storm off to apprehend without consulting with the Fantastic Four for back-up or experience, while Cage spazzes some with his wife, and acts all "skrully". The team also unites against the threat by The Hood and his cabal, which exploited this event, and attacks. And then, hell, you have heroes who would never unite showing up; who cares if Thor and Iron Man were enemies, or Punisher is a fugitive, or Silver Surfer on Earth soil, or Mr. Fantastic helping to fight mobsters when the Mighty Avengers need any help against Dr. Doom, or Angel in a new costume, or Howard the Duck, as drawn by a 5 year old with one finger. There also is a shower scene with Logan questioning Drew, which Yu almost makes as disgusting looking as Quietly would have. Yu also has a thing for pointy nipples on women, it seems. But mostly it was the stupidity of the symbiote invasion and Bendis' annoying, incessant and overbearing lines and speaking patterns that drove me crazy. It is more of the same. I hate this book. Any improvement or promise is undone by heaping mountains of suckitude. If Marvel wasn't springboarding events out of this book (oh, boy, SECRET INVASION is coming! More Bendis retcons! More talky bull****! More butchered characters and histories! More underachievement! Why, for F's sake, WHY!?), or if this wasn't the most promoted book in the universe, I'd have abandoned it, and instantly been a happier man for it. But when bad stuff is about to happen to the MU, I like warning shot, and NA has always provided that. A warning shot of crap to come. And why is Yu beautiful on covers and near garbage for some panels inside? Ugh! I hate this book, and I hate buying it, and I hate most anything Bendis does. The reason people give up comics? Trash like New Avengers, and selfish hacks like Bendis with a me-first attitude.
I also bought NOVA #8, PUNISHER WAR JOURNAL #13, THOR #4, & ULTIMATE FANTASTIC FOUR #48. But I'll post those after I get my stomach to stop spitting bile from New Avengers.
CAPTAIN MARVEL #1: About a year and change after the fictional dud that was CW: THE RETURN, and after his cameo in CW #7 that, I was told, the editors kept Millar from trying to treat as something other than a royal rumble appearance, Marvel has decided to pursue Capt. Marvel as a franchise. He died over 20 years ago, so many of Marvel's current readers really never knew him, beyond reprints of various AVENGERS sagas. There's no movie in sight and he's had three kids pop up without him to claim his legacy in some manner. I seriously question why Marvel seems so interested in reviving a character that at least a chunk of their audience either never knew or cared about, and doing so literally over a year after their first stab at it was met with near universal gripes. The idea of it, plucking Capt. Marvel from the past via some cosmic/N-Zone hiccup to a time when he has been dead for at least 5 years of "Marvel time" where he will eventually have to go back to die, lest he either ruin time or create some alternate reality of nightmares, seems a bit daft to me. I fail to see any point at all, other than to dazzle people with yet another revival. Yes, there is a reason why I have begun my review by bashing the idea itself, and that is because the second issue of the execution, from Brian Reed & Lee Weeks, is actually quite good. By reminding some posters how utterly stupid the idea is, I can hopefully call attention to the skill of the execution, because that is actually critical. A poor execution can ruin a good idea, and make a mediocre or bad one seem even worse (see: every Bendis written 616 Marvel comic, aside for Daredevil, much of Illuminati, and some random NA & MA issues, or a lot of CW). A good execution can not only elevate a great idea, but make an idea that has been botched from inception worth something. I really don't care about Capt. Marvel at all, and I only gave the issue/mini a try because of the good impression I got from Reed from, literally, his 2-3 issues of MS. MARVEL that tied into CW, which were better than they had any right to be. Part of this execution is that Reed is writing Capt. Marvel as a Superman-ish character, an alien from another world who grew to love the Earth's people and culture enough to defend them and embody their ideals. Also like Superman, he has seemingly risen from the dead, and like in 52, he has amassed a cult of followers who worship him as a god. The media apparently caught a glimpse off him during the final SHRA showdown, which depicted him seeming to immediately be disgusted with the present situation and fly off, a statement unto itself. As the world questions whether the once mighty, U.S. defending Capt. Marvel has returned, especially in a time when Capt. America is dead and Thor spent a while taking a dirt nap, Mar-Vell himself is in France, studying both art and humanity's treasure of it as he tries to peg down his time and fate. He only ran the N-Zone prison because Stark kept him in the dark and they needed his help, and now he has taken time to re-evaluate things, from his Kree past to the fact that he pretty much knows that he dies, when, and how, and is distressed that it isn't becoming of a soldier. That ties into his Kree past and culture, but many people would like to envision their demise as being for some noble purpose, or a sacrifice, and not dying in bed from cancer (or age). Especially men. In-between his contemplation, he performs random feats of heroism without being seen, like kicking the tar out of a new (and short lived) Cyclone. SHIELD agent Heather Sante is tasked with finding Capt. Marvel and getting him back on the grid before he dies too soon and messes up the time-space continuum thing. Which Stark would care about, having battled Kang so many times (especially during the most recent YOUNG AVENGERS, like, 2 years ago). Heather naturally fulfills the role of "quirky supporting female" rather nicely, and the issue ends with Capt. Marvel coming out of hiding to save the Mighty Avengers from a giant robot (which in no way looked like Ultimo). Meanwhile, the one woman Marvel talked to during that final CW battle has become Mother Star and leaders an Earth sect of the Brotherhood of Hala, who see Mar-Vell as a Christ like figure. 52 did this recently with Superman/Superboy in 52 but I have faith in Reed playing with it in a different and unique way. Apparently any Marvel book whose title begins with "Captain" these days ends up being good, because I was completely against the idea yet the execution of the issue won me over, and I'll be getting the rest. Lee Weeks, naturally, does some great art that is iconic and noble, with excellent inks and colors to go with it. The creative team has convinced me there is a story to be salvaged from the Mess of 2006, and while it may not explore every angle that fans could come up with (Phyla is across the universe, Rick Jones is "busy", Hulking has to wait for his mini, and Genis is in limbo), I get the impression that it will be good and work anyway. This book proves that you can go into something with a certain attitude and be won over despite that, which shows my Bendis-Bias would end if he could stop sucking for a length of time. Rambled a bit; a solid first issue of five, and worth a look, even to the most jaded RETURN reader.
GHOST RIDER #17 & GHOST RIDER ANNUAL #1: May as well cover both in one section, although they are not connected. Brubaker & Fraction showed the best way to make an annual count these days, and few other franchises have followed suit. GR #17 has Ghost Rider confront another avatar of Lucifer to discover where the Little League team that has been taken hostage is, and it is revealed that every "avatar" of Lucifer seems to have some sort of distinction, and each wants to be "the final one" left with all his power. Ghost Rider rides in for the rescue, but would have botched it without the arrival of those two angels, out to seek Ghost Rider's aid. His GF is also still baby-sitting that demon-corpse and awaiting Blaze's call, which the angels provide. It is another cog in the story and while I find it unoffensive and sometimes fun, I am losing interest and am glad this will be Way's last arc. Saltares' art is always cool, though. The annual has a story by Stuart Moore with art from Ben Oliver, last seen ruining action sequences in Ultimate X-Men. Oliver is actually better here; did he change inker, colorist, or just had more time? Or did Moore pace things better for him? In any case, the annual deals mostly with Mammon, a.k.a. Mr. Eleven, a demon from hell that winds up in a bar where one of Lucifer's avatars tears through. Apparently Mr. Eleven is a sort of double agent, serving both Heaven and Hell, but has been at it for so many eons he has forgotten who he originally was, angel or demon? For that he hangs around Lucifer enough for Ghost Rider to show up, and employs his "Penance Stare" to peel through the magic layers to find out who he actually was (an angel, I guess; but weren't many of "the fallen" originally angels?). It had a slow pace but it wasn't a bad read. Way has left things to the Marvel Zombies Handbook to clear things revolving GR's origin. The story now? Most of the Hell-Lords, including Satan (Marduk Karios), Lucifer, Mephisto, etc. have all claimed to be "Satan" at some points and even merged into a combined form on occasion, so all and none of them are responsible. What is this, DC? GHOST RIDER isn't as exciting now that he has been back over a year and a half and the buzz has died along with Nick Cage's hairline, but it usually amuses me enough that I enjoy every issue. Still, I look forward to seeing what another creative team does in Way's place.
MARVEL COMICS PRESENTS #3: The three stories from the prior installments lurch on, with one short one-shot of Magneto and the original Brotherhood meeting a like minded mutant master named Whisper, who can absorb all knowledge. When Magneto recognizes his name as a former Nazi soldier, however, he kills him, in the philosophy of "anyone who kills the innocent is unworthy of the cause", which almost seems laughable when you consider how many sociopaths Magneto has let into the Brotherhood. Still, Aushwitz was a critical juncture for Magnus so him lashing out against any Nazi's when he finds them is accurate. And it is good seeing Suayan do other stuff besides MOON KNIGHT. The Vanguard story continues along and it is interesting (the very dead Yelena Belonova has her prints found around the murder scene, and Stacy Dolan connects it to a Muslim terrorist she busted trying to get MGH back in issue #1, but the format of the anthology just seems to be taking a toll. Faring better is the Weapon Omega story, which has Arana and Sasquatch bust some perps and Pointer continue to be conflicted by his guilt, the suit, and his massive power. He is starting to remind me of Sentry, though, a character who is a walking mound of phobias, but DiVito naturally draws great stuff and it makes sense for Pointer to be reacting this way. The Immonen Couple's Hellcat story moves along as Isaac Christians, Hellcat's old teammate Gargoyle shows it, and her split forms are actually magical manifestations of all her fantasies, regardless of whether she actually lived them. The story itself seems aimless, but it is zany and madcap enough that it is fun to read so I don't care so much. Still, MCP at once a month vs. two is a slower method to the old format and the market hasn't been able to support an anthology Marvel comic for, oh, the past decade, so I am not surprised that many aren't biting. For fans of OMEGA FLIGHT, this is the best place to get your fix; the Hellcat story isn't bad and the obligatory 1-2 one shot side stories have usually been good. I don't see it lasting past issue #12 though. Enjoy it while you can.
NEW AVENGERS #36: Y'know, it seems especially frustrating that my main complaints about this title, Marvel's best selling, with their #1 writer, which is the #1 ongoing title of the entire comic biz now, have been virtually the same for over 3 years now. Bendis' sense of continuity is astonishingly poor, making errors that even fair weather fans wouldn't miss. He sometimes has random adventures with threats that just seem more like gimmicks than stories; first ninja, now symbiotes. Dude, you missed the boat on symbiote popularity by about 11 years; way to be "hip". And Bendis' "realistic" dialogue is among some of the most annoying lines you will ever read; contrary to Bendis' statements, not only do real people NOT talk like he writes them, but if I found someone who did, I would immediately want them sterialized. The fact that any message board complainer can imitate and mock his dialogue style with 100% accuracy proves how robotic and annoying it has become. Finally, he writes superheroes as spazzing, immature children in adults' bodies, to the point where you wonder why the hell the villains haven't won already. And his new phrase is, "oh c'mon!", or "oh, come on!" which he feels the need to state about 24 times an issue, along with lines that just repeat the line beforehand, like everyone has a hearing aid. Like everyone has a hearing aid? Like everyone has a hearing aid, yes. See how easy it is? And how annoying!? Made harder is this issue was meant to tie into the symbiote issues of MA, which are at least 2-3 months behind thanks to Cho. Yu struggles with it, sometimes drawing manic chaos and other times sketches that the colorist saves. The story is mainly Luke Cage taking to Jessica Jones about the event, where a "symbiote bomb" explodes in NYC and anyone who doesn't have a physical super-power is mutated. Cage is safe, because of his dense skin. But Logan has issues with his healing factor. But Black Widow is somehow safe. Spider-Man, who has had the most experience with symbiotes and their weaknesses, offers ZERO to the event, leaving Iron Man to save the day. Neither the magic of Dr. Strange nor the chi of Iron Fist are worth much. Turns out the bomb was seemingly sent by Dr. Doom, which the Mighty Avengers storm off to apprehend without consulting with the Fantastic Four for back-up or experience, while Cage spazzes some with his wife, and acts all "skrully". The team also unites against the threat by The Hood and his cabal, which exploited this event, and attacks. And then, hell, you have heroes who would never unite showing up; who cares if Thor and Iron Man were enemies, or Punisher is a fugitive, or Silver Surfer on Earth soil, or Mr. Fantastic helping to fight mobsters when the Mighty Avengers need any help against Dr. Doom, or Angel in a new costume, or Howard the Duck, as drawn by a 5 year old with one finger. There also is a shower scene with Logan questioning Drew, which Yu almost makes as disgusting looking as Quietly would have. Yu also has a thing for pointy nipples on women, it seems. But mostly it was the stupidity of the symbiote invasion and Bendis' annoying, incessant and overbearing lines and speaking patterns that drove me crazy. It is more of the same. I hate this book. Any improvement or promise is undone by heaping mountains of suckitude. If Marvel wasn't springboarding events out of this book (oh, boy, SECRET INVASION is coming! More Bendis retcons! More talky bull****! More butchered characters and histories! More underachievement! Why, for F's sake, WHY!?), or if this wasn't the most promoted book in the universe, I'd have abandoned it, and instantly been a happier man for it. But when bad stuff is about to happen to the MU, I like warning shot, and NA has always provided that. A warning shot of crap to come. And why is Yu beautiful on covers and near garbage for some panels inside? Ugh! I hate this book, and I hate buying it, and I hate most anything Bendis does. The reason people give up comics? Trash like New Avengers, and selfish hacks like Bendis with a me-first attitude.
I also bought NOVA #8, PUNISHER WAR JOURNAL #13, THOR #4, & ULTIMATE FANTASTIC FOUR #48. But I'll post those after I get my stomach to stop spitting bile from New Avengers.
the dude is a hack he writes whatever fits his story or plot. if he wants to depict strange's as a incompetent mage then he does it despite continuity.
, ah well.
