Heap of reviews this week. Spoilers ahead, as usual.
DREAD'S BOUGHT/THOUGHT FOR 6/1/11: Part 1:
TEARS OF THE DRAGON: VOLUME 1: This is an "indie" comic by Tyler James and artist Koko Amboro, with colors by Paul Little and Miguel Marques. This series seems to have begun as a webcomic (
http://www.totdcomic.com/) that has now been collected as one 56 page trade paperback for sale on Amazon (
http://www.amazon.com/Tears-Dragon-...17/ref=sr_1_1?ie=UTF8&qid=1306546145&sr=8-1); it also is sold as a digital comic by Graphic.ly and is published by comics Tribe. This is the second comics Tribe production to have a review copy sent to this humbled reviewer (the first being THE STANDARD #1:
http://www.examiner.com/comic-books...-for-5-11-11-youth-revolt-the-standard-review), and as such warrants a full review. The story takes place in a world of dragons, armored knights, swords and sorcery. The backdrop is that most of the action is revealed by an old grandfather who is taking his two grandkids on a pilgrimage; his stories are treated as being history of the past of their realm, but his involvement is unknown. The artwork by Amboro is fine; neither explosive or difficult to follow - he an artist with a strong grasp of the fundamentals who likely needs more experience before he truly erupts as a talent. He does, at least, draw some solid dragons and battle armor. The color work is quite capable, and of professional quality. As the tale is told as a literal camp fire story, there is a heavy emphasis on narration and aside for one key action sequence with a dragon, most of the on-panel action is brief. As the series is originally a webcomic, it will be easy to read digitally as well as in print. I am not the biggest fan of "sword and sorcery" stories; I can occasionally enjoy them enough for a film now and again, but it is not a genre that I am heavily invested in. As such, it is possible my review could be a bit harder than it warrants. This story has a lot of classical elements to fantasy stories that fans of the genre should find comforting, and the tale is told well. The difficulty with a tale told in flashback, as this series is, is that it can make a reader struggle to find a point to it unless it's relevance to present events is displayed quickly. The ending of the volume does tease that, with the key characters winding up in some real-life danger. To a degree it is similar to "THE PRINCESS BRIDE", although it has little of the humor and self-mocking references, and is instead played fairly straight. On the whole, the volume is executed quite well, but seems to lack a "spark" that makes it seem more than a decently written and told fantasy yarn. However, if fantasy yarns are the things one seeks, it is worth checking out. The second volume has a solid foundation to work from and may end up being superior for it, as this first volume does pick up steam as it goes along, as all stories should. The cliffhanger will be followed up on and the characters in "the grandfather's story" should develop as well, as James clearly has bigger things in mind for his saga. There is a gap in the market for fantasy comic books that aren't parodies or genre deconstructions, and TEARS OF THE DRAGON should fill it for fan of dungeons and dragons. The trade can be had for $15, although the official website offers free shipping within the U.S. and Canada, so that might be more appealing than Amazon. Despite not being a big fan of the genre, I was disappointed that the story ended where it did, wanting to see what happened next; that is what matters most in a story.
BATMAN BEYOND #6: With DC relaunching their entire universe, for only the 3rd or 4th time in the past 35 years, many DC fans are wondering about the fates of several of their favorite titles. Since I only read two, I only care about two. It seems BOOSTER GOLD will end and be replaced with Dan Jurgens writing a new JLI series, but I will be stunned if DC is stupid enough to relaunch this title before a 9th issue, considering it is selling modestly well and outside the normal DC timeline anyway, as well as being the only thing Adam Beechen has written lately that isn't universally scorned. I do have to love how Warner Brothers' heavy promotion of "GREEN LANTERN" means that even Marvel ads must promote it, since they often have "Got Milk?" ads on back covers. DC also has the film on a banner on all covers this month - heavy promotion or desperation? They also have shoved some preview of SUPER 8 into the middle of the comic, which was more annoying. The things we endure for a letter column these days. Ryan Benjamin continues on regular art chores, with Stanisci on colors. This is part two of the three part "Industrial Revolution" story that seeks to have the return of what passes for Terry McGinnis' arch nemesis, Blight. Not to be confused with Dr. Blight, who was from "CAPTAIN PLANET AND THE PLANETEERS". This issue actually makes heavy reference to the first season finale of the TV show, "Ascension", in which Blight is defeated and sinks to the bottom of Gotham Harbor; how he survived that ordeal is explained in a few pages of exposition. While the "BATMAN BEYOND" TV show ran 3 seasons and 47 episodes, it lost some focus without Blight, and never again had as strong a finale for a season as the first (not including the "RETURN OF THE JOKER" animated DVD, which was epic).
While Terry and Wayne try to figure out who is manipulating the economic crisis of Wayne-Powers (and Gotham City with it), other subplots develop as well. Dana Tan's ex-con brother tries to settle into life outside of prison, but quickly finds himself beset by Jokerz gang members (common adversaries for characters in the series when nothing else is available). Undercloud, the evil hacking organization, continues to stalk Maxine as well as Terry through her. The issue ends with a typical cliffhanger and the next looks to be an action spectacle, which is fine. Beechen has really hit a stride with this arc, capturing the feel of the TV show while adding additional elements, and this run, 6 issues in, has proved far better than the mini series that sparked that. Imagine that - a series getting BETTER as it goes along and becomes an ongoing.
If DC really wanted to be savvy, they'd advertise this series all over their BEYOND DVD's and maybe even offer a promotional code for a free digital issue to hook readers. But I guess relaunching everything and having Jim Lee redesign Wonder Woman again for the second time in about a year and a half is much wiser.
HAUNT #16: This issue, at the very least, shows that Image may be quickly taking the cue from DC and Image to trim their $2.99 books to 20 pages. To a degree I can accept that more from a company that, at best, is 4.5% of the industry and needs to save every penny of cost as possible. The hilarious thing is that DC remains the ONLY company that was up front and honest about this gesture MONTHS before engaging it; both Image and Marvel did it in dark without notice, like thieves in the night. Some consider this "the Robert Kirkman book nobody talks about", as the fellas from WEEK N GEEK noted on their weekly YouTube video. That is probably because many see it as a Todd McFarlane production first and foremost, with Kirkman's scripting of it almost being a "work for hire" thing like his run on ULTIMATE X-MEN. While technically McFarlane's involvement at this stage is as co-inker alongside Jonathan Glapion, he also answers the letter column and acts as unofficial editor. Greg Capullo continues to draw, at least for another two issues; no word on his replacement has been stated - he is heading to DC to draw some Batman. In an unintentional way, you could call this "A CONTRACT WITH GOD MEETS SPAWN", as half the issue involves the dead Kurt Kilgore avoiding oblivion and having a chat with a very god-like figure who claims he (or she) is not the Almighty. McFarlane states in the letter column that the idea of just giving hints and pieces of Haunt's full origin over time is a deliberate thing, fearing giving it all away too quickly will bore readers. To a degree this has been successful, but making the readers wait too long gives the impression that it is being made up as they go along, or that it is never coming.
The Apparition, a mystical force that exists to purge the world of stubborn ghosts like Kurt, has been chasing him for several issues, and in the last, seemingly succeeded. However, the mysterious entity saves Kurt and on the spirit plane, delivers some exposition and more questions. Apparently all souls venture into oblivion after death and cease to exist, but Kurt has been saved for a specific purpose. When he merges with his living brother Daniel as Haunt, he is actually draining Daniel's life force, and should they remain Haunt too long, Kurt will take over his body and Daniel will die. However, without Kurt, Daniel has slipped into a coma. The Apparition will continue to chase Kurt's soul, however, and only Kurt (or Haunt) can see it (although the Calypso knock off Algeria can sense it).
This issue, while providing some answers, has it's share of problems. It sets up the idea that the Apparition will continue to chase after Haunt, but it can't be destroyed nor can it succeed in destroying Kurt, at least not until he accomplishes the mysterious task he is supposed to. Thus, why is there a point to their next battle? Kurt's "talk with not-god" exists as him walking in white space talking to nothing but text, so for half the issue it seemed the letterer got more of a work out than Capullo did. Four pages are used on double page splashes that are very bare, and most of the other pages in this even average 4 panels of content or less - with all respect to everyone involved, this can seem lazy. Part of me imagines Kirkman and McFarlane coming up with the scene to better allow Capullo to meet his deadline, since he'd have less to draw for half the issue. At least add some clouds or something. Plus, one could claim that the notion of a mysterious entity just out-and-out TELLING exposition to a character just to get it out there borders on pedestrian. As famously said in one of the Muppets movies, "It's exposition; it HAS to go somewhere." While INVINCIBLE has sometimes poked fun at art/script tricks done to help meet deadline on rare occasions, HAUNT is a fairly humorless book, so that is laid bare more. Cobra and Hurg are also plotting their return.
McFarlane, in his letter column, clearly sees this as SPAWN TAKE TWO, and hopes it will endure after Capullo and even Kirkman and he are gone. With all due respect, when they're all gone, so am I. This is a perfectly fine book, but unless the next writer is someone I really like, I don't like it enough to follow it too far. Launching a project and letting it spiral into the well is fine for big two franchises, but sometimes more is expected of Image comics - in contrast, nobody can argue Erik Larson's devotion to SAVAGE DRAGON, as it reaches issue #175. He never abandoned it to dabble in film or buying home run baseballs.
This wound up sounding harder on HAUNT than I intended. This was a perfectly fine issue, and so far I still am enjoying it, even if it is my "least favorite" Kirkman book (if only because SUPER DINOSAUR is more fun). I do wish GUARDING THE GLOBE came out more often, and I still miss ASTOUNDING WOLF-MAN. Still, I've probably become more invested in HAUNT than I ever was in SPAWN, which says something.
AMAZING SPIDER-MAN #663: Writer Dan Slott returns to solo story duty for the first time in quite a few issues (at least five off the top of my head), and with him is artist Giuseppe Camuncoli, with Klaus Janson on inks and Matt Hollingsworth on colors. While the era of ASM being 30 pages for $3.99 may be coming to an end, at the very least several issues lately have clocked in with higher page counts; the last issue was 32 pages and this one adds up to 35, which includes a 25 page lead story and two back-up strips. Senior Vice President of Publishing Tom Brevoort whined when asked about page cuts for $2.99 comics that Marvel doesn't get any credit when some issues run "over" instead, so here it is. Happy? At any rate, this issue begins the next arc in the "Before Spider-Island" era, which is "The Ghost Of Jean DeWolfe". Not only does it feature what the title suggests, but Mr. Negative and Anti-Venom (Eddie Brock's new symbiote-less vigilante identity) also are critical to the plot. Anti-Venom has declared to end the criminal career of Mr. Negative, who has a double identity as philanthropist Martin Li - who funds the soup kitchen that May Parker often works at, among other things. Mr. Negative is a newer villain created by Slott in earlier ASM stories back in 2008, and not all of his origins have been revealed. In a way he harkens back to the original "multiple identity" angle of Green Goblin, in that Li himself is unaware that he transforms into Mr. Negative, and Mr. Negative sees Li as a "powerless" form. At any rate, this issue shows that Slott has a wide knowledge of Spider-Man lore and knows how to not only reference it, but utilize it for new stories. Jean DeWolfe was the last lady employed by the NYPD that Spider-Man was involved with (at least for romantic tension), until she was killed by the Sin-Eater in the 1980's in a particularly dark story. Trying to reveal who Sin-Eater was turned out to be the story that cost journalist Eddie Brock his career and resulted in him becoming Venom in the first place. Jean's brother Brian was also active as the psychically powered vigilante Wraith, both under the will of their father Philip and his own motivations; he was ultimately killed by the vigilante Scourge. Thus, the DeWolfe family has been associated with death about as often as the Stacy's in Spider-Man's universe. The real riddle is whether this is Jean resurrected, Jean as a real "ghost of vengeance", or even a ruse by Mysterio. Camuncoli's artwork is also exceptional. Slott also writes another INFESTED two page strip alongside Emma Rios, who will be drawing the SPIDER-ISLAND: CLOAK AND DAGGER mini series this summer; coincidentally, the strip also features that duo. While the two are technically spin-offs of the Spider-Man universe, an attempt to rekindle that to try to drive up interest in them which has waned with them solo is admirable. On the other hand, it can be seen as a publicity stunt.
Finally, there is an 8 page strip by Todd Dezago and Todd Nauck (who has become a master of an 8 page run), with color by Chris Sotomayor. It is a simple but effective story in which Spider-Man goes on a patrol, seems to screw everything up and wonder why he bothers, only for the reader at least to realize that his efforts weren't all worthless. On the whole, this issue cements Slott's status as a top Spider-Man writer and already seems stronger than the FF arc. For those unused to Brock's new identity, the name can seem blunt; an "anti-venom" is a real thing, but it comes off sounding cheesier than it should. Will the day when villains named Anti-Freeze, Anti-Histamine or Anti-Pasto soon arise?
AVENGERS ACADEMY #14.1: Long time readers of this column might wonder if this title has replaced NOVA in that every issue seems to get a review, and many issues are at the top of the week's heap. Given that this book appeared on the scene after NOVA was canceled, something certainly had to fill the vacuum. This is the latest of Marvel's "Point One Initiative" in which the intention was to supply a "jumping on" issue for an ongoing series, or hype a new series about to launch, but in practice is just an annual under another name (or an extra issue). Unlike some of the .1 issues, this one has the series' regular writer, Christos Gage, penning the story. In fact, Sean Chen, who has become the semi-regular artist on the regular title next to Tom Raney, handles the art chores here. While the cadets are introduced and the series' premise is used as a foundation for the story, for all intents and purposes this is an extra issue of the ongoing series (same as Gage's two issue run on AMAZING SPIDER-MAN recently was). Scott Hanna and Jeromy Cox handle the inks and colors, respectively, as they have done for most of the Avengers Academy issues here.
The cadets of the Academy (Reptil, Veil, Mettle, Finesse, Striker, and Hazmat) are once again trying to apprehend some escaped super-villain with the assistance of one of their instructors (Giant-Man, as it often is). They decide to look into some of the super-powered teenagers who, like them, were experimented on by Norman Osborn, but unlike them, weren't recruited into the Academy. While the kids are not miserable at the Avengers Academy, many of them long for normal lives once more, or at least less eventful ones with a optimistic endpoint. They soon meet one, Jeremy Briggs, who has used his powers as well as smarts to become an 18 year old billionaire, who helps them on their quest to find the others. Along the way, the cadets learn some insight as well as gain some alternatives in their future besides relying on the Avengers or the super-hero game. As with most things, however, it turns out to be too good to be true. While all of the cadets share the issue, Finesse seems to get a big moment at the end. This story takes place after issue #14, but stands on it's own as well.
While it is easy to disregard this a bit as a "bonus" issue in Marvel's attempt to entice more readers to purchase it, this would be a foolhardy assumption. In a way, this is the last "regular" issue of the series before it begins a five issue tie-in with FEAR ITSELF. While AVENGERS ACADEMY was selling above the cancellation mark as of April (and is one of Marvel's few new launches featuring new characters to be assured of a 20th issue), it is still in that "danger zone" and Marvel would like to see more readers hop aboard. While Gage has often done well with crossover tie-in stories in his AVENGERS: THE INITIATIVE run, they are a different beast in terms of stories. Often it means having one's characters run around the outskirts and background of a story someone else is telling, in which they must be somehow impacted by it but not derail that other writer's story. Given the nature of FEAR ITSELF, this means the kids may end up fighting someone with a demonic hammer or fighting robotic Neo-Nazis. At any rate, this issue is an issue that deals with the cadets directly, without influence from a line wide crossover event or a web-slinging lead character. The ending also leaves things in which the cadets have a character who could prove to be an interesting antagonist for the future who has ties to them, not the adult Avengers. That would be an important thing to have should the title survive into a second year.
The issue has a bit of action but a lot of imagination and above all, a writer who has a feel for his characters and can write stories that challenge them as heroes and characters. It has become, and remains, the "can't miss" series of the Avengers franchise that offers more than the standard tropes and characters. As part of the .1 Initiative, this issue cements why this series is as good as it is and Gage's talents as a writer, as well as Chen's as an artist with all the changing locations. Marvel pushing a series that happens to feature new characters and actually be good is admirable, and hopefully it has a tangible benefit in the coming months. If not, FEAR ITSELF should provide some minimal spike.
), but the actual substance Fraction's laying down in the Asgardians' scenes is pretty good. The rift between Thor as humanity's defender and Odin as its indifferent overlord (bumped up here to active antagonist) is nothing new, and it's kind of an exciting twist to have Loki on Thor's side for once. Between this and the Silver Surfer/Galactus stuff in The Mighty Thor, I'm cautiously optimistic that Fraction's first Thor arc was just a rushed anomaly. He might do a good job with Asgard yet.
