Six comics, six chanced to be spoiled. Onward!
DREAD'S BOUGHT/THOUGHT FOR 8/22/12:
TEENAGE MUTANT NINJA TURTLES #13: IDW's exceptionally crafted as well as top selling (in relative company terms) relaunch and re-creation of the Ninja Turtles comic enters its second year with this issue. While the writing team remains TMNT co-creator Kevin Eastman and Tom Waltz and the colorist remains Ronda Pattison, the lead artist for the series has changed. Dan Duncan has left for greener pastures after a year, and FIREBREATHER co-creator Andy Kuhn has taken over. This is hardly Kuhn's first work with the IDW era of Ninja Turtles; he drew the second issue of the TMNT MICRO-SERIES (the Michelangelo issue) and now makes the leap to the ongoing. It won't be surprising if the Micro-Series was seen as a "try out" book for other creators to handle this franchise, and some other artists from those issues could appear here if Kuhn's run isn't as long as Duncan's. While the story picks up right where it left off and Pattison's consistent colors help, Kuhn has a different style than Duncan which could put off some fans of this series. On the other hand, Kuhn is a moderately well known creator - Cartoon Network did produce an animated film of FIREBREATHER in 2010, and he drew a run of MARVEL TEAM-UP in 2006 - which is something Duncan lacked.
While this issue picks up from the last one, it also feels very much like the first chapter of a second volume, or a season premiere. The Turtles and their allies managed to find and rescue their master Splinter and finally met their enemies the Foot Clan, although they chose to escape than earn an outright victory. While the Turtles attempt to hold off tension with idle play with some of the games in April's antique shop, it is Splinter himself who is wound tight enough to snap. When their pal Casey stumbles in after another beating from his drunken father, both Raph and Splinter storm off to settle the matter - and which of them becomes the aggressor is surprising. As a contrast to the mutant ninja family, Shredder continues to train his granddaughter Karai in endless battle. In setting up the cliffhanger, Baxtor Stockman also becomes the first to learn the secret of General Krang - that he's an alien from another dimension and he's hardly the only one of his kind. While many have analyzed the TMNT franchise in various ways since it began in 1984 (and especially after the cartoon hit TV in '87), what is lost on some is that the franchise is at its core about family. This issue perfectly compares and contrasts at least three families in various lights; Casey and his father, Karai and Shredder, and naturally the Turtles, their allies, and Splinter. The latter is naturally the most functional, although it is hardly flawless and is very unorthodox - just like the families of most readers, or people on earth. It is this dynamic which is at the heart - or shell - of the franchise and why it is endured for over 25 years, and naturally Eastman and Waltz get that in their scripts.
The artwork by Kuhn does take some getting used to, as he has simpler line work most times than Duncan did. The Turtles and Casey themselves look the most different while Kuhn seems to be at home with Duncan's design for the Foot characters. There is always charm and emotion to Kuhn's work and the TMNT comic benefits from that. There were some more "mainstream" artists to choose from, but siding with another well known creator may actually boost the buzz for this book.
This issue was the start of a new era with a new artist, which manages to demonstrate all the strengths the series has had since its debut. If only more major franchise comics could begin a second year so well.
INVINCIBLE #94: As Image Comics and Skybound Comics begin the promotional drum-beat towards a 100th issue, this particular issues ships roughly a fortnight late. This is either due to or despite the fact that the art duties for these last few issues have been split between series co-creator Cory Walker and longtime artist Ryan Ottley. This issue continues the trend began regular writer Robert Kirkman in this series, which is arcs where the lead hero Mark Grayson is practically a guest star in his own series. Robot and Monster Girl - and in particular their centuries long adventures in another dimension - have become the crux of the arc and naturally take up a good chunk of the issue. The duo followed the sporadic invading alien empire called the Flaxians to their home dimension seeking a more permanent solution. While they had thought they had "fixed" the empire - at the cost of their relationship - the Flaxians have invaded anew. The general of the forces naturally turns out to be a pivotal figure for the two Guardians Of The Globe. The issue has a lot of costumed characters punching things as well as a lot of imaginative and even tender flashbacks as drawn by Walker. The business of these issues is a demerit and probably a distraction to a degree, but it does provide a break as well as an embellishment of some long term characters who have been on the sidelines for years.
SUPER-DINOSAUR #13: With all the promotion these days at Image revolving around WALKING DEAD or INVINCIBLE, this is the OTHER Kirkman book at Skybound which seems to be under the radar; and by that I mean selling way down in the Top 300. I imagine it's doing way better than the last DYNAMO 5 mini sold, but it's low for a book with Image's top guy like Kirkman now is. It does get hard to review issues of this because each issue is like a segment of a cartoon show, setting forward the story for another few minutes. Derek Dynamo has been kidnapped by the Exile and taken to Inner Earth, the world at the center of the globe which is populated by dinosaurs...and apparently a race of dinosaur-men. It had been believed that the only "dino-men" that existed were the genetic creations of Max Maximus, but that's now wrong. The Exile is literally that, the exiled brother of the monarch of these "natural" dino-men who don't believe the "surface world" exists. Meanwhile, Super-Dino and the rest of Derek's peers and pals have come to Inner Earth without permission to save him, and wind up nearly being trampled by real dinosaurs. SD, who is smaller but more intelligent than the native dino's, feels out of place. The artwork from Jason Howard in this issue is quite incredible with a lot of bits which reminded me of former TMNT artist Jim Lawson, if only due to all the dinosaurs (Lawson's later work included PALEO, which was about dinosaurs). The aim for the book was to be "all ages" and it is does that; it isn't too complex or scary to ward off a child nor is it too dumb or simplistic to completely bore an adult. That said, it isn't usually a book which dazzles or disappoints me, but is just sort of there. CN is crying out for an animated adaptation of it, especially since it is far smarter than MAN OF ACTION drivel, although this is hardly the second coming of "GARGOYLES". The book is getting complicated which may be awkward for anyone jumping on late, but if the sales are any indicator that isn't a concern. I am curious whether this series will end up lasting any longer than the last collaboration between these two did, which was ASTOUNDING WOLF-MAN (which ran 25 issues, most of them behind schedule).
AMAZING SPIDER-MAN #692: A week after wrapping up an imaginative Lizard story hot on the heels of Sony's latest blockbuster film, Marvel officially begins the celebration of Spider-Man's 50th anniversary. This means an extra-sized issue sold for $5.99 which features a 25 page lead story by regular writer Dan Slott and one of the trio of regular artists, Humberto Ramos, along with two back-up strips by other contributors. While the back up strips are fine, it is the extra sized lead story which Marvel has promoted for a few months by leaking that it will feature the introduction of Alpha, a teenage hero who will become Spider-Man's sidekick. Much has been discussed online about that, including the irony of a hero who was so heralded as being "youthful" to the point that his marriage was erased now needing a teenage tag-a-long to stay hip. As a story itself, however, this issue does a good job on a broader scope of bringing Spider-Man/Peter Parker full circle in being the expert scientist responsible for creating a teenage metahuman via a freak accident. There is an obvious homage to AMAZING FANTASY #15 from Stan Lee and Steve Ditko although it is far more modern and features a character different from Peter Parker. That character, Andy Maguire, both succeeds and fails in this issue by the established premise. The story envisions him as an "average" teenage boy, and that is where his struggle begins. From his design both in and out of costume to the flow of the story he is in, Andy/Alpha comes off as a mundane character even to moderate superhero fans. Relying on the time honored tropes is both the point of Andy and a limitation. Readers of AVENGERS ACADEMY or RUNAWAYS or YOUNG AVENGERS may actually be put off by how generic Andy seems at the onset. In fairness, few characters are at their prime in debut, and the angle seems to be that despite Spidey's best attempts to teach the kid responsibility, Andy is being corrupted by the easy fame and the vast power. The appearance of a well known villain from Spidey's past (as well as from last year's SPIDER-ISLAND) naturally sets the stage for a more interesting second and third chapter. Slott does run a risk of telegraphing this a bit simply as well as merely creating a "Mary Sue" style pet character; Andy so far is nowhere near as imaginative as even some of Slott's creations from AVENGERS: THE INITIATIVE such as Trauma, Komodo, or Hardball. The very angle of Spider-Man getting a teenage sidekick is hardly new; Frog-Man and Spider-Kid in the 1980's, Captain Zero in the 90's and even teases regarding Arana/Spider-Girl in such a role last year. The difference here is Peter was directly responsible for the origin sequence and the "hero" he is responsible for has vast power potential, rather than simply being annoying. This isn't to say that Alpha is not annoying, but this time Spidey isn't shooing him off to go on with his life as he did with many of the others.
Two back up strips make up another 30 pages of material for a whopping 55 page packet. "Spider-Man For A Night" by Dean Haspiel tells the tale of a petty crook who happens to find Spidey's costume in the trash from ASM #50 (the "Spider-Man No More" issue) and the complications and insights donning it brings him. It isn't the greatest story ever but is a simple and engaging slice of life tale. Stretching on for 22 pages is "Just Right" by Joshua Hale Fialkov and artist Nuno Plati about how a day in Peter's life goes horribly wrong until he decides on a whim to indulge the fantasies of a local boy with a trip around town. The humor is hit-or-miss and it does feel like padding more than a story which needed to be told. Overall this extra sized anniversary issue of ASM is a mixed bag, but a bag which invites a lot of thought and speculation, as well as being better than an average issue of the event du jour, AVENGERS VS. X-MEN.
SECRET AVENGERS #30: With the AVX crossover obligation now a memory, Rick Remender can continue on his own bizarre and cameo laden storyline involving an nation of Adaptoids as well as a vastly expanded roster of Masters Of Evil run by Max Fury of the Shadow Council. Remender plays with some of the leftover tidbits from Brubakers run here, such as John Steele and having Max chase after magic Crowns from space, but he manages to do it in a manner which doesn't seem plodding, boring, or humorless as Brubaker did in his opening act. Venom has a fight with Taskmaster that goes poorly until he gets some back up, and Valkyrie and Hawkeye are stuck trying to steal the MacGuffin back from Taskmaster. They fail but when Max Fury finally gets his hands on the big scary crown, it reminded me of the climax of "GRANDPA WORE TIGHTS" from "THE TICK" in which the puppet Handy tries to use a reality altering machine, only played straighter. There are a lot of cameos to throw a Marvel Handbook at, the dialogue is entertaining and it has a lot of big over the top action and comic book elements - stuff lacking in many Avengers titles frankly. The twist ending presents an interesting dynamic for the next issue, and once again it is apparent that Remender is the best writer this series has had. The angle of Vengeance being a reverse Ghost Rider - he aims to punish good people with visions of their sins versus bad people - makes for a fun gimmick for dialogue. The art by Matteo Scalera and Matthew Wilson (colors) fits the tone of the series, and it is due to this series and VENOM that I will consider Remender on UNCANNY AVENGERS at all. During the Bendis era, good Avengers runs became few and far between. This is probably the best one I have enjoyed since Dan Slott called it a day on MIGHTY AVENGERS.
VENOM #23: The first issue of Cullen Bunn's solo run on the book, and he'll get one arc before the MINIMUM CARNAGE crossover gets underway. Initially there is a sign of some wires crossed since both this issue and the last (Remender's finale) began with an exposition dump in regards to Thompson's backstory and status as agent Venom, which in two issues in a row gets irritating. Thony Silas is the new artist but with much the same ink and color team as prior issues it all looks fine. Bunn settles into creating a sort of sequel to the "CIRCLE OF FOUR" crossover in which Hellstorm, the Son of Satan has shifted back to acting fairly demonic and he toys with Venom, who bares some "mark of Mephisto" from that prior adventure. Hellstorm has gone off the grid with a cult and Venom was sent in to gather data, but as usual stumbles upon something messy and storms in with guns blazing. Hellstorm's angle is they are both monsters who deny who they are and will be rejected by their peers, so may as well revel in their monstrous nature. Bunn also introduces his love interest character to replace Betty Brant in the title, in another reporter named Katy Kiernon. She's sassy and all that, which is about standard for attractive lady reporters since the 19-flipping-40's, but hopefully she will grow on readers with more time. I am not entirely sold on VENOM delving into supernatural elements; "CIRCLE OF FOUR" had the justification for being a crossover with GHOST RIDER, of which the supernatural is key. Still, the themes of battling a darker nature remain the same so it should work. Bunn's first issue isn't dazzling and the info-dump rereun was annoying, but he's captured the tone of the series and that is the main thing one wants from a new writer coming in after a heralded run. He isn't performing a 180 like some new writers do, merely steering the same boat on a new course. VENOM has become a book I enjoy and for the moment it does look like I will continue to do so even without Remender.
X-MEN LEGACY #272: Christos Gage and Rafa Sandoval continue on a story which is essentially PLANET ROGUE, in which Rogue has been zapped to another dimension/planet where she is in the middle of two warring factions and trying to sort out how to survive and return home. The previous issue focused on the Vhray, who are the feline warriors of the planet. This chapter focuses on the Swarm, who are bug-creatures who act very much like almost all bug aliens in fiction in that they all work in a hive and stress universal harmony and order over individuality. To their credit, the Swarm claim to be more accepting of strays than the Vhray, if only one surrenders free will. Naturally Rogue resists, and uncovers a secret between the commanders of both hordes which isn't terribly shocking. The story gives Sandoval excuse to draw a lot of crazy creatures and landscapes which he doesn't get to do often. The tale isn't bad but there is a "been there, done that" sort of sense with these sorts of tales which have been done many times - "JOHN CARTER" reminding people of one of the most famous versions. Fans of Rogue may be thrilled to see Rogue having her turn at this sort of thing, and while it isn't bad it hasn't been something I have been overly ecstatic about reading. The fact that this is a story which could fit no end of superheroes or characters in general and Rogue just happens to be the one doesn't help either; it makes it feel more like a page filling exercise than a tale which really says something about her. I hold by the statement that I have never read a bad comic book story by Gage; however, I have read a few "less good" or mediocre stories from him, and this run is starting to swing closer to that than AVENGERS ACADEMY is right now (which is in upswing). I'll finish the run out but this won't be one I miss from my list so far.
