Let's get the last spoilers of 2010 on their way.
DREAD'S BOUGHT/THOUGHT FOR 12/29/10:
ASTONISHING SPIDER-MAN & WOLVERINE #4: This is a bi-monthly mini series written by Jason Aaron (GHOST RIDER) and drawn by Adam Kubert that has fallen over a month behind schedule (this issue should have shipped around the middle of November). The third issue had a fold-out 4 page splash that amounted to two extra pages of work for Kubert to pencil, but in the big leagues there should be no excuses. The allure of the "Astonishing" line of comics is to deliver a story that isn't entrenched in current continuity, so that any reader may enjoy it, while still being set in the Marvel Universe so that regular readers will as well. While this column hasn't reviewed an issue since the first, summarizing what has gone on is almost impossible. The best one can do is to say that a chance team-up between the two titular heroes to fight a Z-List Ghost Rider villain has resulted in them being zapped to alternate time lines and realities by coming into contact with some mystical gem stones. Unfortunately, these gems are employed as weapons by two cross dimensional thugs, Czar and Big Murder (who is ironically a midget). They do seem to be working for, or at least their work is exploited by, a long time X-Men villain whose appearance at the end makes the series come together. Until that point, however, Spider-Man and Wolverine have been sent to no end of bizarre situations and having to deal with all manner of absurdities. This issue alone has Logan perform a wrestling match against a teenage version of Spidey in a luchadore mask, while Spider-Man is covered in meat trying to flee hungry wolves and a hungier "young Logan" right out of WOLVERINE: ORIGIN. If that sounds insane, that is only because it is. To a degree that is the allure of the series; seeing how mental the story gets before the conclusion. Despite that, Aaron has a grasp of the titular characters to the point that their voices are accurately captured despite the ludicrous situations both are involved in. Kubert's artwork is also exceptional, and skillfully combined with Mark Roslan's inks and Justin Ponsor's colors.
The one possible demerit is that Czar and Big Murder are borderline offensive ethnic stereotypes. However, during his run on GHOST RIDER, Aaron was perfectly willing to write villains who were stereotypes of "Bible thumping rednecks", so at the very least there is an equality to his stereotypical villains. While lost in the shuffle of other Spider-Man and Wolverine titles, Marvel is seeking to sell this as some hardcover collection in perhaps a year's time, and so long as the climax is sufficient, this could go down as an enjoyable romp for the two heroes. Only recommended for those with a sense of humor, morbid curiosity and who appreciate a bizarre imagination.
I'm not a fan of Mojo at all, but given how insane this series has been, he actually makes perfect sense to have been the mastermind. Aaron isn't trying to take Mojo seriously and I expect him to get jolly stomped a bit by issue six, so I can tolerate him for now. Especially since it may be another four-six months before we see the conclusion.
CAPTAIN AMERICA #613: The cover proudly proclaims that the Trial of Captain America "begins here". Yet the recap and credit page clearly states this is the third chapter of THE TRIAL OF CAPTAIN AMERICA. An innocent contradiction or a slip that anyone who read the last two issues was wasting time? The trial itself starts here (via a procedural beginning that would be about 4 minutes of an episode of "LAW AND ORDER"), but the story is hopefully near a middle chapter. Ed Brubaker is continuing on his career run on this franchise with Butch Guice handling the pencils, backed up by three inkers and two colorists. This book has become more of an ensemble cast book since James Barnes has surrendered to authorities to stand trial for his Winter Soldier crimes (which were leaked to the media by Baron Zemo). In this issue, Falcon and Black Widow discover that the new Master Man has broken Sin out of prison, and she's gearing up to prove her "worth" to her dead father by taking over in his name. Steve Rogers cuts Dr. Faustus a deal to get his testimony for the defense, while Sin seems to be a step ahead by leaking her psych video to the media - showing she planned to implicate Barnes with the Red Skull three months ago. Things are not looking good for Barnes, even as Sin seeks to exploit the trial's distraction for a large scale terrorist act.
I know Brubaker likely won't bring it up, but literally every single trial that Marvel has ever had against a super hero has gone poorly. Steve Rogers was assassinated before his trial for treason could begin (fortunately, he was pardoned postmortem). The original White Tiger was convicted of killing a cop during a robbery bust by jurors who hated super heroes, and he was immediately killed by cops trying to flee court (the same cops who NEVER shoot at ANY super villain with any ferocity). Speedball was nearly killed by another gun man during his trial/prison days. This is the same Marvel Universe that cannot keep any super-villain, from despotic tyrants to serial killers to bumbling jewel store robbers, behind bars for any length of time. Quite frankly Marvel's heroes would have been morally justified in just ditching the planet and allowing the Skrulls to have it three years ago. I bet the earthlings would have driven the Skrulls nuts, too. It is almost cute when Steve Rogers dismisses Sin's video, believing that the word of a criminal psychopath surely can't go far with the public and with a judge. You kidding, man? Norman Osborn was all but elected King Of America. Mac Gargan was not the first Venom offered a federal badge, nor were the Thunderbolts the first set of merciless ex-cons offered any, either. None of this is Brubaker's fault at all, but given that this story is dancing on that line of legal drama, it would make an interesting subplot if someone went on TV, brought all this up and asked why America literally has a pathological hatred of every super hero who ever was, while throwing endless chances at every single villain who ever robbed a bank or murdered a woman. I think Thing had the right idea in CIVIL WAR. Just move to Europe, man. Heroes are appreciated there.
This is a very interesting story, and a rebound from some of the Zemo issues. It was inevitable that Barnes' past as the Winter Soldier would come up and he'd have to answer for it in some way legally. The downside is that part of me sees the finale as not some awesome legal speech, but because some heroes will keep a bomb from going off. Given that Cap's movie is out next year, the angle of Barnes being found not guilty is hardly a given at all. In fact the only thing that could get Rogers back in the mantle again would be if his chosen replacement was behind bars, or a wanted fugitive for escaping them. Granted, it would be bolder if even THAT happened, Rogers remained where he was and asked Sam Wilson to fill in for him. I don't see that happening, but I would hardly mind that either; it isn't as if Wilson hasn't been a regular character during Brubaker's run for ages. Eagles are an American symbol, so why can't Capt. America have wings? DC is seeing success with Morrison's "legion of Batman" idea, so even with a movie Marvel could have second thoughts about dismissing being able to sell Rogers and another Capt. America so quickly. To be fair, Rogers has not been Cap for four years now. Part of me also thinks it is past time the heroes learned how to manipulate the media for their own ends. Wear wires and leak to TMZ every single horrific speech the bad guys rant about slaughter or manipulating the idiot masses. Or maybe they can play the same legal games that I am sure villain attorneys do. "That was all the work of a Skrull/robot/shape-shifter/time displaced man/clone/demon, your honor, and there is no fathomable way to prove otherwise." I imagine playing that card keeps many a crook out of jail. At the very least, a story with a finale that is difficult to figure out due to not knowing the editorial goal makes a story like this interesting.
The NOMAD strip by Sean McKeever and Filipe Andrade isn't as good, but it is alright. While I have come around to a degree about Humberto Ramos, Andrade's artwork still isn't something I am a fan of, and I am curious how well he will handle a full length mini series in ONSLAUGHT UNLEASHED; I imagine he will be awesome for drawing Onslaught but as for the rest, who knows. The adventure continues on Nomad tagging along with Black Widow to take down yet another evil organization posing as a normal corporation. Part of it reads as Natasha seeing how tough Rikki is and naturally being impressed by her "hardcore" nature - she broke her own thumbs to escape cuffs, and even with only her legs, she can take down men with martial arts. Unfortunately, she's been stuck with their explosive virus (which is itself not a new idea; writers have been toying with a "human bomb" virus for about ten years in Marvel, ever since LIVEWIRES); will she survive? Given that she'll be central for ONSLAUGHT UNLEASHED, I think so. I still like McKeever and I still like Rikki as a character, but this last strip storyline hasn't been the greatest and I look forward to seeing McKeever handle the Young Allies again in his next mini.
DEADPOOL TEAM-UP #886: I bought this purely from an impulse buy based on the guest character on the cover, and it wound up my Examiner Book Of The Week. DEADPOOL TEAM-UP, which has been canceled, was one of several Deadpool titles launched over a year ago to capitalize on his appearance in "X-MEN ORIGINS: WOLVERINE". To be cheeky about Marvel's habit to renumber a series for events, it debuted with issue #900 and counted backwards. It features a rotating cast of creative talent who tell done-in-one stories in which Deadpool teams up with another character. In this sense, this is a series that is, or was, the new decade's version of MARVEL TEAM-UP or SPIDER-MAN TEAM-UP of the 90's, or even MARVEL TWO-IN-ONE of the 70's and 80's (where Thing would team up with another character every month). The current market has little place for these sorts of books, as "importance" matters, and Marvel certainly did squeeze Deadpool for about every dollar his fans would submit. Still, this series would have lasted over a year, which is more than one can say about many other Marvel titles.
This issue has the merc with a mouth bump into Iron Fist, in a tale written by Shane McCarthy, drawn by Nick Dragotta and colored by Brad Simpson. McCarthy has been floating around Marvel and DC for a few years now, never doing high profile work but getting in credits on some Batman back-up strips, DARK X-MEN: THE BEGINNING and even some Transformers material for IDW. Dragotta has also moved around but has done quality work for DC's THE LOSERS as well as X-STATIX, MARVEL ZOMBIES material and WEB OF SPIDER-MAN for Marvel. The issue succeeds by being simple and effective at what it wants to do. It neither attempts to re-invent the wheel or apologize for formula; just deliver 22 solid pages of entertainment for three dollars. If only more comics could succeed at such simplicity.
Deadpool has been hired to kill an ancient warrior named Gin Goh by a wealthy Asian family, who has sought his death for generations. He merrily obliges, only to run into Iron Fist in the midst of his quest. It seems Gin Goh was banished to another realm (the secret "8th City Of Heaven" from IMMORTAL IRON FIST) because he could not be successfully killed for long, and Iron Fist wishes to return him there. All Deadpool cares about is his paycheck, body-count and not being confused with Spider-Man. McCarthy's Deadpool isn't quite as quippy as some other writers' versions, who sometimes depict him as Bugs Bunny with guns; he still sounds like he should, and gets in no end of hilarious and bizarre one liners. The story ends as one would expect, but is still a satisfying action tale. While no one will confuse this for Eisner award material, it was the book this Examiner enjoyed the most this week, despite some eagerly anticipated titles. Perhaps, because it was an impulse buy, expectations were low? Whatever the reason, this Examiner follows the heart, not pedigree. The nature of the title means that one need only buy issues if they are eager for extra Deadpool, and/or they happen to like the creative team or character being teamed up with. The last issue of this series that was bought was #889, which featured Gorilla-Man and was written by Jeff Parker. It also satisfied an urge for a simple Iron Fist comic, since he can't support his own series these days. While Deadpool is the star, Iron Fist was still vital to the story and got in a climatic moment as well.
Fans of Deadpool may never get tired of him, but for the rest of us, he is amusing in doses now and again, and DEADPOOL TEAM-UP, at least to end 2010, satisfies that urge.
SPIDER-GIRL #2: While not quite as good as the debut issue, SPIDER-GIRL is still a series with great potential that features a character who, while not as “new” as Marvel would have you believe (unless you think a six year old character is “new”
, is still more “new” than Ms. Marvel or She-Hulk. This series re-introduces readers to Anya Corazon, the heroine formerly known as Arana. She’s lost her powers, but not her training or her heroic spirit; thus, she is now Spider-Girl, wearing the costume of former Spider-Woman Julia Carpenter (who has retired from active heroics) and a member of the Young Allies. This is writer Paul Tobin’s first major Marvel series that isn’t set in their “kiddie” Marvel Adventures universe, after scoring some hits with several top class back up strips (such as in HERCULES: FALL OF AN AVENGER). While the name “BIG TIME” from the current AMAZING SPIDER-MAN arc is on the cover, this issue has nothing to do with that. If anything, this series has had more of a connection to the FANTASTIC FOUR than AMAZING SPIDER-MAN. Clayton Henry is the regular artist, although he apparently didn’t have enough “lead in” time to successfully pencil two full issues, as he has to be aided by four other artists to pencil the second half of the book. Chris Sotomayor, at the very least, continues on colors. This issue takes a borderline questionable “dark turn” from the first issue, and is also the first to be sold at the regular price of $2.99. Since this issue actually has 24 pages instead of 22, that is a very good value.
It is difficult to criticize this issue without a full blown spoiler, but let us say that one of Anya’s parents passes the mortal coil, despite her efforts as well as those of the Fantastic Four. As the cover shows, the Red Hulk is involved, but it is fairly obvious that he isn’t the true cause. In a way this issue misses the memo from HULKS in which the Red Hulk is supposed to be an anti-hero now (rather than a rampaging brute written by Jeph Loeb). Anya has to deal with this very sudden threat head on and naturally considers bothering to be a heroine anymore. The situation is dealt with seriously, without seeming too grim. It actually is a testament to Tobin’s skill that he could pull this off in a medium where death is frequently common for a “shock” and grief has been taken to extremes for certain characters (often as an excuse to become “dark and grim”
– just look at Arsenal/Red Arrow from DC, or even Speedball’s descent into Penance in Marvel. Despite the fact that Henry’s last penciled page of the issue was the 13th, the shift in styles is not so extreme that it upsets the flow of the issue, as sometimes can happen when a committee of artists draw an issue. Tobin also displays a good ability to write the Fantastic Four, which is good as he seems intent to include them as reoccurring guest characters in the series.
There are some quibbles, however. The recap page has Anya specifically say on Twitter that she has “absolutely zero friends”, yet in this very issue her emotional recovery depends on two very close friends. The last issue quickly hammered home a bit of retroactive continuity attaching the now deceased parent to the Fantastic Four that had never been mentioned in six years of prior stories; if Marvel is making a big deal trying to attach Anya to Spider-Man’s world, why the heavy hand to lump her into the Fantastic Four’s nest? Especially since one of the Four is slated to die any month now? It almost reads as if the promotional department and the writer are moving in opposite directions. Having the Red Hulk act like a rampaging monster here when he’s no longer doing so in his own title is a bit of bad editorial timing. Perhaps the largest concern is that the first issue seemed to rely on the idea of establishing Anya as bit of a “girl next door” type, that anyone with a loving dad and some kick-boxing skills could try to be a low level hero; this issue makes Anya an orphan, which is so amazingly common in comic books that you could establish a team of characters who are orphans, or had their parent(s) die. Tobin has stated in interviews that he did not want his series to be “dark” – it is hard to accomplish that when your lead is an orphan by issue two, and she’s not even old enough to vote. Rocky Flint also proved to be a very central character, yet unless I missed something, she came out of nowhere without much of an introduction; of course, so would Rikki to someone who hasn't read YOUNG ALLIES or the NOMAD strip, but I have. So much for having "zero friends". She probably has more friends than Gravity does. It also does seem somewhat awkward that Anya's mentor/student relationship to Ms. Marvel has been discarded along with her powers while a similar one with Susan Richards is retconned. With so many of these non-Spider ties into place, it is somewhat amazing that she even is Spider-Girl. Her ties to Spider-stuff are very minimal now. On the upside, Rocky Flint is perhaps the only citizen in the Marvel Universe who had a relative die in the middle of a superhero battle who hasn't declared bloody revenge on that hero in particular and hates all heroes in general. We need more of them, please.
This book does have a lot of potential, and Paul Tobin is a good enough writer to earn some benefit of the doubt. He does have his work cut out for him making an orphan (Anya's mother was killed before this series) a light hearted character within four issues - one could argue Dick Grayson managed it, but as a professional trapeze artist for a circus, he probably was aware in his mind of the possibility of his parents falling to their deaths to a degree; being murdered was of course something else. Given that sales for issue one in November were not very high, however, he may only have another four issues to iron things out here. Marvel’s trigger finger for cancellations is always itchy. Hence is the dilemma for these plucky new titles starring newer characters; buy them up, only to see them die by issue six, or “wait for the trade”, thus ensuring it dies by issue six. Hopefully 2011 will be a brighter year for new blood than this one was.
; because without Damien, this book would still be dropped.
I'm glad I was on days today (I am when students are off) because there were tons of book options I wanted to root through in order to decide what to buy. I ended up passing on a couple that I thought I'd get and ended up buying a couple that I didn't think I would. I passed on Chaos War: X-Men and X-Men To Serve and Protect. The stuff I wasn't really expecting to pick up were Batman: The Dark Knight 1 and X-23 #4. Anyhow, on to reviews.
