Dread
TMNT 1984-2009
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A week about as big as last week, onward with some reviews and spoilers!
DREAD'S BOUGHT/THOUGHT FOR 7/17/13:
NUMBERCRUNCHER #1: Questions about mortality, the soul, and the afterlife have filled the minds of people since time began. Naturally, such topics have long been the source for fiction since mythology began as well. To this end, writer Simon "Si" Spurrier ("2000 A.D.", "X-Men Legacy") has united with artist P.J. Holden and colorist Jordie Bellaire to add his own take into the endless pantheon of comic book science fiction. Published by Titan Comics (the comics arm of U.K. publisher Titan Publishing), "Numbercruncher" offers readers a unique take on the afterlife as well as a love story stretched across time.
Si Spurrier begins this four issue mini series with a heap of exposition provided by the colorful karmic agent, Bastard Zane - otherwise known as agent number 494. In life he had been a burly thug whose last minute wishes at a second chance at life (and a woman) were answered by a karmic agent such as himself - whose job became his to fill. "Numbercruncher" gets its title from the theory that all of existence is based upon numbers, and the figure who is as close to a "god" that exists is not some muscular man with a thunderbolt or a demon with horns, but is essentially the ultimate accountant. Called "the Divine Calculator", he controls all of the agents and golf carts (!) of the afterlife and the sum totals of the lives of everyone are part of a divine equation. At heart a dark satire, it is similar in spirit to some of the late Steve Gerber's work on "Howard the Duck". After the info-dump, the other critical character of the series is introduced. Richard Thyme, a brilliant mathematician who dies of a terminal disease in 1969, earns a second chance at life by managing to figure out the secret of the universe as he died. Seeking a second chance with his lost love, Richard makes a deal to be reincarnated, to which the Calculator agrees. Unfortunately, he's been reincarnated in a slum in Mumbai in 2010, and his contract stipulates that as soon as he dies, be begins his service to the Divine Calculator to relieve Zane - unless he can live without sin. His quest to reunite with his now aged love in 2035 London goes poorly, but this is naturally only a quarter of the saga.
Unlike many comics which can be read in five minutes, Si Spurrier loads this one with a lot of dialogue and exposition, which is thankfully provided by the blunt pug Zane. The work manages to hit a balance where the satire is obvious without being so goofy that there is no sense of drama whatsoever. The artwork by Holden and Bellaire is absolutely brilliant and at times jaw dropping. Complicated panels involving an endless sea of golf carts or Spurrier's vision of the afterlife give the artists a lot of time to shine. The use of color is also pivotal here as the afterlife is drab and full of whites and grays while the "mortal world" is naturally more vibrant.
With most mainstream comic books covering the antics of superheroes and even many independent comics approaching certain segments of science fiction or horror, "Numbercruncher" offers something different from most of that. Si Spurrier himself describes it as "a time-twisting romantic thriller crime-noir metaphysical sci-fi black comedy", which is hard to argue. So far, this initial issue spends half its time setting up the premise before introducing the secondary character, but this is common with many world building efforts. Zane notes that Thyme has secrets and surprises even for the Divine Calculator which will fuel the rest of the series. It will be fascinating to see where this unique series progresses in future issues. Comic readers looking for a comic unlike any other on the shelves this week should give this a try.
ARCHER & ARMSTRONG #11: If not for the gimmick numbered "zero issue", this series would have hit its twelfth issue this week and thus the marker of a full year in print. One of the first batch of "summer of Valiant" relaunches of classic Valiant Entertainment material, Fred Van Lente has steered this mythological themed buddy adventure to strange and captivating waters. The last chapter of this new arc delving into the young Archer's origins and strange powers took place in area 51 in Nevada; this issue brings things to even weirder locations. Current artist Pere Perez and regular colorist David Baron continue to follow in the general look and feel of the artwork set by initial artist Clayton Henry and are given a lot of bizarre things to draw this time.
Having been cornered, Archer, Armstrong, and Mary-Maria (along with a few disposable technicians from area 51) get sucked into the portal to "Faraway", a strange realm which has existed for over 10,000 years. It is an artificial realm where the water, trees, and plants aren't what they seem to be, dinosaurs live, no one within ages, and the land is ruled by mysterious "sages" for all eternity. While Archer and Mary-Maria run afoul of the local band of tribes people, Archer is abducted by Roswell style "aliens" who are being led by an ornery general from the 1950's who is obsessed with thwarting Communists and the pleasures of anal probes. Archer escapes, only to run into another unwilling inhabitant of "Faraway" from 1914 as well as more dinosaurs. Armstrong's interaction with Mary-Maria switches things up, especially as the girl is not only as immortal as he, but has been possessed by the evil spirits of Archer's dead parents, whose attempts at "teen slang" are hilarious.
Fred Van Lente's gift as a writer is being able to flawlessly and effortlessly transition from slapstick comedy to serious adventure and/or pathos within a panel or a page and have it all read fluidly. Such a talent is hard to appreciate or notice when a writer is exceptional at it, but easy to notice when a writer can't pull it off and the tone of the work is slapdash. Much of this issue focuses on comedy or sheer bizarre imagination, from the general living up to cold war era stereotypes to the dialogue between the characters. Yet the focus of the arc is on figuring out quite how and why Archer can access information from across history into his mind, which he usually does in regards to combat tactics. The origin of the "Roswell" aliens is very strange, although not so much so that it doesn't fit in this series; however, it is also a bit ambiguous considering the denial and close mindedness of the 1950's general. This arc wisely draws upon previous issues of material, in particular the "zero issue", yet creates a daffy adventure story all its own.
With the relaunch of "Quantum & Woody", this series is no longer the lone buddy action/comedy series published by Valiant Entertainment. While James Asmus' start on that title is quite good, it still isn't quite up to part with Fred Van Lente's long term effort yet. Avid readers will have a hard time waiting to see where this crazy yet exciting tale will go next.
BATMAN BEYOND UNLIMITED #18: A correction is in order; last month's issue of this anthology reprint of DC Comics' digital first "Beyond" comics wasn't the final one of the series. It is this issue which sees this series come to an end, or to be more accurate a reboot. Writer Adam Beechen will be leaving writing duties on the "Batman Beyond" strip since starting on the franchise in a mini series back in 2010. Thus, DC sees this as a chance to reboot the family of strips into a "Batman Beyond Universe" title and age their young characters roughly a year. To this end, Beechen and artist Adam Archer (alongside colorist Andrew Elder) wrap up their final arc which revolved around a criminal hacker group "Undercloud" reactivating the Metal Men from stasis and siccing them on a rampage against Gotham. Terry McGinnis/Batman's ally Maxine Gibson infiltrated the group and helped defeat their leader, and now Terry and the Metal Men work together to save the city. Old man Wayne finally accepts Maxine into their "family" in a more direct manner and it leaves things in a good place. However, the core draw on the cover which has garnered some internet buzz is a 30 page lead story introducing a "Batgirl Beyond". Penned by Scott Peterson (former Batman editor) and drawn by new artist Annie Wu ("Hawkeye"), this tale sees Commissioner Barbara Gordon (the retired original Batgirl) meeting, testing, and uniting with the newest Batgirl of 2040. Embroiled in a violent scheme to poison and remove residents of one of Gotham's undeveloped slum areas, Gordon runs afoul of this newest teenage heroine, who naturally reminds her very much of herself. The story has a very blunt climax and Elder's colors make Barbara look akin to an "old Jubilee", but it offers a lot of action and a naturally well designed and spunky addition to the Batman family. Batgirl 2040 (or "Nissa") adds a fresh dose of diversity to a line which often needs it desperately.
TEENAGE MUTANT NINJA TURTLES MICRO-SERIES VILLAINS #4: For the second issue in a row, the side series to the main TMNT ongoing title focuses not just on one of the antagonists, but one which is a character created specifically for the IDW Comics relaunch of the comic franchise. This time the focal villain is Alopex, a ninja mutant fox who debuted in "TMNT: Micro-Series #1" last year. The writer for that issue, Bryan Lynch, once again handles a story around a character he essentially got to help create from a sketch from Kevin Eastman. Ross Campbell, another "micro-series" artist, handles the art chores for this issue. It follows a day in the life of Alopex, who acts as the Shredder's third in command of the Foot below his grand daughter, Karai. She is loyal to her pack and is willing to slaughter Foot Ninja who attempt to betray their clan to rival criminals. She also is training for her inevitable battle against the TMNT. As a cruel test, the Shredder eventually sends her on a mission to destroy an abandoned lab in Alaska - which brings back painful memories for her. The longer she remains there, the more she recalls of her life and family as a normal arctic fox before her mutation and ninja recruitment. It all is part of the Shredder's twisted ritual to further entrench her with the Foot, which may turn out to be counter productive. In an interview with Comic Book Resources, Lynch was told the similarity between Alopex and Ninjara, a ninja fox character from the "Archie Comics" era of TMNT comics from the 90's and claimed any similarity is coincidence. Regardless, Alopex remains an interesting new foil in the TMNT rogues gallery who with this issue gains some much needed meat to her fur.
INVINCIBLE #104: Robert Kirkman and longtime regular artist Ryan Ottley once again wrap up one of this longtime ongoing series' many dangling plot threads. In this case, the return of Angstom Levy, the long time arch nemesis of the titular hero. In truth, it has literally been nearly three years since Levy's appearance and even longer since his initial revenge scheme against Invincible's family. In that time far larger threats and bigger villains have ruled this story, and perhaps that fact is why Kirkman offers up an anti-climax. After escaping some cannibalistic alternate reality versions of himself, Mark Grayson returns to his own dimension to save the pregnant Atom Eve from Levy - only for Levy to surrender after having been talked down by Eve herself. Unable to use her powers, Eve manages to convince Levy of the folly of his quest for revenge. It will either make her seem smart to some readers or make Levy seem weak to others. The artwork is great and the dialogue is always fascinating, but while Kirkman manages to add an extra twist to this, the series has seen better adventures. With virtually all of Invincible's major enemies being gone, one can expect a new slate of antagonists to come soon.
IRON MAN #13: The latest arc of Kieron Gillen's run on this title mucking with Tony Stark's origins continues. Unfortunately, this time regular "artist" Greg Land returns to handle the chores this time and thus the texture of the panels return to their usual lifeless gloss. Thankfully, this story is full of armored and robotic characters so Land's efforts are not counter productive this time. Recorder 451 continues to drag Iron Man through his long term quest to create an anti-Celestial weapon as the bounty hunter Death's Head doubles back into the fray. The arc does a lot of explaining of retroactive continuity and the Celestials are becoming very close to jobbers in recent Marvel Comics. At the very least, Stark begins to fight back, and the giant "Godkiller" armor looks rather imposing. Without the thrill of a flashback tale about alien mobsters, this issue does feel more "by the numbers", even if it gets across what it wants to.
MORBIUS THE LIVING VAMPIRE #7: A dead book walking, writer Joe Keatinge has two more issues to wrap up whatever long and short term plans he had for this poor selling spin off, so some deck clearing is expected. Both Valentine De Landro and Felix Ruiz both tackle the artwork, while Antonio Fabela handles the colors. The new Rose and his ally Nikoleta Harrow (who may or may not be related to old Spider-Man villain Jonas Harrow) continue on their plan to control or destroy Brownsville, Brooklyn. To them, Morbius is their key pawn and Spider-Man is along for the ride. Another dodgy and random fight happens and the artwork seems to get sketchier as it goes along. In the end, it is no surprise why readers did not flock to this series; while it isn't bad, it's become dull and blunt, neither great nor terrible.
DREAD'S BOUGHT/THOUGHT FOR 7/17/13:
NUMBERCRUNCHER #1: Questions about mortality, the soul, and the afterlife have filled the minds of people since time began. Naturally, such topics have long been the source for fiction since mythology began as well. To this end, writer Simon "Si" Spurrier ("2000 A.D.", "X-Men Legacy") has united with artist P.J. Holden and colorist Jordie Bellaire to add his own take into the endless pantheon of comic book science fiction. Published by Titan Comics (the comics arm of U.K. publisher Titan Publishing), "Numbercruncher" offers readers a unique take on the afterlife as well as a love story stretched across time.
Si Spurrier begins this four issue mini series with a heap of exposition provided by the colorful karmic agent, Bastard Zane - otherwise known as agent number 494. In life he had been a burly thug whose last minute wishes at a second chance at life (and a woman) were answered by a karmic agent such as himself - whose job became his to fill. "Numbercruncher" gets its title from the theory that all of existence is based upon numbers, and the figure who is as close to a "god" that exists is not some muscular man with a thunderbolt or a demon with horns, but is essentially the ultimate accountant. Called "the Divine Calculator", he controls all of the agents and golf carts (!) of the afterlife and the sum totals of the lives of everyone are part of a divine equation. At heart a dark satire, it is similar in spirit to some of the late Steve Gerber's work on "Howard the Duck". After the info-dump, the other critical character of the series is introduced. Richard Thyme, a brilliant mathematician who dies of a terminal disease in 1969, earns a second chance at life by managing to figure out the secret of the universe as he died. Seeking a second chance with his lost love, Richard makes a deal to be reincarnated, to which the Calculator agrees. Unfortunately, he's been reincarnated in a slum in Mumbai in 2010, and his contract stipulates that as soon as he dies, be begins his service to the Divine Calculator to relieve Zane - unless he can live without sin. His quest to reunite with his now aged love in 2035 London goes poorly, but this is naturally only a quarter of the saga.
Unlike many comics which can be read in five minutes, Si Spurrier loads this one with a lot of dialogue and exposition, which is thankfully provided by the blunt pug Zane. The work manages to hit a balance where the satire is obvious without being so goofy that there is no sense of drama whatsoever. The artwork by Holden and Bellaire is absolutely brilliant and at times jaw dropping. Complicated panels involving an endless sea of golf carts or Spurrier's vision of the afterlife give the artists a lot of time to shine. The use of color is also pivotal here as the afterlife is drab and full of whites and grays while the "mortal world" is naturally more vibrant.
With most mainstream comic books covering the antics of superheroes and even many independent comics approaching certain segments of science fiction or horror, "Numbercruncher" offers something different from most of that. Si Spurrier himself describes it as "a time-twisting romantic thriller crime-noir metaphysical sci-fi black comedy", which is hard to argue. So far, this initial issue spends half its time setting up the premise before introducing the secondary character, but this is common with many world building efforts. Zane notes that Thyme has secrets and surprises even for the Divine Calculator which will fuel the rest of the series. It will be fascinating to see where this unique series progresses in future issues. Comic readers looking for a comic unlike any other on the shelves this week should give this a try.
ARCHER & ARMSTRONG #11: If not for the gimmick numbered "zero issue", this series would have hit its twelfth issue this week and thus the marker of a full year in print. One of the first batch of "summer of Valiant" relaunches of classic Valiant Entertainment material, Fred Van Lente has steered this mythological themed buddy adventure to strange and captivating waters. The last chapter of this new arc delving into the young Archer's origins and strange powers took place in area 51 in Nevada; this issue brings things to even weirder locations. Current artist Pere Perez and regular colorist David Baron continue to follow in the general look and feel of the artwork set by initial artist Clayton Henry and are given a lot of bizarre things to draw this time.
Having been cornered, Archer, Armstrong, and Mary-Maria (along with a few disposable technicians from area 51) get sucked into the portal to "Faraway", a strange realm which has existed for over 10,000 years. It is an artificial realm where the water, trees, and plants aren't what they seem to be, dinosaurs live, no one within ages, and the land is ruled by mysterious "sages" for all eternity. While Archer and Mary-Maria run afoul of the local band of tribes people, Archer is abducted by Roswell style "aliens" who are being led by an ornery general from the 1950's who is obsessed with thwarting Communists and the pleasures of anal probes. Archer escapes, only to run into another unwilling inhabitant of "Faraway" from 1914 as well as more dinosaurs. Armstrong's interaction with Mary-Maria switches things up, especially as the girl is not only as immortal as he, but has been possessed by the evil spirits of Archer's dead parents, whose attempts at "teen slang" are hilarious.
Fred Van Lente's gift as a writer is being able to flawlessly and effortlessly transition from slapstick comedy to serious adventure and/or pathos within a panel or a page and have it all read fluidly. Such a talent is hard to appreciate or notice when a writer is exceptional at it, but easy to notice when a writer can't pull it off and the tone of the work is slapdash. Much of this issue focuses on comedy or sheer bizarre imagination, from the general living up to cold war era stereotypes to the dialogue between the characters. Yet the focus of the arc is on figuring out quite how and why Archer can access information from across history into his mind, which he usually does in regards to combat tactics. The origin of the "Roswell" aliens is very strange, although not so much so that it doesn't fit in this series; however, it is also a bit ambiguous considering the denial and close mindedness of the 1950's general. This arc wisely draws upon previous issues of material, in particular the "zero issue", yet creates a daffy adventure story all its own.
With the relaunch of "Quantum & Woody", this series is no longer the lone buddy action/comedy series published by Valiant Entertainment. While James Asmus' start on that title is quite good, it still isn't quite up to part with Fred Van Lente's long term effort yet. Avid readers will have a hard time waiting to see where this crazy yet exciting tale will go next.
BATMAN BEYOND UNLIMITED #18: A correction is in order; last month's issue of this anthology reprint of DC Comics' digital first "Beyond" comics wasn't the final one of the series. It is this issue which sees this series come to an end, or to be more accurate a reboot. Writer Adam Beechen will be leaving writing duties on the "Batman Beyond" strip since starting on the franchise in a mini series back in 2010. Thus, DC sees this as a chance to reboot the family of strips into a "Batman Beyond Universe" title and age their young characters roughly a year. To this end, Beechen and artist Adam Archer (alongside colorist Andrew Elder) wrap up their final arc which revolved around a criminal hacker group "Undercloud" reactivating the Metal Men from stasis and siccing them on a rampage against Gotham. Terry McGinnis/Batman's ally Maxine Gibson infiltrated the group and helped defeat their leader, and now Terry and the Metal Men work together to save the city. Old man Wayne finally accepts Maxine into their "family" in a more direct manner and it leaves things in a good place. However, the core draw on the cover which has garnered some internet buzz is a 30 page lead story introducing a "Batgirl Beyond". Penned by Scott Peterson (former Batman editor) and drawn by new artist Annie Wu ("Hawkeye"), this tale sees Commissioner Barbara Gordon (the retired original Batgirl) meeting, testing, and uniting with the newest Batgirl of 2040. Embroiled in a violent scheme to poison and remove residents of one of Gotham's undeveloped slum areas, Gordon runs afoul of this newest teenage heroine, who naturally reminds her very much of herself. The story has a very blunt climax and Elder's colors make Barbara look akin to an "old Jubilee", but it offers a lot of action and a naturally well designed and spunky addition to the Batman family. Batgirl 2040 (or "Nissa") adds a fresh dose of diversity to a line which often needs it desperately.
TEENAGE MUTANT NINJA TURTLES MICRO-SERIES VILLAINS #4: For the second issue in a row, the side series to the main TMNT ongoing title focuses not just on one of the antagonists, but one which is a character created specifically for the IDW Comics relaunch of the comic franchise. This time the focal villain is Alopex, a ninja mutant fox who debuted in "TMNT: Micro-Series #1" last year. The writer for that issue, Bryan Lynch, once again handles a story around a character he essentially got to help create from a sketch from Kevin Eastman. Ross Campbell, another "micro-series" artist, handles the art chores for this issue. It follows a day in the life of Alopex, who acts as the Shredder's third in command of the Foot below his grand daughter, Karai. She is loyal to her pack and is willing to slaughter Foot Ninja who attempt to betray their clan to rival criminals. She also is training for her inevitable battle against the TMNT. As a cruel test, the Shredder eventually sends her on a mission to destroy an abandoned lab in Alaska - which brings back painful memories for her. The longer she remains there, the more she recalls of her life and family as a normal arctic fox before her mutation and ninja recruitment. It all is part of the Shredder's twisted ritual to further entrench her with the Foot, which may turn out to be counter productive. In an interview with Comic Book Resources, Lynch was told the similarity between Alopex and Ninjara, a ninja fox character from the "Archie Comics" era of TMNT comics from the 90's and claimed any similarity is coincidence. Regardless, Alopex remains an interesting new foil in the TMNT rogues gallery who with this issue gains some much needed meat to her fur.
INVINCIBLE #104: Robert Kirkman and longtime regular artist Ryan Ottley once again wrap up one of this longtime ongoing series' many dangling plot threads. In this case, the return of Angstom Levy, the long time arch nemesis of the titular hero. In truth, it has literally been nearly three years since Levy's appearance and even longer since his initial revenge scheme against Invincible's family. In that time far larger threats and bigger villains have ruled this story, and perhaps that fact is why Kirkman offers up an anti-climax. After escaping some cannibalistic alternate reality versions of himself, Mark Grayson returns to his own dimension to save the pregnant Atom Eve from Levy - only for Levy to surrender after having been talked down by Eve herself. Unable to use her powers, Eve manages to convince Levy of the folly of his quest for revenge. It will either make her seem smart to some readers or make Levy seem weak to others. The artwork is great and the dialogue is always fascinating, but while Kirkman manages to add an extra twist to this, the series has seen better adventures. With virtually all of Invincible's major enemies being gone, one can expect a new slate of antagonists to come soon.
IRON MAN #13: The latest arc of Kieron Gillen's run on this title mucking with Tony Stark's origins continues. Unfortunately, this time regular "artist" Greg Land returns to handle the chores this time and thus the texture of the panels return to their usual lifeless gloss. Thankfully, this story is full of armored and robotic characters so Land's efforts are not counter productive this time. Recorder 451 continues to drag Iron Man through his long term quest to create an anti-Celestial weapon as the bounty hunter Death's Head doubles back into the fray. The arc does a lot of explaining of retroactive continuity and the Celestials are becoming very close to jobbers in recent Marvel Comics. At the very least, Stark begins to fight back, and the giant "Godkiller" armor looks rather imposing. Without the thrill of a flashback tale about alien mobsters, this issue does feel more "by the numbers", even if it gets across what it wants to.
MORBIUS THE LIVING VAMPIRE #7: A dead book walking, writer Joe Keatinge has two more issues to wrap up whatever long and short term plans he had for this poor selling spin off, so some deck clearing is expected. Both Valentine De Landro and Felix Ruiz both tackle the artwork, while Antonio Fabela handles the colors. The new Rose and his ally Nikoleta Harrow (who may or may not be related to old Spider-Man villain Jonas Harrow) continue on their plan to control or destroy Brownsville, Brooklyn. To them, Morbius is their key pawn and Spider-Man is along for the ride. Another dodgy and random fight happens and the artwork seems to get sketchier as it goes along. In the end, it is no surprise why readers did not flock to this series; while it isn't bad, it's become dull and blunt, neither great nor terrible.
Still, it was decent. It felt good seeing Banshee back, despite his being "evil", and the reference to Gambit's Death personality was nice (and man I wish that story would wrap up somewhere). I loved seeing him and Sentry return and can't wait to see where the story goes from this issue.
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