One-sentence summary: This final crisis "tie-in" seems like it could be an interesting series, and the detailed, almost gritty art really works well for a series about villains.
First off, I need to get my biggest criticism of this series off my chest, simply due to the fact it has no bearing on the quality of the book. I hate DC's habit lately of doing tie-ins that are, in no way, tie-ins. At Marvel, even if the tie-in sucks, it usually has something to do with what it's being tied in to. Not so at DC. You'll have Countdown tie-ins with characters from 52, or with Captain Carrot for Pete's sake, and now you have a final crisis tie-in that I can almost safely assume will have nothing to do w/Final Crisis.
That being said, it could be a good story. The first issue was a good set-up, some neat stuff happens, and the artwork really was pretty neat. However, as it's the first issue, it's tough to judge how the series will be; the main plot of the story hasn't really been reached yet.
All in all, I think this series has definite potential, and I'm digging the art, but don't expect any actual connection with Final Crisis. I mean, why should you -- it's just a tie-in with the words "Final Crisis" in the title. Friggin' DC.
Friday, July 18, 2008
Thursday, July 17, 2008
Omega the Unknown #10 (of 10)
One-sentence summary: This was a quiet epilogue to a great series.
I really appreciated Marvel for giving 10 issues to Omega the Unknown. It's such a bizarre title to publish under your main imprint. That being said, I really ended up liking this. The art fit the story, and the characters are fairly realistic in that there are few black-and-white, good-and-evil types. Characters are neurotic, needy, narcissistic, greedy, etc. In addition to that, it was a far more complex story than the average superhero tale, and less obviously told. Due to that, yes, it's a bit more of a challenge to read, particularly in month-separated chapters. That month-separation also makes this epilogue a bit of a let-down; I waited this whole last month just to learn the main bulk of the story ended last month.
However, I can't blame the story for that. The story flows perfectly well as is, and I absolutely can't wait for the trade of this. This has been one of my favorites from the last month, and I can only hope Marvel dares to do things like this more often.
I really appreciated Marvel for giving 10 issues to Omega the Unknown. It's such a bizarre title to publish under your main imprint. That being said, I really ended up liking this. The art fit the story, and the characters are fairly realistic in that there are few black-and-white, good-and-evil types. Characters are neurotic, needy, narcissistic, greedy, etc. In addition to that, it was a far more complex story than the average superhero tale, and less obviously told. Due to that, yes, it's a bit more of a challenge to read, particularly in month-separated chapters. That month-separation also makes this epilogue a bit of a let-down; I waited this whole last month just to learn the main bulk of the story ended last month.
However, I can't blame the story for that. The story flows perfectly well as is, and I absolutely can't wait for the trade of this. This has been one of my favorites from the last month, and I can only hope Marvel dares to do things like this more often.
Marvel 1985 #3 (of 5)
One-sentence summary: Millar, predictably, provides a compelling story, more steeped in humanity than much we've seen.
I'm honestly not sure of the numbers/popularity of this series. I generally try to avoid that stuff to keep myself unbiased (I'm an easily influenced guy, I'll admit it). That being said, maybe because it's Millar, maybe because it's just been good, but I've always assumed this was a big-selling comic. It just has that epic feel to it.
Tommy Lee Edwards art is great for this, giving it a bit less of a cartoonish feel than the average comic, which clearly fits the story well. At the same time, though, its sketchiness removes the story from reality; I'd say the art is sort of magic realist, which I think appropriately defines this story, too (though that will depend on the how of the story, which hasn't been explained yet).
I like this story, and I liked this issue. It's much darker than I thought it would be, but it was a pleasant surprise. Seeing MODOK actually be evil again was sort of refreshing. I think that comic book readers tend to forget that the average villain is supposed to be a villain, not a cartoon (except, of course, in the cartoons).
This has been a great series. If it weren't a name like Millar behind it, I'm sure it'd be one of those great, underrated reads that gains a cult following slowly through the years, but as is, I'm sure it's getting plenty of attention. For once, I'm pretty happy about that -- it deserves it.
I'm honestly not sure of the numbers/popularity of this series. I generally try to avoid that stuff to keep myself unbiased (I'm an easily influenced guy, I'll admit it). That being said, maybe because it's Millar, maybe because it's just been good, but I've always assumed this was a big-selling comic. It just has that epic feel to it.
Tommy Lee Edwards art is great for this, giving it a bit less of a cartoonish feel than the average comic, which clearly fits the story well. At the same time, though, its sketchiness removes the story from reality; I'd say the art is sort of magic realist, which I think appropriately defines this story, too (though that will depend on the how of the story, which hasn't been explained yet).
I like this story, and I liked this issue. It's much darker than I thought it would be, but it was a pleasant surprise. Seeing MODOK actually be evil again was sort of refreshing. I think that comic book readers tend to forget that the average villain is supposed to be a villain, not a cartoon (except, of course, in the cartoons).
This has been a great series. If it weren't a name like Millar behind it, I'm sure it'd be one of those great, underrated reads that gains a cult following slowly through the years, but as is, I'm sure it's getting plenty of attention. For once, I'm pretty happy about that -- it deserves it.
Wednesday, July 16, 2008
Secret Invasion (Thus Far)
One-Sentence Summary: Marvel's summer epic is being done precisely as an event like this should be.
Alright, so if you really wanted to you could go back through my archives and read about my opinions you'd know that I wasn't a big fan of World War Hulk last summer. I thought there was essentially little to no story behind it, and the tie-ins were even worse in that regard (see World War Hulk: X-Men for the biggest waste of 3 issues ever).
That being said, it's just not the case for Secret Invasion. In a reverse of World War Hulk, I'm actually enjoying the series much more than the lead-up to it. Bendis has made not only a good story, but it's a story that's almost perfectly adapted to actually work with tie-ins. I'm sure that, to some degree, this was a very business-based decision, but the flow of the tie-ins is organic enough that I don't care.
If I were to bring a criticism to it, it's that the last few issues of several of my favorite comics have, as their tie-in, done flashbacks to show how the Skrulls set up team A to fall. This is interesting, and on an individual scale each of these issues has its own merits, but, as someone who wants to see how the heroes are dealing w/Secret Invasion outside of just that title, it is a touch frustrating.
Overall, this is such a stupendously better summer for comics than last year that they don't really compare. Secret Invasion is a good book, it will be a good trade, and, so far, I really haven't been too disappointed with the tie-ins. Marvel learned its lesson from World War Hulk -- let the guy writing everything leading up to it go ahead and write the event, too. For that, I'm thankful.
Alright, so if you really wanted to you could go back through my archives and read about my opinions you'd know that I wasn't a big fan of World War Hulk last summer. I thought there was essentially little to no story behind it, and the tie-ins were even worse in that regard (see World War Hulk: X-Men for the biggest waste of 3 issues ever).
That being said, it's just not the case for Secret Invasion. In a reverse of World War Hulk, I'm actually enjoying the series much more than the lead-up to it. Bendis has made not only a good story, but it's a story that's almost perfectly adapted to actually work with tie-ins. I'm sure that, to some degree, this was a very business-based decision, but the flow of the tie-ins is organic enough that I don't care.
If I were to bring a criticism to it, it's that the last few issues of several of my favorite comics have, as their tie-in, done flashbacks to show how the Skrulls set up team A to fall. This is interesting, and on an individual scale each of these issues has its own merits, but, as someone who wants to see how the heroes are dealing w/Secret Invasion outside of just that title, it is a touch frustrating.
Overall, this is such a stupendously better summer for comics than last year that they don't really compare. Secret Invasion is a good book, it will be a good trade, and, so far, I really haven't been too disappointed with the tie-ins. Marvel learned its lesson from World War Hulk -- let the guy writing everything leading up to it go ahead and write the event, too. For that, I'm thankful.
Tuesday, July 15, 2008
Jonah Hex #33
One-sentence summary: Cooke illustrates a beautifully simple tale showing Hex to be the true anti-hero that he is.
I, as a general rule, like the latest volume of Jonah Hex. Occasionally there'll be an issue I'm not a huge fan of, but this was not the case with 33. Now, am I completely biased because I'm a Cooke fanboy? Almost certainly. But that doesn't stop me from appreciating the harsh story, narrated in an appropriately dated style.
I think one-shots are risky things. Sometimes they (probably rightfully so) feel like filler, just the stuff that takes place between story arcs and won't find collection in a trade. Other one-shots are just meaningless fun, or maybe they'll feature some big-name guest artist or writer. Others will be an issue-long illustration of a character, reminding the reader of who they are. This issue's a mix: it's a guest artist (Cooke), but it's definitely a quality character study. Despite being a fan of the series, the climatic panel of this comic was a surprise, one which initially surprised me, but as it settled in I was immensely satisfied with the story.
So, did it help this issue was illustrated by Cooke? Of course -- but it could've been illustrated by just about anyone and I'd still have liked it. As is, I loved it.
I, as a general rule, like the latest volume of Jonah Hex. Occasionally there'll be an issue I'm not a huge fan of, but this was not the case with 33. Now, am I completely biased because I'm a Cooke fanboy? Almost certainly. But that doesn't stop me from appreciating the harsh story, narrated in an appropriately dated style.
I think one-shots are risky things. Sometimes they (probably rightfully so) feel like filler, just the stuff that takes place between story arcs and won't find collection in a trade. Other one-shots are just meaningless fun, or maybe they'll feature some big-name guest artist or writer. Others will be an issue-long illustration of a character, reminding the reader of who they are. This issue's a mix: it's a guest artist (Cooke), but it's definitely a quality character study. Despite being a fan of the series, the climatic panel of this comic was a surprise, one which initially surprised me, but as it settled in I was immensely satisfied with the story.
So, did it help this issue was illustrated by Cooke? Of course -- but it could've been illustrated by just about anyone and I'd still have liked it. As is, I loved it.
Monday, July 14, 2008
Final Crisis (#1-2)
One-Sentence-Word Summary: Crazy!
I think that sums it all up. I mean, I like it, but it really is a very intense, jumpy comic. The way the comic's set up is supposed to put you in the mindset of the heroes -- confused, bewildered, a little scared. There's characters gruesomely dropping left and right, and we barely have time to react.
This isn't going to be everyone's cup of tea. That's ok, too. I think it's worth trying out, but some people are simply not going to like this. Does that mean it's bad? No -- if you're doing a comic no one dislikes, it means that it's most comfortable, per-par comic imaginable.
I'm not going to talk about Final Crisis much, mostly because every detail should be experienced in the comic, not ruined by a review. Just dive in -- it's worth it.
I think that sums it all up. I mean, I like it, but it really is a very intense, jumpy comic. The way the comic's set up is supposed to put you in the mindset of the heroes -- confused, bewildered, a little scared. There's characters gruesomely dropping left and right, and we barely have time to react.
This isn't going to be everyone's cup of tea. That's ok, too. I think it's worth trying out, but some people are simply not going to like this. Does that mean it's bad? No -- if you're doing a comic no one dislikes, it means that it's most comfortable, per-par comic imaginable.
I'm not going to talk about Final Crisis much, mostly because every detail should be experienced in the comic, not ruined by a review. Just dive in -- it's worth it.
Comics that have gotten better, or just stayed awesome
It's a companion piece to the last post. I'm avoiding comics which did stink and continue to because, well, there's just little reason to ever talk about that. For that matter, I'll save the more detailed discussion of these for later, too.
Nova & Guardians of the Galaxy: Two different titles, I know, but they're their own niche, so I feel they belong together. Plus they both rule. I know, I'm being super-literary today. Also: Cosmo is crazy-awesome.
Criminal, Captain America, most everything Brubaker touches.
Iron Fist (though creative team is changing so the future is in the air).
Doktor Sleepless: It's so dreamy. Seriously, though, Sleepless is probably my favorite comic of the last couple years, or at least tied with Cooke's run on the Spirit. Every issue pushes the boundaries of comics, in my opinion (or at least the boundaries common to comics). You can enjoy Sleepless without thinking about it, but I wouldn't recommend it -- it's much more fun to really get into it.
Incredible Hercules: Probably my favorite Marvel title right now. This one just keeps getting better and better. It wraps itself in the Marvel universe, drawing on characters from its rich past, all while being distinctly original and mythic. Truly one of the best things out there, proving again the talents of Pak and Van Lente.
Batman: I'll say it right now: I'm a Morrison fan-boy. That being said, I prefer his writing when he's really unhinged (more Doom Patrol, less JLA - style). So, Batman RIP is right up my alley, and I'm excited to see what will happen, I'll admit.
JSA: I liked this series already, but the Gog arc has been really something. I thought it might be a bit forced, coming off as a "remember when you all liked Kingdom Come?" but its been its own breed. Plus, seeing poor Commander Steel get the shaft in the last issue -- it was actually sort of tragic.
There's others, don't get me wrong, but those are among my favorites...the ones I'll rush to on the shelves on Wednesdays.
Nova & Guardians of the Galaxy: Two different titles, I know, but they're their own niche, so I feel they belong together. Plus they both rule. I know, I'm being super-literary today. Also: Cosmo is crazy-awesome.
Criminal, Captain America, most everything Brubaker touches.
Iron Fist (though creative team is changing so the future is in the air).
Doktor Sleepless: It's so dreamy. Seriously, though, Sleepless is probably my favorite comic of the last couple years, or at least tied with Cooke's run on the Spirit. Every issue pushes the boundaries of comics, in my opinion (or at least the boundaries common to comics). You can enjoy Sleepless without thinking about it, but I wouldn't recommend it -- it's much more fun to really get into it.
Incredible Hercules: Probably my favorite Marvel title right now. This one just keeps getting better and better. It wraps itself in the Marvel universe, drawing on characters from its rich past, all while being distinctly original and mythic. Truly one of the best things out there, proving again the talents of Pak and Van Lente.
Batman: I'll say it right now: I'm a Morrison fan-boy. That being said, I prefer his writing when he's really unhinged (more Doom Patrol, less JLA - style). So, Batman RIP is right up my alley, and I'm excited to see what will happen, I'll admit.
JSA: I liked this series already, but the Gog arc has been really something. I thought it might be a bit forced, coming off as a "remember when you all liked Kingdom Come?" but its been its own breed. Plus, seeing poor Commander Steel get the shaft in the last issue -- it was actually sort of tragic.
There's others, don't get me wrong, but those are among my favorites...the ones I'll rush to on the shelves on Wednesdays.
Comics that have gotten worse since last year
Alright, so I'm just being lazy here. Here's a probably-short list of comics that have tanked since the last time I wrote.
All-New Atom: *sigh* Oh, I loved Simone on this, but then Remender took over and the title went from one of my favorites (sure, a troubled favorite, but a favorite nevertheless) into something I dreaded reading. It wasn't just a trainwreck; it was a trainwreck that involved characters I'd grown fond of dying or being hideously mutilated, along with their backstories. This was the first time in a long while I was actually happy a book had been cancelled.
The Spirit: This was a tragic tale. Darwyn Cooke's take on the Spirit was one of the best things to happen to comics in a long time. His quitting over Dave Stewart, while understandable, was a tragic blow to a license (a license that's going to get destroyed by Frank Miller's take on it anyhow, though). Aragones and Evanier's take on the Spirit is sort of a bummer, too, as Groo is so great I had expectations. However, their take on things lacks wit or feeling, substituting it all with bad slapstick and moderately chauvinist writing. Sadness.
The Amazing Spider-Girl: I had a soft spot for this title in my heart, but as of the last few months DeFalco has had the protagonist continually act out of character, which just gets old after awhile. Not so bad that it's a dead title to me, just a bit worse.
The Blue Beetle: This title was growing on me, giving off a very nice Invincible feel, but with its own flavor. However, the past few issues have been very stagnant on Jamie's growth as a hero, and on the changes occuring in his life. Again, hopefully just in a slump.
Are these all the titles that have gotten worse? No, just the ones that spring to mind. Also, these aren't necessarily bad titles -- they're just ones that have gotten worse in the last year that I can recall right now. Maybe I'll edit this later to add more here, but this gets around writing tons of backed up reviews.
All-New Atom: *sigh* Oh, I loved Simone on this, but then Remender took over and the title went from one of my favorites (sure, a troubled favorite, but a favorite nevertheless) into something I dreaded reading. It wasn't just a trainwreck; it was a trainwreck that involved characters I'd grown fond of dying or being hideously mutilated, along with their backstories. This was the first time in a long while I was actually happy a book had been cancelled.
The Spirit: This was a tragic tale. Darwyn Cooke's take on the Spirit was one of the best things to happen to comics in a long time. His quitting over Dave Stewart, while understandable, was a tragic blow to a license (a license that's going to get destroyed by Frank Miller's take on it anyhow, though). Aragones and Evanier's take on the Spirit is sort of a bummer, too, as Groo is so great I had expectations. However, their take on things lacks wit or feeling, substituting it all with bad slapstick and moderately chauvinist writing. Sadness.
The Amazing Spider-Girl: I had a soft spot for this title in my heart, but as of the last few months DeFalco has had the protagonist continually act out of character, which just gets old after awhile. Not so bad that it's a dead title to me, just a bit worse.
The Blue Beetle: This title was growing on me, giving off a very nice Invincible feel, but with its own flavor. However, the past few issues have been very stagnant on Jamie's growth as a hero, and on the changes occuring in his life. Again, hopefully just in a slump.
Are these all the titles that have gotten worse? No, just the ones that spring to mind. Also, these aren't necessarily bad titles -- they're just ones that have gotten worse in the last year that I can recall right now. Maybe I'll edit this later to add more here, but this gets around writing tons of backed up reviews.
Amazing Spider-Man (Post-One More Day)
I'm just going to give a quick review of the way they've been handling Spider-Man since the controversial reset. I'm not sure what the current issue number is, so...whatever's current.
One-sentence summary: This is probably the best Spider-Man has been in long while.
I've been a Spider-Man fan since before I could read -- due to this, I can't really tell you what drew me initially to him. The colorful cast of villains? The substantial non-superheroics which are such an essential part of the character? The light-hearted delivery of the book? Probably a mixture of these.
As someone who has been buying Spidey books for the past 20 years, I can tell you my heart has been broken by it a number of times. The clone saga was the first blow, but, worse than that was the recent turn of it into a super-dramatic, super-serious comic. That's not to say Spider-Man should never be serious -- Kraven's Last Hunt is an excellent example of good, serious Spider-Man. But, having each month be this melodrama, to have some character circling the drain (i.e., dying slowly) at almost any moment, Spider-Man swearing terrible vengeance, etc...it just got old, and it got depressing.
I went into this new fashion of Spider-Man with some hesitancy; after all, they were beginning it with arguably the worst retcon that has ever been done. But it was with good intentions; they saw the same problems with Spider-Man as I mentioned above, and the lack of much that made the title unique and gave it its character. Though in an initially awkward manner, they've essentially dealt with this.
By having a near-weekly, on-going series, it's a bit of a new thing we're dealing with here. The old standards of comic book pacing are, well, essentially moot. I've enjoyed how they divide up some of these smaller arcs into three, maybe four issue stories; while not super-intense, these do allow for some development, and a conclusion to the main plot, within a month or so. The only issue I really have with things as they are are their current use of sub-plots. Even with three issues a month, some of the developments are moving very slowly, to the point where I'm wondering if they'll come up again. However, this isn't a big complaint -- more like growing pains (on whose side, I wonder).
So, let's do a quick checklist: Colorful cast of villains? Check. Substantial plots regarding the non-superheroes? Check. Light-hearted delivery? Check. Hopefully it's clear why I feel the way I do about the new take on the book.
One-sentence summary: This is probably the best Spider-Man has been in long while.
I've been a Spider-Man fan since before I could read -- due to this, I can't really tell you what drew me initially to him. The colorful cast of villains? The substantial non-superheroics which are such an essential part of the character? The light-hearted delivery of the book? Probably a mixture of these.
As someone who has been buying Spidey books for the past 20 years, I can tell you my heart has been broken by it a number of times. The clone saga was the first blow, but, worse than that was the recent turn of it into a super-dramatic, super-serious comic. That's not to say Spider-Man should never be serious -- Kraven's Last Hunt is an excellent example of good, serious Spider-Man. But, having each month be this melodrama, to have some character circling the drain (i.e., dying slowly) at almost any moment, Spider-Man swearing terrible vengeance, etc...it just got old, and it got depressing.
I went into this new fashion of Spider-Man with some hesitancy; after all, they were beginning it with arguably the worst retcon that has ever been done. But it was with good intentions; they saw the same problems with Spider-Man as I mentioned above, and the lack of much that made the title unique and gave it its character. Though in an initially awkward manner, they've essentially dealt with this.
By having a near-weekly, on-going series, it's a bit of a new thing we're dealing with here. The old standards of comic book pacing are, well, essentially moot. I've enjoyed how they divide up some of these smaller arcs into three, maybe four issue stories; while not super-intense, these do allow for some development, and a conclusion to the main plot, within a month or so. The only issue I really have with things as they are are their current use of sub-plots. Even with three issues a month, some of the developments are moving very slowly, to the point where I'm wondering if they'll come up again. However, this isn't a big complaint -- more like growing pains (on whose side, I wonder).
So, let's do a quick checklist: Colorful cast of villains? Check. Substantial plots regarding the non-superheroes? Check. Light-hearted delivery? Check. Hopefully it's clear why I feel the way I do about the new take on the book.
Trinity (#1-6)
Let's try a multi-issue review to help catch up some.
One-sentence summary: Trinity seems to have good intentions, but thus far has been a bit slow-paced, and the two 13-page stories a week are light fare.
I should put this out there right now: I am a comic book optimist. When I pick up a new book, or an old one, I hope for and look for the best. That's why I never tore apart Countdown, it's why I still read Punisher: War Journal, etc. That being said, I'm worried about Trinity, though not disliking it yet.
It's been 6 issues. I know for a weekly title that's barely 10% of the series, but for the average comic that's an entire arc. That sort of comparison makes the fact that, thus far, the "main" story of Trinity has progressed most of the way through one fight. It feels like these first few issues of Trinity have Dragonball Z syndrome -- a bunch of guys fighting, the dialogue mostly consisting of the characters talking about the fight, the subplot consisting of people watching the fight and talking about it. This is a story-telling style that wore on me in 8th grade, so my impatience is (in my opinion) understandable.
That being said, I'm intrigued by the concept being laid down here by Busiek. Having the three main DCU characters form some sort of mystical trinity fits well with the themes going on in the other mega-title right now, Final Crisis. Whether these are going to intersect at all? I wouldn't bet on it. Final Crisis is Morrison's baby, and come hell, high water, or contradictory mini-series, nothing's stopping Morrison from writing what he wants.
So what does all this mean for Trinity? It means that, at best, we can hope for a long, well-written story revolving around some neat ideas that won't have much of an impact outside of it, which wouldn't be so bad. This will require a swift progression of things from the current stagnant-style of plotting that's occurred thus far, but it could happen. Of course, there's the worst-case scenario too, but, hey -- I'm an optimist.
One-sentence summary: Trinity seems to have good intentions, but thus far has been a bit slow-paced, and the two 13-page stories a week are light fare.
I should put this out there right now: I am a comic book optimist. When I pick up a new book, or an old one, I hope for and look for the best. That's why I never tore apart Countdown, it's why I still read Punisher: War Journal, etc. That being said, I'm worried about Trinity, though not disliking it yet.
It's been 6 issues. I know for a weekly title that's barely 10% of the series, but for the average comic that's an entire arc. That sort of comparison makes the fact that, thus far, the "main" story of Trinity has progressed most of the way through one fight. It feels like these first few issues of Trinity have Dragonball Z syndrome -- a bunch of guys fighting, the dialogue mostly consisting of the characters talking about the fight, the subplot consisting of people watching the fight and talking about it. This is a story-telling style that wore on me in 8th grade, so my impatience is (in my opinion) understandable.
That being said, I'm intrigued by the concept being laid down here by Busiek. Having the three main DCU characters form some sort of mystical trinity fits well with the themes going on in the other mega-title right now, Final Crisis. Whether these are going to intersect at all? I wouldn't bet on it. Final Crisis is Morrison's baby, and come hell, high water, or contradictory mini-series, nothing's stopping Morrison from writing what he wants.
So what does all this mean for Trinity? It means that, at best, we can hope for a long, well-written story revolving around some neat ideas that won't have much of an impact outside of it, which wouldn't be so bad. This will require a swift progression of things from the current stagnant-style of plotting that's occurred thus far, but it could happen. Of course, there's the worst-case scenario too, but, hey -- I'm an optimist.
New post?!
Alright, just to let you guys know...I'm sorta back. Will I have time to update all the comics, like that brief, terrible, awesome summer? Probably not. But I'm going to try, sorta! We'll see how things go. But, for now, let's get restarted...
Sunday, October 14, 2007
Wonder Girl #2 (of 6)
One-sentence summary: This Amazonian mini-series leaves too little to the imagination when it comes to story with acceptable art.
I seem to be coming down on all the comics I read lately. I promise, that's not the case, even if it seems so. Maybe it's just because I've been reviewing some mediocre comics.
Wonder Girl is a mini-series that hopefully will accomplish something. I've disliked the character ever since they decided to make her perky and blonde, so maybe this will change that. There are several good directions this series could take; personally, I'd really like to see this series, dealing with the huge personal crisis for Wonder Girl that was Amazons Attack, show our protagonist develop in some major ways, and possibly not in the friendliest, sun-shiniest ways.
However, from the major plot hints, what will happen is that Hercules will end up being against her the whole time after getting her to break against her other friends, she finally seeing the truth or some such stuff like that and fighting back, rejoining the side of good and having her faith in her friends and community restored, all on some large scale so that the public trusts her again. Woo.
This issue was ok. Obviously no big twists yet, and the set-up's not horrible, but just ok. I'd say wait on this to see if it's worth the trade paperback or not. Oh, and the art's just alright. I really don't have strong feelings about the pseudo-animated style that's so popular right now.
I seem to be coming down on all the comics I read lately. I promise, that's not the case, even if it seems so. Maybe it's just because I've been reviewing some mediocre comics.
Wonder Girl is a mini-series that hopefully will accomplish something. I've disliked the character ever since they decided to make her perky and blonde, so maybe this will change that. There are several good directions this series could take; personally, I'd really like to see this series, dealing with the huge personal crisis for Wonder Girl that was Amazons Attack, show our protagonist develop in some major ways, and possibly not in the friendliest, sun-shiniest ways.
However, from the major plot hints, what will happen is that Hercules will end up being against her the whole time after getting her to break against her other friends, she finally seeing the truth or some such stuff like that and fighting back, rejoining the side of good and having her faith in her friends and community restored, all on some large scale so that the public trusts her again. Woo.
This issue was ok. Obviously no big twists yet, and the set-up's not horrible, but just ok. I'd say wait on this to see if it's worth the trade paperback or not. Oh, and the art's just alright. I really don't have strong feelings about the pseudo-animated style that's so popular right now.
Saturday, October 13, 2007
Superman #668
One-sentence summary: Following up on a development from over a year ago, a new story arc is introduced in this decent issue.
This issue wasn't too bad. It's always fun to see the various takes writers have on the relationship between Batman and Superman, and this issue was no exception, with those scenes being the highlight for me.
While this served as a good introduction to the story, it wasn't much more than that. It was sort of fun, which is always good. The art was decent, but that's about it. All in all, not too bad, but nothing to feel too strongly about.
This issue wasn't too bad. It's always fun to see the various takes writers have on the relationship between Batman and Superman, and this issue was no exception, with those scenes being the highlight for me.
While this served as a good introduction to the story, it wasn't much more than that. It was sort of fun, which is always good. The art was decent, but that's about it. All in all, not too bad, but nothing to feel too strongly about.
Green Lantern #24
One-sentence summary: Part 8 of the Sinestro Corps War is here, with plenty of action and plot progression.
I've been a big fan of the Sinestro Corps War since it started, so it's no surprise I've continued to enjoy it. I really think the overall plot has been really well paced, with a good presentation of the major battles as well as a series of important plot twists, each one impacting the story in a large way. For that alone I'd like this story-arc in comparison to some of the other major stories going on out there, but in addition to this we have good writing for the characters and just enough small touches to keep the book grounded (I'm, in particular, thinking of the Michigan emblem on Guy's power lantern).
The art continues to be good for the book. It's nothing I'll write fan letters over, but it does a good job of helping tell the story. The lanterns soaring through the air during the battles is always nice.
This story is being keyed up to what should be a pretty incredible conclusion. This is definitely a quality title, and I look forward to each new progression every two weeks.
I've been a big fan of the Sinestro Corps War since it started, so it's no surprise I've continued to enjoy it. I really think the overall plot has been really well paced, with a good presentation of the major battles as well as a series of important plot twists, each one impacting the story in a large way. For that alone I'd like this story-arc in comparison to some of the other major stories going on out there, but in addition to this we have good writing for the characters and just enough small touches to keep the book grounded (I'm, in particular, thinking of the Michigan emblem on Guy's power lantern).
The art continues to be good for the book. It's nothing I'll write fan letters over, but it does a good job of helping tell the story. The lanterns soaring through the air during the battles is always nice.
This story is being keyed up to what should be a pretty incredible conclusion. This is definitely a quality title, and I look forward to each new progression every two weeks.
Green Arrow/Black Canary #1
One-sentence summary: Picking up from where the Wedding Special left off, this series begins with a partial reveal over the cliffhanger delivered with a good conservative art.
I wasn't sure what to expect out of this series, but so far it's delivered fairly well. The dialogue goes along well with Black Canary and Green Arrow's coarse humor, and the story is actually delivering me something interesting using characters I normally don't care so much about.
The story progressed nicely for a first issue, not being over-burdened with introductions or flashbacks but moving along well while explaining what's happened already to the new readers. It leaves us with another bit of a cliffhanger, but not such a major one as last time. There are a few particularly nice scenes, the best (to me) being Dr. Mid-Nite explaining the autopsy he and Batman are about to perform as Batman powers up an electric saw in the background.
I really have a thing for the clean, crisp style here, somewhat similar to the pop-art style of Mike Allred's stuff, but less colorful, more conservative. I particularly like this style when applied to the older characters -- Batman, Dr. Mid-Nite, classic Green Arrow.
Good issue of what looks to be a pretty decent series. I'm definitely looking forward to future issues of this.
I wasn't sure what to expect out of this series, but so far it's delivered fairly well. The dialogue goes along well with Black Canary and Green Arrow's coarse humor, and the story is actually delivering me something interesting using characters I normally don't care so much about.
The story progressed nicely for a first issue, not being over-burdened with introductions or flashbacks but moving along well while explaining what's happened already to the new readers. It leaves us with another bit of a cliffhanger, but not such a major one as last time. There are a few particularly nice scenes, the best (to me) being Dr. Mid-Nite explaining the autopsy he and Batman are about to perform as Batman powers up an electric saw in the background.
I really have a thing for the clean, crisp style here, somewhat similar to the pop-art style of Mike Allred's stuff, but less colorful, more conservative. I particularly like this style when applied to the older characters -- Batman, Dr. Mid-Nite, classic Green Arrow.
Good issue of what looks to be a pretty decent series. I'm definitely looking forward to future issues of this.
Countdown #29
One-sentence summary: While, technically, things happened in this issue, nothing of any importance did, which is a bit irritating.
I've probably given Countdown more patience than the average comic book reader. However, between the three Countdown tie-in titles a week (Captain Carrot? Really now?) that serve no purpose (looking at you, Search for Ray Palmer), and issues like this, which I'll rant about more next paragraph, well, they wear a reader out.
This seemed like some sort of bizarro issue, where the main title did nothing but support the tie-in titles' existences, and even then fairly thinly. It reminds me of watching the Turtles (of the Teenage Mutant Ninja kind) as a kid and them having their annual hour-long special which, I would realize later, served no purpose except to introduce characters which had already been made as a action figures, or had molds in process. That seemed to be the logic behind this issue. We had the exhilirating conclusion to the Jokester's plotline in that, well, he died. We introduced Lord Havokk or whatever his name is in order to to sell that 8 issue mini-series starting next month.
However, it's not all bad. I do like how ridiculously evil Mary Marvel has become so instantly. The Amazon storyline still doesn't interest me, which is pretty impressive considering how easily interested I am. The Karate Kid storyline, however, is pretty great, even if they only gave it a page this week. I'm definitely looking forward to see how badly Batman has managed to eff the world up again through Brother Eye. I'm not particularly interested in this DC-wide subplot of metahumans being captured and stored (I guess Marvel has ripped off of DC enough that turnabout's fair play), although I could have my opinions quickly turned if they actually did something with it (as is, the Suicide Squad series is still pretty unfocused).
The art's improved in this issue, I'd say. I'm sure there are some who'd say otherwise, but from my quick read nothing stood out too badly, and that's a good thing for a weekly title.
All in all, not too bad, really, but DC is doing some marketing things that are done tactlessly enough that they're distracting, and that gets to me.
I've probably given Countdown more patience than the average comic book reader. However, between the three Countdown tie-in titles a week (Captain Carrot? Really now?) that serve no purpose (looking at you, Search for Ray Palmer), and issues like this, which I'll rant about more next paragraph, well, they wear a reader out.
This seemed like some sort of bizarro issue, where the main title did nothing but support the tie-in titles' existences, and even then fairly thinly. It reminds me of watching the Turtles (of the Teenage Mutant Ninja kind) as a kid and them having their annual hour-long special which, I would realize later, served no purpose except to introduce characters which had already been made as a action figures, or had molds in process. That seemed to be the logic behind this issue. We had the exhilirating conclusion to the Jokester's plotline in that, well, he died. We introduced Lord Havokk or whatever his name is in order to to sell that 8 issue mini-series starting next month.
However, it's not all bad. I do like how ridiculously evil Mary Marvel has become so instantly. The Amazon storyline still doesn't interest me, which is pretty impressive considering how easily interested I am. The Karate Kid storyline, however, is pretty great, even if they only gave it a page this week. I'm definitely looking forward to see how badly Batman has managed to eff the world up again through Brother Eye. I'm not particularly interested in this DC-wide subplot of metahumans being captured and stored (I guess Marvel has ripped off of DC enough that turnabout's fair play), although I could have my opinions quickly turned if they actually did something with it (as is, the Suicide Squad series is still pretty unfocused).
The art's improved in this issue, I'd say. I'm sure there are some who'd say otherwise, but from my quick read nothing stood out too badly, and that's a good thing for a weekly title.
All in all, not too bad, really, but DC is doing some marketing things that are done tactlessly enough that they're distracting, and that gets to me.
Black Adam: The Dark Age #3 (of 8)
One-sentence summary: Black Adam's series detailing his quest for his power and for Isis' resurrection continues here with a battle with Hawkman and a gathering of power against Adam.
I was pretty excited for the Black Adam mini-series, and while it hasn't quite lived up to my expectations, it certainly hasn't been too bad. This issue delivered with a mild amount of story, but mostly served to set up for what I imagine will be the rest of the series. We see the first open confrontation between Black Adam and another metahuman, thus revealing his return to the metahuman community, as well as his attempted use of the Lazarus Pit last issue not going unnoticed.
What I like about this story is that Black Adam is really being considered a major-level threat by many sides -- it really will end up being him against the world. It's an ambitious set-up for a mini-series, but I have faith that it can be lead to a good conclusion.
The art for this series is always just fine. I'm never blown away by it, but it does a better than average job of detailing the characters in a realistic fashion.
Overall, this was a pretty good issue, definitely leading me to look forward to the future issues of this series.
I was pretty excited for the Black Adam mini-series, and while it hasn't quite lived up to my expectations, it certainly hasn't been too bad. This issue delivered with a mild amount of story, but mostly served to set up for what I imagine will be the rest of the series. We see the first open confrontation between Black Adam and another metahuman, thus revealing his return to the metahuman community, as well as his attempted use of the Lazarus Pit last issue not going unnoticed.
What I like about this story is that Black Adam is really being considered a major-level threat by many sides -- it really will end up being him against the world. It's an ambitious set-up for a mini-series, but I have faith that it can be lead to a good conclusion.
The art for this series is always just fine. I'm never blown away by it, but it does a better than average job of detailing the characters in a realistic fashion.
Overall, this was a pretty good issue, definitely leading me to look forward to the future issues of this series.
Batman Confidential #10
One-sentence summary: The newest edition of the Joker's origin nears its conclusion in this darkly drawn tale from early in Batman's life.
Now, I'm not entirely certain that I support a new origin to the Joker, but at least I can lay back safe in the knowledge they'll never give him an absolute origin, just a variety of possible origins. However, this one's not been bad, though with some elements that are a bit off (Batman ordering a death?).
The story is fittingly dark and does a good job of establishing the Joker's physical abilities, as well as setting up the irony of Batman creating his own worst enemy, and, for that matter, the presence of superheroes creating the supervillain in general. For that, this is a pretty interesting comic.
The story is generally good, but the dialogue simply serves to get the job done. Nothing strikingly bad, but I can't imagine these lines being quoted. I actually like the art; heavily penciled, it manages to give a dark feel to the story without diminishing the brightness or contrast used with the colors.
Not too bad. I see that this story has several more issues left, which seems like a bit much, but this issue wraps up the first half of it very well and, including the last two issues, could serve as a good self-contained 3-part story.
Now, I'm not entirely certain that I support a new origin to the Joker, but at least I can lay back safe in the knowledge they'll never give him an absolute origin, just a variety of possible origins. However, this one's not been bad, though with some elements that are a bit off (Batman ordering a death?).
The story is fittingly dark and does a good job of establishing the Joker's physical abilities, as well as setting up the irony of Batman creating his own worst enemy, and, for that matter, the presence of superheroes creating the supervillain in general. For that, this is a pretty interesting comic.
The story is generally good, but the dialogue simply serves to get the job done. Nothing strikingly bad, but I can't imagine these lines being quoted. I actually like the art; heavily penciled, it manages to give a dark feel to the story without diminishing the brightness or contrast used with the colors.
Not too bad. I see that this story has several more issues left, which seems like a bit much, but this issue wraps up the first half of it very well and, including the last two issues, could serve as a good self-contained 3-part story.
The All-New Booster Gold #3
One-sentence summary: The new Booster Gold series continues to be entertaining with plenty of time-travel fun.
After a couple of start-up issues, the new Booster Gold title is really starting to get rolling. In this issue, Johns gives us a rather fun, if somewhat unnecessary, scene with Jonah Hex. The writing in this series has done a good job of bouncing between the more serious story of Rip Hunter and Booster trying to stop the time criminals and the relaxed, almost silly, dialogue between Booster, his ancestor, and anyone they encounter.
The art in this series works very well. Bright, colorful, and generally solid, it doesn't try to push the series to be anything it's not.
This is a pretty nice series. I've been enjoying its mix of some humor with a strong superhero story. Hopefully it doesn't delve too far one way or another, but so far it's been good.
After a couple of start-up issues, the new Booster Gold title is really starting to get rolling. In this issue, Johns gives us a rather fun, if somewhat unnecessary, scene with Jonah Hex. The writing in this series has done a good job of bouncing between the more serious story of Rip Hunter and Booster trying to stop the time criminals and the relaxed, almost silly, dialogue between Booster, his ancestor, and anyone they encounter.
The art in this series works very well. Bright, colorful, and generally solid, it doesn't try to push the series to be anything it's not.
This is a pretty nice series. I've been enjoying its mix of some humor with a strong superhero story. Hopefully it doesn't delve too far one way or another, but so far it's been good.
I'm back -- sorta
Alright, so, here's a quick return post:
Between school and the rest of life, things have been hectic enough lately that I've barely had enough time to read comics, let alone write about them. However, I'm going to try to start a little bit. At least intermittently.
Between school and the rest of life, things have been hectic enough lately that I've barely had enough time to read comics, let alone write about them. However, I'm going to try to start a little bit. At least intermittently.
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