Fantastic Four Issue 605

Fantastic Four Issue 605

With “Forever” taken care of, and Jonathan Hickman’s amazing run on Fantastic Four coming to an end soon, you might wonder what the writer has in store for his last few issues. As Vince and I said during a recent podcast episode, how can you top “Forever“? While I was not expecting him to coast till his next project, I certain was not expecting a story as poignant as “End of Line” featuring the Thing. Now, I won’t lie; I’ve never been a big fan of the Thing. Sure, he’s had some very strong character moments, such as with Johnny’s (supposed) death, however his two dimensionality has always held him back, in my opinion. The Thing likes to hit things. And that’s been his primary role in the Fantastic Four. What Hickman has done with “End of Line” is demonstrate that a powerful writer is capable of making us care about characters we otherwise wouldn’t. The story starts with a brief explanation of recent events, though the most important part pertains to the Thing. “Thanks to a serum devised by the kids of the Future Foundation, the Thing reverts to his normal human form for approximately one week every year.” Now, what we aren’t told, until later, is that it is only during these weeks that the Thing actually ages. During the course of this exceptional issue, we see Reed and his father Nathaniel travelling through time into the future at various intervals, to check up on the Thing. Their first stop is in NYC, 3012 A.D., where Reed’s suspicions are confirmed about the Thing’s ageing process. Next stop, NYC Territory, 4012 A.D., where we find the Thing giving a speech to the (very large) graduating class of the Future Foundation. Ben’s looking a little gruffier, rocking a stone beard for effect. He’s still uncomfortable with public speaking, though his few words are sincere and speak volumes of the many years he’s lived. Not happy to leave it at that, Reed asks his father to take them to 5012 A.D. and finally 6012 A.D., when an aged Thing has finally passed. Having seen during these times that the Thing has never forgotten what was most import in his life, his time with the Fantastic Four –which by all accounts would only represent a very small portion of his life– Reed makes the time for his best friend, leaving his lab to watch a fight on TV over a couple beers. This issue works on so many levels. You can’t simply break it down to a single line or two. To do so would be such a disservice to the work that went into crafting this amazing, touching, thought-provoking journey. Hickman proves yet again that he is as capable of producing inter-galactic wars, the likes of which we’ve rarely seen, as well as character-driven single issues which strike at your being like an uppercut from the Thing. Also, Garney and Keith did a phenomenal job with the art in this issue, capturing the time travel with style, and the facial expressions with all of the raw feeling that you would expect from such a story. Regardless of what you have thought of Fantastic Four in the past, you owe it to yourself to pick up this issue. Fantastic Four Issue 605 Marvel Story: Jonathan Hickman Art: Ron Garney, Jason Keith...

The Amazing Spider-Man Issue 682

The Amazing Spider-Man Issue 682

Spider-Man has been ridding one hell of a wave as of late. Between his team-ups with the Avengers, FF, and various duo story-arcs, he’s proven that he can hold his own amongst (and against) the best. While that may not be anything new, what is new is that his personal life is finally looking up as well. Sure, he and Carly decided to call it quits, but MJ’s already back in the picture, and no doubt will lead to more than just hot coffee (if you know what I mean, he writes with a wink). At the start of The Amazing Spider-Man issue 682, we see Spider-Man taking on Equinox using gadgets he’s developed at Horizon Labs. I loved the Goblin throwback, and Stefano Caselli’s artwork for this was nothing short of insane (which we’ll get more into in a bit). The scene, as well as the one immediately following the fight, is important because it allows Peter to come to the realization that it isn’t just Spider-Man who is saving lives and bettering mankind; a man’s legs are saved thanks to one of Peter’s inventions from Horizon Labs. A look around the city during a walk in to work allows Parker to see how much of an influence his inventions have had on others around him; inventions which first had been made to help Spider-Man. Of course, any longtime reader of the series knows; Peter cannot remain happy or at peace long. Let’s be honest, the universe would collapse. Queue Doctor Octopus and his nefarious plan which started several issues back. But wait… is it nefarious? Doc Oc turns up the heat on the planet, using satellites he’s gotten into space (see prior ASM issues co-starring Johnny Storm). In a worldwide television broadcast, he claims to have a solution to global warming, and that as one of his last acts, the doc wants to leave the world in a better state than when he came in. You see, the ol’ boy’s dying. Truth be told, he is not looking his best, which brings me back to Caselli’s artwork in this issue. Caselli is the man. Seriously. This issue is a testament to what amazing art can be in comics. Check out these two page spreads and tell me you aren’t seriously impressed. Caselli and Frank Martin Jr. go above and beyond with these. Which leads us to Dan Slott. Slott has proven time and again that he was placed on this earth to write Spider-Man. His characters are engaging and relatable. He knows how to tell a story in such a way that you are driven to turn the page. This issue is no different. From beginning to end, you are drawn into the events that unfold; and much like Spider-Man, you will not accept a kindler, gentler Doc Oc just looking to green-up the world before fertilizing it 6 feet under. Spider-Man, knowing he will have to go up against the Sinister Six, pulls out all the stops in terms of his newest Horizon Labs gadgets (made specifically for each villain). He confronts the Avengers, and in a single pannel proves without a doubt that he has the balls to lead them into battle against the Six. “Perhaps what?! You’re actually discussing this?! What is this? Earth’s mightiest chat room?!” “Spider-Man? Is that–?” “Yeah. New suit. New look. Get over it. I’m talking now. And I’m saying the only two words anyone here should be saying–” As I said on the podcast, I maintain he should have said, “Avengers friggin’ assemble!” But maybe that’s just me. Ends of the Earth starts now. Hells ya. The Amazing Spider-Man Issue 682 Marvel Story: Dan Slott Art: Stefano Caselli, Frank Martin Jr....

The Incredible Hulk Issue 6

The Incredible Hulk Issue 6

As I’d said on the podcast after The Incredible Hulk’s relaunch, I was kinda diggin’ the new storyline. It certainly wasn’t rocket science, and the art had its strength and weaknesses, but overall, I was enjoying it. That isn’t to say there weren’t massive plot holes, the likes of which even the Hulk couldn’t have made; but I was willing to let Jason Aaron run with the story for a while and see where he would take us. Well, seems he’s taken us off the deep end, and when you consider the source material for this series, that’s saying a lot. Issue 6 of The Incredible Hulk is Chapter Three in the Hulk vs. Banner! story-arc which finds Hulk fighting Bruce Banner finally. Up until this point, we’ve seen each in their own stories, and this issue is where they finally converge in what is to be a spectacular battle… even though that concept is the most nonsensical idea ever. Jason tries to lay credence to Banner as an actual threat to the Hulk, by having the crazed scientist firing a variety of weapons into his face. Apparently, since the “split”, ol’ Banner’s forgotten that you can’t take the Hulk down by firing anything at him… that only makes him stronger. So instead of using his noggin’ and coming up with a more intelligent plan, he just… continues… to… shoot… things… at… the… Hulk. While hiding behind a very, very powerful gamma shield… which S.H.I.E.L.D. should definitely steal and patent for all of their squishy agents, because apparently this thing can take a beatin’ from the Hulk and keep whoever’s stupid enough to piss him off alive. I’m sorry, but this story-arc went from adventurous fun, to insulting to the reader within the last few issues. The explanation for the split (Hulk getting Dr. Doom to separate he from Banner) is off the charts ludicrous, and the fact that despite the Hulk wanting to be separated from Banner, he goes back to rescue him from Dr. Doom. I’m sorry, wha-? And with Banner’s island about to a’splode, instead of leaping to safety, leaving Banner to fry by himself, the Hulk sticks around under the guise of wanting to make certain Banner dies. It just doesn’t work… and I haven’t even gotten to Amada von Doom (and her forced backstory inserted at the most inopportune moment) and her pal Igor, who takes down hulked out locals with his hump. The entire issue is a roller-coaster that’s run off its rails and its simply not fun to read. Likewise, the art has shifted and gotten far too erratic, not to mention confusing and at times, just plain bad. The fight scenes are a convoluted mess and the non-hulked out people’s proportions are off quite often. Check out Banner when he calls Hulk an “ingrate” or when he refers to his bomb, or pretty much any shot of Amanda. What started as a fun romp has become a runaway story which Aaron doesn’t appear to have any control of, and that is quite disappointing. He’s basically jumped the hulked out shark. I haven’t given up on it entirely yet, however my faith in this relaunch may very well go down with that island once Banner’s gamma bomb goes off. The Incredible Hulk Issue 6 Marvel Story: Jason Aaron Art: Whilce Portacio, Allen Martinez, Arif Prianto, Sakti Yuwono, Mashuri...

The Cape Miniseries

The Cape Miniseries

Back in April of last year, I reviewed The Cape, a fantastic one-shot which was nominated for an Eisner award (which it lost to Hellboy: Double Feature of Evil, by Mike Mignola and Richard Corben). I thought The Cape was absolutely fantastic, and so was quite happy when a four part miniseries was announced and released last year. With all of the recent events from the big two, it’s taken me a while to finally get to it, though that is certainly no reflection on the quality of the series. Why? Because it’s as gripping and intense as the one-shot upon which it is based. Please note this feature is full of spoilers Before we get started on the story, which is likely to have you re-evaluating the mind of a the common super-villain, I have to mention the brilliant artwork by Zach Howard and Nelson Daniel. Both have returned, after the stellar work that they did on the original one-shot, and brought with them their A-game. As you can see from the 4 covers alone, Howard and Daniel are able to convey a wealth of emotion through facial expression, mood, setting and lightning. There were some fantastic variant covers for this run, but that said, even the originals were absolutely fantastic.        This caliber of art is required, if it’s to do justice to a story this gripping. As with the one-shot, the writing in this miniseries is gritty, intense, emotional and exceptionally powerful. We continue to follow Eric in his decent into madness. At this point, it has become quite clear that this is not occurring in Eric’s mind, and that the cape is in fact allowing him to fly. Despite the clear intent in the one-shot, the reader’s rational brain still fights against the possibility of a child’s cape which allows flight. You keep thinking that this must be happening in his mind. Unfortunately, that is not the case. What the cape is also allowing, is for Eric’s most disgusting personality traits to come to the surface. At the end of the one-shot, we got to see that once Eric’s cape was returned to him, he did not choose a “heroic” life, but rather allowed his insecurities to feed on his weak mind. His jealousy, pettiness and sleaziness bubbled to the surface and we saw that he instead chose to become a villain. The Cape miniseries is as unapologetic as the one-shot, in terms of how it depicts Eric. There is no sugarcoating the character, nor any attempts to rationalize his behavior. He’s an ass. Plain and simple. Certainly, if you dig, you can say that it’s because of the loss of his father (which justifiably hit him very hard), as well as the insecurities which plagued him after the accident, however those are weak arguments when compared to the wrath which he doles out once he gets his hands back onto that cape. Murder is easy for him… to the point where he is creative with it. Wether dropping bears or cinder blocks on cops, or ripping through jet engines with a chainsaw, Eric actually appears to take pride in killing. Of course, it’s not only that he is killing, but also who he is killing. Sure, he’s taking down anyone who is getting in his way, but they are getting in his way of killing those whom he believes have wronged him over the years. Having already knocked off his girlfriend in the one-shot, Eric sets his sights on both his mother and his brother. We see his mother run for her life several times in the series, as well as stand up for her other son in one tense scene which sees her fighting back against Eric (which also demonstrates that he is not invulnerable). That said, there isn’t much Ma can do when Eric launches that chainsaw into the jet’s engine (see image above). I’d like to say that this scene is shocking, because this goes above and beyond actually threatening his mother. He actually kills her, along with the hundreds of others on the jet. However by this point, the reader has absolutely no faith in Eric, nor in any chance of redemption. We understand that he’s an absolutely terrible person who will continue this melodramatic, self-obsessed violence until someone finally ends him. And our only hope appears to be Eric’s brother, who takes several graphic beatings, but still maintains his integrity and strength throughout. Ciaramella does a phenomenal job of keeping the tension active till the very last moment; and though it could have been cliched, instead there is truth in the writing which allows for closure on the reader’s part. We were never expected to cheer for the story’s main character, nor want him to get better. As with all villains, we want him beaten. And unlike the big two who refuse to kill off their villains (or at minimum, allow them to stay dead), Ciaramella gives us the resolution that we want, and deserve. The Cape four part miniseries is a fantastic read from start to finish, and I highly recommend it. The Cape Issue 1-4 IDW Story: Jason Ciaramella (based on the short story “The Cape” by Joe Hill Art: Zach Howard, Nelson Daniel Note that it is a graphic series, not intended for young readers....

Ultimate Comics Spider-Man v2 Issue 1

Ultimate Comics Spider-Man v2 Issue 1

I’ll admit that my first reading of Ultimate Comics Spider-Man v2 Issue 1 wasn’t under the best settings. It was past two a.m., I’d had to pop a few pain killers, and though groggy, I couldn’t fall asleep. At times like these, I like to turn on my iPad and enjoy a few new comics. Is this fair to the writers? Not always. However most times, I stand by my initial opinions… although I may be a little sketchy on the details as to why I feel this way. Such was the case with this new number one. Another thing I should mention up front is that though I was very impressed with the actual Death of Spider-Man story-arc as a whole, and liked the fact that Marvel was going to kill such an iconic character (even though it was only in the Ultimates universe), I did not like the idea of them replacing Spider-Man so quickly… if at all. To me, this is not so much a new beginning, as it is just a marketing scheme, such as what we’re also seeing with the current X-Men shenanigans with Schism. But I digress. None of this is to say that I’ve had it out for Miles Morales, our new man, er, boy, in tights. But rather that I already took issue to the manner in which he was being given his powers and forced into the limelight. Let’s start at the beginning of this cliché-ridden tale. The issue starts eleven months ago. Norman Osborn, ever the egoist, fills panels with text about the myth of Arachne and the origins of the first Spider-Man (his doing), all the while playing with arachnid subject no. 42. As any geek will quickly tell you, 42 is the answer to the ultimate question of life, the universe and everything. Vince pointed out during our podcast this week that 42 was actually also the jersey number which Jackie Robinson wore. Jackie was the first black Major League Baseball player, and though that may be a coincidence, I’d be inclined to believe that Bendis was ahead of the curve on that one and planned it. Back to the no. 42 spider who, as spiders are wont to do in Marvel comics, wanders outside of its containment facility and stows a ride back to a thief’s apartment where it promptly bites young Miles Morales on the hand. By this time, a lot of character development has been established. Miles is from a lower class family, though I wouldn’t go so far as to say impoverished (as that hasn’t been defined). We do see however that it’s a tough neighborhood to get out of, and so Miles’s parents are quite happy when he wins a lottery to attend the Brooklyn Visions Academy, a charter school that will give Miles a better chance at getting a decent education. Miles isn’t very excited however, feeling as though he hasn’t earned the chance. Don’t fret though, for what Miles lacks in self-confidence and worth, he more than makes up for in mopping and moodiness. Here’s where I have one of my biggest complaints with where it appears this series is going. The obvious comparisons will have to be made to Peter Parker, who despite being a geek, was incredibly funny, witty, and just plain fun to read. Miles, by comparison, is as lifeless as a cinder block. He’s boring. Very boring. I’ve raised four kids and can tell you, most are more full of life. Perhaps the argument can be had that he is old beyond his years, and that this is what will help us believe in him as Spider-Man. This is another concern of mine, as Miles is very young, and I’m not certain how believable he will be in this role. To be quite honest, the only thing keeping me interested at this point is my faith in Bendis’s writing, although that faith has been shaken a few times in the past… I just hope this isn’t one of those times. By the end of the issue, we see that the spider bite is affecting Miles a little differently than it did Peter, however how that will play into his role as Spider-Man is anyone’s guess. Anyone but Bendis, that is. Don’t let us down, Brian. Not with this IP. Ultimate Comics Spider-Man v2 Issue 1 Marvel Story: Brian Michael Bendis Art: Sara Pichelli, Justin Ponsor...

Return of the Dapper Men

Return of the Dapper Men

When the Will Eisner Comic Industry Award nominations were released several weeks ago, one title jumped out more than any other. Nominated in five categories, Return of the Dapper Men caught everyone’s eye. For those wondering, here are the categories which it, as well as writer Jim McCann and artist Janet Lee, were nominated in: • Best Publication for Teens • Best Graphic Album—New • Best Writer • Best Painter/Multimedia Artist (interior art) • Best Publication Design Press release: Part fairy tale, part steampunk, all original- the graphic novel that’s already being hailed as “ground-breaking” and “an instant contemporary classic,” RETURN OF THE DAPPER MEN” is published by Archaia and is available wherever books are sold. Features a Foreword by Tim Gunn (Project Runway), and is listed on Publisher’s Weekly Great Graphic Novels as Gifts and “Essential Reading” for Fall 2010 by GraphicNovelReporter.com. Order now from your favorite online retailer or local seller. Imagine a land where Time itself has ceased to exist. Welcome to Anorev, a world in between time, where children have played so long it’s almost become work, machines have worked so long they have begun to play and all the clocks have stopped at the same time. It’s a stagnate land of no change and deep division where only one human boy- Ayden, the boy who still questions, and one robot girl- Zoe, the robot whom all others protect and believe to be special, are the only ones who interact. All of this changes, however, when 314 identical looking dapper men rain down from the sky, bringing time back with them. There is one among these Dapper Men who finds Ayden and Zoe and together the three of them set about changing the world. They must discover what made time stop, understand what their true places are in this world, and learn what “tomorrow” really means. The sun is setting for the first time in memory, and once that happens, everything changes. RETURN OF THE DAPPER MEN is a visually stunning fairy tale that combines steampunk with fantasy and science fiction with Renaissance style, brought to life from the minds of award-winning playwright and comic book writer Jim McCann (HAWKEYE & MOCKINGBIRD) and critically acclaimed visual artist Janet Lee. Together these two have created a world where J.M. Barrie, Lewis Carroll and Maurice Sendak meet Jim Henson and Tim Burton. All sharply dressed in a pin-stripe suit and a dapper bowler hat. Tick tock, time is about to start. I read up a little on the title, and was interested enough to order the book immediately. It took several agonizing weeks to arrive (as I’d bundled it with Chew: The Omnivore Edition Volume 1). My local comic book shop didn’t have any copies (of either), so I was buying the book without having actually gotten to hold it in my hands. I didn’t know what to expect, however the price on Amazon was superbly cheap, so I wasn’t worried. That said, once the package arrived, I was blown away. I could not believe how unbelievably gorgeous Return of the Dapper Men is. Without even cracking open a cover, I knew I was in for a treat. As such, I got myself a nice glass of wine, sat down and put my feet up in my comforter and prepared for a wonderful experience. What I did not expect, despite Tim Gunn’s introduction, was an experience so profoundly moving. Drawing on fantastical stories like Alice in Wonderland, The Wizard of Oz and Peter Pan, Return of the Dapper Men is a story that has the power to change you… so long as you allow it. I’m not speaking of permanent, life-altering changes… but rather just a few moments, upon closing the book and running your hand over the cover, where you allow the child within to see the world for you. Return of the Dapper Men takes place in the make-believe world of Anorev. In this world, time has stopped. As such, there are no nights, no dreams, no tomorrows. Children never age. None but one questions this; a boy by the name of Ayden. Eventually, the children tunnel underground and create a space therein to live. There are no adults (or parents) in this story, though there are robots; and though it is never expressly stated, the metaphor is quite obvious without being one which hits you upside the head. Children and robots do not mingle, but for young Ayden and a feminine robot named Zoe, whom many believe has a purpose which far exceeds all other robots. The story till this point is brilliantly written. You find yourself completely immersed in this world, thanks to lyrically beautiful writing, and artwork that is warm and absolutely gorgeous in every regard. Before we go on, allow me to say that I am the type of reader which writers love writing for. I say this as both a reader and a writer. I allow myself to get sucked into a book. I don’t try to predict the outcome. I simply enjoy the path upon which the story will lead me. I stop and look around. I sometimes get lost. I suspend disbelief and it takes a lot before I try to impart any expectations. Certainly, there are times when I will read with a critical mind, however those are typically instances where that is required and I go in with that mind-set. However when I’m only interested in being entertained, I will open myself to many possibilities, and simply soak up everything on the page. I tell you this because Return of the Dapper Men was able to completely steal me from our mundane world. In so few pages, I was drawn down the rabbit hole and allowed to live in this make believe world. It made sense to me. It breathed and lived and when those hundreds of Dapper Men floated from the sky, all wearing identical dapper suits, my jaw loosened causing my mouth to open slightly. It did not drop entirely, but just this, for a comic book or graphic novel, is an astounding achievement. To have drawn me in so much that I could not put the book aside. I had to know what would happen next. It mattered to me. I was invested. Jim McCann is a brilliant writer whose words flow so effortlessly upon the page. In analyzing the story and the manner in which it is presented, you can appreciate the work that must have gone into choosing each word so perfectly. And yet when reading, simply for the sake of losing oneself in another world, the writing feels organic, and not the least bit forced. It breathes and lives. Allow me to tell you that this is such a difficult state to attain when crafting a story. McCann pulls it off… and what’s more, makes it appear effortless. And then there’s Janet Lee’s art. I was very happy that a brief piece was written at the back of the book which described the process which Janet used to create the illustrations for the book. I was already blown away, but to hear about the process simply made me appreciate the art, as well as the incredible amount of work that went into it, even more. Lee’s combination of decoupage, markers and pine boards creates stunning illustrations that not only fit the story perfectly, but also set the experience aside from all other comic books. Couple that with the book’s design, and you’ve got something that shines above all others on your shelf. As I said on Episode 23 of our podcast, I will be quite disappointed if this book and its creators aren’t awarded for this insanely good experience. There are so few graphic novels with the quiet power of Return of the Dapper Men… nor the intelligence, enlightened writing, or visual impact. Thank you Jim and Janet, for taking us upon this journey. Return of the Dapper Men Archaia Story: Jim McCann Art: Janet Lee...

Locke & Key: Keys to the Kingdom: “Sparrow”

Locke & Key: Keys to the Kingdom: “Sparrow”

Nominated for Best Single Issue (Or One-Shot), Locke & Key: Keys to the Kingdom: “Sparrow” focuses on young Bode Locke. The issue is written by Joe Hill. Art is handled by Gabriel Rodriguez, with colors by Jay Fotos. The issue starts with a single page meant to help folks new to the series get caught up. Basically, the Lockes have lost their father. Their ranks have been infiltrated by someone who’ll stop at nothing to get the key to the Black Door. And there are other keys, and each has the power to save them. In this issue, Bode discovers one such key frozen in the birdbath outside the mansion. Upon walking, or rather crawling through the door which the key unlocks, Bode is transformed into a sparrow (hence the issue’s title). The issue’s lesson, which is delivered to you with the strength of a hardcover novel upside the head, lies in Bode learning the importance of friendship. You see Bode at the start of the issue having problems relating to kids his age. He talks about how he prefers his life of solitude and non-conformity. Upon being transformed into a sparrow, he is whisked up into a flock. He learns that no single sparrow acts as leader, but rather that they all work and think as one unit; a feathered Borg, if you will. Moments after Bode passes through the door, Zack, the “wolf in sheep’s clothing”, passes through after him. Naturally, he takes on the form of a feral wolf. After a gruesome display of power, wherein he and several dogs attack a deer, the pack moves on to Bode’s brother and sister who are walking nearby in the woods. Bode sees this, and together with his flock, swoops down and attacks the pack. They save the two, however in so doing, lose many of the flock. Bode returns to the door, is transformed back to his human form, and goes running to the field where the battle took place. He finds all of the dead sparrows on the ground, tears coursing from his eyes. The last page of the issue shows him interacting with the kids his age, though this time, he makes new friends. This issue is quite literally one cliché after another. It’s well written, within reason, however there is nothing original in the story. The issue is still interesting, and part of me can understand why it was nominated for Best Single Issue (or One-Shot), however I was not that impressed that I would give it my vote as best. In fact, I probably would not have nominated it. As for Rodriguez’s art, it’s quite good. That said, I did not find it consistent, in terms of style. At times, it has a Calvin & Hobbes feel, while on the very next page, it is more realistic. This lack of consistency is especially noticeable when the flock of sparrows attack the feral pack. While some of the panels are drawn quite seriously, others have sparrows with green fighter pilot helmets. Facial expressions are also sometimes off, which off-sets the mood. Between the issue’s blatant lesson, which would make an after school special seem subtle, and the on-again off-again art, I would have found this issue quite difficult to nominate for an Eisner. Apparently the judges disagree with me. That said, I hope they’ll agree that it sure as hell does not deserve to win. Locke & Key: Keys to the Kingdom: “Sparrow” IDW Story: Joe Hill Art: Gabriel Rodriguez, Jay Fotos...

X-Men: First Class Trailer

X-Men: First Class Trailer

We got a new trailer for X-Men: First Class, and I must say, the more I see of this movie, the more excited I am about it. I am well aware of the fact that it has the potential to fall flat on its face, as did X-Men: The Last Stand and X-Men Origins: Wolverine. Still, I want to believe this will be good. They’re taking liberties with the actual origins, and that’s cool with me, so long as the result of such changes is a good mutant movie....

iZombie – Where Do I Start

iZombie – Where Do I Start

I’d seen all of the iZombie issues at the comic book store since the series began in July of last year, but having flipped through a few of them and found the art to be absolutely terrible, I’d always decided against reading the series. That isn’t to say that I can’t appreciate a good story regardless of the art, because I obviously can, being a writer. However, bad art in a visual medium really puts me off. Still, when I read that it was nominated for a Will Eisner Comic Industry Award for Best New Series, I decided I should give it a shot. I picked up eleven issues putting myself completely up to date, able to not only give the series more than a fair chance if it needed it, but also to give myself a strong foundation for this feature. Sadly, getting through all of these issues was an exercise in patience, disgust and determination (to get my money’s worth). And for the record, that disgust was not a pleasant disgust in the brain-eating content, but rather disgust at the fact that such tripe is actually published and given a nomination for Best New Series. THAT, more than anything else, is what bothered me about reading this series. iZombie is the story about Gwen Dylan, a zombie. Bet you didn’t see that coming. Obviously, writer Chris Roberson is trying to capitalize on the whole “i” craze, however it makes little to no sense to use it in this context. But I digress. Gwen works as a gravedigger, which is quite convenient. Not to mention cliché. Once a month, Gwen must dine on brain matter, otherwise she will turn into a stereotypical, brainless zombie… the kind that Shawn would have thrown old vinyl LPs at. So she digs up corpses which she’s recently buried and cracks open their head with a pretty, red spade. The only problem, other than the taste apparently, is that in so doing, Gwen absorbes many of the deceased’s memories. This leads her onto journeys to resolve issues which the deceased never got a chance to take care of prior to dying. In some cases, the deceased’s murderer still roams free, and Gwen takes it upon herself to confront this person. Apparently once you’ve already died, you no longer need backup… or common sense. If all of this is not cliché enough for you, how about we toss in a ghost girlfriend from the 50s. Or perhaps a were-terrier. You read that correctly. Not werewolf. Were-terrier. Still not cliché enough for you? Well hell then, why don’t we add vampires, mummies and what would this all be without Monster Hunters! I know what you’re thinking. Roberson would not possibly have Gwen fall for a Monster Hunter. That would be too much for even the most forgiving of clichéd, melo-dramatic, teen zombie fans to endure. I am sorry to report that yes… they do fall in love. They bump into each other a few times, an immediate spark in their eyes (of course), and even spend a “perfect” date together, finding out that they are in fact, soul mates. (By the way, click that link to see an example of some of the absolutely terrible art that you can expect to find in this series.) Over the course of the eleven issues I read, Gwen had to eat a couple brains. Roberson is using this as a means of keeping the series alive (bad pun), however it’s a tired mechanic which we’ve seen all too often. As such, I’ve absolutely no interest in any of the extended characters which Gwen forces herself to speak to in order to quiet the voices in her mind. The series also spends way too much time on the vampire college girls. It’s as if Roberson wants to try to attract as many emo-vampire readers as possible by filling pages with attractive college girls with sharp teeth. And just in case that doesn’t cover all the bases, he also tosses in the Bride of Frankenstein and a possessed chimp. (Editor’s Note: I am massaging my temples as I type this.) There is absolutely no clear course in this series. It is all over the map, and with each turn, more stupidity slaps you in the face. And then there’s the aforementioned art. I have seen better art from junior high school students. With the exception of a few panels, the entire series to date has been this bad. The art is very simplistic, though not stylishly so. It also appears to be colored with pencil crayons in some panels. I doubt it was. I’m just saying it actually looks that bad in some cases. Sadly, colors and shading are just as pitiful as the original pencils and inks. In some instances, facial proportions are completely out of whack, which leads me to wonder about Michael and Laura Allred’s art education. It is possible that the work is rushed, simply because they do not have the time required to make it better. If that is the case, then there’s not much that can be done to improve upon it. I tried to think of a lot of ways to approach this review wherein I could provide more constructive criticism, however the only critiques I can offer would be to replace the art staff, get a new writer who isn’t so hell-bent on clichés, trim the story to a manageable arc that’s tight and interesting, and change the name of the series to something that actually makes sense. Then I realized my constructive critique was basically to start from scratch. iZombie Vertigo/DC Story: Chris Roberson Art: Michael Allred, Laura Allred...

Marineman Issue 1

Marineman Issue 1

Ian Churchill’s “Marineman” started very recently. As of this writing, it is only up to issue 4, however during that brief time, it has managed to impress a lot of folks, including the judges who decided to give the series a nomination for a Will Eisner Comic Industry Award in the Best New Series category. Last year’s winner in the same category was “Chew“, also published by Image Comics. “Marineman” has some very large shoes to fill if it intends to win. Some people may recognize Churchill’s work from The Avengers, Uncanny X-Men, Superman, The Coven, Deadpool, Supergirl, Hulk or Elephantmen. The man is an insanely talented illustrator. What some may not realize is that he is also a very good writer. Thanks to the new creator-owned craze, we are getting to see just that in “Marineman“, a comic that has been in the making for quite a few years. Issue 1 begins with a suspenseful prologue that sets the audience up for what to expect. Basically, reading between the panels, you are told that something exciting (and dangerous) lurks below the surface. Once the prologue is done, you are introduced to Steve ‘Marineman’ Ocean. And what an introduction that is… Churchill’s art style is perfectly suited to this series. I read this issue full-screen on my 27” iMac and with every turn of the page, I was amazed at the artwork. The colors are bright, lively, and the shadows perfectly suited to every scene; whether out in the sun, underwarter, or in the gallery of the aquarium. Steve Ocean is, as his father late describes him, a walking tree. Churchill’s over-the-top style works well with Steve, who is mass of muscles complete with wavy blond hair and a permanent, winning smile. Steve hosts a marine show entitled, ‘Ocean Encounters’. He travels the world and brings his knowledge of marine life to the masses by means of his television show. This first issue contains a lot of character and plot setups. We are introduced to his business partner, Jake, who is Steve’s underwater cameraman and good friend. We also get to meet Steve’s father, however not before you discover that there will be a lot more beneath the surface of this series than you’d first expected. Deep below the Marine Research building is a vast cavern which originally belonged to the famed pirate; Captain ‘Flintlock’ Farrell. A hundred or so years later, the US Navy seized it and converted it into a hidden base which they call; Marine Base Alpha. Here, Steve’s father has been working on an mini-submarine prototype that can be used for deep-sea exploration. The issue’s last panel introduces yet another key character, Lieutenant Charlotte Greene, a highly recommended pilot who will test the sub. “Marineman” issue 1 is exceptionally well written. Without resorting to superhero hijinks, Churchill creates an intelligent, yet suspenseful first issue that sucks you in. Some may be a little put off by the mass of dialogue, especially in terms of marine facts, however I found it quite informative and felt it helped forward the story. I am quite disappointed that Ian Churchill was not also nominated for Best Writer/Artist. There may be a reason for that which I’m not aware of, however looking at the current list of nominees in that category, Churchill would definitely be a contender. That said, having read the next three issues in this series, I can say with certainty that I am very glad it has been nominated for Best New Series, and I wish it good luck. Expect more individual issue reviews soon, as I have been loving every single one. Ian Churchill’s “Marineman” Image Comics Story: Ian Churchill Art: Ian Churchill, Nicolas Chapuis...

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