BEST SHOTS: WONDER WOMAN, BLACK PANTHER, GREEN LANTERN, DMZ, STAR TREK AND MORE

[MattBrady]

by The Best Shots Team, courtesy of ShotgunReviews.com
Your Host: Troy Brownfield

Best Shots kind of exploded all over Newsarama this past week. Scrolling down, you’ll notice Best Shots Extras of three new first issues from Marvel: Omega Flight, Fallen Son: The Death of Captain America, and The Loners. On Tuesday, you’ll get an advance look at Avengers: The Initiative. And on Wednesday morning, we’ll have looks at three new offerings from Dynamite: Raise the Dead, Savage Tales, and the new Painkiller Jane. This is all part of our collective effort to make the best review column that we can.

And before we begin . . . The Column Rules!

1) Be kind to one another and my hard-working team. It’s fine to disagree with the reviews or with each other, but let’s stick to factual points and literary themes and leave the personal stuff out. Intentionally rude behavior isn’t welcome. And for the record, when you signed the terms of service agreement, you acknowledged that your posts can be deleted for inappropriate stuff. So don’t hide behind free speech when you know what you’re doing.

2) Each review is individually credited to the person who actually wrote it. Although Matt Brady’s name is on the post at the upper left, that’s because he is the 1984 Larry Bird and the rest of us merely a big towel being waved by M.L. Carr.

3) If you happen to catch a factual error or a typo, drop me a personal message and I’ll correct it. In a column that can often run up to 20 pages in Word doc form, things do sometimes squeak through. I’d rather you just zap me a mail than derail the entire discussion. I’ll delete any post about grammar, mainly because that means that the person could find a mistake but couldn’t be bothered to read the top of the column.

Now this week, on Best Shots . . . can I get a witness? The Rev returns!

Wonder Woman #6
Writer: Jodi Picoult
Art: Drew Johnson & Ray Snyder
Publisher: DC Comics
Review by Rev. O.J. Flow

At the beginning of Wonder Woman #4, Diana was no longer in costume, and her mantle had been taken by one of her fiercest foes, Circe. By the end, Diana reclaimed her gods-given title, but she was about to face off against virtually her entire rogues gallery.

When things got under way in Wonder Woman #5, Diana was back as Agent Diana Prince and investigating how her influence as a high-profile superhero was playing a role in a somewhat mysterious women's shelter. The stand-alone issue ended with more questions than it began with. In case you were wondering, nothing about the previous four issues was addressed.

And to kick off things in Wonder Woman #6, Here are the first sentences out of Diana' mouth: "I am not Wonder Woman. I have to keep reminding myself of that. I'm Diana Prince, now. Special agent for the Department of Metahuman Affairs. Whatever that means..."

Got that right. Never mind that in this issue, and the previous two issues, Diana is in costume for plenty of action AS WONDER WOMAN.

I really don't even know where to begin. They're really all over the place, aren't they? More often than not, I am onboard for a Wonder Woman book, but boy, if the powers-that-be aren't making if hard for the most patient fans of the Amazing Amazon. The false starts for what was supposed to be one of DC Comics' bigger relaunches in the last year have been off the charts. This book is definitely heading the pack in regards to the idea that it's not always a good idea to bring in a creator whose best work is in another industry or genre. DC gave handed the reigns to Allan Heinberg in 2006 to breathe new life into Wonder Woman, and he has had terrific artistic support from Terry Dodson, an artist who was born to draw the titular character. And I will give credit where it’s due: I loved the ideas Heinberg introduced, especially in terms of breathing life into longtime WW adversaries and giving Diana an interesting new gig. But the publisher clearly made a mistake editorially in releasing the book without two or three issues in the can. It took months for them to get out the first four issues -- a multi-part epic entitled "Who Is Wonder Woman?" -- the final chapter is still due God knows when, so they basically started over with another writer who, like Heinberg, has a more lucrative day job. I sooooo do not envy what writer Jodi Picoult has been handed, because editorial left her a mess to clean up.

On its own merits, Wonder Woman #6 is respectable stuff, thanks mostly to some gorgeously clean and expressive art from Drew Johnson and Ray Snyder, but it seems like they are reintroducing a character whom we are already familiar with, especially in light of the series' first story that, unnecessarily, set up a new status quo for the former princess of the Amazons. Truth be told, there is a very able creative team handling this character right now, but editorial decrees have ground things to such a halt that this book is impossible to recommend right now. If Heinberg’s run on the book was completed without the delays that ground momentum to a halt, this would’ve been a decent second act for this series. If you haven’t been reading this title, this might be a serviceable jump-on point – you’re not saddled with the baggage of the last year or so.

As established before, Diana is in her special agent role, but she, partnered with Nemesis (a welcome addition in my book), has been given the assignment of bringing in Wonder Woman for questioning regarding the time she killed Maxwell Lord. Is it just me, or is that so 2005? It makes little sense to everyone involved (this reader included) as to why they are revisiting an infamous crime that seemed to be resolved, and I wish it was the only aspect of this book that had me scratching my head.

Throughout the issue, Diana is portrayed as a newbie to contemporary culture in a manner reminiscent of Arnold Schwarzenegger in Twins or something. Granted the character is used to more unique methods of transportation (invisible jet, JLA transporters, etc.), but since when is she completely unaware of how to use a subway or pump gas? Diana here is portrayed as more of a fish out water than she even was when the character was revamped in the late Eighties. And an occasion with Diana and Tom Tresser at a café in one way seems to be Picoult's way of satirizing the inane aspects of modern day coffee purchases, but it ends up underscoring how off it feels to this longtime Wonder Woman reader that she's completely out of her element in Man's World. This is not a perspective of this character that’s at all necessary in 2007.

Going back to the art, I really like the work here by Johnson and Snyder. It's not their first go at it, what with a run on this very title back in 2003. It somehow looks different, in a good way, and I know it has nothing to do with the recent tweaks to Wonder Woman's costume. The line work is clean and detailed, and if we don't get work from the Dodsons, this is the next best thing.

I'll give it another issue or two before passing final judgment of Picoult's work, though she is already proving to have a knack for this genre. I hardly expect her to reinvent the wheel on anything, mindful that this run of hers is limited. Picoult does good dialogue, and she strikes the right balance of drama, humor and action. I know this isn't her fault, but the villain she works with is another head-scratcher because this one's story is still unresolved on Heinberg's watch.

When DOES "Who Is Wonder Woman?" wrap up anyway?

Guy Ritchie’s GAMEKEEPER #1
From: Virgin Comics
Written By: Andy Diggle
Drawn By: Mukesh Singh
Reviewed By: Kevin Huxford

I’m a sucker for the Virgin Comics Director’s Cut. I’m a fan of the two directors (John Woo and Guy Ritchie) they have picked, as well as the writers (Garth Ennis and Andy Diggle) they’ve teamed them with. Of the two directors, I’m a bigger fan of Guy Ritchie’s work (or at least his two most acclaimed movies). Diggle is a writer that I’m enjoying more and more works by, lately, so I probably went into this with fairly high expectations.

The book didn’t actually meet my expectations, but I still thoroughly enjoyed it. Allow me to explain.

The movies that Guy Ritchie made his name on, Snatch and Lock, Stock, & Two Smoking Barrels, were crime comedies (more or less) that the director really seemed to give a certain personality to. In the first issue of the property, there is very little humor to be found. You can, possibly, read the slightest bit of humor into Brock (the Gamkeeper) interacting with the runaway or his son (via flashback), but what you’d find there is fleeting at best.

No, Ritchie and Diggle are playing this much more straight forward like an action flick. Brock is introduced mysteriously through his scene finding the runaway and the aforementioned flashback to his child. You see everything you need to immediately know in order to process the story (with more to be revealed as we go, I’m sure). He’s a gruff, Chechen man who, at the least, is skilled as a huntsman and, apparently, a gamekeeper (which, it would seem, involves some vetinarian medicine). The writer and director give us a brief glimpse into his vulnerability and, it would seem, personal losses, to help round the character out.

I’ve never seen Mukesh Singh’s artwork before, but I’m tempted to pick up an issue of Devi based on the strength of his work here. It really works well and has a very cinematic feel. The black and white flashback really pulled me into the book more than I can recall any other comic book doing in the last few years. The creative team really seems to be able pull off something dynamic here that can capture the reader and make them all but forget about the outside world until the last page, if my experience is any indication.

I’d give the book 8 and a half out of 10 stags.


Advanced Shot: Star Trek: The Next Generation: The Space Between #3 (of 6)
From: IDW Publishing
Written By: David Tischman
Drawn By: Casey Maloney
Reviewed By: Kevin Huxford

For those of you that haven’t been following previously, David Tischman and Casey Maloney have been working tirelessly on IDW’s Star Trek license, putting out this six issue mini based in the TNG era.

I missed the first issue of the series, but that wasn’t a problem in being able to dive-in and enjoy this book. Tischman is writing each issue as a self-contained story that really feels very much like an episode of the series. Each issue focuses on a particular character from the series. This issue focuses on Lt. Worf.

Like issue #2, Tischman seems to employ some tricks to make a regular issue appear to have the room to pull off an entire hour long episode of the show. He manages to work in the outer conflict in dealing with a enemy in deep space, while deftly handling a jealousy subplot in the Worf/Deanna/Riker love triangle. Upon finishing the book, I was left with the feeling that there had been far too many story beats successfully executed in the number pages the team had to work with.

Casey Maloney is an effective artist on this book. I haven’t seen a problem with his storytelling at all, even if I have seen some inconsistencies in his characters. Luckily, all of the players in this book are so distinct that no trifling little problem with drawing any of them will lead you to confuse who is who. Maloney’s art doesn’t hinder the story in any major way, with it not even truly pulling you out of the tale when one of the inconsistencies shows itself.

I was never a huge fan of Star Trek. I don’t own any DVDs. But I did pass many a late Sunday night watching Star Trek: TNG when I should have been sleeping for school the next day. If you have that amount of passing interest in this franchise, I believe you’ll thoroughly enjoy this issue and the series itself.

Black Panther #26
From: Marvel
Writer: Reginald Hudlin
Artists: Francis Portela and Victor Olazaba
Review by J. Caleb Mozzocco

This issue is a textbook example of the advantages and disadvantages of continuity-driven “universe” comics that all tie into one another.

On the advantage side, it’s nice to see our titular hero get to play in such a nice, big, comfortable sandbox as that usually reserved for the Fantastic Four (just as it’s nice to know that he and his co-star are also currently appearing in the quite excellent Fantastic Four title at the moment), and writer Reginald Hudlin takes full advantage of the whole Marvel Universe as a setting.

On the disadvantage side, you have to know an awful lot of things about an awful lot of other comics to make heads or tails of the thing and Marvel doesn’t make it any easier by making some of that required reading Civil War, extending the wonky characterization from that unfortunate Point A to this Point B, and then failing to make sure the books match up correctly.

Let me explain. I’ve been reading Black Panther monthly and, for the most part, digging it. I’ve read the last three Dwayne McDuffie-written issues of Fantastic Four and am loving them. This week’s issue of Black Panther takes place after last month’s issue of FF and, uh, around this month’s issue of FF, but the repeating scenes in which Reed and Sue introduce the New Two to the rest of the Fantastic Four happen completely differently. And look completely different, too.

I don’t want to be too anal about this but, at the same time, if Marvel is going to go to the trouble of making these two titles intersect like this, can they also go to the trouble of having McDuffie and Hudlin email each other their scripts, and make sure the artists are all working off the same sets and costumes?

The missed connections are, thankfully, one of only a few drawbacks to the issue, the other being the speed with which everything goes back to normal after Civil War. Johnny Storm and Sue both seem to have forgiven Reed Richards for declaring them both criminals and engaging them in deadly battle awfully quickly (Yeah Sue, he took a stun bolt for you during the Battle of Manhattan; but then, he also sent the killer-for-hire that shot it at you after you and your friends). Likewise, it’s weird to see Panther and Storm having dinner with the Richards, considering the latter was just fighting for her life against Reed’s killer robo-clone in the last issue.

With those nits now perfectly picked, I can go on to say that I am intrigued by the new FF line-up, and rather enjoyed the rest of their debut issue here in Pather’s home title. Hudlin’s script is fast paced and totally jam-packed; there are more settings, characters and plot lines in this issue than in 52.

There are a handful of political meetings, including T’Challa teleconferencing with his council back home, his sister scheming in Wakanda, Storm trying diplomacy at the U.N. and the U.S. State Department talking war against Wakanda. There’s Tony Stark verbally degrading Maria Hill again, and that aforementioned dinner between the the Richardses and the Wakandan royal couple. There’s a press conference announcing the new line-up, and a rightwing news pundit reacting. There’s a race of Negatize Zone bug-people obliterated by SHIELD, another race of Negatize Zone bug-people invading the 42 complex, and one of them making it over to our side. And Brother Voodoo is still on the trail of that body-jumping villain. Whew!

The art is provided by Black Panther Art Team Number Twenty-One, and, while it’s serviceable, it’s still not a regular art team, something this book sorely needs if it’s ever going to visually achieve the sort of cohesion of tone and aesthetic that Hudlin has cultivated on the verbal side of things over the last few years. The cover comes courtesy of Pride of Baghdad illustrator Niko Henrichon (who would make a fantastic interior artist on this book!0, and while his designs are great, the layout’s a little uninteresting, particularly since Michael Turner turned in almost the exact same cover for Fantastic Four this week.

DMZ #17
From: DC Comics
Writer: Brian Wood
Art: Riccardo Burchielli
Review by Jamie Trecker

A confession: I originally came to this series with less than charitable motives. One of a journalist’s favorite subjects is journalism itself, and if you’ve ever wondered why journalists spend a great deal of time interviewing other journalists, laziness is only part of the answer. Journalists are famed for self-congratulation, pomposity and all-around bad behavior, attributes that are ripe for puncturing — by other journalists, naturally.

I’m happy to say that Brian Wood has admirably met my expectations, giving life to an, at times, venal, clueless, thoughtless but ultimately noble journalist named Matty Roth, who has been unceremoniously dumped in the middle of a war zone. I don’t know if Mr. Wood has done time among us ink-stained wretches, but I can say that he ably captures how journalists think, and how their actions affect themselves and others. Wood’s Roth is not always sympathetic but he feels real, and that’s what any author worth his salt looks for in a character.

The setting of DMZ can be seen as an allegory for the conflict in the Middle East, and the five-part “Public Works” arc which wrapped up in this issue, is an overt jab at the freelance security army in Iraq, with the Hailburton-esque conglomerate “Trustwell” trying to seize large chunks of the ruins of what once was New York City for its own ends. Opposing them are a set of suicide commando cells, other warring factions in the DMZ, a less than noble American government and a hapless United Nations. Without giving anything away, I can tell you that things are not as they first might seem, but yes, this series is indeed “ripped from today’s headlines”.

Wood has done a fine job with his characters, endowing them with distinctive and at times less-than-flattering attributes. He’s equally skilled with dialogue, writing pithy sentences that move the story forward. There is one, glaring flaw in this issue, however: It is unbelievable that a cell phone, especially as drawn, would go unnoticed, and this derails the plot for me.

Which brings us to the art: One of the first things I look for is how an artist draws his character’s hands. Hands are one of the hardest things to draw, and a good artist reveals himself in how he positions fingers, fists and palms. Burchelli leaves a lot of his characters’ hands hidden, which is a tip-off. The fact is Burchelli’s art is competent but unsatisfactory. Most disappointing are Burchelli’s faces: they seem uniformly expressionless and sullen, letting that action cliché step in for actual emotion. There’s little subtlety in Burchelli’s renderings, which is unfortunate as it deprives the author of an important storytelling tool.

Most troubling is the fact that sometimes Burchelli’s panels are downright opaque: There is more than one instance in this book where the action on-panel does not match the dialogue. I also think some folks are going to look at the third to last page of this book and wonder what the heck is going on.

This isn’t a killer, but I have to think that better art would open this book up to the wider audience it deserves. Right now, were it not for that — and the gratuitous swearing in Vertigo books that frankly could be excised — DMZ could be a genre-defying book: the must-read.

Fun fact: This five-issue run of the book contains an Easter egg of sorts; one of the lead characters shares a name with a model on a website both Brian Wood and I (and a few members of the Best Shots crew, ahem) visit. See if you can guess which one.

D’Airain Adventure #1
IDW
Written by: Ashley Wood, Chris Ryall and T.P Louise
Art: Ashley Wood
Reviewed: Jamie Trecker

What a mess. A half-baked, loggorheatic sketchbook masquerading as an “adventure” magazine, D’Airain Adventure is as frustrating as it is incoherent. Wood’s art can be stunning: for those unfamiliar with the Australian draftsman, he can be described as a mash-up of Gene Colan, Frank Frazetta, Don Heck-era Iron Man and a stack of mid-century Playboys. I say this with admiration, for, at its best, his work is moody and atmospheric, with a playfulness that comes out of left field. D’Airain Adventure reveals some of that cleverness and I especially liked how Wood used a negative Zip-A-Tone effect to conjure sweat on a character’s brow. But clever only takes you so far, and the fact is while Wood’s drawings can entice, the three stories they tell are abysmally weak.

This is surprising, considering that one of the authors is well-regarded IDW editor Chris Ryall. However, it’s not uncommon for vanity projects to be impenetrable and I get the feeling that Wood was given a bit too free a rein — there are ideas here, but no substance; some wonderful drawings and a whole bunch of tossed-off sketches. Overall, this comic is like a puddle: it has no depth.

I’ll concede that as a sketchbook, this might have flown; as an anthology, it’s a complete bust. Tolstoy noted that art is a communication, and I’ll admit, I was hearing things after I finished, but it was my wallet wishing I still had the $5 D’Airain Adventure cost.

Fair warning: This book is also explicit in parts and NOT for children.

Green Lantern #18
Writer: Geoff Johns
Artist: Daniel Acuna and Dave Gibbons
DC Comics
Review by Steven Ekstrom

“Consistently entertaining.”

If I could say only two words about Geoff Johns’ Green Lantern those would them. This title has done nothing but gain momentum since the first issue. Johns captures the maverick confidence of an Air Force pilot with crisp, witty dialogue and mixes it with the somber weight of redemption in the form of Jordan’s desire to regain his once lost humanity while being in the charge of one of the most powerful weapons in the universe. Hal Jordan’s character is not just likeable—he’s respectable.

Green Lantern is probably one of the ‘purest’ superhero books in the industry—it has a great dynamic in that it honors Hal Jordan’s pre-established continuity but it doesn’t mire a reader down with the minutia of that same status quo—for example, Johns gives just enough edification through informative storytelling to sufficiently make clear to a new reader who Tom Kalmaku is. Johns does well to create a negative romantic tension between Hal, Carol, and Cowgirl—what with Carol having come to terms with Hal’s death and marrying only to have Hal thrust into her life over and over again. Hal spends some downtime sharing a drink with Cowgirl. This new romantic dynamic works because Cowgirl is much different than Carol; it seems as though Hal is trying to move on as well. The re-emergence of the villainous Star Sapphire has me excited for next month’s billing of the true origin of the Star Sapphire. The final page of the main story this issue has a pretty cool twist that I think will create more complications in Hal Jordan’s life.

As much as I like regular artist Ivan Reis, I have to admit I was blown away by Daniel Acuna’s artwork; especially the title page—what a great image of Carol Ferris in a barrel roll. Acuna colors his own work in this issue; some of the monochromatic panels were really vibrant and in other panels Acuna used muted tones that almost ground a reader; resetting the focus of the story and changing the pace of the story without breaking the spell created by Johns. I like Acuna’s Hal with his “shaggier” look—not typically a haircut kept by an Air Force pilot but not bad. I’ve quickly become a big fan of Acuna’s work.

The back-up story, Tales of the Sinestro Corps, begins Amon Sur’s education of the history of the Sinestro Corps as well as a clever way for Johns to inject the Corps with original members like Despotellis, the sentient bio-virus. Plus, the story featured the pencils of the legendary Dave Gibbons—who packs a lot of visual storytelling into this 6 page short. I enjoyed the short story and look forward to its continuation.

This is a good starting point for new readers—a fresh arc with an interesting back-up story that doesn’t need a terrible amount of explication. Johns’ work on Green Lantern is solid and entertaining in a traditionalist sense. Amon Sur has a lot of promise as an antithesis to Jordan’s heroics in Sector 2814. If you like no frills, unburdened stories with a good balance of heroics and humanity, then this book is for you.

Crossing Midnight #1-5
Writer: Mike Carey
Art: Jim Fern and Mark Pennington
From: Vertigo (DC)
Review By: Lucas Siegel

Five issues in, and we’ve had two full story arcs. How utterly refreshing! At the same time, the book never feels rushed, nor gets confusing. I have a clear idea after this issue of where everyone and everything stands. The characters have been well established, and new players seem still destined to enter the game.

Mike Carey, here, uses Japanese mythology to weave a modern fantasy. In this world, the Kami still are prevalent, but only to the people who recognize them. Now, they desire to be fully realized once again, and thus go to make this happen through the usage of two children, twins, one born just before midnight, one born just after. These children are soon to be pitted against each other.

The modern sensibilities mixed with historical Japanese worship beliefs are incredible. Having studied some of this certainly helps to draw me in further, but had I not before I’m sure I’d want to now, based solely on the strength of this story. This really shows just what kind of storyteller Mike Carey is, that he can be writing one of the best X-Men stories in recent memory one second, and jump to a completely different tale of family, honor, and age-old spirits the next, and have both stories be equally invigorating.

The artwork if much like Pia Guerra’s art in Y: The Last Man. We don’t get the hyper-detailed work of someone like Hitch, but rather a tapestry that is realistic enough to have us feel inside the story. I like this style, as it still feels like I’m reading a story that is written to be a comic. While a story like this may be interesting in a movie or television, it’s MEANT to be in a comic, and I appreciate writers who still write that way, and artists who draw that way. Each character is very distinct, and the Kami we’ve seen so far have been elaborate and terrifying. There has been some horrific gore already, as well, and it has remained tasteful while being powerfully shocking. I hope Fern and Pennington stick around for the duration of this tale. If they need a break, Mike should talk to BKV, and get Guerra or Goran Sudzuka on as this team’s backups.

This fifth issue in particular serves to tie up loose ends while setting the stages further for the future. We get some absolute answers as to what the heck is going on in these two kids’ lives while more questions are asked- just the way I like ‘em. The pace is not lost here at all, as we’ve seen now how decisions are going to be a key theme in this story. Both Toshi and Kai have had to make decisions at the drop of a hat, and we’re seeing now that both of them have made questionable ones. The utter power of every small decision, word, and action, is what seems to be driving this story so well. I also like that these Kami act like D’Jinn of arabic legend: every wish is taken very literally and often has unexpected consequences.

Every issue of this book has moved at a breakneck pace, whilst allowing for character development. As Kai is pulled further into this crazy world, we go right along with him, and I’m excited to be along for this ride. People who miss the majesty of Gaiman books need look no further than this story for a strong mix of fantasy and the modern world. I give this issue, and this book so far, 10 kami out of 10. If you are a fantasy fan of any sort, you will enjoy this book.

Aya
Written by Marguerite Abouet
Illustrated by Clément Oubrerie
Published by Drawn + Quarterly
Reviewed by Michael C Lorah

Aya is Abouet’s first graphic novel. It’s worth mentioning, because you wouldn’t guess it from reading the book. Born and raised in the Ivory Coast, Abouet’s intention seems to have been to write a book about the daily culture of her homeland, offering a vision of the African continent that is rarely seen amid the regular reports of starvation, genocide and internet swindles that seem to be Africa’s only news exports.

However, Abouet goes well beyond a simple look at the life of the millions living on the so-called dark continent. She also delves into the darkest and most intimidating territory of all – the hearts of teenage girls! Aya tells of three young girls – titular and scholarly Aya, along with easy-going, fun-loving friends Adjoua and Bintou – and their relationships with each other, friends, family and *gasp* teenage boys.

Set during the Ivory Coast’s golden era of the late 70s, Aya offers an intriguing vision of how similar and how different these girls are from American girls of the same age. Abouet captures readers with the social institutions of her homeland by providing each girl’s perspective on social interaction and comparing those ideals against the expectations of the girls’ friends and families. Aya’s parents want her to get together with Moussa, because his parents are wealthy, but Aya wants no part of him; she’s rather study and become a doctor and provide for herself. Meanwhile, Bintou won’t give Moussa the time of day, until she finds out his family’s well-to-do status, and then she can’t wait to spend time with him. And Adjoua … well, that would spoil it.

Abouet fills the book with a gentle, dry humor that makes all the characters, despite their flaws and in support of their charms, instantly appealing. (The two pages devoted to a date between minor characters Féli and Hervé is a particular highlight.) The familial dynamics are all recognizable, but the obsession with public image and the community-wide hoohah associated with a wedding is something that most Americans don’t see as stringently today as in years past.

Oubrerie’s art is a slightly mixed bag. Sticking to a six-panel grid, his storytelling is rock solid, with clean panel progressions and enough variety of angles to keep the reader engaged. His loose, slightly sloppy lines carry the emotions of the characters effectively. His one great failing is his inability to establish Aya, Bintou and Adjoua as physically distinct women. Readers have to pay attention to dialogue cues to tell which of the girls is present in certain scenes. (Try to remember that Aya’s hair is pulled back, Bintou wears braids, and Adjoua has the chin-length locks).

Aya is more than just a good comic book. It’s a historical document, a window into the recent past of a country whose better days weren’t so long ago. It’s a testament to the inherent humanity that crosses race and geographic borders. And it’s a warm, charming reflection on the universality of teenage girls, arranged marriages (for reasons that marriages are still arranged even in this country today) and societal expectations.

Flashback Review
Hack/Slash #1
Written by Tim Seeley
Illustrated by Stefano Caselli and Sunder Raj
Published by Devil’s Due
Review by Koben Kelly

I know this particular issue is a few years old, but I was so impressed upon reading it, I wanted to cover it all the same. I have heard many good things about this series through the grapevine, and after my less-than-shining review of Hack/Slash Vs. Chucky, I wanted to give an issue without a guest star a fair shake.

The first thing that struck me about this issue was the amazing artwork. Stefano Caselli and Sunder Raj create a look that leaves me wondering just who was responsible for exactly what. The art has all of the wonderful personality and expression of Katsuhiro Otomo’s pencils and inks, combined with the painted beauty of Joe Linsner. While Caselli is only credited with pencils, and Raj is only credited with colors, the combo of the two is nothing short of stellar. Hot and erotic at times, especially when detailing the titular Cassie Hack, a Suicide Girls fanatic’s comic pin-up; disgusting and creepy as needed at other moments when dealing with murderous villains or gruesome death. All of the action scenes are well-developed with an easy to access depiction of the blow-by-blow. Unless one or the other of the two artists are horribly slow with their production time, it confounds me that I haven’t noticed this team hitting it big-time just yet.

Cassandra Hack is a slasher killer. Her mother was a homicidally-psychotic lunch lady who was way too eager to supply the school cafeteria with copious amounts of mystery meat, and who committed suicide by boiling gravy upon being found out and confronted. Unfortunately, Cassie’s mother returned from beyond the grave as a slasher, which in this series’ mythos is a classification of the undead who is so filled with anger and hate prior to their passing that they return to our world to exact bloody revenge. Slashers have a penchant for punishing the living who are full of love, youth, and lust. To make up for her mother’s deeds, Cassie has committed herself to a life of hunting down and disposing of these beings. Along the way, she was joined by the grotesque yet kind and powerful Vlad, who she at first mistook for a slasher.

To ease the reader in to the premise, this issue begins with an example of a typical case. Cassie is playing the bait to catch a killer at a cheerleading camp. Several teenage campers have disappeared, with only the team coach left to tell the tale. Easy pickins for Cassie and Vlad, as the killer takes the bait, and Vlad runs him through with a two foot long machete. While he wasn’t exactly the type of slasher the two are looking for, he was a serial killer, and a stupid one at that. Good riddance.

In the main storyline, the protagonists are investigating the possible stomping grounds of a slasher. Seems that several employees of the local animal shelter have been murdered, along with anyone unlucky enough to be around at the time. Their ages, their location (a small, small town), and their state of undress at the time all add up to a case for Cassie and Vlad. Upon checking out the scene, the two are run off, but decide to stick around while things develop. It’s a good thing they did, as the connection to the shelter begins to unfold. Without spoiling a good chunk of story, I can safely state that many reading this will be drawn to side with the killer. He has a valid reason to want revenge, but, it’s too bad that he’s not terribly choosey about who he disposes of to get to his intended targets. Undead pets of every imaginable stripe are employed by the slasher to do much of his dirty work. When all is said and done, after the threat is neutralized, it is kind of funny to wonder how all the mutilated and mangled animal corpses will be explained to the local authorities.

As this book is intended for fans of slasher cinema, a typical THE END? style last page is employed for a final tip o’ the hat to the genre.

Included in the issue, after the story is over, there’s a wicked splash page drawn by Andrea DeVito, former artist of The Thing, and upcoming artist on Avengers: The Initiative.

For this huge fan of horror fiction, I found this book to be reverent of the cinematic field that inspired it, and a big mess of fun. I give Hack/Slash issue one eight out of ten Crystal Lake camp counselors.

Showcase Presents: The House of Mystery Volume 2
From: DC Comics
Written by: Various
Art: Various
Reviewed by Tim Janson

One eras/genre of comics that seems to get little attention are the horror comics of the 1970’s. For a genre that seemed almost a throwaway back then there certainly were a myriad of titles being produced. DC had House of Secrets, Tales of the Unexpected, Ghosts, Ghost Castle, The Witching Hour, Weird Mystery, Dark Mansion, Phantom Stranger, and of course, The House of Mystery. Funny thing about all these old horror comics that seemed to be so lightly regarded…they had some of the best artwork around. The roll call for the second volume of “Showcase Presents The House of Mystery” includes such masters as Berni Wrightson, Neal Adams, WM Kaluta, Gil Kane, Gray Morrow, Russ Heath, Wally Wood, Nick Cardy, and Jim Aparo. It’s an incredible lineup of artists.

The second volume re-prints issues #195 – 211 of the regular comic series, spanning the years 1971 – 1973. By today’s graphic standards, the stories are somewhat tame. One must remember that the dreaded Comics Code Authority still had their control, pre-direct distribution. The stories in House of Mystery owed a lot to the EC Comics of the 1950’s, often going for shock endings with twists of irony. One can also see influences by many great early horror writers on these stories such as H.P. Lovecraft and Arthur Machen.

“Things Old…Things Forgotten” certainly seems to be one of those tales influenced by Machen’s lore of mysterious and ancient woodland beings, far older than the human race. This tale finds a would-be conqueror cutting a path through the wilderness to try and surprise his enemies, until he encounters something far more dangerous than man. Writghtson illustrated this story and its one of the best in the book.

One of those stories of ironic morality is “The Beast’s Revenge” illustrated by Mike Kaluta. When a man kills his own sister to get her half of the family farm, nature decides to take its own revenge. An amusing story with art by Jim Aparo is “The Demon Within” about the drastic means a mother and father use to curb their seven year-olds ability to transform into a hideous demon.

I would be remiss if I did not mention the spectacular covers of these issues, the bulk of which were done by Adams, Kaluta, and Wrightson. The ghostly Adams covers for 197 & 198 are masterpieces, My favorite cover, however, is Wrightson’s Lovecraft inspired pieces for issue #204. This depicts a gruesome, slime-like creature with multitudes of eyes all over its shapeless body. Wrightson’s Dracula cover for #211 is another standout. There’s no doubt that the best covers of the early 1970’s were found on The House of Mystery. Providing some comic relief throughout the book is longtime Mad cartoonist Sergio Aragones with his always hilarious cartoons.

This is just great stuff and at $16.99 for over 500 pages of comics, it’s a great value as well. Five out of Five Stars!

Fafhrd and the Gray Mouser TPB
From: Dark Horse Comics
Written by: Fritz Leiber, Adaptation by Howard Chaykin
Art: Mike Mignola & Al Williamson
Reviewed by Tim Janson

There are two undisputed godfathers of Swords & Sorcery fiction. One is Robert E. Howard, creator of Conan, King Kill, Bran Mak Morn, and Solomon Kane; and the other is Fritz Leiber who created the duo of Fafhrd and the Gray Mouser. It was, in fact, Leiber himself who coined the term “Swords & Sorcery.” The adventures of the huge red-haired northern barbarian Fafhrd and the slight, mercurial thief The Gray Mouser were written over a span of fifty years, beginning in 1939 in the pages of the fantasy pulp magazine Unknown. In all, Leiber wrote some forty stories about the pair.

This trade paperback from Dark Horse Comics collects the four-issue mini-series originally published by Marvel Comics’ Epic line in the 1991. The stories are adapted by Howard Chaykin with art by Mike Mignola and the legendary Al Williamson. The pairs adventures generally take place in and around the Lankhmar, the most notorious city in Newhon. The first story, “Ill met In Lankhmar” is perhaps the most famous, winning both the Hugo and Nebula awards. It tells the story of the first meeting between Fafhrd and the Gray Mouser although this “origin” story was not written until 1970.

The pair are after the same quarry of riches and soon strike up a great friendship…over many tankards of ale. When both of their women are killed by dark sorcery, the two team to kill both the wizard and the thieves guild before vowing to never return to Lankhmar. After leaving the city, each will encounter a mysterious, patron wizard, who provide cryptic advice and send them off on dangerous missions, seemingly often for their own amusement.

Another excellent story is “Bazaar of the Bizarre”, written in 1963. A cadre of off-world merchants has set-up shot in Lankhmar, dazzling their customers with fantastic wares but it is all illusion as it is merely junk they are selling. They bleed cities dry of all their gold before moving on and the Gray Mouser is caught in their trap. Other stories adapted include “The Howling Tower”, “Lean Times in Lankhmar”, “When the Sea King’s Away”, “The Price of Pain Ease”, and “The Circle Curse.”

Had I been choosing the stories to adapt, I would have picked a few different ones, as a a couple of these are not Leiber’s best work. Chaykin has done a superb job in adapting the stories, capturing the clever and witty dialog and the superb chemistry between the two characters. The dark humor of these tales is as important as the action. As a Mignola fan I loved his art along with the assist from Williamson. Mignola has that quirky style which fits the tone and characters so well.

If you didn’t read these in the first go round sixteen years ago, here’s your chance again to read some of the grandest work in fantasy by a true master. 4 ½ out of 5 stars!

Pellet Reviews!

Texas Strangers #1 (Image; by Caleb): Ready for a high concept pitch? Okay, this new series imagines cowboy days in a world full of Dungeons & Dragons-style magic and monsters. It’s the sort of audacious genre-mixing that pretty much guarantees a look-see from me, if only to see if it ends up great or godawful. With one issue down, I’m not sure I’d call it great, but it’s certainly a far cry from godwaful. Writers Antony Johnston and Dan Evans III don’t go the Arrowsmith alternate history route so much as they graft elements of sword and sorcery onto a Western template, although the characters and adventure are thus far pretty standard kids adventure stuff, and there ain’t a dman thing wrong with that. North America is divided up into four different regions—The U.S. of A., Mexico, Louisiane and “Native Country,” with “The Free Nation of Texas” smack dab in the middle. Our heroes are ginger kids Madara and Wyatt, who have journeyed from Alaska to Texas with a mysterious magical knife of some sort for…some reason. There they run afoul of wicked gang and the spell-wielding lawmen the Texas Rangers (though people often add an “S” to the second word). Artist Mario Boon’s flat, blocky, cartoony art was definitely the highlight for me personally, and I look forward to seeing him draw dragons and unveil the other character designs teased on the back cover in future issues. The assignation of the non-human fantasy races to non-white real-world races could make things a little weird in the future—according to the map, the Native Americans are all elves and the orcs all live south of the border—but at this point it’s more of a eyebrow-raiser than an ire-raiser.


Ultimate X-Men #80 (Marvel; review by Koben Kelly): Crikey, I wish Yanick Paquette could draw this series forever. With Xavier gone, it seems like no one wants to stick around to decide what to do. Except for Scott, that is. Colossus has bugged to go shack-up with boyfriend, Jean-Paul. Wolvie has something to do so important he won’t let on/off love interest, Ororo, go with him. While Bobby and Rogue just want to escape into the wonderful world of gaming, Bishop takes the time to visit an extremely familiar inmate with words of wisdom. Then Cyke drops the bomb… but, I knew it was coming… just like I knew what we would see on the last page months ago. Will the new representative of the Shi’ar Church be bad news for the residents of the mansion? Seeds of the upcoming Nightcrawler/Morlocks storyline are planted as the elf saves the hide of a revolutionary mutant I’ve been wanting to see pop up in the Ultimate U for years. Wow, that Yanick sure can draw the Hell out of burn-scarred skin. It seemed like Kirkman was coasting for a while on this title, but, this issue has me all excited-like for what’s to come.

52 #47 (DC; review by Koben): Okay, so it’s not a fantastic issue. But, that doesn’t mean that I didn’t love it. It’s the little things in life that make everything so much fun. I’m not a huge fan of Camuncoli, but his work is far from being unattractive or poor. Even with much internal introspection, one can have outwardly questioning revelations such as, “It’s impossible to think of nothing, right?” So, Bruce is attempting to cleanse his spirit, which I assume is what leads to the not-so-much-a-dick Batman we’ve seen in the past year. The twice-named daughter of Cain *wink-wink* is now that much closer to having her identity known to all the wrong people. Is it the lack of meds or Teth Adam’s horrible noises that make Magnus suffer from a temporary moment of insanity when he activates the responso-meter? Man, I love me some mini-Metal Men. Allow me to state that an Animal Man regular series written by… say… Christos Gage… would be a fantastic addition to DC’s publishing schedule once this book is all wrapped up. Is it me, or does it seem like Gar Logan has a bit of a thing for Natasha? Lines like, “She’s turning into quite a young lady,” make me wonder. Lastly, while seeing Diana face-to… uh… face with Rama Kushna was quite the sight to behold, I found myself staring at the last page splash of Bruce for a decent amount of time. Oh, also, based solely on Karl Kerschl’s artwork, I think the Teen Titans origin is my favorite thus far.

Batman #664 (DC, Review by Steve Ekstrom): Morrison’s Bat has got to be the most enjoyable incarnation of the character I’ve experienced in a long time. He’s not just the Bat but he’s Bruce Wayne as well—something that a number of writers have failed to touch upon in the recent past. Morrison’s re-establishment of the dashing playboy Bruce Wayne—gives the character a really rich symmetry and creates a positive for Batman’s negative. Best line in the book: “Oh, I’m much cooler than he is.” You’ll have to read it to get it. I thought the interaction with the traditional pimp character and one of his ladies offering to give Bats a “freebie” was hilarious. The humor is cut short, however, with the introduction of a couple of dead hookers and a familiar “spine-breaking” villain wearing Batman’s cape and cowl?!? Andy Kubert has given Batman a real “larger than life” quality with his highly detailed style. Go pick this book up—it’s hot.

Action Comics #847 (DC by Janelle): I've been delving into the DC books slowly but surely over the last year, and I decided to give Action Comics a chance mostly because I've never read the book before. This is a standalone issue, which means that pretty much anyone can pick it up and read it. However, it does still have ties to what's going on in the over arcing story of the book right now, which means that regular readers won't feel like they've been plucked out of continuity. Dwayne McDuffie's writing here is great. The story about Clark and Jonathan is very touching. The artwork is what really surprised me, because I was totally blown away. While I have enjoyed McDuffie's writing in the past (I'm a big fan of JLU and whatnot), I had never seen Renato Guedes' art before. I love artists that do their own coloring, because they always seem to use such a different color palette than everyone else. All in all, an engaging story with beautiful art that may not scintillate current fans of the book, but seemed pretty darn good to a newbie.

Fall of Cthulhu #0 (Boom Studios, Tim Janson): Boom Studios takes a crack at tackling H.P. Lovecraft’s imposing Cthulhu mythos in The Fall of Cthulhu #0. The story begins in 731 AD in Damascus as we meet the legendary mad Arab, Abdul Alhazred, author of the Al-Azif, better known as the Necronomicon, the most fabled book of dark knowledge. Alhazred would meet a terrible end, as most do who come in contact with the book. He finds that those who entrusted their knowledge to him are not pleased he’s chose to put their secrets to paper. Cut ahead to present day when a mysterious man and his servant Connor search a deserted swamp until they find the thing they are looking for…the very body of the mad Arab, Abdul Alhazred. Credit writer Michael Alan Nelson for having a solid knowledge of Lovecraftian lore and for knowing the rumored fate of Alhazred as written not by Lovecraft, but rather by disciple August Derleth in “The Keeper of the Key” in 1951. The art by Jean Dzialowski is fittingly dark and creepy. For Lovecraft fans it’s a real treat to see his creations treated with skill and reverence. A fine start to the new series from Boom Studios.

Wolverine #52 (Marvel, by Lucas): Overall, I’m liking this story, but it’s not hitting me in this third issue the way it did in the first two. I think my only problem is I desperately want a real conclusion to the “What is Wolverine and Sabretooth’s real relationship?” question, and so anything in between is just feeling like filler. That said, the fights between the two of them have been utterly fantastic (what Logan did to ‘ole Creed as he fought Panther? Yowza! AND Continuity!). The artwork is still blowing me away, as well. I’m starting to get the impression that Wolverine and Sabretooth have lived multiple lives throughout the ages. If this is the case, I don’t know quite how I’ll feel about that. Regardless, this book is still holding my interest, despite my frustrations, and when #53 comes out, it’ll likely still be at the top of my stack.

Sensational Spider-Man #36 (Marvel, by Lucas): Why do I feel like more people aren’t reading this book? Well, if you’re not, and you started reading Spider-man comics in the 90s and like me, long for that feel somewhat, then pick this up! A lot less of the mysticism and angst of Amazing, less of the straight humor of F’N Spidey, and it comes out feeling like a great Spider-man story! This has mystery, and science. It has Peter both using his brains and going to his friends (and former friends) to use theirs as well. We also see how a delusional genius misses one essential, important part of Peter’s development- and what that does to this group of “Spider-men light.” The artwork is crisp and clean, and we have seen nearly every Spidey costume ever in the last two issues, which has been fun. When Aguirre-Sacassa is able to just tell a self-contained story, using elements from across the history of the Marvel U, he is simply masterful- that’s what we’re getting here.

Fantastic Four #544 (Marvel, by Lucas): The Best Shots team is somewhat split by this issue. It’s a tad over the top, and a couple of story elements in particular rubbed some people the wrong way. I, however, am on the side that this issue was fun, and it was over-the-top in that fantastic way that is sometimes missing from a story featuring that word in its title. McDuffie certainly give me versions of all these characters that feel familiar and in-place. Some of the story elements do require a small (or largish) leap of faith, but that’s what the Fantastic Four has always been about to me. Pelletier’s art is a bit less polished than it was on Exiles, but I suspect that’s more about him becoming familiar with and comfortable with these characters. In fact, his art had a distinctly Alan Davis feel to it here, and with a little bit of time, it should be extraordinary. I feel Dwayne’s run on this title will be a fun sci-fi romp. Exactly what the F4 needs after a harried year.

Lions, Tigers and Bears vol. 1: Fear and Pride (Image; review by Mike): Mike Bullock and Jack Lawrence’s charming book tells of a fairy tale land where stuffed animals come to life to protect the children in their charge. The script’s focus on the importance and power of imagination works well, particularly for inspiring kids, and allows protagonist Joey to evolve at a natural pace to become the hero of his own story. Lawrence’s animals are the perfect blend of savage jungle fury and cute cuddliness.

The Comics Journal Library: Classic Comics Illustrators (Fantagraphics; review by Mike): Get insights on creation, the comics industry and the art of illustration from timeless artists Burne Hogarth, Russ Heath, Russ Manning, Mark Schultz and Frank Frazetta. The volume is filled with gorgeous illustrations and sequential pages from the masters (from the interview subjects and some of their inspirations), and the interviews are each interesting. It’s particularly compelling to note how each artist’s answers – the verbosity, the directness, the flow of speaking – seem to match their artistic styles. Of course, no Comics Journal piece would be complete without the final essay (Skip it! It’s only five pages!), which is less a reflection on the quality of Frazetta’s work and more a diatribe about the shallow, pathetic and artless qualities of other popular (but nameless) artists. Nevertheless, the 141 pages that precede the final essay make the book a must have.

Catch-Up Pellet: Ion #12 (DC; by Troy): Ion wraps up more quiet moments that the expected epic portents. Granted, there are nods to the forthcoming Sinestro Corps, the activities of the Monitors, and an oblique reference to Grayven’s “friends”, but any implications for future events take a backseat to Kyle’s huge personal loss. Overall, many elements of this series seemed to rest with a) setting up other events and b) giving Kyle something to do while the other GLs did their thing. Indications are that Kyle will be heavily involved in Countdown and appear soon in Green Lantern, so more of his story may advance soon. As it is, the end of Ion is fairly anti-climatic, but sensible.

Catch-Up Pellet: Omega Men #6 (DC; by Troy): Another part of the “portent in space” troika (with Ion and Mystery in Space), the Omega Men has been a pulpy, entertaining ride. While the central part of the action has dealt with the threat of Lady Styx, there are bits at the fringes that seem ready-made to plug into DC’s future plans. (Remember, the Omegans were on hand in Adam Strange, and that had huge Infinite Crisis implications). Tigorr has always been a fine, entertaining character, and I rather enjoy the supporting line-up as well. Henry Flint’s art has a crazily off-kilter design sense; it recalls a darker form of Giffen and Larsen. Though having some familiarity with the Omega Men is helpful if you wish to check this one out, it’s weirdly entertaining in its own right.

Ultimate Spider-Man #107 (Marvel; by Troy): Bendis and Bagley pack like my wife; they got every single thing that they could crammed into one suitcase. This issue features Kitty’s first day at “the new kid who phases”, Ultimate Jessica Jones, a smartly written bit for “smart in stuff, dumb at girls” Peter, the formation of a conspiracy agains the Kingpin, and a possible traitor revealed. Young Spidey facing down Ultimate Daredevil was the highlight for me, but honestly, hasn’t the whole BMB/MB run been a highlight in itself?

Your Best Shots host Troy Brownfield founded ShotgunReviews.com and serves as the Editor-in-Chief. He’s a professor of English, a writer for Fangoria Comics, and a journalist for a number of print and online sources. Anyone wishing to submit their titles for review can contact Troy at psikotyk@aol.com. For other relevant info, visit www.smwc.edu, www.myspace.com/shotgunreviews and, of course, www.shotgunreviews.com.

[Sunless]

I agree with the Sensational 36 review, the books damn good and everything Back In Black should be.

[The Bry]

I definetly thought that GL was a great read, Johns is doing a lot good stuff with this book. And Action was a great read too I encourage anyone to check that out.

-Lata

[darrenmdr]

I agree with Koben on the appearance of the fiery mutant in Ultimate X-Men 80. I've been waiting for him to appear for quite a while too. To me he seems a lot more "realistic" than his normal counterpart. Batman 664 I really enjoyed too, seems to have regained a sense of fun that has been missing for a while, without lapsing into the realms of stupidity. Wolverine 52 though I did have big problems with, basically what we have got with issues 50 - 52 is a great poster book, but in terms of a story? I'm really not enjoying, it, it seems fleshed out for no real purpose, it's painfully slow and where some slow storylines build tension, this just build frustration.

[ender2814]

It seems like GL hasn't been getting the credit it deserves amongst some of the critics I have read. I think your review of the newest issue summarized things perfectly. Nice job.

Also, thank you so much for not criticizing the newest issue of Action. I'm tired of listening to people complain that it isn't Johns/Donner and it is driving me nuts. Thanks for not going there.

Overall, great reviews as always!

[GimpNelly]

Originally Posted by ender2814

Also, thank you so much for not criticizing the newest issue of Action. I'm tired of listening to people complain that it isn't Johns/Donner and it is driving me nuts. Thanks for not going there.

Overall, great reviews as always!

Thanks!

Overall, what's good is good - it doesn't matter how big or small the name that created it.

[Marc_Spector]

I agree completely with the WW review. This book is such a mess right now it's ridiculous. Like the reviewer said, if you don't want delays/problems have an arc completed before soliciting.

[SyVyN11]

Originally Posted by The Bry

I definetly thought that GL was a great read, Johns is doing a lot good stuff with this book. And Action was a great read too I encourage anyone to check that out.

-Lata

And GL gets constantly great work from it's artists, be it Ries, Van Sciver or Acurna.

[sutty76]

yeah wonder woman has gone off the boil after only 6 issues...im not even sure what im reading anymore.
as for animal man surviving 52....lets bloody hope so....hes always been a old fav of mine and was so happy they didnt kill him...yet...cmon we all know theres gotta be a death to end the series

[kingofcities]

Great reviews as always. Nice variety there. I have two random thoughts...

First, am I the only one who is disappointed at how much Ashley Wood goes out of his way to pick strange and disappointing projects like this? I've been a fan since the Ghost Rider 2099 days and every year that goes by he slips more and more into the distant fringe of obscurity. Ash is brilliant. He should be charting new territory in a spotlight somewhere, not laboring away on books that are sideprojects at best. I think I was still in my 20's when Automatic Kafka came out. Yeesh! Then he was supposed to work on that Flash-like mini with Mark Millar but of course that never saw the light of day. I'm all for creators having freedom to work on whatever projects they wish but damn, someone needs to sit him down and say enough with the IDW already.

And second...hey Koben, after your suggestion of Christos Gage on an Animal Man book I am definitely buying that pint.

[Innercaine]

Originally Posted by Marc_Spector

I agree completely with the WW review. This book is such a mess right now it's ridiculous. Like the reviewer said, if you don't want delays/problems have an arc completed before soliciting.

As a fan who was really looking forward to this re-launch, and even enjoyed some of Heinberg's work.. I can't excuse him at all.

Also, Jodi is off to a real rough start.

However, as opposed to the "fans with torches and pitchforks", I appreciate that reviewer included Editorial with his critique of Jodi P. They really need to share in the accountability with whatever comes of her arc, because the lady has indeed been handed a mess.

A lot of people have commented about WW's sudden need to acclimate to contemporary society (i.e. pumping gas, credit cards, ordering coffee), and how contrived and unnecessary that is.. That's where we needed an Editor to voice an opinion and lend some guidance. Putting a comic book out is a team effort with writer, artist, and EDITOR. I noted from the solictations that they planned on dealing with Diana having to transition to a new role, and that's not a bad idea!, but they needed to find ways to express those challenges that weren't as shallow as pumping gas. Again, where's an editor?

I've read all the complaints about her interviews, her lack of familiarity with character, and it doesn't change my gut feeling that if she doesn't get support and assistance from Editorial- then she's been set up to fail from the start.

I can't argue that her first issue wasn't the best.. but I kinda refuse to pin all on her alone. If somebody has to be blamed then it needs to be spread around.

[Moriarty]

After bungling the Wonder Woman relaunch, Allan Heinberg should never be allowed to write for DC again. Go, go back and write your stupid little Titan-wannabes...

[kingofcities]

Originally Posted by Moriarty

After bungling the Wonder Woman relaunch, Allan Heinberg should never be allowed to write for DC again. Go, go back and write your stupid little Titan-wannabes...

Or how about after bungling the Wonder Woman relaunch DC Editorial should never be allowed to edit a DC book again? Seriously, it's not like they forgot to check his resume and see the words "Grey's Anatomy" on there. I think they were well intentioned but they should never have gone ahead with the arc until it was complete. Instead of boycotting Heinberg, how about they just publish with realistic expectations in the future? I'd buy another Allan book in a heartbeat if I knew it was completed in advance. Late or not he's still talented. They just need to be smart about it.

[johnny.blaze]

Originally Posted by MattBrady

Wolverine #52 (Marvel, by Lucas): Overall, I’m liking this story, but it’s not hitting me in this third issue the way it did in the first two. I think my only problem is I desperately want a real conclusion to the “What is Wolverine and Sabretooth’s real relationship?” question, and so anything in between is just feeling like filler. That said, the fights between the two of them have been utterly fantastic (what Logan did to ‘ole Creed as he fought Panther? Yowza! AND Continuity!). The artwork is still blowing me away, as well. I’m starting to get the impression that Wolverine and Sabretooth have lived multiple lives throughout the ages. If this is the case, I don’t know quite how I’ll feel about that. Regardless, this book is still holding my interest, despite my frustrations, and when #53 comes out, it’ll likely still be at the top of my stack.

See i'm not liking this arc. Loeb seems to be dragging this story on and on and the decompression is getting to me. Its funny how you mention continuity especially because Loeb blatantly ignores it by forgetting that Sabretooth has an adamantium skeleton (Weapon X series). Instead Loeb had Wolverine lopp off Sabretooth's hand.

Can't wait until Loeb leaves and (hopefully) Gugenheim returns.

[Innercaine]

Catch-Up Pellet: Ion #12 (DC; by Troy): Ion wraps up more quiet moments that the expected epic portents. Granted, there are nods to the forthcoming Sinestro Corps, the activities of the Monitors, and an oblique reference to Grayven’s “friends”, but any implications for future events take a backseat to Kyle’s huge personal loss. Overall, many elements of this series seemed to rest with a) setting up other events and b) giving Kyle something to do while the other GLs did their thing. Indications are that Kyle will be heavily involved in Countdown and appear soon in Green Lantern, so more of his story may advance soon. As it is, the end of Ion is fairly anti-climatic, but sensible.

Fair review. I got all 12 issues, but it really seemed like the series was two mini's made into one, that sort of rambled a little without one specific focus, but a lot of smaller ones. "A year in the life of Kyle Rayner."

The final issue really was a set up for future books, kind of taking away from a definite sense of closure, for the reader, if not the character.

Greg Tocchini might have a certain style, but I don't think he was a good match for this sort of book. I liked it when he took a few issues off. He might do well with a different type of character, but I think Kyle needed someone 'crisper and cleaner', with less of a watercolor approac. If that term makes any sense, forgive me I myself am not an artist.

[bigdaddyhub]

Okay, I was about to post a snarky little statement about how WW should be a marvel title because of the continuity issues, the mainstream talent writers, and the editorial problems. But really for everyone who bags on the marvel staff for letting their authors and artists be late, would you rather have a story finish with quality or would you like to have a series of false starts like WW has had? Which is more considerate of the readers? Do you really want to pay $$ for a book that isn't going anywhere?

On another note, I am still waiting for the superstar Jeph Loeb to show up at Marvel. He really hasn't done anything to make me want to buy. There had better be substantial payoff with this whole Sabertooth arc to justify 3 issues of nothing.

[dalunt]

Originally Posted by Moriarty

After bungling the Wonder Woman relaunch, Allan Heinberg should never be allowed to write for DC again. Go, go back and write your stupid little Titan-wannabes...

Those little Titan Wannabes happen to be some of the coolest and best characters/comics in the Marvel Universe.

He happens to write one of the top shows on tv (ratings-wise anyways), and is an awesome comic writer, he just had delay problems and a tight schedule.

Originally Posted by johnny.blaze

See i'm not liking this arc. Loeb seems to be dragging this story on and on and the decompression is getting to me. Its interesting how you mention continuity because Loeb blatantly ignored this by forgetting that Sabretooth has an adamantium skeleton (Weapon X series). Instead Loeb had Wolverine lopp off Sabretooth's hand.

Can't wait until Loeb leaves and (hopefully) Gugenheim returns.

I love Loeb, but Guggenheim/Ramos team on Wolverine was so amazing. That or Millar/Hitch would be ideal.

[CaptainTemerity]

Originally Posted by bigdaddyhub

But really for everyone who bags on the marvel staff for letting their authors and artists be late, would you rather have a story finish with quality or would you like to have a series of false starts like WW has had? Which is more considerate of the readers? Do you really want to pay $$ for a book that isn't going anywhere?

You say it like those should be the only two options.

How about a book that comes out as scheduled by the creative team who said they'd do it because of, oh, I don't know... a sense of professionalism?

I don't mind the occasions when a book comes out a little late due to circumstance or illness. But I would be truly embarrassed if, as a creator, I was constantly referred to as not getting my stuff in on time. And I know comics is secondary (at least) to Heinberg because of his television stuff (which I'm a fan of, by the way), but why would you set yourself up like that?

I like his comics. A lot, in fact. Young Avengers was one of the best reads I've purchased in the last couple years (from Marvel in particular). And I was honestly enjoying his Wonder Woman. I'll buy the last issue when it comes out to complete it, but if he were to suddenly be handed the reins again, I don't think I'd follow. YA maybe, simply because I'm hoping his heart is so in it that maybe he'll try harder.

I felt the same way about Kevin Smith (and I'm a HUGE Kevin Smith fan, so it's hard for me to admit).

And yes, I lay blame on the editors too. Or whoever signs these people up for these gigs without making it clear that they need to submit their stuff on time, or they won't be getting work with them again.



Wonder Woman #6 was disappointing. Had a lot of hope for it, but while I think an editor maybe could have helped direct it somewhat, I just didn't feel like the writer knew the characters she was writing at all. I'm all for a new "voice" for the series (at this point, why not), but this didn't feel like it was at the level you'd expect of a Big Three title. Especially when you're pushing to save a book that's already suffering setbacks in the eyes of the fans.

I doubt seriously I'll be back for issue seven. Five was better than six, and I didn't love it, I just found it passable.

[Comic-Reader]

Originally Posted by dalunt

Those little Titan Wannabes happen to be some of the coolest and best characters/comics in the Marvel Universe.

He happens to write one of the top shows on tv (ratings-wise anyways), and is an awesome comic writer, he just had delay problems and a tight schedule.



I love Loeb, but Guggenheim/Ramos team on Wolverine was so amazing. That or Millar/Hitch would be ideal.

I kind of agree with Moriarty. They are Titans-wannabees, but they do have their fans. I'm kind of neutral toward them, myself. I would never classify them as part of the "coolest/best" category.

[Innercaine]

Catch-Up Pellet: Omega Men #6 (DC; by Troy): Another part of the “portent in space” troika (with Ion and Mystery in Space), the Omega Men has been a pulpy, entertaining ride. While the central part of the action has dealt with the threat of Lady Styx, there are bits at the fringes that seem ready-made to plug into DC’s future plans. (Remember, the Omegans were on hand in Adam Strange, and that had huge Infinite Crisis implications). Tigorr has always been a fine, entertaining character, and I rather enjoy the supporting line-up as well. Henry Flint’s art has a crazily off-kilter design sense; it recalls a darker form of Giffen and Larsen. Though having some familiarity with the Omega Men is helpful if you wish to check this one out, it’s weirdly entertaining in its own right.

Another fair review. I'm drawing attention to it because I was surprised how little mention the series got on any board.

This series was a rich look at Lady Styx, and the Guardians, which I would have thought would have piqued 52 fans. I had no familiarity with the Omega Men at all.. but I felt if you had some basic Green Lantern knowledge and were following 52, it wasn't difficult to get into it.

The thing that struck me was that the story line was fairly cosmic and had broad sweeping implications, but we don't see that continuity having much impact in other titles. On the other hand, things shouldn't be crossed over too much, because you're milking fans for too much money.. But by having Lady Styx featured so prodominantly, and drawing in the secret plots of the Guardians, you've already crossed this book over- why do it halfway?

The Cilica / Vril Dox thing made me smile.. I don't know why, I sort of liked that thread in this story.

Otherwise it was a good, but as Troy pointed out, pulpy introduction to these characters. I had fun reading it.

[dmudd123]

I don't really know is Picoult can be "blamed" for much, as she was given information as to where the book would be early last year. She was totally confused with Heinberg's final product, as was us and the DC staff as well.

When the book came out, of course.

I'm rather confused as well; but then again, this is an accomplished author (like Meltzer) who has other deadlines to meet. She had her issues done a while ago.

Heinberg wanted all the lights shown on him with the relaunch, and he showed everyone exactly what kind of professional he really is as well.

I begin to disprove the whole "quality takes time" comment that DiDio & JQ started last year, because it makes it sound like Gail Simone, David Finch, B. Bendis, & Ed Brubaker are putting out crappy comics...just becuase they can keep up with a monthly title.

[Lord Ice]

You know, I've never seen a Guy Ritchie movie. But, if they are as great as Game Keeper was, I probably should check them out. Game Keeper was easily the best book of the week for me (amazingly even beating out Walk-In).

[ziza9]

"Which brings us to the art: One of the first things I look for is how an artist draws his character’s hands. Hands are one of the hardest things to draw, and a good artist reveals himself in how he positions fingers, fists and palms. Burchelli leaves a lot of his characters’ hands hidden, which is a tip-off. The fact is Burchelli’s art is competent but unsatisfactory. Most disappointing are Burchelli’s faces: they seem uniformly expressionless and sullen, letting that action cliché step in for actual emotion. There’s little subtlety in Burchelli’s renderings, which is unfortunate as it deprives the author of an important storytelling tool.

Most troubling is the fact that sometimes Burchelli’s panels are downright opaque: There is more than one instance in this book where the action on-panel does not match the dialogue. I also think some folks are going to look at the third to last page of this book and wonder what the heck is going on."

Matty is walking throgh a market in the DMZ. Matty sees two of the grandsons and says what's up. Matty keeps walking. Matty sees Amina, whose prediction concerning her state of affairs seems to have come true. Matty is in shock. If anyone reads the whole issue they should have no trouble figuring out what is up on the third to last page.

I disgree that Burchelli isn't the right artist for this book. He is what has helped make the book so distinctive. Since a lot of the art portion of the review focused on hands, and I can clearly see many shots of hands drawn well throughout the book, I'll assume that there is some late April Fool's jokery going on. To each his own I suppose, but the above was baffling to me.

[dadthedude]

Originally Posted by Innercaine

Fair review. I got all 12 issues, but it really seemed like the series was two mini's made into one, that sort of rambled a little without one specific focus, but a lot of smaller ones. "A year in the life of Kyle Rayner."

The final issue really was a set up for future books, kind of taking away from a definite sense of closure, for the reader, if not the character.

Greg Tocchini might have a certain style, but I don't think he was a good match for this sort of book. I liked it when he took a few issues off. He might do well with a different type of character, but I think Kyle needed someone 'crisper and cleaner', with less of a watercolor approac. If that term makes any sense, forgive me I myself am not an artist.

I was incredibly disappointed by the Ion mini. To say that the ending was anti-climactic is more than an understatement. I invested 12 months to find out that 1) Kyle has enemies 2) He doesn't know the depth and breadth of what is going on about him and what he's involved in and 3) people close to him keep die for no apparant reason. Hardly worth the long term investment of time and cash if you ask me.

I don't mind a mini or maxi series ending with a dangling point or two, but there was absolutely no resolution to anything that took place, and no discovery by Kyle of anything new, other than the Monitors and the Bleed. Well BIG DEAL! Even those items weren't resolved. I feel as if I've been put on hold, and frankly I'm getting tired of waiting.

[dmudd123]

Originally Posted by bigdaddyhub

Okay, I was about to post a snarky little statement about how WW should be a marvel title because of the continuity issues, the mainstream talent writers, and the editorial problems. But really for everyone who bags on the marvel staff for letting their authors and artists be late, would you rather have a story finish with quality or would you like to have a series of false starts like WW has had? Which is more considerate of the readers? Do you really want to pay $$ for a book that isn't going anywhere?

The problem is...Heinberg wasn't finishing his story. What some are then asking for is this:

Push the Joidi Picoult run back indefinitely...as well as Amazons Attack (because they will be tied together). Of course, both of these have somthing to do with events in Countdown.

What else can DC do at this time? DiDio has been the head cheerleader for Heinberg, wanting to give him time. Frankly I don't think the decision for moving on was entirely him, but rather folks in higher positions than him.

As for the Picoult issues...um, I don't see what the trouble is? These issues are the 2nd story arc to WW's OYL relaunch...only happening 2 years later!!!!!

Blame Heinberg & DC for that one! They simply want us to do math, and understand that they had no real clue with alot after Infinte Crisis.

For the first time in her life, as well as in a year for that matter, WW has to learn how to be 2 people at the same time. Picoult's characterizations were not off, and I found the issue refreshing after the Heinberg BS.

I'm not going to crucify the woman, I'll judge her when the arc is done...and seeing that all her issues were in the can before this was out, she's already a better professional and writer than Heinberg.