BEST SHOTS: ACTION, CABLE, YOUNG AVENGERS, TRIALS OF SHAZAM AND MORE

[MattBrady]

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

Greetings once again.

Your round-up of the Best Shots Extra reviews since last Monday commences below:

Secret Invasion #1

Kick-Ass #2

Young X-Men #1

Now for the column . . .

FINALE SPECIAL!
Action Comics #863
Written by Geoff Johns
Art by Gary Frank & Jonathan Sibal
******
The Trials of Shazam! #12 (of 12)
Written by Judd Winick
Art and Cover by Mauro Cascioli
Published by DC Comics
Reviews by The Rev. O.J. Flow

In an overall strong week for comic book releases, two in particular stood out because they, coincidentally, were grand finales to big-time epic storylines. One is the sixth and final chapter of Superman's reunion with the Legion of Super-Heroes, Action Comics #863, a story that began six months ago, whereas the other finale is the twelfth and final issue of a story where I'm half thinking the eleventh chapter came out six months ago. Putting it politely, Trials of Shazam! hasn't exactly rolled out at a brisk pace. But each chapter, when it's come out, has been most satisfying, I'm just surprised that it was way back in 2006 that I was buying the first issue. I guess you could say that for a monthly maxi-series, Trials of Shazam made a pretty good quarterly.

What surprises me most is that with Trials of Shazam! is that it still remained one of DC's less timely books despite a recent change in artists that I assumed would help them pick up the pace. Howard Porter, and illustrator who I've dug since JLA put him on the map over a decade ago, adopted an experimental art technique for this series, and it was to no one's surprise that getting it out on a monthly basis was just not happening. Porter was out after eight lavishly done issues, and, in a situation uncharacteristic to most fill-in situations, the art held up well, and one might argue that it actually got better. Mauro Cascioli has delivered some exceptional pencils, inks and paints, and he is more than up to the task of handling a finale that has a cast of dozens (and then some) that are active in this one last blow-out.

I think most readers who stuck it out for all twelve issues of Trials of Shazam! had a pretty good idea what the final outcome was going to be, it was just a matter of seeing how many surprises writer Judd Winick had up his sleeve. I'd say that he gave us more than enough, and the biggest revelation found in issue #12 had me kicking myself for failing to realize that a significant power player was right under our collective noses for a long, long time. [SPOILER GUARDS UP!] I'd be totally lying if I said I knew all along that Freddy Freeman's companion Zareb was actually Zeus in mortal form. Winick's done a pretty good job disguising the various gods who Freddy's encountered, but this last one was the best yet. I also know that fans have been divided on the overall storyline, especially one that's changed the Marvel Family status quo in such a major way, but I think the changes we not have can really work. For one thing, I think it makes all the sense in the world to finally have the guy in the red and gold to actually be named "Shazam." To most of the mainstream out there that doesn't read comics, that's been the character's name all the time. Plus with the licensing legalese that's limited DC's use of the name Captain Marvel, or any variation of the Marvel name, this may open up some more doors, like with the live-action motion picture we'll hopefully get in a couple of years.

Back to the story in #12, there's lots to enjoy. Cascioli gets the opportunity to do a lot more characters in the DC Universe, with the Justice League of America and Shadowpact guest-starring, and he's definitely a talent who deserves more assignments with DC. I was only disappointed once, when he displayed a bit of "Ed Benes-itis" in one panel that has Wonder Woman's star-spangled shorts turned into a thong. I'm anything but a prude, but those graphics do the character a disservice. There's energy and high-octane action throughout this entire finale, and I don't think we've seen the last of Sabina and the Council of Merlin, the evil responsible for all of the chaos. Hats off to Winick for creating potent new villains for the World's Mightiest Mortal. I'm not sure what's next up for Freddy, Billy Batson and all the others, but Trials of Shazam! certainly succeeded in keeping me interested in this bold, new direction for the characters.

As for Action Comics #863, I think it's safe to say that this Superman series has fully recovered from the false starts that occurred when Adam Kubert was on the art assignment (and don't look now, but I think "Last Son" is ready to wrap later this month!). If any of the last six issues were late, it was by days, not months, and I hope Gary Frank stays on this book for as long as writer Geoff Johns does. I thought I'd seen it all in terms of renditions of the Man of Steel, but Frank's take is just something to behold. You can do worse than invoke Christopher Reeve, the Superman of my generation, and Frank AND Johns combine to bring the late actor's spirit to all-new life. This is the first time since Chapter 1 of "Superman and the Legion of Super-Heroes" that the Man of Steel has actually had superpowers, and they've come none too soon. It's inspiring and exciting to watch as Superman takes control of the situation, the planet Earth in the grips of mass xenophobia and about to get blowed up good by the United Planets. The confidence and inspiration he exudes, and his penchant for the understatement ("And be nice to each other while I'm gone, okay?") prove that this character still rocks when in the hands of talented writers and artists.

Johns has been doing some great stuff with the LSH since he brought this version of the super-team back in "The Lightning Saga," so much so that I'm more excited for the upcoming "Legion of Three Worlds" companion book to Final Crisis than the main book itself. It would have been cool to see more development of the individual Legionnaires, what with six issues of story that we got, but most of the characters got moments to shine. In Chapter 6 here, "Sun Rise," one team member gets to do that most literally. Sun Boy proves to be a bit excitable in the presence of the ladies, and you have to commend Chameleon Girl for taking one for the team. Sun Boy's contribution is invaluable, not to mention all of the other LSH members that turn the villainous Earth Man into their own personal piñata. I have to admit, I was genuinely jazzed to see this loser get his. Between Trials of Shazam! #12 and Action Comics #863, what we all got was two fulfilling finishes to two excellent epics. Gotta love that.

Young Avengers Presents: Wiccan & Speed #3
Written by: Roberto Aguirre-Sacasa
Art by: Alina Urusov
Published by: Marvel Comics
Reviewed by: Brian Andersen

I wasn’t planning on picking up this comic. It looked to me like just one more of the many pointless and bland specials and limited series that have been plaguing comics lately; throw-away stories that add nothing to an existing character and that fail to contribute anything new or fresh, leaving the character boringly the exact same as when the comic began. If a B or C list character somehow warrants a special or limited series that story needs to be rock-and-sock-em good! It needs to have loads and loads of ramifications that will reverberate throughout the character’s future appearances, making this special a “must-read” while also potentially elevating the character into A level coolness.

Despite my trepidation I found myself won-over when I learned that his special was being penned by the tremendously talented writer Roberto Aguirre-Sacsa. I’m happy I picked up the book since the story was quite enjoyable, not totally life-altering per say, but it definitely added some much needed characterization and depth. I am thankful that someone took the time to address the ending of the parent title, Young Avengers (that ended, oh man, what was it, eons ago?), when the twins, Wiccan and Speed, where preparing to set off to find their mother - the now crazed Scarlet Witch. It’s great to read a comic that isn’t afraid to take a dangling plot point and embrace it into a very continuity rich tale. In this story the twin’s quest doesn’t quite end as planned, but it does feature the return of a key villain that played a pivotal role in the young boy’s destruction back when they were toddlers and part West Coast Avengers supporting cast.

Despite the clever dialogue and the joy I felt in seeing some of the Young Avengers running around the Marvel U I was put off by how the relationship of Wiccan and Hulkling was portrayed. Not so much how they were written - which was spot on and which bravely addressed the gigantic pink elephant in the room - but more so with how their romantic relationship (yes, that’s right, in case you didn’t know these two male teen superheroes are boyfriends!) was rendered.

I am not saying that the art by Alina Urusov was bad or inadequate, in fact I found it to be very lively, but I am saying that for these two characters who are supposed to be “in love,” and who share an intimate relationship, to not to touch more than a bromance-y handshake is a total cheat to the story. Aguirre-Sacsa made it abundantly clear Wiccan and Hulkling are more than buddies, teammates, and friendly dudes. They are boyfriends, ya know, the kind that occasionally *gasp* hug tenderly, and, gee, I dunno, perhaps kiss even. What we readers see of this romance is one tiny moment when they clasp hands, and not even in a sweet handholding kind of way, oh no, but in more of a “we’re hombres and we fix cars together in the garage” kinda way.

Now I’m not asking for these two male characters to slap on some leather, break out the whips and lube, and start humping the daylights out of each other, this is a teen friendly book after all, but would it kill to have them gently hug? Maybe even give each other a peck? Heck, I would even take a kiss on the freakin’ cheek. If this were Cyclops and Emma saying goodbye there would be massive tonguing and heart-tugging embraces in the sexiest way possible. Why is that in mainstream comic books two men can’t be treated the same as their hetro counterparts?

I realize that comics are dominated by a straight male readership and for most guys seeing two men go lovey-dovey on each other isn’t their idea of good read, but can’t those of us who don’t have a problem with it get thrown a bone (no pun intended)? It’s time comics step up to “alternative” relationship and allow them to play out their romance and give them some semblance of reality. If last month’s Buffy, which featured our heroine getting down with the ladies and devoted many pages and panel time to her exploration - all while being slightly covered by a sheer sheet –so should Young Avengers get with the times and not be afraid to allow a homo relationship, one with actual touching, be portrayed. Double standards don’t work, because if it’s ok to show two women sharing a post-hump-athon moment, while not allowing two male characters even the slightest touch past a stern handshake, something is very not right in the state of Demark my friends.

Another Shot:
Kick-Ass #2
Writer: Mark Millar
Artist: John Romita Jr.
From: Icon/Marvel
Review by J. Caleb Mozzocco

Well, there’s no blaming Mark Millar’s hard over-sell of how this comic book wasn’t simply going to be the best thing since sliced bread, but better than food itself for the second issue’s failure to be very good. Or, in this case, any good at all.

I was disappointed in the first issue, but had merely chalked it up to reality and hype failing to intersect. But with two issues down, it’s clear this just isn’t a bad comic, it’s a bad comic that’s getting worse.

Dave Lizewski, the unlikeable, personality-less teenager from last issue, the one who boasted of his own blank slate-itude before deciding to put on a costume and fight crime for no reason, was in pretty bad shape the last time we saw him. He tried to stop three black kids from spray-painting graffiti by calling them homos and attempting to beat them with a stick, and, for his trouble, the kids beat him down, stabbed him and he wandered off to get run down by a car.

How bad was the damage? Two broken legs, a broken back, plates in his head, and nine pages of Kick-Ass #2 in the hospital, going through physical therapy and the like.

Then after a little time spent blaming his comics and feeling bad about what he put his dad through, he suits up and goes out again. This time, rather than kids, he fights three huge grown men, men who seem to be professional thugs of some sort. And, despite them being bigger and tougher than his last opponents, and despite young Dave having just recovered from the sorts of injuries that would leave a lot of people in comas or wheelchairs for life, this time he wins.

Apparently Dave has a mutant healing factor like Wolverine…? Or this is like Unbreakable, only the hero really does have superpowers…? Or maybe this is all a bad dream…?

Whatever it is, it’s a pretty terrible comic book. Millar repeats almost all of the off-putting elements of the first issue—save the out-of-date, wince-inducing pop culture references—even being sure to pit our white protagonist against a different ethnic minority (“There’s a guy dressed like a superhero fighting Puerto Ricans outside!”)

John Romita Jr.’s art is just as great as it usually is, and while I appreciate the subversive quality of a guy who’s style is synonymous with Marvel superhero comics doing a “realistic” book like this, the fact of the matter is that the book is anything but realistic, making for a book that fails to channel that subversion, instead both reading and looking like your average Marvel.

Perhaps there’s a twist down the road that will differentiate this in some way from Wolverine: Enemy of the State, but for now all that’s different is that the script is more poorly written, it has swear words, and instead of Wolverine vs. the Marvel Universe in a paper blockbuster, the pitch seems to be Some Random Jerk vs. The Minorities in a paper direct-to-DVD R-rated movie.

Cable #2
Writer: Duane Swierczynski
Artist: Ariel Olivetti
Marvel Comics
Review by: Jeff Marsick

After a disappointing first issue, the easy money was that the second could only go up. Unfortunately, Cable and Bishop and the Kid (cue Ennio Morricone score) goes from merely bad to laughably terrible. Don’t hold out for a meaningful plot in this fight-flashback-fight recipe, as the meat of the book, eleven pages worth, is basically catch-up to explain away how Bishop happened to get the jump on Cable in that wayward Jersey diner last ish. It’s a digression that really isn’t necessary except to provide some (I’m assuming) unintended humor. See, Bishop had his arm torn off at the shoulder by a dinosaur-thingee (although how this creature tears limbs off victims with its top row of teeth facing forward while the lower jaw’s rows face backwards has to be a puzzle only a paleontologist or the artist can answer). But instead of wandering aimlessly like that hapless lad in the Normandy beach scene of Saving Private Ryan, blood loss be damned, Bishop cauterizes the wound, spray-fires his weapon like a rank amateur at Cable (complete with “Whoopsie!” moment as he punches the ticket of the wrong pater familias), escapes down a long and dusty road, then beats Forge single-handedly (nyuk nyuk nyuk) to access the latter’s Arm-ory (snicker). It seems that Forge has a right-sided appendage for every occasion, complete with descriptive tags beneath each just in case of a Memento moment or perhaps drunken stupor and he grabs the wrong one (“All is lost, my X-Men. If only Forge had brought the Beacon Arm, we could have sent a flare for help. Alas, his Nanite Delivery Arm is useless to us. If only he had created ID tags...”). Armed (hee hee) now with the Nuclear-Powered Battle-Ready orthotic (complete with built-in worm-hole time portal generator and retractable tentacles, great for parties!) Bishop plays Groundhog Day for about thirty-five years until he catches up to Cable. It’s issues like this where I miss the Bishop of Uncanny X-Men circa 1991.

Cable continues to look ridiculous, narrating through the fight scenes that he’s barely hanging on given the loss of blood he’s suffered. Artist and writer need to work on their communication skills because the injury to his arm looks more like Baby Messiah (who is smaller than Cable’s fist and even smaller than last issue. Is that her mutant power? Is she the Marvel Atom?) yarked up a jar of Gerber beets rather than a knee-weakening injury. It’s absurd enough to make one shout “Cable, cowboy up, already. Bishop lost an ARM and look what he did!” Again, I contend that Cable is supposed to be a battle-ravaged warhorse, a version of David Gemmell’s Druss, yet he’s portrayed like some novice who has never been in a combat situation before. He got jumped at the diner. Fine. Why didn’t he bodyslide out of there toute de suite, instead sticking around? Or is New Jersey 2043 simply THE place to see and be seen, according to Budget Travel magazine? How the mighty have fallen since the days of leading X-Force…alas, poor Cable!

The Baby Messiah crutch is officially an annoyance, pure and simple, and is actually a useless plot device. Exhibit A: on page five, Bishop’s tentacles have Cable in a chokehold and Baby Target is exposed in the wide open, greenlit for termination. Of course Bishop doesn’t take the shot because, well, I’m not sure why. Apparently beating up Cable takes precedence over completing his personal mission, which means that the infant is more baggage than bonus.

I haven’t been this disappointed in a character since Peter Parker in “One More Day”. Worse, I know Mr. Swierczynski is a better writer than this. The problem, I feel, is that he doesn’t know this character well enough, Bishop either for that matter, to really write a compelling story where reader says “Yes! THAT’S the Cable I know!” This issue accomplishes nothing to move the story or the series forward, nor can I see how it could possibly compel anyone to keep this title on their pull list. That a title would flame-out so soon after take-off makes me question how much thought actually went in to the planning of this series and how long it will survive before the plug gets pulled and the time of death declared.

Frank Frazetta’s Dark Kingdom part 1
From: Image Comics
Written By: Mark Kdwell
Art By: Tim Vigil
Reviewed by Tim Janson

I have been a Frank Frazetta fan ever since I first saw his art on the covers of the old Ace paperbacks Conan series in the 1970’s. The living legend has always had a sort of mythical air to him. Image Comics has already had great success with their Death Dealer series, also inspired by Frazetta’s art so it was natural that they would look to develop other tales based on his work. Dark Kingdom is based on the painting of the same name. I’m not sure where the painting first appeared but I do know it graced the cover of “Dark Crusade”, one of the Kane series of Swords & Sorcery novels written by the late Karl Edward Wagner. The Kane books were always favorites of mine and when I heard about he series I wondered if it was a series about that barbarian anti-hero. It’s not…but it’s not too far off.

The world of Dark Crusade inhabits the same space as the Death Dealer series in an attempt to tie the two series together. The characters in Dark Kingdom are Viking-type warriors/adventurers although they are never referred to as Vikings and the tale is set in the realm of Vikavia. Morden is a powerful and fierce warrior. He and his fellow warriors are out to sea on a conquest when a sea spirit implores him to return home immediately. After a journey filled with many perils, they return home to find all in their village killed and their children missing. The men fear a nameless beast and vote to flee their village, all except Morden who is overcome with grief and a berserker’s rage for revenge. He alone will face the beast that destroyed his village and killed his wife.

Dark Kingdom is a bit simplistically plotted. It reads almost like an old heroic Scandinavian epic. Curiously though, Morden has been given a phobia of dark, enclosed spaces, which is something he has to overcome. The book truly shines with Tim Vigil’s art. Vigil has take great care for his art to maintain the spirit and look of the classic Frazetta painting. Vigil even recreates the painting in his own style in a full-page panel.

Image’s plan to create a “Frazetta Universe” based on his paintings is an interesting proposition. It’s sort of the reverse process but based upon the success of Death Dealer and the debut issue of Dark Kingdom, I’d have to say it’s working out very well.

The Walking Dead #48
From: Image Comics
Writer: Robert Kirkman
Art: Charlie Adlard and Cliff Rathburn
Review by Troy Brownfield

No kidding; spoilers on.

Before this arc began, both the ads and Robert Kirkman proclaimed, “No one is safe.” We should have listened. Just a couple of issues ago, I was pointing out that it seemed like Kirkman was bending over backwards to try to maintain certain elements of the book’s status quo. Sure, a couple of characters met bad ends, but the core of what the book was could keep moving. Turns out, Kirkman and crew were playing us all along. They were saving the real gut-punches for this issue. And once they start landing, they don’t stop.

After last issue’s shock ending is resolved in unexpected fashion, Rick and the rest of the prison-dwellers wind up in final battle with the forces from Woodbury. It’s brutal stuff. Several characters go down in succession, leading to what may be the most stunning moment of the entire series so far. I expected one. I did not expect the other. And I certainly did not expect it to happen in the fashion that it did. It was a heartbreaking moment, a devastating coda to what has been one of the through-lines of the series.

This is one time when the series really won’t be the same. A huge group of characters has been killed off, a central location of the series has been compromised, and the survivors are scattered (if, in fact, that many are indeed survivors, since the status of a few is still in question). The primary question will be how the series sustains itself in this period of extreme reinvention. In a conventional zombie film, this would likely be the end.

I believe that Kirkman has a lot of things planned, and I believe that this entire arc was probably no easy decision on his part. It was powerful and well-drawn. It’s going to make some people talk for a few reasons. The hard part? What do they do for an encore?

A Dummy’s Guide to Danger: Lost at Sea #1
Writer: Jason M. Burns
Artist: Joe Eisma
From: Viper Comics
Review by J. Caleb Mozzocco

Writer Jason M. Burn’s original A Dummy’s Guide to Danger series introduced readers to the brilliantly conceived high-concept buddy cop team of private investigators/roommates Alan Sirois and Mr. Bloomberg.

The former is your average tough guy detective type who seems to also be an accomplished ventriloquist. The latter is a ventriloquist’s dummy. But don’t tell Sirois that; he firmly believes that Bloomberg is his paraplegic partner (Who happens to be on the short side), and needs to be carried everywhere (often in one of those little baby-carrying back-pack things).

In the original series, the pair found themselves in a high-profile case involving a gruesome serial killer called the flesh doctor. Burns was perfectly coy throughout the entire story as to whether or not Bloomberg is actually a dummy; there aren’t really any scenes to conclusively indicate that he is anything but, and that Sirois isn’t just a split personality ventriloquist (Kinda like Batman foes The Ventriloquist and Scarface, only good guys).

This new series picks up with a new storyline, and a new artist collaborator. Joe Eisma’s art is a little less sharp and stylized than original artist Joe Chan’s, but the storytelling is competent, and this is very much a writerly sort of comic, in which the sharp dialogue and the various gags dealing with the unique characters are the real selling points.

The issue opens with our heroes visiting a relationship doctor who says that perhaps they need a vacation and, as plot machinations would have it, they are invited onto a murder mystery-themed cruise by an eccentric millionaire, who wants to use their celebrity presence to sell his cruise line. And wouldn’t you know there’s a real murder before the first issue is over?

Aside from the rather sharp dialogue, Burns’ Dummy’s Guide stories really only feature one joke, told over and over again. The thing is, it’s a good joke, and the fact that Burns keeps finding new ways to tell the joke give the entire endeavor a sort of suspense, as one waits in vain for it to start falling flat. It hasn’t yet.

All We Ever Do Is Talk About Wood
Written & Illustrated by Tom Horacek
Published by Drawn & Quarterly
Reviewed by Michael C Lorah

It doesn’t look like much, this book. It’s a tiny little thing, barely bigger than a pad of Post-It notes, with an Earthy brown front cover you might glance past if you’re not paying attention. But, c’mon, take a second and really look at that cover. It’s freaking brilliant.

And that’s pretty much what you’re in for when you pick up Horacek’s collection of one-panel gag strips, eighty-eight pages of sly, subtle, dry hand-grenade humor (hand grenade humor = you pause for a moment after the joke is throw before the humor hits you like a bomb). Later cartoons show a boardroom full of somber execs, mourning as their sales chart goes flat line or an alien in a doctor’s coat with a heavy Proctology textbook on his desk.

It’s delightfully bitter work, sardonically upsetting readers’ expectations in unlikely ways. Horacek’s characters, with their huge, round heads and outward innocence, seem the least likely characters to pull down social mores, but he’s unafraid to put them through the wringer for a laugh. There’s no overall theme to the cartoons, but Horacek’s dry wit and illustrations bind the entire package together stylishly.

The small package is well designed, giving each gag its own page so that none are crowded by another laugh. And, really, who can’t appreciate a joke about a father suggesting that he and his wife name their newborn son Margaret just to “see what happens”? Hilariously recommended.

Conan: Rogues in the House TPB
Written by: Timothy Truman
Art: Cary Nord, Tomas Giorello
Publisher: Dark Horse Comics
Reviewed by Tim Janson

The latest Conan trade paperback collection adapts one of Robert E. Howard’s original Conan stories, Rogues in the House, first published in Weird Tales in 1934. This is one of the first Conan stories that I ever read, appearing in the first volume of the Ace paperback series in the 1970s. Like a lot of Conan fans, I was immediately drawn to the cover of that book by the Frank Frazetta cover. That cover is taken from a scene in Rogues in the House as Conan is battling the massive man-ape, Thak.

The story begins as Conan and his friend Nestor have come to Zamora’s City of Thieves to make their fortune. The pair has run afoul of a Priest of Anu who sets a trap for the them, eventually capturing and hanging Nestor. Vowing revenge, Conan sets out to kill those who betrayed him and killed Nestor. Yet Conan is again betrayed and thrown in the dungeons where salvation comes from an unlikely source. The young Prince Murillo offers to help Conan escape if he will slay yet another priest named Nabonidus, who is threatening Murillo’s political influence. This will lead Conan to Nabonidus’ house of deadly traps and even worse horrors including the great ape named Thak.

Rogues in the House is an interesting tale for a number of reasons. While it is a Conan story, Conan shares the spotlight with several other characters including Murillo and Nabonidus who both play central roles in the story. Also, this is a Conan story that is filled with a good deal of intrigue and less an emphasis on action and swordplay. Don’t get me wrong, Conan does his fair share of slaying but the story abounds with political and religious sub-plots and all manner of treachery. Tim Truman plays up these elements much more so than in Howard’s original story, in an effort to beef up what was a fairly short story. Despite this, Truman keeps the pace fairly quick as Conan finds himself caught up in one bad situation after another.

Zamora was always one of the most captivating settings. The Spider-haunted land is virtually filled scheming priests, daring thieves, and sumptuous women. Besides this story, Howard set several other well-known Conan stories in Zamora including The Tower of the Elephant and The Hall of the Dead”.

The subplot with Nestor was a plot device added in the comics only. Nestor did join Conan in The Hall of the Dead yet they parted ways at the conclusion. Truman shows an emotional side to Conan that we rarely saw as he deals with the sadness of the death of his friend before moving on to vengeance. Cary Nord’s art continues to impress. While he tends to sometime make Conan look a little too brutish, he does draw an imposing barbarian, that’s for sure. He’s not in the same class as John Buscema but he is improving all the time. The book concludes with a well-done essay by Mark Finn on Howard’s original story.

Pellet Reviews!

Supergirl #28 (DC; Reviewed by Andersen): Well, slap me across the face, because I can’t believe I am about to say that I actually enjoyed an issue of Supergirl. I did! And I just can’t believe it. The story actually was interesting; Supergirl’s quest to cure cancer leading her to the resurrection man was surprisingly clever, poignant and unexpected. So maybe there is some hope for this book after all. If only “full-time” penciler Drew Johnson could manage to complete an entire issue, than I would really have a reason to celebrate a good issue. At least this time he almost finished a whole entire book, this is quite an accomplishment for him! Although, yet again, put-upon Ron Randall, who saved Wonder Woman from being late multiple times, had to swoop in yet again and rescue a flailing penciler, and of course, got no credit for it on the cover! Poor guy. Someday your time will come, Mr. Randall! Hang in there!

Project Superpowers #2 (Dynamite Entertainment; by Caleb): Marvel and Dynamite are friends, right? Alex Ross and company should have only agreed to work on that Avengers/Invaders series for Marvel on the condition that they let him promise not to sue Dynamite for calling the original Daredevil “Daredevil” instead of “The Death-Defying Devil.” DDD shares the cover of this issue with The Flame, two more Golden Age heroes reintroduced this issue, along with Samson and The Scarab. The Fighting Yank storyline continues apace, but it’s really too bad that Ross and co-writer Jim Krueger have made it such a generic storyline, and so many of the characters themselves generic. The off-brand heroes who didn’t survive the Darwinism of the superhero market only bring cool costumes and out-of-time weirdness to the story, but that weirdness is being clamped down on both in the scripting and the art, which soft-lit, pseudo-realistic colors don’t do much justice for. I stopped enjoying this as soon as I turned the cover, which is too bad, as I’ve been waiting years to read about this Daredevil.

Palookaville #19 (D&Q; by Mike): The third chapter of Seth’s Clyde Fans continues in this installment, a cleanly drawn, creatively told segment about Simon placing his mother in assisted living and then going through her momentos and collectibles. Though little plot occurs, Seth’s large, dense pages are heavy with information and nuance, and nobody uses the panel gutters to greater affect than Seth does throughout this book. Whether its marking the passage of time as Simon walks through a neighborhood, or disconnecting Simon from his mother, Seth arranges pages in imaginative, engaging ways that keep you turning. Good work.

Crickets #1-2 (D&Q; by Mike): Sammy Harkham’s new series debuts, dominated by the serialization of “Black Death.” One man escapes certain (very, very certain) death with the aid of a golem, and begins a journey through a peculiar forest. In issue one, they meet a father and son taking the corpse of the young son’s baby brother to be buried among family. In the second, a raving naked man is rescued from a well by the unlikely tandem of man and golem. It’s well drawn, and Harkham has a very clear idea of who his characters are and where they’re going, but two issues into the serial, it’s far too early to guess where things might be going. There’s some real potential here, so we’ll have to see where it goes.

The Boys #17 (Dynamite; by Troy): This book is very clearly a “you-dig-it-or-you-don’t” proposition. I dig, and part of the reason is contained here. Ennis veers maniacally from conspiratorial suspense to touching declarations of young lovers to a sexual sight gag (your mileage of offense will vary). Robertson does his normal predictably great job on art, really selling the final page. Though part of the lifeblood of this books remains the super-hero parodies and pot-shots, there’s a good, character-driven story lurking beneath that surface.

Buffy the Vampire Slayer #13 (Dark Horse; by Troy): Teased last issue, Dracula makes his return to the Buffyverse. His appearance in the first episode of the fifth season clearly had a lasting impact on Xander, which is explained (hilariously) by Andrew in full Lugosi regalia. The issue reads just like a Drew Goddard episode of the series (amazing, I know, since he wrote it), with equal parts humor and shocking violence. It’s another solid entry in what’s become a very dependable series.

Countdown to Final Crisis #4 (DC; by Troy): I checked back in with Countdown last week, primarily in amazement at how terrible it was. This doesn’t move much up the ladder, as characters retread old plot points (Mary), demonstrate that they’ve learned nothing (Jason), and act as if they were never just exposed to an apocalyptic bacteria/virus/somebody-there-learn-real-disease-naming-conventions-thing (that was everybody). It all comes down to a mindless brawl featuring repeated uses of the most annoying phrase of the year: “Olsenbug.” Remember it: Olsenbug, coming to a meme near you.

Angel: After the Fall #6 (IDW; by Troy): The series pulls back to explain what happened on the night of the TV series finale, the night that Angel and his friends made their last run against the Circle of the Black Thorn. Betta George gets a role in the framing sequence, but the major action focuses on Spike, Connor, and Lorne. Three different artists contribute to the sections, each with their own distinctive style. John Byrne handles the Lorne piece, David Messina (known for previous Angel comics) takes on Spike, and Stephen Mooney (Strangeland: Seven Sins, among others) is on for Connor. It’s wouldn’t be the best first issue for a new reader, but long-time fans will find it very rewarding.


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[Sam Little]

Hey, I didn't realize there was some different art on the latest issue of Angel. John Byrne even? I had dropped this series but I may just have to check out this issue.

Also looking forward to picking up the new Conan TPB. In my opinion, Cary Nord is even better than Buscema on the character. Windsor-Smith still towers above everyone else when it comes to Conan though.

[Grendelspyce]

I agree with all the criticisms of "Kick-Ass", for a book whose selling point was it's "realism" the degree of suspension of disbelief needed to wade through this dreck is on par with that of, say, the Legion of Super-pets.

Truly unforgivable however was Romita Jr.s depiction of the Puerto Rican thugs. As a Puerto Rican and native New Yorker it was laugh out loud bad to see that instead of anything remotely resembling what a New York Puerto Rican would look like he instead depicted stereotypical Mexican gang members (!) right down to the "dress shirt open except for the top button" and slicked back hair. Isn't Romita Jr. from New York? Hell, is he from the planet Earth? He really should know better.

[CitC]

Or this is like Unbreakable, only the hero really does have superpowers…?

The guy in Unbreakable had powers.

I was hoping for S.Invasion review so I could mention my S.I = DC's Millenium idea (Lana Lang is a Skrull and Jarvis is a Manhunter) but perhaps I am not the first on to that party.

[CitC]

You can get a preview pdf of All We Ever Do Is Talk About Wood here

[DigitalAtman]

Cable is indeed attrocious, at least after its first two issues, despite the beauty of Olivetti's overall look.

Why was Alonso so excited about this book? I don't get it. The guy's edited some of the best books in the business, and then puts lowest-common-denominator junk like the current BP or the Origins ongoing... and now this. It's just empty, man. The story's completely empty. Cable's a wonderful character in the hands of a talented writer (and he's had quite a few over the years; Robinson, Casey, Tischmann, and Nicieza in his own way), but he's also been flat and forgettable at times too, and I guess we're at that point in the cycle again. The premise of the book actually has loads of potential, but it needs a writer with a good deal more depth than DS is bringing here.

[Tom Daylight]

Originally Posted by MattBrady

Young Avengers Presents Wiccan and Speed:

Now I’m not asking for these two male characters to slap on some leather, break out the whips and lube, and start humping the daylights out of each other, this is a teen friendly book after all, but would it kill to have them gently hug? Maybe even give each other a peck? Heck, I would even take a kiss on the freakin’ cheek. If this were Cyclops and Emma saying goodbye there would be massive tonguing and heart-tugging embraces in the sexiest way possible. Why is that in mainstream comic books two men can’t be treated the same as their hetro counterparts?

There was a moment, when Hulkling made himself like Wiccan and said goodbye to the real Wiccan, when I half-expected them to kiss - it would have made for a brilliant first on-panel kiss (with both of them looking exactly the same). I wonder if the writer had intended to do this and been told not to by Marvel.

[TBrandon]

Supergirl #28 (DC; Reviewed by Andersen): Well, slap me across the face, because I can’t believe I am about to say that I actually enjoyed an issue of Supergirl. I did! And I just can’t believe it. [b]


You're not alone. I know it feels like you are, but you're not.

[speedfreak]

"wince-inducing" pop-culture references in Kick-Ass, hey?

Can't be as bad as the full page headshot of Shannon "f%^*g" Elizabeth in that issue of Ultimates.

[Mar-Vell123]

Action Comics #863 was my own pick of the week!! I agree with the "channeling Reeve" comments as the issue had a real Superman: the Movie feel to it, to the corny (but charming "... be nice to each other while I'm gone," comment, to the stunningly beautiful hovering scene (any other writer would have used an impact crater). I'm surprised that the reviewer didn't highlight two things - the nod to possible Superboy adventures in the 30th Century (that would be so cool), and the Zoidberg cameo!! My favourite Futarama character being shoved into the back of a paddy wagon! Johns knows certainly knows how to write Superman.

Trials of Shazam was another great (but somewhat predictable) finale! Now I can't exactly call myself a fan of the "Shazam" lore, but I have always liked the idea and look of the character. I think the charm of the young boy with godlike powers aspect of the character has been lost from the conclusion of the story (obviously it hasn't been able to appeal to a wide audience for a number of years), but has been replaced with a more adolescent "Peter Parker" approach to the character. Maybe it'll work - I'd certainly pick up an ongoing. Mauro Cascioli is an excellent artist (who also likes to channel Christopher Reeve) and I'd love to see him on an ongoing title. In the end I was satisfied with the end of this series, and will reading the whole series again in one reading. My only gripe is that calling the character Shazam, while financially and legally a practical idea, just doesn't work as an appealing name for a superhero. I keep expecting to see a genie, not Captain Marvel - I don't expect the name change to last (does anyone?)

I'd like to be able to comment on Project Superpowers, but my LCS forgot to put a copy in my box!! But it's not sounding good from that review. As much as the nostalgia angle works, a good story needs to be present. Have to say that that The Twelve is a much better written and illustrated book, and it's a shame that it wasn't reviewed this week. It certainly deserves to be as it's currently one of Marvel's best written books.

And where's the review for Star Trek New Frontier?? Probably good practice to review a book that was highlighted not long ago...

[batmansgirl]

Thanks, Caleb! I'm glad I'm not the only one who thinks Kick Ass is trash.

[Simon DelMonte]

"Olsenbug"?

"Mary Marvel said. She has her own little plot."

"Olsenbug?"

"It's a little bitty germ?"

"OLSENBUG?"

"Alright, I'll retcon it off, that's all."

[Abstrakt]

hopefully marvel will listen and change the writer and artist of cable like with what happened with the original writers of the bart allen flash

does anyone know what number trade this walking dead arc is going to be? ive missed out on the last few issues and it sounds like the arc is so good it is worth a trade to put up in my book collection

[Moored]

Originally Posted by TBrandon

Supergirl #28 (DC; Reviewed by Andersen): Well, slap me across the face, because I can’t believe I am about to say that I actually enjoyed an issue of Supergirl. I did! And I just can’t believe it. [b]


You're not alone. I know it feels like you are, but you're not.

Definitely not alone. And I do think this particular issue is turning around a lot of folks. Lets also start doing the same for Flash yaknow. Peyer's on it yaknow.

[House of J]

Wow. From these reviews, it sounds like my instinct to avoid both Cable and Kick@ss was right on the money. I can't believe Marvel used a mediocre story like Messiah Complex to cancel a couple successful books and launch a couple of turds like Cable & Young X-Men or whatever is it. Legacy's not getting any better buzz than these, and I gave X-Force a try and dropped the hell out of it. Really makes you wonder--did they think these books were going to be really great??

[Amoebas]

Action #863 - book of the week (and with four more New Book Days left in April, it'll be tough to keep it from being book of the month).

[Steve J.]

Well, there’s no blaming Mark Millar’s hard over-sell of how this comic book wasn’t simply going to be the best thing since sliced bread, but better than food itself for the second issue’s failure to be very good. Or, in this case, any good at all.

Not to belabor the point, but I have pretty much the same criticisms. The racial concerns were pointed out to me by others on my Talk@ thread about KA...and that makes me like the book even less. Really, couldn't Dave Loserski have found some white kids to pick on? Or is Millar using Dave's racist behavior to demonstrate what a jerk his protagonist is? If so, then we can all say "that Millar, what a Genius".

[durkadurka]

I agree with Brian's thoughts about Young Avengers. Really, not even a hug? I thought Roberto Aguirre-Sacasa did a good job in portraying their relationship, but if you're going to go that far you might as well show an inkling of physicality. Just a hug! It's not really that big a deal, but it's something i did notice.

Action was fun, of course. Great storyline, great writing, but it's not like anything unexpected happened. Still a couple of dangling threads, though, like who wrote that tablet in Kryptoneze and who's in the lightning rod. But i've enjoyed this revisit to the old Legion (at least one of the old Legions).

I loved Trials of Shazam. I know it was late, but the beautiful part was that really the only time cameos happened were in the last two issues, and in this last issue you have the current Justice League, which is a hair different than it was when the series started. Although i personally saw Zareb being Zeus miles away.

[runrobotrun]

I agree w/ 99% of the Cable review. I'm just not convinced this guy is a good writer. Someone who knows how to write comics needs to jump on board. I can see what Bishop and Cable are doing thanks to the crappy art, I don't need crappy thought bubbles telling me too.

I'm starting to feel like I should have put X-Force on the pull list, and let this one slip away. Someone needs to put Nicieza back on Cable.

[regis debris]

Kick-Ass has me wondering whether Millar is just having a laugh at all of us ... or is, y'know, seriously, narcissistically impaired when it comes to judging what a passable -- much less a quality -- comic book is. Good lord, what a piece of crap. Dropped, albeit at least one issue too late.

Mar-Vell 123 is right -- The Twelve is miles beyond Project Superpowers, which is turning into quite the disappointment (though hardly an insult like, again, Kick-Ass).

Along with The Twelve, at this point (I've still got a handful of titles to read) the best comics of my week would be Action & the consistently delightful, densely (in a good way) plotted PS238.

[Blind Assassin]

I am loving kick ass.

I can see why it is not for everybody-- it appears to be a polarizing book. People either love it or hate it.

I am loving Romita Jr.'s art.

I can't say I noticed that the book depicted 'stereotypical new york mexican gang members' vs. puerto rican gang members (as one of the people in this thread pointed out)-- guess I don't know whay stereotyped racial gang members look like, I guess-- and that didn't detract me from enjoying this story.

apparently the first issue reprint sold out, and I believe the 2nd issue sold out as well. Like it or not, Millar seems to be hitting a nerve with his readers (one way or another)

[RickinToronto]

Wiccan and Speed are Skrulls but don't know it. Hulkling does know, and is playing Wiccan. Hulkling will be the traitor in the YA group. I think.

[gwangung]

Originally Posted by Mar-Vell123

Trials of Shazam was another great (but somewhat predictable) finale! Now I can't exactly call myself a fan of the "Shazam" lore, but I have always liked the idea and look of the character. I think the charm of the young boy with godlike powers aspect of the character has been lost from the conclusion of the story (obviously it hasn't been able to appeal to a wide audience for a number of years), but has been replaced with a more adolescent "Peter Parker" approach to the character. Maybe it'll work - I'd certainly pick up an ongoing. Mauro Cascioli is an excellent artist (who also likes to channel Christopher Reeve) and I'd love to see him on an ongoing title. In the end I was satisfied with the end of this series, and will reading the whole series again in one reading. My only gripe is that calling the character Shazam, while financially and legally a practical idea, just doesn't work as an appealing name for a superhero. I keep expecting to see a genie, not Captain Marvel - I don't expect the name change to last (does anyone?)

I will repeatedly point out that this aspect is not necessarily lost, even with all the changes. Billy, as the Wizard, is a boy in a man's body, permanently. He has to deal with the big leagues of magic, in the magic realm. But, unlike before, he doesn't have anyone to bail him out...

(Besides, I think Freddy's Golden Age adventures were a bit more serious, so it's not a change).

(Though it's all up to execution.....)

[Alexjh]

I agree in some ways with the Cable review, and that comparrisson to Druss is definatly the kind of feel I'd be expecting in terms of combat.
I'm unsure as to where Cable stands in term of powers at the minute, from what I understand he has no telepathy or telekinesis, no simulated telepathy or telekinesis (as Black box died... and he... err... turned off the cone of silence) and can't bodyslide as Providence got destroyed.

I personally find the plot interesting, but since that fight with random people in the first issue he hasn't really shown how tough he is, or if he has any kind of powers beyond the techno-organic ones. Personally I think Ariel Oliverti's (spelling?) art is great with only a few misfires (the weird digital lorry on the last page, Bishops design as far as his face is concerned just a bit unremarkable)

Main problem: very slow pacing, if more happened then each issue would feel more fullfilling, enjoyable but a bit light at the minute, hopefully now Bishops little story is out the way things will pick up in speed - they really need to address the importance of the baby, what she can do and what she will do more though to make her more than a plot device.

[durkadurka]

Originally Posted by Alexjh

Main problem: very slow pacing, if more happened then each issue would feel more fullfilling, enjoyable but a bit light at the minute, hopefully now Bishops little story is out the way things will pick up in speed - they really need to address the importance of the baby, what she can do and what she will do more though to make her more than a plot device.

I think this is the main problem with Cable as well. The book is about the baby, right? It spun out of Messiah CompleX, also about the baby.
Now that both Cable's and Bishop's stories are out of the way, maybe we'll get somewhere. Hopefully the book will fall into place soon, and we can see how it will interact with the other titles.