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05-08-2006, 09:45 AM
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BEST SHOTS: INFINITE CRISIS, CIVIL WAR, LA PERDIDA, & MORE...
 by the Cast and Crew of ShotgunReviews.comYour Host: Troy Brownfield We’re back again, and hopefully this week won’t be as traumatic as last week when Corey came back into the hatch and shot Mike. Now . . . wait . . . what do you mean it didn’t happen like that? Gotcha. Grading 65 final papers this past week must be having an effect. For those of you finishing up with college, congratulations! That’s our long-distance dedication; and now, on with the countdown. Infinite Crisis #7 From: DC Writer: Geoff Johns Art: Phil Jimenez, George Perez, Ivan Reis, Joe Bennett, Andy Lanning, Jerry Ordway, Sean Parsons and Art Thibert Review by Troy Brownfield Spoilers Present The capstone of DC’s mega event arrived on Wednesday, bringing with it a number of mixed feelings. I’ve read various message boards, and I’ve seen that the feelings among fans run the gamut. Even among the Best Shots squad, there’s been some debate about the issue (for example, whose neck did Superboy-Prime break? Thank you, Matt Brady, for the answer of “Boss Moxie”). Some of us didn’t like it, some us had some serious questions, and some of us loved it. For my part, I really enjoyed it, much as I’ve enjoyed the rest of the build-up. While individual pieces here and there among the rather enormous tapestry worked better for me the others, I’d have to say that whole marathon from Countdown to this point was a fairly amazing accomplishment on the behalves of all creators involved. Whether you liked it or not, all the attendant events and fallout inarguably dominated discussion for much of the year. This last issue comes packed with a number of cathartic moments, particularly when the rallying heroes finally lay a beating on the Society. I’ve seen some negativity regarding the strategy employed by the heroes (essentially: dogpile), but seriously . . . you’ve got an army of killers who have already slaughtered several heroes gunning for another major city. Do you draw lots to see who fights (“Okay, Hourman, you get Grodd . . . Cassie, you draw next”), or do you get your boys (and girls) and curb-stomp the sons of bitches? I vote curb-stomp (and don’t forget; the single page montage of villains getting pounded flat consisted of the very bad guys who executed the Freedom Fighters in the series’ first issue. That would be a nicely tied bow in that plot element). Johns did a solid job on delivering on many of the character arcs. Batman and Wonder Woman achieve an understanding with one another and with themselves. Superman proves that he is the leader, serving as the focal point for the charge to save Metropolis and later risking his life in the attempt to stop Superboy-Prime. If the purpose of the overall series was to restate the nature of unselfish heroism as an ideal that trumps abuse of power and extremism, I believe that was realized. Much has been made about a number of the deaths; frankly, there aren’t too many that I have major problems with. Was it a shame to see about six New Bloods punked in one panel? Well, sure. And I’m not sure why Looker went out in banal fashion. But I’m not going to lose any sleep over the awful re-do of the Peacemaker. If any character’s demise made a lot of sense, it was Breach; the case for the character’s redundancy was made quite clear earlier in the series. Overall, there was a lot of great art (yeah, didn’t like that two-page spread either) and exciting storytelling. The momentum gathering has powered the “One Year Later” titles ahead and set the stage for a couple of dozen projects that run the spectrum from mildly intriguing (the new Spectre mini) to audacious (52) to must-haves (Shadowpact, with Willingham back doing art, and Secret Six). Time will tell how Infinite Crisis is remembered. In terms of setting up DC’s future, it’s a huge success, and a masterwork of collaboration.  Civil War #1 of 7From: Marvel Comics Writer: Mark Millar Artist: Steve McNiven Reviewed by: Richard Renteria I am fortunate in that I have not been burnt out on crossovers as I really have not participated in the whole Infinite Crisis two year mega-event and, with the exception of the Hulk, only read the main House of M title. To say I was ready for this event is an understatement. I’m a fan of Mark Millar; I’ve been enjoying Steve McNiven’s art since the first issue of 4; and I’m a fan of the Marvel Universe; could it live up to the expectations? I think the folks at Marvel can sit back an take a well deserved moment, as this issue lived up to the hype. Well not a perfect title, it did manage to establish a mood and set events in motion that will bring some major challenges for the heroes in the months to come. Millar does a good job of balancing his own political leanings for the sake of the story and let’s the reader decide who really is in the wrong, much like in real life. The conversations between heroes during the clean-up were believable and the confrontation at the funeral put a name on the tragedy, Damien. Yes, I groaned too, but I’ll give Millar the benefit of the doubt since the rest of the issue was so solid. As much as those scenes worked, the final page managed to add a whole new layer of tension to the already mounting public anger. An anger that gets Johnny Storm brutally assaulted and sent to the hospital in critical condition. Also, we let’s not forget action, and there was some action. In the best scene of the whole issue Captain America takes on S.H.I.E.L.D. as agent Hill comes to the realization that Steve Rogers is no government lackey. Bringing all those scenes to life were the amazing pencils of Steve McNiven. Displaying a complete range of emotions, action shots and confrontations, the art from the first page to the last is just beautiful. McNiven has this one moment to shine in the spotlight and he is not going to miss it. The way in which he choreographed the fight scene was well done and completely in character with what we know of Captain America. The final page speaks volumes of where this story is heading. As gorgeous as McNiven’s art is, it would be wrong not to mention the talents of Dexter Vines on inks and Morry Hollowell on colors who really manage to enhance McNiven’s art and elevate it another level for this series. As this is the opening chapter in a seven part series, I’m optimistic that Marvel really has something special with this title. Congratulations to the entire creative team for a job well-done. Richard helped out his local comic shop on Free Comic Book Day, thereby earning him the Best Shots Good Comic Citizen Award for the week.  La PerdidaWritten & Drawn by Jessica Abel Pantheon Books Review by Sarah Jaffe My copy of La Perdida was a gift from one of my compatriots, the Rev. OJ Flow, in an attempt to broaden my horizons (and supply me with things I'd never find locally). It's a personal, realist graphic novel, written and drawn by Jessica Abel and set in a Mexico City that manages to be colorful despite being drawn in black. La Perdida is the story of Carla, a half-Mexican American with a love for Frida Kahlo and a rich ex-boyfriend living the expatriate life in Mexico. Like many college grads with no idea what to do and only a slight idea of who they are, she heads south of the border to find her heritage, despite not speaking any Spanish. She finds her ex, Harry, and most of the Americans she meets to be shallow and condescending, and seeks out "real" Mexican friends rather than Harry's group of Beat-obsessed expats (again, a common archetype). The "real" Mexicans she meets are the Communist-rhetoric-spouting Memo and his naive but attractive friend Oscar. The men sell T-shirts with Che's face on them in the square but berate Carla for being bourgeois and a tourist. Carla's obsession with distancing herself from the Americans leads her into a seriously dangerous situation, in a plot twist that I certainly didn't see coming. La Perdida means "the lost," and it's the story of what happens when one deliberately tries to get lost. More importantly, though, it’s the story of a conflict of cultures, and a stark reminder that no matter how much we want to and try to understand others, sometimes we can't. Carla's naiveté might get irritating if the book wasn't written with a self-aware framing device, and if we couldn't all relate just a bit to her desire to escape the middle-class boredom she was born into. I might roll my eyes at American rich kids who move to Mexico to tell the same story about William Burroughs and Jack Kerouac over and over again, but I react to the romance of the story just the same. Abel's tale of fuzzed boundaries is particularly relevant this week, as Mexican-American immigration and cultural mixing is a hot topic right now. So much discussion goes on about Mexican and South and Central American immigrants in this country, and we rarely think about what happens in the opposite direction. To so many Americans, Mexico is nothing but a source of white beaches and cheap labor. This book brings a city to life, illustrating some of the differences between life in Mexico and life here, while illuminating at the same time many of the similarities. Both the Mexican and the American characters are people we all know, and that's what made the book such a quick, riveting read. I didn't want to put it down. Most of Abel's drawings are simple, black lines and basic characters, yet they're full of feeling and they leave me wanting more, to see the locations rendered lovingly here in their full color. Her Mexico City is a beautiful, modern city with its own distinct flavor, skateboarders mingling with wrestlers, open-air markets, raves, and yes, crime and poverty. La Perdida manages to bring characters we know into a setting we probably don't know, and bring universal issues into a very specific story. The best stories always work this way, in any medium. Most comics are set in worlds that exist only in their creator's eye, so when we find one that makes a real setting as magical and otherworldly as one containing superheroes, it's worth reading, and re-reading. The March Best Shots Team-Up featured Troy and Mike in New York, while the April version showcased OJ and Sarah in South Carolina. I vote that for May, Caleb and Koben road trip from Ohio down to Texas and join Corey for a bar fight.  Friendly Neighborhood Spider-Man #8 From: Marvel Writer: Peter David Artist: Mike Wieringo Review by Koben Kelly So, last issue of FNSM, I was totally put off by the mysterious, cliff hanging cameo by Uncle Ben. Lately, the comics world has been stricken ill by a glut of the dead coming back to life, the living being killed, and other variations on this theme. The more it happens, the more it seems like a cheap gimmick to sell books based on the temporarily shocking abuse of the writer's power. It's not that dead has to mean dead in every story you'll ever read. No, it's just that the last couple of years, the fabric of that concept is wearing thin. I've finally found a Spidey book that is right up my alley, featuring a writer who understands Peter's sense of humor, and drawn by an artist with a gift for the light and understated. The Other crossover is well over, and the last two issues have satisfied with a story focusing on supernatural wrestlers. All of a sudden... SMACK! While on a date with the Avengers' Jarvis, Aunt May sees someone outside of the restaurant who bears an uncanny resemblance to Peter's Uncle Ben! You know, with great power comes great responsibility, Uncle Ben. I didn't want to believe that the great Peter David would hop on the gimmick train to make a few more bucks. I was sure he would be above that. With this new issue, my fears have been put to rest, and my faith in PAD has been restored. The issue kicks off with a sudden departure from the norm. (Full issue SPOILER alert) A teenage Peter returns home to find police cars, lollipops ablaze, parked outside. What seems to be a retooling of Spidey's origin by David soon reveals itself to be much, much more than that. A teary-eyed Uncle Ben informs Petey that his Aunt May took a fall down the steps, and passed away. In this departure from established continuity, this variation instantly becomes an example of EYKIW (everything you know is wrong). It seems that May's financial skills were sorely needed to keep the bills in order. With Ben coming closer and closer to poverty, Petey hatches a plan to solve the problem. Ben becomes Spider-Man's agent, booking wrestling gigs, and taking a fifteen percent commission. Unfortunately, without May's love and support, Spidey's fame, superstardom, and money go to his head. He becomes ill-tempered and unappreciative of his fans' adulation. Unable to deal with his uncle's disappointment and sadness, Peter moves out of his life-long home. This is where things get juicy. On the way home from seeing a Spider-Man movie at the local theater, Ben is stopped dead in his tracks by an arresting sight. His home, burned to the ground. When he approaches two police officers about the problem, he is informed that Ben Parker passed away years ago, leaving his widow and nephew to live in the house up until recently. Finding his grave in the nearby cemetery, everything is a bit too Scroogey for him until a mysterious figure, astride a flying contraption, offers him the chance to see his wife and nephew again. How is this character involved in the alternate chain of events? If you are a fan of Peter David's Marvel works of the past, you might already know who and what this is about. After this fantastic set-up, I am more than willing to give another dead/alive storyline a chance. PAD has proven himself time and time again, and I can't wait to see how this continuity anomaly plays out. Mike Wieringo's artwork is perfectly suited for a Spidey book. His style was sorely missed for the last two issues, and I pray for the longevity of his tenure. If it isn't obvious... this is my favorite Spider-Man title currently being published, and I encourage anyone who isn't reading it to give it a chance. Okay, so we know this is Koben’s favorite Spidey title; what’s his favorite Archie title?  Fantastic Four Visionaries: George Perez Vol. 2From: Marvel Featuring George Perez with Marv Wolfman, Len Wein, Doug Moench, Joe Sinnott and more Review by The Rev. OJ Flow As a comic collector who really got started at the onset of the Eighties (and has historically had DC leanings), I can safely say that I have owned or at least read just about everything George Perez has done for the "Distinguished Competition." Redundancy aside, I would be all over some collections the company could produce, like, say, all of the work Perez did on Justice League of America. That was some tasty stuff, back when the uber-talented superhero artist did the unthinkable and split duties for a while on JLA and New Teen Titans. Like I said, I own it all, but some collected treatment like they've done for his time on Wonder Woman would be too awesome to pass up. In the meantime, Marvel Comics has come through with its second of two collections specifically geared toward Perez's time on the Fantastic Four in the late Seventies. Not all of it is specific to their own long-running title, but comics' First Family gets stellar treatment in this collection. That being said, my love for Perez is definitely put to the test with a lot of the content in the excellent Fantastic Four Visionaries: George Perez Vol. 2. Mind you that I was in second grade when a lot of this material hit stores the first time, and I was hardly ready to tackle the rigors of consistent monthly purchasing, what with a lack of disposable income and something else that epitomizes what I think molded me as a DC guy over Marvel way back then. Know that I have always appreciated Marvel's characters, and to me they are flashy, fun and colorful in most of the same ways my favorites from their creative rival are. Shoot, The Incredible Hulk was THE number one appointment TV viewing for me back in the day, not to mention the now-wince-inducing cartoons based on the Fantastic Four ("Mommy? I thought the Human Torch was on the team. Why do they have this annoying robot??"). While conventional wisdom has long suggested that what separates the two publishers is a certain sense of reality that Marvel infuses into their characters over DC's, what has ultimately been the leading caveat for me is accessibility, or lack thereof. I can totally swing it easier these days should I choose to jump on Ed Brubaker's run of Daredevil or something, but I always felt as a kid that I was always issues behind in the story anytime I picked up a Marvel comic. This collection, for all the glorious art, snappy exposition and far-out characters, brought back some of those feelings of exclusion I had 25 years ago. Bear in mind, as you read this, I'm only getting through Part 27 of the first installment of Newsarama's "Know Your Eternals," so understand where my head is at right now. But don't take my quibbles as an indictment of the quality of this George Perez collection. Not at ALL. Perez has obviously evolved over the years in his pencilling, especially in terms of design in his layouts (seen in this collection at the end in a 4-page Thing story, not coincidentally, from 1992) and displayed a better knack for distinguishing characteristics in facial features and such, but his skills in expressiveness and navigating action sequences is as prevalent in these old issues of Fantastic Four, Marvel Two-In-One and Adventures of the Thing as they were this week in his contribution to Infinite Crisis #7 (Oh, and that, by the way? Wow.). So while some of the historic value of why Agatha Harkness is rolling with the FF, along with a decent understanding of the super-team's experience with the likes of Texas Twister, the Klaw and the Molecule Man is lost on me, it's still plenty enjoyable to see the madcap action taking place in the Baxter Building and elsewhere, especially when you got Impossible Man in the mix for some stories. At face value, there's something for different tastes. Any self-respecting Fantastic Four lover would be foolish to pass up such a well-produced assemblage of classic yarns that also feature creative contributions from Marv Wolfman, Len Wein, Doug Moench and Joe Sinnott. For all the craziness that we see fly past the FF in this book alone, this was a joyfully simpler time for the titular characters, and bessed is the reader. For Perez loyalists, it's a kick to also see how he has evolved with these characters then into now. The cover alone shows this with Perez's more contemporary take on the team (an illustration I believe came from Marvel's major character relaunch ten years ago -- 95% of the characters on this cover fail to make it into this collection, by the way). Mr. Fantastic these days is rendered with a little more age than his teammates, slimmer as befits a person with stretching abilities and more studious. Back in the day the team leader's more mature look was usually simply a matter of applying white hair to the temples despite a physique comparable with Captain America's. Comic fans in general are served well by this book as a piece of classic storytelling. For all those reasons and more, Fantastic Four Visionaries: George Perez Vol. 2 worked for me despite all my hangups from the get-go, and it'll more likely work for you too, should vintage superheroics be your thing. I think OJ likes George.  Cry Yourself to Sleepby Jeremy Tinder From: Top Shelf Review by Troy Brownfield Let me now sing again the praises of Top Shelf. One of the few companies in this world that lives up to the promise of their name, they’ve been bringing us absolutely champion work for many years. One of the recent talents to emerge is Jeremy Tinder, and his debut here marks him as a creator of vast potential. Cry functions as a slice of life kind of story; you can feel the loose autobiographical nature in a couple of ways, primarily because the book referencing that very notion. Still, Tinder’s twist is to skew the whole thing through a kind of cartoon reality. Of the three main characters, one is human, one is a rabbit, one is a robot, and none of them display any type of reaction to the state of being of the other. In fact, Jim the rabbit visits his parents at one point; his mom is also a rabbit, but his dad is human. Such disarming details evoke a surreal atmosphere. Still, it’s not pretentious surrealism for the sake of hipster leanings. There’s almost a childlike quality to the proceedings, as is Tinder is telling us a fable of twentysomething adulthood and the assumption of responsibility in fiscal, creative, and emotional disciplines. Truthfully, we’ve seen similar plot conceits before in indie comics work; it’s just that Tinder is so effective by making those ideas look completely different. While the art exists at a nexus point somewhere between fellow Top Shelfers Jeffrey Brown and James Kolchaka, Tinder’s major distinguishing characteristic is his subtle, often gentle humor. He understands that disappointments one runs into once they’ve gone beyond that safety net of college or home, and he makes those of us who also understand smile about it. Cry Yourself to Sleep is a tiny gem of the kind that Top Shelf excels in bringing us. I’m sure that you’ll enjoy the story, but almost equally enjoyable is the thought that Tinder no doubt has a long career ahead of him. Pellet Reviews Shon C. Bury’s Nox #1 (Narwain; by Troy): Bury, probably best known from work on Cable, turns to the notion of the “Heroic Journey” espoused by Joseph Campbell. Joey King’s a comparative mythology student with a few unpleasant personality tics, a girlfriend who doesn’t get that journals are private, and a loutish best friend. Before he knows it, Joey is given some magical artifacts and set upon by demons. I know; I loved college too. The art by Allan Goldman is rock-solid, and there’s an intriguing character who appears to be something of a male nun. The first issue barely scratches the surface of what could be a deep premise, so it’ll be interesting to see where this goes. Bizarro World (DC; by J. Caleb Mozzocco): Okay, if you passed on the $29.95 hardcover, I don’t quite understand you, but I guess I can’t blame you. But now the second collection of “Bizarro” shorts is available in affordable soft-cover (only $19.99), so you’ve got no excuses not to snap this up and devour it. See Tony Millionaire’s weird take on Golden Age Batman and Robin! Kyle Baker’s tale of Alfred vs. an automechanic! Harvey Pekar and Dean Haspiel doing Bizarro and Luthor! Peter Bagge and Gilbert Hernandez dust off The Red Bee! Craig Thompson demonstrates what a lousy co-worker Jim Corrigan makes! Plus, Aquaman at open mic night, Batman adopting a positive mental attitude, The “Marvel Family” Circus, Manga Green Lantern, French Batman and more. I think the original Bizarro Comics was a much stronger collection, with a better set-up featuring B. and Mxy, but this is sequel is still cover-to-cover great comics with a DCU flavor. Or terrible comics, in Bizarro vernacular, I guess. Now if only they could do an anthology series like this on a monthly basis… Mouse Guard #2 (Archaia Studios Press; by Caleb): Writer/artist David Petersen continues his tale of tiny rodent knights doing battle with big, scary animals (this time, it’s crabs). Petersen’s art and designs are just gorgeous, and while the story is simple, there’s a certain strength in the simplicity. It’s quite a quick read, however, and at $3.50, it’s hard to recommend to folks who don’t have the money to burn. If you slept on this ish or the last, sold-out issue, don’t miss the trade (if it proves popular enough to earn one), which is probably a better format for the storybook-esque tale anyway. Neon Genesis Evangelion: Angelic Days: (ADV Manga; by Caleb) This new series posits an alternate history where the kids of Evangelion —Shinji, Asuka, Rei, Toji, Kensuke and even Kaworu—are all classmates in teacher Misato’s home room. A typically goofy highschool dramedy for the first half of the book, it calls to mind the ideal reality conjured in the anime once the Human Instrumetality Project was activated. But Evas, angels and apocalypse may yet loom in the future, as there’s still a NERV project and Kaworu and Rei are still pretty mysterious. It’s hardly a great read, and I was disappointed in Fumino Hayashi’s versions of the GAINAX-designed characters (Viz’s original, straight adaptation was graphically superior), but as an [i] Evangelion [i/] fan, it’s still a treat to spend some time with the characters, and to see them all alive again and mentally stable for once. LOVE AND ROCKETS #16 (Fantagraphics; by OJ): The color cover of this black & white series is worth the price tag alone as it so deftly captures what's beautiful about Jaime Hernandez's contribution to the L&R Universe. Two Jaime stories bookend this issue with the first vignette through Ray's eyes ("Fine To Very Fine") as he recalls reclaiming an amicable relationship with Maggie, and concluding things with the latest in Hopey's "Day by Day" series, "Sunday is Put That Gun Down Day." Nothing so dramatic as gun play takes place, put it's compelling stuff nonetheless. Amazing how Jaime continually achieves this with nothing more than a simple cast of normal Los Angles-area Latinos. [And on THE week of widespread U.S. debate over Hispanics' (and immigrants of all walks of life) employment & citizenship rights in this country AND the most widely recognized Mexican holiday in America. Por casualidad!] Gilbert's contribution begins as another whimsical episode with the Kid Stuff Kids, and it segues into a lengthier and decidedly more mature glimpse into the relationship between their parents, Hector and Guadalupe. Always appreciated how seamlessly Gilbert goes back in forth in time to illustrate the many layers to the relationships between his cast of characters. You know how Mr. Burns got the Spanish Steven Spielberg to tell his story? Let's get the Spanish Robert Altman to film THIS story! Hard Time: Season Two # 6 (DC; by Koben): This has to be my least favorite issue of the series thus far. Instead of Oz-style prison life, we get a trip through Ethan's inner-self alongside Ethan and Fruitcake. Some of it was clever, but the majority seemed lazy and self-indulgent. The only part I really enjoyed was when the two returned to the here and now. Ethan has attained a form of control over his khe-chara form, and stops Cutter from slitting his throat by way of several inspired puncture wounds. Interestingly enough, the next issue is the final one featuring a story 49 years into the future. B.P.R.D.: The Universal Machine # 2 (Dark Horse; by Koben): The majority of this issue contains the origin of Captain Daimio. And what a F-ed up origin it is. In the jungles of Bolivia, Daimio and his men come across something ancient, angry, and bloodthirsty. Shadow creatures, disembowelment, living skeletons dressed like nuns, natives, and jaguar gods take out his entire patrol in seconds, leaving him to wake up, disfigured but somehow alive, in a body bag days later. Meanwhile, Dr. Corrigan is still trapped in a living painting, yet she finds The Secret Fire, a true record of the workings of the universal machine, of the nature and function of celestial bodies, the transmutation of metals and the creation and reconstruction of living things. I am amazed that Mignola and Arcudi can come up with so much richness on a regularly scheduled basis. At this point, I enjoy B.P.R.D. much more than the occasional Hellboy issue. X-Men: Apocalypse vs Dracula (Marvel; by Richard): This is it, the confrontation that this series has been building too: between Apocalypse and Dracula and it doesn’t go quite the way one would expect it. Still recovering from the vampire bite he received Apocalypse confronts Dracula. Unfortunately for En Sabah Nur his tainted blood allows the Prince of Darkness to dominate him at will. Only the timely intervention of Professor Van Helsing, a mere human, can save Apocalypse. Tieri and Henry do a good job wrapping up the series. Some loose ends are tied up and even though Apocalypse comes out on top, it’s only through the actions of a wheelchair bound mutant and an average human that he is even successful. I especially enjoy the way Ozymandias keeps Clan Akkaba alive, unbeknownst to his master, effectively capturing his duplicitous nature. Henry does a solid job of conveying all of the action in a straightforward manner with some nice visuals throughout the issue, Vampires vs. Dark Riders was a nice scene. Good ending to a very entertaining series. Ultimate Spider-Man #94 (Marvel; by Troy): Solid ending to an okay arc. The story wasn’t my favorite overall, but it had some nice character moments. The Spidey/Kitty Pryde relationship is still a genius idea, and Bendis gets the best moments out of that. He also does a great job with foreshadowing at the end; Peter have not know who Miles Warren is, but I sure as hell do. Exiles #80 (Marvel; by Troy): The rocket-ride that is Exiles features another shocking turn in the Proteus saga. Tony Bedard does a terrific job with narration by Morph that underscores the intent and struggles of that character. Meanwhile, Pelletier and Magyar just draw the heck out of everything, from a rampaging Maestro to a super-buff version of our favorite shapeshifter. This is Marvel’s perennial cult favorite. Teen Titans #35 (DC; by Troy): So . . . the new group has some teamwork issues. I’m willing to give the new line-up a chance; I seem to recall that there were people who hated both the “new” Teen Titans (and the “new” X-Men, for that matter). We get a last page appearance by a new iteration of a team that I’m dying to learn more about as well. Daniel has improved immeasurably since Elementals volume three, and Johns has the opportunity to build with untapped characters like Ravager and Kid Devil. This is one to watch. Civil Discussions Civil War #1 (by Caleb): With the first issue of this pompously billed “Marvel Comics Event In Seven Parts,” Mark Millar finally gets a cast and canvas worthy of his talents to tell a story that’s relevant to both the fictional “616” Marvel Universe and our own world. Forget the hype and ignore your own prejudices and Marvel’s many sub-par lead-ins: Civil War is off to an awesome start. Millar and the about-to-be-a-superstar artist Steve McNiven have given Marvel their own Identity Crisis . Millar’s epic is already more reader-friendly and action-packed than the Distinguished Competition’s seven-part story looking at a fundamental convention of superhero comics through fresh eyes than Brad Meltzer’s was—here’s hoping this one plays fair all the way through and doesn’t disappoint in part seven. Civil War #1 (Marvel; by Koben): Well, I have to be honest. I really wasn't that excited about this series. The concept didn't thrill me. The sneak peek in Wizard didn't do anything for me. I just dismissed it as a reaction to Infinite Crisis. Now that I've actually read it, I get the idea. I understand the intended impact the dividing line is to have. Of course, McNiven's artwork is gorgeous, to say the least. I liked the element of all it taking to ignite the government's ass aflame would be a single parent making herself heard and seen by the nation. Granted, the deaths of... what was it... 800 people would obviously be an immense tragedy. But, it seems that her misguided efforts sparked a country-wide witch hunt. Personally, I'm on Cap's side. First of all, he didn't decide on anything. He wasn't willing to be the government's herding dog, rounding up all the sheep for a forced head count. Either he did her dirty work, or Hill was going to have him shot up with tranqs and taken into custody. The ensuing fight was one of the most visually dynamic and engrossing Captain America fights I've ever witnessed. As a defender of freedom, it's not at all surprising that Cap would be against unmasking his fellow heroes who needed to remain masked for a multitude of reasons. This was an unexpectedly moving issue, and I hope Millar can continue the trend. Crisis of Infinite Pellets! Infinite Crisis #7 (by Caleb): It’s impossible to argue that this wasn’t the most exciting DC series in long, long years, and, thanks to Phil Jimenez and all the talented fill-in artists, one of the best looking. And it was sure full of big moments, with entire DCU cities being wiped off the face of the earth. But now that it’s all wrapped up, it seems to have been premised on some pretty bad logic, not least of which were the much made-fun-of “continuity waves.” Rather than simplifying DC continuity, the “New Earth” collapse makes an even bigger, fresh mess of it all—essentially returning us to the point of the first Crisis while seeding the intervening years with questions marks. And, of course, erasing the relevance of a lot of great stories, from the recently re-released Perez Wonder Woman run to JLA: Year One to even Identity Crisis (a bad, bad, bad mistake in an age of trade paperbacks, by the way, guys). While Geoff Johns packed some great, dramatic moments into this last issue—Joker and the Luthors, Batman and Alex, the three-way Super-battle—it’s the negatives that stick with me most. The surprisingly static and poorly colored (and only half-inked?) Everyone vs. Everyone spread on pages two and three, the amount of artists it took to draw the thing (I’m afraid Jimenez was robbed an event that could have solidified him as the next Perez), and the many, many deaths of minor characters. I understand that DC used this as an opportunity to clean its stables, and few will mourn the passing of such characters as Judomaster and Peacemaker, but killing off so many characters so haphazardly makes the DCU a less interesting place. After all, before the “Countdown” minis, who would have thought Catman and Detective freaking Chimp could have been made so cool again? Is it that hard to believe that Zauriel or the New Bloods might have similar popularity and sales ahead of them someday? Now, Martian Manhunter, All-New Atom, Ion, Batwoman and Whoever the Captain Marvel In the White Hood Is Supposed To Be: Please report to the nearest tailor for costume re-redesigns—STAT! Infinite Crisis #7 (DC; by OJ): For me, as a faithful reader who went through it all the first time the DC Universe saw wholesale change due to a certain Crisis, this series worked, and it ended on a very strong note. I think when you find yourself poring over anything very methodically for more than a day you've got your hands on something pretty compelling. I had a blast reading this, and ultimately that's why I keep hitting the comic book store every week. Fun it was for me. If you haven't read this book, then you have no business reading this commentary... so for me the scene that blew me away, no big surprise, thanks to George Perez, was Kal-L getting to rejoin his Lois. I don't know that another superhero artist could render that last panel of the death of the Earth 2 Superman more beautifully. Perez only gave us eight and a half pages, but they were absolutely amazing. Now if the powers that be can show some restraint and consider holding off on the return of Superboy Prime for a good long time. For real, this series won me over early on with what was a surprise in bringing back the survivors of Crisis On Infinite Earths, and it would give SBP's descent into the abyss a whole lot more meaning if he was successfully imprisoned for a good length of time before terrorizing the DCU again. Infinite Crisis #7 (DC; by Koben): The Good: Mogo. Batman not shooting Alex. Bart's return. The Bad: Too many different artists. The Ugly: The two-page splash that looks like Jiminez's rushed job with no inks was excused as an artistic choice. The Beautiful: "You didn't let the Joker play." That’s all, folks. And of course, please visit http://www.shotgunreviews.com and http://www.myspace.com/shotgunreviews . You’ll be a better comic fan for it. Troy Brownfield writes for Newsarama and runs ShotgunReviews.com. He’s a professor of English, journalism and communication and a freelance writer. Anyone wishing to submit their titles for review can contact Troy at psikotyk@aol.com. If you’re interested in taking a class with Troy via the miracle of Distance Learning, check out the program here http://www.smwc.edu/cgi-bin/site.pl?futureDistance , and specifically mention him or his areas (Journalism, Professional Writing, Creative Writing, Film Studies) when you call. |
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05-08-2006, 10:07 AM
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#2 |
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What worked so well for me was the layers of stuff. Even down to "You didn't let the Joker play." at its core is funny and a bit corny, but then you also realize that 'our' Luthor always did "let him play" and its just such the right thing for Lex to say and believe. Or that nice little retcon of the Junior Red-Sun Eater which pulls you back to the Donna Troy mini (boring to the point of tears aside) and the purpose there. Oh and I'm with the camp that says that was Major Disaster (not Boss Moxie) getting punked, but thats wishful thinking.
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05-08-2006, 10:19 AM
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#3 | |
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Quote:
I'm not suggesting readers wait, I'm merely saying that publishers can't possibly print a monthly comic book and not think about finding the resources to put out the trade. Relying completely on monthlies sales is like putting all your eggs in faulty basket and watching it drop 20 floors down and actually expect none of them to be broken. Independent publisher or not, you simply can't survive without trades. I fully expect a collected edition of Mouse Guard, and if it doesn't come, then its not only my loss, but David Petersen's too. |
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05-08-2006, 10:20 AM
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#4 |
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Best week ever!
We are definitely in the Platinum age of comics, great stuff!
I love La Perdida; Jessica Abel rocks! |
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05-08-2006, 10:30 AM
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#5 |
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better than I expected
I gotta say, after weeks of saying "I'm not gonna read it, nope, not me, nuh-uh" I went and bought CW #1 this weekend -- to say the least, I thought it was one of the best comic book stories I had read in ages and now I cant wait for #2. Curse you, Marvel, for playing to my weaknesses -- story, character, art....
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05-08-2006, 10:38 AM
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#6 | |
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Quote:
Some of the best art I've seen in a while. |
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05-08-2006, 10:40 AM
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#7 |
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For me, Civil War #1 had more character and emotion than the entire Infinite Crisis series.
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05-08-2006, 10:47 AM
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#8 | |
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Quote:
Your kidding, right? I enjoyed the book, but Millar was, at least for this issue, clearly siding with the rebels. Name one pro registration person that didn't come across as clueless or a heartless sell out... And the whole Cap being attacked by a crack military unit because of his opinion, when no bill has passed, was a great example of forcing a plot into the incredulous. Great scene. McNiven is a master. But the scene made no sense. Later, Chip |
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05-08-2006, 10:55 AM
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#9 |
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Views Askew?
I was very curious to see what kind of reviews IC#7 and CW#1 would get amidsts the rumors that Newsarama is in bed with Marvel since the View Askew partnership ran out.
The IC#7 review makes sure to mention how online sentiment about the issue runs the gamut, and points out whatever flaw Troy could find about the story (disappointment regarding whose neck Superboy-Prime broke, negativity regarding the strategy employed by the heroes, there being "not TOO many" deaths the reviewer has major problems with, and, of course, how he didn’t like that two-page spread either). Sure, he closes the review off by calling the series a masterwork of collaboration, but that's like saying the girl you were introduced to has a great personality. Then comes the review of CW#1, a book that *hasn't* run the gamut of online sentiment -- because all of the online sentiment *I've* read has been fairly scathing and one-sided. So *this* review will skip the online sentiment part, as Richard has nothing but praise for this issue. Not a single mention of how Marvel perhaps revealed too much about Civil War in its advance hype, leaving most of us unsatisfied after the first issue, as everything we knew would happen, did. No mention of both House of M and Civil War kicking off with the very same scene (Wolverine/Cap escapes the clutches of SHIELD by smashing through windows and jumping off the helicarrier). And not a breath about Millar forgetting that 616 Cap is not Ultimate Cap, and wouldn't have antagonized those armed soldiers who were just doing their jobs the way he did. 616 Cap would have found a peaceful resolution to that situation, and not let Agent Hill get to him the way Ultimate Cap would've. No mention of the huge, gaping plothole of trying to arrest Cap for being anti-SRA when THE BILL WAS STILL 2 WEEKS AWAY FROM BEING VOTED ON. And finally, we also saw Iron Man as pro-SRA in this issue after being written as anti-SRA just a week ago in JMS' ASM. I have no problem with Stark changing his mind, and was looking forward to seeing it happen, but Marvel forgot to script that change of heart altogether. It happened overnight, and the reader is left having to fill in the blanks himself. Nothing happened in Civil War for those of us who'd already read the pages leading up to the explosion. And quite frankly, at this point, who hadn't? I must have come across them half a dozen times, and not all of them online, before Civil War #1 finally hit the shelves. I'm a Marvel Zombie at heart, and one of Mark Millar's biggest fans. And I'm one of the FEW people who's actually *defending* this issue in online forums -- mentioning, for instance, how much of a better job Millar did to present both sides as right than JMS did in ASM when the latter villified everyone that would be remotely associated with the pro-SRA side (it was still biased, just less so than I anticipated after JMS' issues) -- but even I have to look at Mr Renteria's review and groan. If Newsarama is uncomfortable criticizing the supplier of 75% of its content, I'd have rather the site skip reviewing Civil War entirely than feed us this cheerleading nonsense. Just my opinion, for what it's worth. Jon Last edited by Jon Yeager : 05-08-2006 at 11:01 AM. |
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05-08-2006, 11:04 AM
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#10 |
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Civil War is better than Infinite Crisis
From the start I thought Infinite Crisis was a tough read. If you didn't know a little about the pre-Crisis DC universe and a littel about the origional Crisis series I thought that you would be lost in the characters and concept here. I just never really felt a connection to any of the characters; I know there was the emotional pull for Superman to keep Lois alive, but it all just seemed like the same story DC has told too often: Super-manace (Superboy and Luthor this time) pop in from another dimension.time line and the hero's unite to defeat them. And although they will take a few losses nobody, NOBODY messes with the WHOLE Green Lantern Corps. It just didn't resonate for me.
Civil War on the other hand made me care instantly about the characters and the conflict. I saw why Tony Stark and Steve Rogers wold be at odds on this registration issue (both on the opposite side I would have predicted). Millar makes me care in a way Johns just didn't manage. The events of Civil war seems to flow naturally, to evolve from what has happened in the Marvel Universe; Infinite Crisis didn't flow - it even went counter to the flow that had been established in the unification made in Crisis of Infinite Earths. Civil Wars time has come; Infinite Crisis' time was contrived. The chilce of art also gives the Crisis the traditional "comic book feel" (which I have to admit I enjoy a lot), but the Civil War realism again pulls you into those events in a different, a more caring, a more human way. With Infinite Crisis you knew where the end was going - in Civil War I cannot even imagine the ride Millar has in store for us. Millar has shown in Ultimates, in fact the whole Ultimates universe lines he has written, he knows how to weave a story arc. |
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05-08-2006, 11:20 AM
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#11 | |
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Quote:
It made perfect sense. Hill has been anti-superhero since she acquired Fury's old job. Her preemptive strike on one of the most prominent heroes in the Marvel Universe has helped her more than the death's of all of those people. "Cap is rogue?" "Well, that seals the deal. Heroes can't be trusted. We're passing this act tomorrow!" Cleverly written, and not forced at all...just showing that there may be more to this uneasy attitude toward superheroes than we all originally thought. |
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05-08-2006, 11:22 AM
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#12 | |
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Quote:
I agree with the Cap scene. I thought it was ridiculous, made more so by the scene with him surfing the fighter plane. Just like that, he's going to be attacked? An icon of his stature is just going to be jumped like that? Were it Daredevil, I could see it. But Cap? Come on. That said, though, I thought it was an intriguing beginning to a series and I hope it continues to build. |
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05-08-2006, 11:25 AM
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#13 | |
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Quote:
Ben Grimm? Sue Storm? |
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05-08-2006, 11:25 AM
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#14 |
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INFINITE CRISIS #7:
I didn't enjoy a single issue after the first and if I could, I'd return every issue for a full refund. Why did I keep buying it? Because I believed it was the only way I'd be able to understand the changes made to my favorite characters and the DCU. But that in no way reflects my feelings about the quality of the writing, which I thought was contrived and hackneyed; or the art, which I thought was rushed, uneven, and unfinished--what happened with that heroes vs. villains spread? My guess is that the only reason why that spread was not inked or colored is because DC wanted to have IC #7 in stores the same day at CIVIL WAR #1 to offset sales. I cannot be convinced that the page in question was a stylistic choice. To me, it simply looks unfinished). This series has completely soured me on the idea of big hype and big crossovers. My policy for purchasing comic books has changed. My purchasing 52 or CIVIL WAR is no longer a given. Gone are my completist tendencies. Every issue, every comic must now be inspected in the comic shop and if the book doesn't meet my standards for quality, then the book remains on the shelf. Comic books are too expensive to be bought haphazardly. INFINITE CRISIS illustrated, in the most pure and clear terms, that I must be loyal to quality rather than creator, character or storyline. |
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05-08-2006, 11:29 AM
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#15 | |
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Quote:
cool, a conspiracy theory. Let's call in Mulder and Scully. |
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05-08-2006, 11:30 AM
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#16 | |
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Quote:
Really? What online forums do you frequent? From what I've seen, the majority of readers seem to have liked Civil War #1, even if little else was revealed than what we already knew from all the pre-event hype. |
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05-08-2006, 11:36 AM
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#17 | |
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Quote:
And since when, in this country, do we engage a pre-emptive strike in accordance with our own values as opposed to within the confines of the law? According to your logic, lawmakers firmly entrenched on the religious right should therefore be allowed to criminalize homosexuals, and hanging the gay CEO of a Fortune 100 company or the biggest box office draw would help their cause. Apparently you are a fan of anarchy and lawlessness so long as people's personal agendas are promoted. And Cap is rogue....you think that's the case, or is it more that Cap wants to get the HELL out of a situation of craziness that he's outnumbered in? If you were innocent of any wrongdoing (no laws barring your behavior have yet to be set) and you were surrounded by an armed mob, would you stand there and say, okay, have your way with me....or would you haul ass? I'm pretty sure you'd go with the latter....which flies in the face of your condoning Hill's actions against Cap. |
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05-08-2006, 11:38 AM
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#18 | |
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Quote:
There's a group out there who could use a few good men like yourself. http://www.alaska.net/~clund/e_djubl...rthsociety.htm |
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05-08-2006, 11:42 AM
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#19 | |
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Quote:
I dunno I disagree. Hill has never liked Captain America, or the New Avengers. I got the sense something bigger is going on, so while I agree on the surface it didn't make sense. No bill was passed, and technically his opinion isn't against any standing law, Shield is from what I know above it. They were within their power to try and keep Cap quite, cause like the president said, with Cap againt it, people who are against the registration will have someone to lead them. |
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05-08-2006, 11:43 AM
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#20 | |
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Quote:
This is a good point and a policy for buying comics that I've been employing for several years now (remember the good ol' days of $0.75 a pop and you walked out with a stack from wrist to elbow? Who CARED if Forever People or Ambush Bug sucked....it was $0.75 fer cryin' out loud!). That bad part about that is you miss out on some goodness by judging a book by its cover or a quick flip through the interior pages and deeming it not so worthy of your hard earned cashish. Especially lost are great indie comics that you'll pass over. BUT, cash is cash. Good thing there's trades, eh? |
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05-08-2006, 11:47 AM
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#21 |
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>>(for example, whose neck did Superboy-Prime break? Thank you, Matt Brady, for the answer of “Boss Moxie”)<<
Nah. It's Booker, Major Disaster. Checked his costume against the entry in the DC Encyclopedia. Both images have that same weird carapace thingie under his trench coat. Although, I would have preferred Boss Moxie going down to Booker. |
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05-08-2006, 11:52 AM
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#22 |
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I guess I must be the only person who really thought Civil War sucked. I thought it was boring, talky and about as subtle as Thor's hammer to a baby's head. I didn't see any real characterization. It's definitely a mini-series that has plot points to hit and characterization be damned. I just thought it was corny and dull. I give it one more issue and then I drop it. I didn't like House of M and don't like this and I won't buy every issue like House of M in hopes it gets better.
Infinite Crisis was a little better but not too much. The whole point of the series seemed to be do make all the DC universe become like Marvel's Ultimate titles. Kill off alot of characters and make brand new versions that suck. with some of the worse costumes ever. I don't like the new DC universe and dropped several books. I think Dan Didio thinks he the next Julius Schwartz. Nope, he's not. The heads of DC and Marvel have huge egos and I think it's beginning to affect the quality of their books. I hope in a year or so, we will be away from all the madness and we can get back to some good stories. If not, well, there's always manga, independents, and the reprinting of the old classics. |
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05-08-2006, 11:54 AM
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#23 |
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CV#1 is by no means guarantee to the series overall quality...
Unfortunately people tend to forget very quickly. Only a few months ago comicbook boards all over the net were buzzing with enthusiasm over how "great" THE HOUSE OF M#1 was...only to be proven very soon that it was probably the WORSE Marvel event of the decade! CV#1 was good but with another 6 issues waiting to be published and a ton of tie-ins at works I think we have to wait awhile to see the whole picture before we start another wave of premature raves! And no, CV#1 it was NOT better than INFINITE CRISIS#7!
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05-08-2006, 11:55 AM
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#24 | |||
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Quote:
Usenet: rec.arts.comics.marvel.universe (100% unmoderated). Give it a try sometime. JMS recently dropped in to defend against criticisms that his ASM writing villified the pro-SRA players too much. There was no one to warn anyone who didn't agree with him there, yet things never degenerated. Go figure. Quote:
...on Newsarama... Quote:
No offense, but I can't even make the odd joke about Joe Q's Hollywood infatuation without getting my wrist slapped by Matt here. And I bet Joe himself would be the first to admit he's got one, and laugh at those quips. Usenet has its flaws (and they are huge), but at the end of the day, an unmoderated forum will always give you a more accurate representation of online opinion. Moderated forums are no more unbiased than a comic book letters page. By picking what makes it on and what doesn't, you can make the forum sing pretty much any song you want it to. But that's just my opinion based on recent experiences.  Jon |
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05-08-2006, 11:59 AM
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#25 | |
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Quote:
Since March 18, 2003. |
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