BEST SHOTS: PUNISHER THE TYGER, ACTION, SUPERMAN/BATMAN, SON OF M, & MORE

[MattBrady]

by the Cast and Crew of ShotgunReviews.com
Your Host: Troy Brownfield

Welcome back to Best Shots! This has been quite the eventful comic week when you think about it. For example . . .

1) X-Men: The Last Stand roared to a huge opening, just under $123 million in the first (extended) weekend.

2) The media had a coming-out party for Batwoman. The character’s sexual orientation got a huge amount of coverage, including an embarrassingly bad take on CNN’s “The Situation Room”. If that piece was supposed to be journalism, then my Crisis and Civil War essays ought to make me Walter f’n Cronkite.

3) Wizard World: Philadelphia was in full swing.

Let’s face it, kids. Comics are the mainstream. It’s just that the squares won’t admit to it. Kinda like porn.

All right then . . . reviews. And here’s your real big event of the week . . . new Best Shots Team member! That’s right. When Michael C. Lorah had to leave us in order to take a job at DC Comics (*cough*traitor*cough), I noted that I will likely fill his slot on the roster with one or two additions. Please give a warm Newsarama welcome to Kevin Huxford, whom you’ve no doubt seen post under the more slang-friendly “khuxford”. Let the hazing begin. And remember, Kevin . . . when they say you’re biased, it’s really their way of saying that they love you.

At any rate, I told Kevin that he might his tenure off with a classic review. Find it and a pellet from him further down. This time, Caleb leads off. On with it . . .

The Punisher: The Tyger
From: Marvel/Max
Writer: Garth Ennis
Artist: John Severin
Review by J. Caleb Mozzocco

I was never a Punisher fan. Frank Castle, the vigilante “superhero” who hunts criminals like a Big Game hunter does antelope, just seemed too dated to me. As a distillation of ‘70s/’80s revenge fantasy, he was a neat character, but by the ‘90s, the character seemed to go as far as he could.

I have always been a Garth Ennis fan, though; his early DC work with John McCrea on The Demon and Hitman and early Vertigo work winning me over to the point I’d try just about anything he wrote, even the Punisher.

By the time Castle was killing gangsters with zoo animals in Ennis’ first Punisher story (excepting the “What If?” one, of course), I was hooked. I still wouldn’t call myself a Punisher fan, but I’m definitely a fan of Ennis’ Punisher.

It’s downright shocking he’s stayed with the character as long as he has, moving him from the dark humor of the Marvel Knghts series (where the character was a perfect weapon with which Ennis could bludgeon the silly aspects of the Marvel Universe) to the violent, profanity-filled Max relaunch, in which Castle no longer even seemed part of the Marvel Universe (Fury’s awesome guest stint in “Mother Russia” notwithstanding).

The Max title has become a little predicatable at this point, however, with Ennis settling in to a pattern of six-issue arcs, and Castle’s invincibility grows a bit tiresome when he’s just fighting run-of-the-mill bad guys instead of, say, invincible Russians or admantium wielding mutant midgets. And yet, Ennis still finds unexplored facets of Castle to explore, as he does in this week’s The Tyger one-shot, perhaps the single best Punisher story I’ve read.

Ennis seems to do his best Punisher work outside of the monthlies, as The End, The Cell and particularly Born all serve to illustrate. In this issue, we meet ten-year-old Frank Castle, and Ennis continues with his Born theme that it would take more than a single, traumatic event to turn a man into such a remorseless, killing machine like the Punisher.

We meet Castles’ hard-ass father, his mother, and a boyhood friend—a beautiful older girl who suffers misfortune at the hands of the teenage son of a young mobster. Repeatedly raping neighborhood girls and often driving them to suicide, the young tough is protected by his connections from any sort of recompense. Young Castle decides to take matters into his own hands, but is beaten to the punch by another, older vigilante.

The title comes from William Blake’s poem of the same name, which young Castle and his friend read while in a poetry class, and it has a pretty deep impact on the boy. He considers an animal so terrible that not even God could make it, and while his teacher tells him that’s not the point Blake meant to make, it’s the one Frank Castle sees.

Ennis’ Punisher is that tyger, and in this story, like in Born, we see it’s not necessarily God who makes Frank Castle the Punisher, nor is it the murder of his family or even Vietnam, it’s everything that does. Ennis continues to add compelling new dimensions to perhaps the most one-dimensional comics character of them all.

Superman/Batman #26
From: DC Comics
Writers/artrists: “Sam Loeb & The 26”
Review by J. Caleb Mozzocco

If ever there was a comic book that’s almost impossible to simply read as just another comic book, twenty minutes of light escapism to be read on a Wednesday afternoon between your copies of 52 and Amazing Spider-Man, this is it.

If you’re a regular here on Newsarama.com, then you’re already well aware of the reason why this particular issue has such an incredibly gigantic cast of creators attached to it, why there are some 26 artists and writers—some of whom are among the busiest in the industry and some of whom are exclusive to a rival company—contributing to this single issue, some of them no more than a page of dialogue. You already know why the Loeb who gets top billing here is Sam Loeb, not Jeph Loeb, the series’ regular writer. And you know exactly who Sam Loeb is, you know what happened to him and you even know what you can do in his memory to try and make the world a slightly better place.

In a way then, this is a book that doesn’t really even need reviewed, and I considered the fact that doing so here might be a little tasteless, given its peculiar circumstances. But I felt we should go ahead and review it here anyway, if only to give our readers one more reminder that it’s out there and to encourage them to pick it up.

Because, honestly, forgetting the impossible-to-ignore back story behind Superman/Batman #26 for a moment, this is a great, fun comic book, by far the best issue of the title, and not just because of the who’s who of artists (though the art alone should make this a mandatory purchase for anyone who loves comics).

The book is divided into two stories, the first, which occupies the bulk of the book, being the one plotted by Sam Loeb. It’s a sort of sequel to #7, in which the title characters send their two teen protégées on a mission to reach out to Hiro Okumura, the new Toyman.

This time around, Toyman II has gone missing and the World’s Finest expect foul play, which is pretty much confirmed when Robin and Superboy revisit Toyman II and find Toyman I and an army of killer toys infesting the Okumura’s destroyed HQ. Together they must fight their way through bizarre room after room to get to the bottom of the mystery, which is a nice little twist (Obviously, this is Pre-Infinite Crisis, as Superboy’s still alive and kicking—Jeph Loeb and Ed McGuinness provide heartbreaking bookends in the DCU’s “present,” and it’s one of several moments in the book where it’s hard to discern which teenager who died too soon that Loeb’s really writing about).

The artists, from penciller to colorist, change on virtually every page of the story, and not always with a logical reason (this isn’t one of those stories like, say World’s Funnest or Tesla Strong, where a different artist tackles each dimension or something). The good news, they’re all great, from some of the formally strongest in the business (John Cassaday) to the hottest (Jim Lee and Rob Liefeld) to guys you rarely see anywhere near characters like Superboy (Arthur Adams). For the most part, the styles lean toward representational, and there are only a few dramatic departures into more expressionistic work (McGuinnes, Duncan Rouleau, Mike Kunkel, Tim Sale and Jeff Matsuda).

The continuity from page to page and panel to panel is virtually non-existent, with Robin’s boots, staff and costume constantly morphing, but it’s hard to get hung up on that sort of thing in any book where you jump from Jim Lee to Tim Sale.

On the story side of things, this is probably the best issue of the series. It helps that dialogue is provided by not only Loeb, Brad Meltzer, Geoff Johns and Joe Casey, but some of the best teen dialogue writers around, like Allan Heinberg, Brian K. Vaughan and Joss Whedon (three excellent choices to take over Teen Titans, should Johns ever vacate it, by the way).

While Jeph Loeb’s stories on this title have always been top-heavy with narration, often dueling narration between Superman and Batman and often covering the same ground, like the lessons Superman learned while being raised by a farmer, there’s no interior monologues here at all. Just tons of dialogue and repartee between the two leads, as they bust on each other. During Johns’ run on Titans, he’s always implying that Superboy and Robin are best friends, something that never feels true, no matter how many times he has them say it. But in this issue they actually feel like best friends for the first time since I’ve been reading their adventures together (way back since their first meeting, in WF3). Honestly, both of them have always seemed closer to Impulse than with each other.

This fun romp is followed by a back up feature written by Jeph Loeb and drawn by Sale. It’s a short story, about a boy named Sam that a young Clark Kent was friends with way back in Smallville. It’s probably the single best story Loeb has done on this title. I don’t know if it was his collaborator (all of Loeb’s best comics writing seems to occur when he has Sale drawing it), telling the story in Pa Kent’s voice rather than Superman’s, or the obviously very important subject matter or a bit of all three (probably all three), but this story is the work of the brilliant comics writer Jeph Loeb (the one who wrote Superman For All Seasons and The Long Halloween and Hulk: Gray, not the other Jeph Loeb, who seems to just be having a ball throwing crazy stuff out there for his artists to draw (the one who wrote “Hush” and the previous 25 issues of this series).

Caleb was recently informed that he has now reached the level of comic book geekdom where he was now legally obligated to create a blog dealing with comics, so he was forced to go ahead and create EveryDayIsLikeWednesday.blogspot.com, where you can find daily reviews and features.

Troy’s Note: Similarly, Troy is forced to point out that the title of Caleb’s blog is a Morrissey reference, being as “Everyday is like a Sunday” was the former Smiths frontman’s second single from the “Viva Hate” record.

Crisis Aftermath: The Spectre #1
From: DC
Writer: Will Pfeifer
Art: Cliff Chiang
Review by Koben Kelly

The Wrath of God has gone through some changes over the years. For decades, the Spectre was hosted by Jim Corrigan, a mortal who was murdered due to his efforts against crime. Joined together to take revenge against those too evil to be left to Earthly punishment, the two would use mystical means to exact retribution steeped in irony. For example, a heartless drug dealer pushing what he knew to be lethally poisoned goods would be injected all over his body with hydrochloric acid, through hundreds of syringes, made up of liquid Spectre. His adventures walked the fine line between superheroics and magical fantasy, describing solo exploits as well as team-oriented efforts. After his own shot at redemption via sacrificing his life to save untold millions of lives, Hal Jordan, former Green Lantern (also tragically known as Parallax), combined with the Spectre. This time around, the goal was more redemption than revenge, as Jordan wanted his deeds as the Wrath to make up for his sins against God. The tales of this combo seemed to never catch on with readers, and during the limited series, Green Lantern: Rebirth, the two were separated, leaving the Spectre with no Earthbound ties. Unfortunately, without a mortal to assist in his mission, the Spectre was easily led astray. Convinced by his lover, the new, female Eclipso, that the root of all of the universe's problems was magic itself, he set out to fulfill orders to erase everything mystically based from existence. On a gargantuan rampage all over the DCU, he battled and destroyed any who stood in his way. When the time came that Eclipso was taken out of the equation, the Spectre was returned to his senses, realizing that a mortal host was a necessary factor in his unending duty as the Wrath of God.

Enter Crispus Allen, Gotham City detective. Cris was a good man, a fair man who felt a duty to his city as one of its protectors. Partnered up with Renee Montoya (one of the leads in 52), he was hot on the tail of corrupt cop, Jim Corrigan (the biggest red herring ever), when Corrigan's set-up earned him a fatal gunshot wound in the back. His murderer had covered his tracks well with the help of others on the force faithful to Corrigan and up to their necks involved with his dirty deeds. Corrigan slithered out of any repercussions with no solid evidence to convict him. During the events of Infinite Crisis, it was shown that the Spectre had offered the position of host to Crispus through panels of Allen rising from where he lay, post-autopsy, with green illumination pouring from his autopsy wounds.

In this first issue, we see that Crispus has not passed on to his eternal reward, but has remained here, in the mortal plane, observing events connected to his life. After attending his own funeral, he is approached by the Spectre about their combined efforts. Initially, he declines the offer, feeling irritated and betrayed by the withholding of Heavenly rest. He is given a full year to reconsider the offer and what it could mean to someone with his desires and motivation. During the span of the year, Cris observes many things related to his life and his unique situation. Like anyone else would, he checks in on his family, only to find sorrow and bitterness as the results of his executioner walking away from his murder, scott-free. Knowing that in Batman there exists a kindred desire for justice, he attempts contact to no avail. He simply can't connect with the material world. In one instance, there is evidence of physical contact, but the effect can not be repeated. When the day comes, when the year has past, Crispus agrees to joining the Spectre, and is overwhelmed by the enormity of his actions. On their first run, the two go after a pedophile pornographer who has been preying on children for years. Without spoiling a true Spectre moment, I'll just say that his punishment fits the irony mold quite well... and it's creepy.

Considering how much I adored H.E.R.O., I was reasonably sure I would get into Pfeifer's take on the Spectre. This issue is mainly set-up, but it was engrossing and emotional all the same. If sales are decent, and if the next two issues hold up, I would be supportive of a monthly Spectre written by Will. Something other than Blood of the Demon or Captain Atom, where I feel his talents go to waste and are left unnoticed by the masses.

Cliff Chiang does a wonderful job on this issue, providing a toned-down style when needed in moments reflecting the tone of Gotham Central related scenes, and also giving a sense of the power of the Wrath of God when portraying the Spectre. I'm not sure I've noticed his work on anything else, but in this case, he and Pfeifer have a well working storytelling combination.

And before anyone bemoans the goatee, it makes perfect sense and it looks just fine to me. Personally, I thought the domino mask and lantern on his chest was silly. Oh, well, each fanboy to his own, right?

Of course Koben loves the goatee. Look here (www.myspace.com/kobenkelly). That’s almost as obvious a point as saying, “My toddler loves the new Phantom Lady”.

Action Comics #839
From: DC Comics
Writers: Geoff Johns and Kurt Busiek
Art: Renato Guedes
Review by The Rev. OJ Flow

This storyline is probably the number one reason why I have felt relatively comfortable bypassing 52 and sticking with life in the DC Universe "One Year Later." I actually just had this discussion with my Best Shots peeps the other day. I'm aware that I'm in the minority, what with the weekly series' success, but there's a little fatigue on my part after the emotional roller coaster that was Identity Crisis and then being told that it was merely the catalyst to something bigger, Infinite Crisis, only to see it lead into a year-long story that essentially says to all DC readers, "Wait! There's more." To me it's been feeling like the comic book version of Taco Town ( http://www.youtube.com/watch?v=JitBP...h=Taco%20Town). No thanks, I'm stuffed!

But "Up, Up, and Away!" served up by Chefs Geoff, Kurt and Pete has been lean, filler-free, and way satisfying. And before I get ahead of myself and give undo credit to Pete Woods, who has turned in some tasty art for this story (okay, time to get off the food-related plays on words), Renato Guedes has stepped in since I sort of had the feeling that eight straight issues of pencils AND inks from Woods was gonna put him in the weeds. Guedes was an excellent choice to step in as his style is similar to Woods, thus making the transition seamless. In fact I was about five pages in this sixth chapter of "Up..." when I thought that Woods may have finally gotten an inking assist, and the last page of Action Comics #839, where the credits were located, set me straight. I know artist changes are all too common, as evidenced by the last few issues of IC, but I applaud editorial for finding something that worked, especially in a talent like Guedes who I have felt for a while could be something special.

As for where things are in "Up, Up, and Away!" Superman is absolutely back in terms of having reclaimed his superpowers. In fact, it's Superman's internal struggle with his abilities coming on stronger than expected that's at the heart of this chapter, "This Looks Like a Job." The Man of Steel has no problem dispatching an assortment of villains, ones contracted to take out Clark Kent and/or Superman, as detailed in Superman #652, but his senses have accelerated at an exorbitant level, and it almost proves to be a curse rather than a blessing. What's exciting, as a reader and fan, is the way Kal-El finally takes ownershipof his abilities in a positive manner after showing for a while that he was perfectly happy as a normal human being. Unlike a certain left fielder from the San Francisco Giants, Superman is using his God-given, natural-born gifts and using them for good.

What also stuck out for me with Action Comics #839 was some overt liberties that seemed to be taken to coincide with the soon to be released film, Superman Returns. From little nuances like Woods' and Guedes' penchant for giving the Man of Steel's chest emblem a three-dimensional look to the action laid out in this very issue, Bryan Singer's fingerprints are figuratively all over the Superman books right now. For one thing, Lex Luthor's plans that are revealed in this chapter mirror the plans Kevin Spacey's version has, according to the exceptional trailer I saw when I saw X-Men: The Last Stand over Memorial Day. And when Supes takes a few moments to collect his burgeoning thoughts when his senses start working overtime (XTC fans, represent!), it has the look AND feel of the scenes they've shown so far of Brandon Routh answering the call of a million different voices in need as he holds watch from the heavens. As is the case with the movie, Action Comics and its companion title have me very excited as a follower of the Last Son of Krypton, and all the praise in the world go to Geoff Johns, Kurt Busiek & Co. for restoring a sense of grandeur long absent from our hero.

Crisis On Multiple Earths Vol. 4
From: DC, by a number of writers and artists
Review by The Rev. OJ Flow

Blessed is the lover of the legendary JLA/JSA team-ups of days past. JSA fans used to have it good compared to other olde tyme DC teams as far as getting featured in two to three Justice League of America (Vol. 1) books back in the days when pairing the two super-teams was an annual event. You can't even really call them crossovers when they were only running in JLA, though now that I think about it, why were they not conceiving more ambitious tales when the Justice Society had their own stories in All Star Comics and Adventure Comics in the 1970s? Whatever, all I know is that the annual team-ups were what shaped me into a Golden Age fan for life. And thank you, DC, for sticking with it and releasing the fourth volume of reprinted tales of the Justice League and Justice Society for folks like me who understandably missed out the first time around. I'm about to turn 34, and I really didn't get a handle on this Multiverse concept until I was ten years old, and all three stories covered in Crisis on Multiple Earths Vol. 4 predated my overall readership. All of these stories were new to me, and it's a kick to see how far we've come in comic book writing for good and for bad. What's also cool about this collection is that each team-up has a very discernible angle that makes it stand out from the others.

If these were episodes of Friends, the first one, a two-parter first told in 1975 in JLA #s 123 and 124, would be a"The One With the DC Comics Writers IN the Story." Yes, then-writers Cary Bates and Elliot S! Maggin wrote themselves into this particular team-up, and it's as good a time capsule as anything when it comes to seeing these scribes when they were the fresh-faced scrubs at DC Comics, answering to supreme editor Julius Schwartz and reassembling the Flash's cosmic treadmill in a few minutes and find their way to Earth 2. Far out! I didn't know the Gerald Ford era was so wacky!

The second team-up, from America's bicentennial, is "The One With the Fawcett Comics Heroes," originally presented in JLA #s135-137. Fans of the current Seven Soldiers series (any day now, DC) will get a kick out of the presence of the Bulleteer's predecessors, Bulletman & Bulletgirl. It's also worth noting that a couple of characters not always regulars on their respective teams back in the day are featured prominently. The Batman of Earth 2, pretty much retired at this point, accompanies his old partner Robin who's then the JSA full-timer, and Hawkgirl, not always on the scene back in the Seventies with the JLA, is alongside her husband here for "Crisis on Earth S." Dick Dillin, the longtime artist of JLA who handles all of these stories, serves the story well primarily because of all the characters he needs to juggle, but he also gives characters like Captain Marvel and his civilian identity, Billy Batson, their trademark distinctive looks.

The final pairing of the JLA and JSA in this collection is best known as "The One With the Legion of Super-Heroes," 1977's offering from JLA #s 147 and 148. One thing the stuck out for me, especially since Power Girl has been reestablished as a lynch pin in the DC Universe, is an early scene where she is overtly flirting with the Superman of Earth 1, as she's all too aware that this is alternate version of her own older cousin. PG was a newbie to DC at the time, and it was an interesting angle, especially since I recall other stories where her buddy the Huntress referred to the Batman of Earth 1 as "Uncle Bruce" since the Dark Knight from her Earth was her dad. It's also worth noting that then-writer Paul Levitz is paired with Marty Pasko on this story with the LSH, a team he'd put his stamp on for years. I'm not gonna lie to you, the stories overall are far from the best I ever read, but it's historical value can't be overstated, and anytime we get the Legion, especially the ladies, in their most awesome costumes ever, well, you sold me.

Of course OJ loves the ‘70s Legion lady costumes; he has a tattoo of Dawnstar, remember?

Incredible Hulk #95
From: Marvel Comics
Writer: Greg Pak
Artist: Carlo Pagulayan and Marshall Rogers
Reviewed by: Richard Renteria

The final issue of the first act of Planet Hulk comes to a close, and what a fun ride it has been so far. Through the course of this issue Greg Pak manages to pack (no pun intended ) in so much information, action and intrigue that a second reading of the first four issues are a must for anyone who is enjoying this titles.

As the Hulk and his crew prepare for their battle with the Silver “Savage”, we learn how the Surfer ended up on Sakaar as a gladiator of the Great Arena, cosmic boredom. After a portal opens up in front of the Surfer, rather than avoiding it, he decides to go through it. Through the use of the control disks all gladiators wear, the Surfers powers are kept in check and he is forced to battle. During a ferocious battle with the Hulk and his crew, the Surfer’s control disk is destroyed and the Hulk leaves him temporarily stunned. After defeating the Surfer, the Hulk and his crew expect to be freed, only to be given one final test of loyalty to the Emperor, kill his enemies. Unfortunately, one of those enemies is under the Hulk’s protection. After some control disk abuse, the Surfer regains his sense and destroys all the control disks. With their new found freedom, there is one last thing to do in the arena, in the Hulk’s own words, “Tear this mother down.” Now on the run from the emperor, the Hulk and a following of Exiles head into the woods of Sakaar to face their unknown future. Meanwhile, back at the arena, a plant tainted by the blood of the Hulk begins to grow and some begin to see the signs of the future.

Greg Pak has jettisoned to the top of the pack of writers that I will follow blindly. From his exceptional work on Phoenix: Endsong to the most awesome Hulk story I have read since the days of Peter David, he is quickly becoming the leader of the Pak (sorry, last one). In four issues we have seen the Hulk battle more and more fiercely, proving the one thing everyone knows about the Hulk, he is the strongest one there is. As we move into act 2, the story really begins to gain traction.

The art chores are handled by the talents of Carlo Pagulayan and Marshall Rogers, who does the Silver Surfer flashback. Keeping in step with the previous issue, Rogers is brought in to handle a flashback, thus freeing Pagulayan some time to give us immense Hulk smash action, something every true Hulk fan craves and boy do I feel satisfied. Every single page of mayhem and destruction is a work of art, with very few shortcuts taken. Even the Hulks war damage, while on the mend, is still consistent throughout the issue.

A great end to the first part of a Hulk mega-event. Looking for some classic Hulk action, with no punches pulled, then look no further. Planet Hulk is a success.

Son of M #6 of 6
From: Marvel Comics
Writer: David Hine
Artist: Roy Allan Martinez
Reviewed by: Richard Renteria

Wow. I did not see that one coming and I loved it. This is not a throw away series folks. This six issue series not only has major repercussions for our former speedster, but it also sets off sets up a doozy of a relationship between the Inhumans and the U.S. Government. This book may not scream Civil War tie-in, but there are definitely some elements of it that play into the overall tone and ending to this series.

After stealing the Terrigen crystals from the Inhumans, Pietro Maximoff is on a quest to restore the powers to those mutants that want them back. Like all wishes though, they come with tragic consequences. After being taken down by a squad of ONE agents in the previous issue, Luna tries to protect her father with the aid of Lockjaw. After a brief skirmish, the quickly escape with the aid of Lockjaw’s teleportation power. As the Inhumans search for the Terrigen crystals, they quickly end their battle with the re-powered mutants killing Unus in the process. ONE arrives on the scene and the Inhumans learn they have the crystals. After asking for their property back, General Lazer declines, claiming they are a threat to national security, regardless of the fact that they are not on US soil. Moments later, Black Bolt gives his response to General Lazer, with one whispered word, “War”. As the destruction of his ONE unit rains down on General Lazer, a new cold war begins. Seeing that his daughter is basically becoming an addict to the mists of Terrigen, Pietro decides to send her back to the Inhumans while he continues his quest. Pietro Maximoff secludes himself with the Terrigen Mists for a prolonged period of time, eventually going into the future to see the results of his actions. As we end, a new Pietro Maximoff is born, whose simple touch has the power to give a mutant their power back and from this moment forward, he has embraced his future.

David Hine has managed to do something very few writers have the opportunity to do, redefine a character completely. In short, there was a clear path Hine took in redfining Pietro. At the beginning of this series, Pietro is a seemingly suicidal ex-mutant with nothing to live for. After being saved by the Inhumans, he does the impossible, steals the Terrigen mists. After doing the impossible, he commits the reprehensible act of slowly turning his daughter into an addict. By stealing the crystals, he committed an act of treason which in turn starts a cold war between the US and the Inhumans. Finally, no longer with the power he once had, Pietro commits an act of desperation and commits to a course of action that will have repercussions throughout the Marvel Universe. Hine has destroyed and rebuilt Pietro completely. Not only did he manage to do it in a thoroughly entertaining way, it was also very believable. Now let’s see where Marvel takes us with this new and very dangerous character, no longer Quicksilver, but something more akin to a quick charge (his new ability to quickly re-power a mutant – albeit temporarily).

Accompanying Hine on art were the wonderful talents of Roy Allan Martinez. I really enjoy his sleek style. His emotions are real and his ability to draw distinct individuals just adds a beautiful layer to the story as it unfolded. I especially enjoyed how he handled Medusa and Black Bolt. Both of them are drawn so regal, yet so dangerous. The scene following Black Bolts first spoken word (that I can remember) is just breathtaking and masterfully done.

This started as a Decimation title, but slowly morphed into something more. I’m not sure if the subtle Civil War influence was there from the beginning, but it felt natural and really added a great new subtext to the relationship of the US Government and the Inhumans. A good read, you trade waiters are in for a real treat.

Warning Shot: Friendly Neighborhood Spider-Man #9
(Due in stores June 7, 2006)
From: Marvel Comics
Writer: Peter David
Artist: Mike Wieringo
Reviewed by: Richard Renteria

The Hobgoblin from the future is on a rampage through time, the reason – well let’s just say she has parental issues; and being slightly insane doesn’t help matters. Robin is the future Spider-Man’s daughter. After being caught trying to manipulate the chronology of different universes, she is arrested by her father and put in stasis. After a botched rescue, by her non-existent boyfriend, Robin dons her new gear and decides to seek revenge on the various Spider-Man’s from different times and different universes (and now for a paradox you can have fun with – if you’re boyfriend frees you from jail and you remove him from existence, are you still in jail?).

Peter David continues to manipulate these characters in an entertaining fashion. I have little to no experience with the antagonist of this issue or her pursuer, but over the course of the last few issues I was brought up to speed. With this issue, we are finally given a reason for the rampage. And don’t you dare miss the final page of this issue, as a reunion 40 years in the making finally happens.

Mike Wieringo’s art is top notch, I do notice though that when he’s forced to draw in smaller panels, there is a tendency to lose perspective, but overall a well done job by a very talented artist.

Thanks to the friendly people at Comic Universe in Fountain Valley, CA for this review copy.

Troy definitely seconds Richard’s good words on the Hulk; this is the most that he’s enjoyed that book in years. Richard would also like to take this opportunity to remind you that he’s one of the few Best Shots team members with a full head of hair.

Classic Review: The 300 by Frank Miller
From: Dark Horse
Review by Kevin Huxford

I purchased the hardcover collecting the story several months ago. Like many entertainment items that I purchase after already having enjoyed their tales before (DVDs, books, TPBs), it collected dust on my shelf. I tend to collect great works more as souvenirs than as something to be enjoyed repeatedly. The 300 had turned into another shelved souvenir, until reviewing it for Best Shots today.

When Frank Miller put out The 300, I immediately fell in love with it. Frank Miller tells the story of three hundred Spartan warriors that stood against a massive Persian army that claimed to number in the millions (I am sure there are some historical inaccuracies here, but I'm not aware of them...so please don't set the dogs on me for going by the Miller version). The story focuses primarily on King Leonidas...his rise to power, leadership of his army, and his outlook on events.

The first thing that I'm struck with is the format change from when it was offered originally in single issues. The 300 was done completely as two page spreads. Dark Horse put out the hardcover so that each page is the size of two standard comic book pages. Overall, I think it adds to the beauty of the book, even if I'd prefer something less "coffetable book-like" and more comfortable to hold.

The marriage of Frank Miller's art to Lynn Varley's colors has never been better than in this book. Miller's style is already a perfect fit to this story, but with Varley's colors, every panel is able to hit its mark (whether that mark is one of wonder or brutal and ugly). There's a beauty to tale. The narrative is pure poetry, while the imagery is stark and violent. I guess that really isn't really news when it comes to Frank Miller; if you are one of those who appreciates his Sin City franchise, you'd probably feel the same about a majority of his creator-owned work. But it all seems to ring more true in this book than any previous work by this team.

The story itself is pretty basic. A protagonist up against insurmountable odds, fighting for a Pyrrhic victory. Its grim and gritty in a story that is well-served by just such an approach. King Leonidas has no illusions of winning the day and walking home. He carries himself with an arrogant bravery that is admirable and foolish at the same time. Miller makes sure that the king commands your attention at all times.

The story has a few morals to it, from how I look at it. Even though our heroes aren't meant to actually find victory, they still overcome great odds several times in the story...enough to drive home the point that determination, planning, and strength of will can triumph over pretty stiff odds. It, also, drives home the ideal that it is better to die free than live in shackles.

In reviewing it today, I noticed a new twist that I didn't before: the crippled "monster" who wanted only to serve as a Spartan warrior but was cast aside. Could his story be an effort to point out how arrogance (the king turning away his willingness to help) can be one's downfall or serve as some sort of commentary that the "imperfect" in our world should not be dismissed when they (like all of us) still can have so much to offer? Or did Miller simply want to create a fun-to-draw monstrosity that would serve to move the story to its conclusion by pointing out the weak spot in the Spartan's plan through a regrettable act of betrayal?

Who knows. But the tale is rivetting, beautiful, and brutal. I highly recommend picking up the hardcover at your local shop if you've never read it or, like me, it has been far too long since you basked in its beauty.

All welcome New Guy Kevin! As a wise man once wrote, I hope he survives the experience.

Pellet Reviews!

Runaways #16 (Marvel; by Kevin): This is my first Runaways issue, but I have to say I was surprised at how easy it was to pick up on everything going on here. Sure...I don't know exactly what they are in the middle of, but I can gather there was some sort of dust-up where a member was abducted and at least two members wound up distracted by a personal squabble. The rest is made even more clear and easy, without feeling for a minute like the writer is taking you for a tour on a short yellow bus. I don't know if Alphona is the regular penciller, but I think the art is a perfect match for the tone of the book and scenes that can range from combat to teen angst. The artwork handles teen heartbreak and then mini-throwdown between teammates without missing a beat. They convinced me to pick up the next issue easily.

Catch-up pellet: Death Comes to Dillinger (Silent Devil; by Caleb): Turns out my fellow shooters and I all missed one of last week’s best books, a mistake the good people at Silent Devil were only too happy to point out to us and help us correct by sending us an electronic copy of the first issue of Death Comes to Dillinger, which actually has nothing to do with John Dillinger, despite the title. Dillinger is actually name of a town way out west, where, writer John Patrick’s narration tells us, everything was handled in it’s own unique way, even death itself. Here Death is a cowboy even more quiet, rough-looking and ravaged by time than Clint Eastwood circa Unforgiven. It rides into town on an equally scary looking horse with a bag full of pocket watches, each one ticking down the life of a resident of Dillinger he’ll have to collect. When Death comes for the sick child of an Easterner, the desperate man tries bribing this ghost rider with the only currency he traffics in. It’s a small, quiet and potent weird western tale, one that sinks its rather compelling story hook deep into you. If you read #1, I don’t see how it’s humanly possible not to read #2, which I reckon is about as strong a sign of good comics as there is.

Catch-up pellet: She-Hulk #8 (Marvel; by Caleb): Oops, we missed a “Civil War” tie-in last week, didn’t we? I was pretty disappointed in Dan Slott’s script for this issue, not because it wasn’t a good one, but simply because it wasn’t a great one. This being a tie-in, it’s likely to see newcomers checking it out, and it’s not the perfectly written, one-issue masterpiece that, say, She-Hulk #1 was (Completely hooking me on a title starring a character I’ve never cared a jot for and knew nothing about). It may not be the best Shulkie story Slott’s penned, but it’s certainly not a bad one. In it, both Cap and Iron Man feel our girl out on where she’ll stand when the fighting starts, Colonel Jameson gets put in an uncomfortable position or two, the pair’s relationship arrives at a new twist, She-Hulk argues a court case stemming from the Stamford disaster, and plenty of New Warriors make cameos. Whew!

JLA: Classified #21 (DC; by Caleb): The Big Seven iteration of the JLA that we’ve become so accustomed to over the last few years has been MIA from the DCU for quite some time now (since Kurt Busiek’s truncated run on the monthly, actually), and this title has done a nice job of filling that void. Gail Simone’s five-part “Hypothetical Woman” arc has been the weakest this title has seen so far, though (Although, following Morrison, Giffen and DeMatteis and Warren Ellis on a JLA story is hardly an enviable position for even a strong writer like Simone to be in). She raised some interesting ideas (what happens to the left-overs of JLA battles) and great little character moments (Batman asking for Wonder Woman’s recipe), but the most compelling ideas her story raises have all been left unexplored, like the politics of a world with a group of six such powerful individuals, or the ramifications of the League going to war. In this concluding chapter, we get some more neat character moments (like the contrast between Wonder Woman and Batman’s ways of encouraging a world leader to stay on the straight and narrow), but all in all it’s been a bit of a disappointment, a story launched from interesting ideas that dissolves into a typical superhero vs. supervillain battle. It’s nice to see the League get all dressed up though—dig John and J’onn’s formal wear on page 19.

Ultimate Fantastic Four #30 (Marvel; by Caleb): Given the surprising popularity of Marvel Zombies , I imagine this new story arc featuring the zombie FF should be quite well received. This Ultimate version of the Frightful Four seem to be moving toward an alliance with Doctor Damme, and while Mark Millar’s script is strong, it’s rather unfortunate that he’s returning to these characters instead of steaming ahead with more “fantastic” ideas. The art is as slick and photorealistic as always, which is either great or terrible, depending on how you feel about Greg Land’s current, peculiar style. It’s been said that comic book artists “act” through the drawing of their characters, and, if that’s the case, Land’s not much of an actor, as he repeats the same exaggerated, catwalk poses and explosive, overblown expressions over and over.

52 # 4 (DC; by Koben): If you ain't on the 52 bus, you are truly missing out. This thing plays like a meta-human Lost, each week featuring new twists while never shorting you on unique character moments. While I can't accurately tell who is writing what, certain moments have the definite feel of a Morrison story, or a Johns book, etc. While in space, Halo senses signals on the Zeta frequency, much like Adam Strange uses, providing clues as to the whereabouts of the missing space-bound heroes. Booster Gold shows off his narcissistic side in an argument with the gorgeously drawn Fire, but is he really a dick or are other factors at fault? John Henry Irons has an odd back-and-forth with himself causing me to worry about his mental (and physical) health. Dibny looks for answers by employing the help of the Superboy cult, and is left with more questions. Montoya and the Question team up, despite their employer/employee relationship, to deal with a massive problem. Finally, you won't believe the jaw-dropping last page that spells tragedy for some of the missing many. I love the fact that I get more of this every freakin' week!

Ion #2 (DC; by Troy): Let me say that I am fully on board with the theory that somehow Kyle has absorbed some of Alex Luthor’s powers due to the events of the Rann-Thanagar War special. It would explain the “starfield” effect (noted in both Classic and New Crisis), Alex’s subsequent speedy power loss in IC #7 and Kyle’s apparent lapses in behavior. That said, issue 2 is a cut above the first, with Kyle nicely skewering his frequent bouts with scantily-clad bounty hunters. Like the Adam Strange mini a while back, this will probably largely serve as a set-up for future events.[/b]

Zombies! Feast #1 (IDW; by Troy): What, zombies, you say? The flesh-eater fad continues with this solid entry from IDW. A prison bus on a lonely, rainy road crashes, sending a group of chained inmates, a marshal, and some guards looking for shelter. This comes on like a mash-up of “Con-Air” and the original “Night of the Living Dead”, which could mean good times. The first issue is mostly set-up, but the last few pages end on a strong up note. Writer Shane McCarthy and artist Chris Bolton have the makings of a sharp entry in a crowded genre.

Hero Squared #1 (Boom! Studios; by Troy): FINALLY graduating into an ongoing, H2 chronicles the adventures of Captain Valor and his alternate universe self, the uber-slacker Milo Stone. Though you might be a bit confused at the outset if you haven’t previously read the mini or one-shot, expositional dialogue handles most of the major ideas and issues effectively. Joe Abraham continues his evolution as an artist, pulling out great expressions and action in the Kevin Maguire tradition. And of course, Giffen and DeMatteis are kings of repartee. Often funny, with a creeping edge of seriousness, this is the book for people who complain that they miss light-hearted super-hero fare. And for the rest of us, really.

Tag #1 (Boom!; by Troy): Another decidedly different take on zombies, this time imagining a sort of passing curse scenario. It’s written by Keith Giffen, who is really pushing every genre he can find over at Boom!, and features spectacular art by Kody Chamberlain. The muted tones, sardonic attitude, and surprising introduction of a peculiar form of communication on the last page make this an intriguing start.

Red Sonja #10 (Dynamite; by Troy): Now we know how Sonja got so tough: dodgeball! The smart flashbacks continue in this issue with art by the solid Pablo Marcos. In the present tense, Mel Rubi continues to dazzle, and Michael Avon Oeming’s deft handling of the character and the nuances of her world continue to hold the reader’s attention. The “Black Karena” arc has been well-done, and I’d certainly like to see more of the character. Dynamite needs to be commended for creating a dependably entertaining stable of books, many drawn from licensed properties. It’ll be interesting to see what they do with Highlander, Xena, and our next entry . . .

Battlestar Galactica #0 (Dynamite; by Troy): Adapting current TV series has always been a tricky thing. Where, one wonders, do the stories fit? Fortunately, they tell you right at the outset of this 25-cent special that the action therein falls somewhere between the episodes “Home, Part 2” and “Resurrection Ship, Part 1”. The reinvention of “Galactica” on television has been a true Cinderella story; initially the subject of scrutiny and scorn by die-hards, it quickly revealed itself to be an incisive, clever and occasionally brutal rejuvenation of a show that might not have been as good as our memories of it. Of course, the problem with adapting anything with a measure of critical acclaim is maintaining the special tone of the original while injecting the new energy of a different medium. This shorter preview largely succeeds; if I had one slight negative, it would be that the coloring (which is great in its own right) should be a bit more muted to reflect the same visual palette that the show often tries to capture. Nigel Raynor is dynamic on the art, and writer Greg Pak manages to properly reflect a number of personalities from the series. I believe that fans are going to be happy, and this generally good-looking book may attract some new ones as well.

Army of Darkness #7 (Dynamite; by Troy): The welcome “Old School” arc, addressing many concepts that originated in the first two films, wraps in good style. I would love to see Kevin Sharpe have a nice long run as pencil artist; he and colorist Blond combined for great atmosphere that was indeed evocative of the source material. The next arc, pitting Ash against some truly classic monsters, looks like a good time.

Shon C. Bury’s Nox #2 (Narwain Studios; by Troy): I gave a somewhat guarded favorable review of the first issue of Nox, but I have to say that the book really gathers steam with the second. The relationship between Joey and Bobby is obviously the selling point of the book; no matter what supernatural or fantasy shenanigans ensue, the pair have believable, entertaining banter. They’re “guys being guys” surrounded by extreme circumstance. Like a drunken male nun who may be pointing them toward adventure, or possible electrocution. It’s an energetic book that turns your typical “kid on a quest” scenario on its head. Fun stuff.

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. The other plugs: www.shotgunreviews.com and www.myspace.com/shotgunreviews

[khuxford]

Originally Posted by Troy Brownfield

52 # 4 (DC; by Koben): If you ain't on the 52 bus, you are truly missing out. This thing plays like a meta-human Lost, each week featuring new twists while never shorting you on unique character moments. While I can't accurately tell who is writing what, certain moments have the definite feel of a Morrison story, or a Johns book, etc. While in space, Halo senses signals on the Zeta frequency, much like Adam Strange uses, providing clues as to the whereabouts of the missing space-bound heroes. Booster Gold shows off his narcissistic side in an argument with the gorgeously drawn Fire, but is he really a dick or are other factors at fault? John Henry Irons has an odd back-and-forth with himself causing me to worry about his mental (and physical) health. Dibny looks for answers by employing the help of the Superboy cult, and is left with more questions. Montoya and the Question team up, despite their employer/employee relationship, to deal with a massive problem. Finally, you won't believe the jaw-dropping last page that spells tragedy for some of the missing many. I love the fact that I get more of this every freakin' week!

You and I are on the same page with this book, Mr. Appliance. I've really enjoyed each issue immensely...and having one hit the stores every Wednesday ('cept for *(%^&%^& holiday weeks! ) just seems to make it that much more enjoyable for me.

[Kevin T. Brown]

And before anyone bemoans the goatee, it makes perfect sense and it looks just fine to me. Personally, I thought the domino mask and lantern on his chest was silly. Oh, well, each fanboy to his own, right?

No, the goatee is just damn silly looking on the Spectre. When reading the story I couldn't help but start giggling when I saw what he looked like. Not exactly the response I think the writer was looking for.....

[c_andrew_s]

Excellent article (as always).

Love the "classic review" of 300, could this be a new feature of the column?

[Colossus2420]

Originally Posted by khuxford

You and I are on the same page with this book, Mr. Appliance. I've really enjoyed each issue immensely...and having one hit the stores every Wednesday ('cept for *(%^&%^& holiday weeks! ) just seems to make it that much more enjoyable for me.

Good call on the "meta-human Lost" comment, Koben Toaster. A perfect description on a surprisingly addictive book.

[Vyper]

Planet Hulk is so damn good it boggles the mind.

Also, I've been an avid fan of Roy Martinez since his "Wicked" days - one of the most underrated books Image ever produced. I like his work on SoM, but his "Wicked" work just blows that out of the water.

[Spaz_Monkey]

Hero Squared is by far one of my favorite series of this decade. Giffen and DeMatteis are at their very best, reminding us of the best of the old JLI books. I love where they're going with the Milo/Valor/Stephie/Caligenous (i can't spell her name) love triang-, er, square. 5 issues in (the 1-shot, the mini, and now #1), and they've just scratched the surface. I can't wait to find out what Valor did to his Stephie to turn her so evil.
And you just know that between his story and hers lies thr truth as to how their universe was destroyed.

[CrankyViking]

Originally Posted by Kevin T. Brown

No, the goatee is just damn silly looking on the Spectre. When reading the story I couldn't help but start giggling when I saw what he looked like. Not exactly the response I think the writer was looking for.....

Exactly. He should have a "soul" patch.

[khuxford]

Originally Posted by c_andrew_s

Excellent article (as always).

Love the "classic review" of 300, could this be a new feature of the column?

My hand to God, I didn't bribe him to post this.

Thanks for digging my review. If only I would have had the faith to bet Troy that I'd get some praise before I got slammed on the boards, I'd be in a much better position. Since I banked on getting slammed, now I owe him. It isn't mowing his lawn that is so bad, but the roundtrip tickets to get there...

[Stormbreaker]

Son of M and Planet Hulk were my top 2 this week. I just wish Pagulayan was staying on for PH's second arc. I don't like Lopestri (spelling?) much...

[khuxford]

Originally Posted by Spaz_Monkey

Hero Squared is by far one of my favorite series of this decade. Giffen and DeMatteis are at their very best, reminding us of the best of the old JLI books. I love where they're going with the Milo/Valor/Stephie/Caligenous (i can't spell her name) love triang-, er, square. 5 issues in (the 1-shot, the mini, and now #1), and they've just scratched the surface. I can't wait to find out what Valor did to his Stephie to turn her so evil.
And you just know that between his story and hers lies thr truth as to how their universe was destroyed.

Yeah...I'm with you and Troy on this book; damned fine reading. I've been looking forward to this. It was one of the last items on my online ordering with DCBService (great company, but I found a local shop (MacGuffin) that, while I'm paying a lil more, really deserves the patronage) and it killed me to not pick it up at the shop instead of waiting out the delivery today.

[linnen]

Yikes! Anyone else here dig the art on the Battlestar Galactica book? I really enjoyed the story, but I was really disappointed with the pencils. It wasn't that the characters didn't really look like the actors, I'm fine with that. It's more that the characters didn't look the same from one page to another.

Regardless, the story drew me in big-time and I'm back for issue 1. Just curious if I'm in the minority here.

[Konami Code]

WHEEEEEEOOOOOOO! GO KHUXFORD! TAKE IT OFF!!!

And for the record, when you look up the word anticlimactic in the dictionary, you'll find a picture of Son of M #6. What kind of ending was that?

[khuxford]

Originally Posted by Konami Code

WHEEEEEEOOOOOOO! GO KHUXFORD! TAKE IT OFF!!!

And for the record, when you look up the word anticlimactic in the dictionary, you'll find a picture of Son of M #6. What kind of ending was that?

LOL...I'm not taking anything off until you put that roll of coins back in your car and only bring out the money that folds...

I have to pick up Son of M #6. I've been off and on with it. Guess I can go back on for the last issue.

[James Patrick]

yay for covering Death Comes To Dillinger, guys!

[Dino1963]

52 is only okay for me. So far everything is what the heck is going on, and not in a good way. Why are Renee and Question teamed up? Why is Booster acting like a jerk again besides that's how someone wants to write him? Why is Ralph at the church of Superboy? This is the fourth issue and we should have some idea of what's going on with these ongoing stories. I hope they are not going to drag this out because most of this issue seemed like filler. Do we really need several pages of Renee staking out someplace? I got the idea after two panels. I just think at this point in the series we should have more idea of the actual plots than drips and drabs. And if they make Steel an actual man of steel, I'm going to scream. Corny... My main reason for picking up next issue though is Bumblebee!!! Though I have to say that I think it's stupid that she's now stuck at the size of a bee, OYL. Does everything have to be literal? I really, really hope Steel doesn't become living Steel. That would be stupid. And for heaven's sake get rid of the goatee on the Spectre, it's retarded. The Spectre shouldn't have had the mask and lantern when Hal was Spectre, and he shouldn't have the goatee. He should look like a white generic face. But did I mention Bumblebee is in the next issue? Well, considering how unhappy I am with DC, I'm grasping at every little thing that I might like. I don't particularly like reading DC for over twenty years and then changing just about everything overnight. It's almost like a brand new universe, and we know how well new universes do over time.

[HG_studios]

Welcome Khuxford...I look forward each week to the Best Shots Team's interpretation of some of my favorite books currently on the stands, and It's always nice to get a fresh perspective on things! I hope that your tenure is a long and enjoyable one (and pay no attention to any negative comments you may receive!)

By the way...Alphona is the regular artist on Runaways, and he never ceases to impress with his phenominal art! Glad you have been enticed to pick up the series, and you should do your best to catch up on all the prior story as well! It's equally good (if not better).

I agree with the reveiews of Son of M, and Planet Hulk and count me as one of those who was quite blown away with Martinez' art on Son of M. I kind of hope that both he, and Hine tackle an Inhumans mini later on down the line (but hopefully sometime in the near future). They would be perfect.

I have to nit-pick a little as well...maybe this isn't made completely clear in the Spectre Aftermath craptaviganza...but how is Batman around at all during the one year gap? Also, why even put the scene in? It felt like filler...and not really integral to story...okay, so Crispus knows who Batman is...weeeeee...maybe I missed something by not having read Gotham Central, but this scene makes zero sense to me (esp. with this new OYL continuity already being ignored by DC editors--ie. Nightwing hanging around at the end of 52 week one, when in IC #7 he's on a boat w/ Bats and Robin...and Batman apparently hanging around for a month to train Harvey) I did like the other aspects of this story...so I'll check out the remaing two issues. I can only hope we don't get anymore glaring mistakes such as this one.

That's my rambling/ranting for the morning.

Keep up the great work, all!

-Kevin

[Troy Brownfield]

[quote=Dino1963]52 is only okay for me. So far everything is what the heck is going on, and not in a good way. Why are Renee and Question teamed up? Why is Booster acting like a jerk again besides that's how someone wants to write him? Why is Ralph at the church of Superboy? [quote]

While it's your perogative as to whether or not you like the story, all of the answers are implicit in the story.

1) The Question has an agenda with Montoya, and the nature of that agenda is . . . the question.

2) Booster is obviously frustrated because time isn't how it's supposed to be and he's unsure how to act in the face of it. The whole sponsor thing is only part of the equation; he KNEW he was going to be a big hero with the JLA that was supposed to form. When that didn't happen, it shook his confidence. These are the ramifications.

3) Ralph is there following the clue from Sue's tombstone.

I don't believe that I was stretching with those replies; that's all evident from the reading.

[Colossus2420]

Originally Posted by Dino1963

52 is only okay for me. So far everything is what the heck is going on, and not in a good way. Why are Renee and Question teamed up? Why is Booster acting like a jerk again besides that's how someone wants to write him? Why is Ralph at the church of Superboy? This is the fourth issue and we should have some idea of what's going on with these ongoing stories. I hope they are not going to drag this out because most of this issue seemed like filler. Do we really need several pages of Renee staking out someplace? I got the idea after two panels. I just think at this point in the series we should have more idea of the actual plots than drips and drabs. And if they make Steel an actual man of steel, I'm going to scream. Corny... My main reason for picking up next issue though is Bumblebee!!! Though I have to say that I think it's stupid that she's now stuck at the size of a bee, OYL. Does everything have to be literal? I really, really hope Steel doesn't become living Steel. That would be stupid. And for heaven's sake get rid of the goatee on the Spectre, it's retarded. The Spectre shouldn't have had the mask and lantern when Hal was Spectre, and he shouldn't have the goatee. He should look like a white generic face. But did I mention Bumblebee is in the next issue? Well, considering how unhappy I am with DC, I'm grasping at every little thing that I might like. I don't particularly like reading DC for over twenty years and then changing just about everything overnight. It's almost like a brand new universe, and we know how well new universes do over time.

Aaaaand the award for Needs To Lay Off The Caffeine goes to...{go ahead, Khuxford, open the envelope}...Dino1963!!

Think about it. This is a series to run for 52 issues....how many answers do you want up here in issue 4? Come on, you already know a HOT lesbian is coming out (hee hee, double entendre alert) in a few issues, what more ya want? I agree with you that Booster is an ass up to this point, but I thought it was handled well in this issue the reason why and put the matter to rest for me. Only question I have is how does Fire go from being Booster's moral compass to being a cold-blooded killer in Checkmate. I agree, too, that Spectre shouldn't be goateed or domino masked or any other such decoration. He's the Spectre. Green and white. Thass all, G. And why would the reason for Question's involvement with Renee be divulged? The mystery of it is the lure. But like Koben says, it's a series like Lost where you have to enjoy the ride and look for clues and hints along the way.

[Colossus2420]

Originally Posted by Troy Brownfield

[
1) The Question has an agenda with Montoya, and the nature of that agenda is . . . the question.

Ooh....good one, Troy.

[Not From Around]

It was nice to see the review for "Crisis on Multiple Earths." JLA/JSA team-ups were something I always kept my eyes out for when looking at the back issue bins. I've got the one where Elliott Maggin wrote himself in, and the one with the Fawcett characters. Yes, that Silver Age nuttiness persisted well into the 1970s! Some of the Fawcett storyline in particular was great fun.

Black Bolt spoke? Even at a whisper he would probably have blown out windows all over the place!

I couldn't get past "300's" Ultimate Frank Miller art to read it. There's something ironic about a story about resisting tyranny that stars the Spartans, given how they treated their subjects. The level of cognitive dissonance there is far, far greater than the oft-remarked irony that Washington and Jefferson owned slaves. The Spartans didn't even give their helots the sorts of rights that a slave had.

[Konami Code]

Originally Posted by khuxford

LOL...I'm not taking anything off until you put that roll of coins back in your car and only bring out the money that folds...

I never leave home without my Monopoly set

[khuxford]

Originally Posted by Colossus2420

Aaaaand the award for Needs To Lay Off The Caffeine goes to...{go ahead, Khuxford, open the envelope}...Dino1963!!

Think about it. This is a series to run for 52 issues....how many answers do you want up here in issue 4? Come on, you already know a HOT lesbian is coming out (hee hee, double entendre alert) in a few issues, what more ya want? I agree with you that Booster is an ass up to this point, but I thought it was handled well in this issue the reason why and put the matter to rest for me. Only question I have is how does Fire go from being Booster's moral compass to being a cold-blooded killer in Checkmate. I agree, too, that Spectre shouldn't be goateed or domino masked or any other such decoration. He's the Spectre. Green and white. Thass all, G. And why would the reason for Question's involvement with Renee be divulged? The mystery of it is the lure. But like Koben says, it's a series like Lost where you have to enjoy the ride and look for clues and hints along the way.

But I didn't even get to open the envelope.

Seriously, though, I agree. There was an interview saying that the next issue, I think, starts the real rollercoaster ride. But writing off the series largely on 4 issues when that isn't even 1/12 of the overall show...seems a bit premature.

[Legerdemain]

I read Son Of M 1-6 in one shot last night. Gob-smackingly brilliant I thought! Definately not a throw away series, I was fascinated and repulsed by Pietro's behaviour.

My comic shop pulled the Punisher: Tyger for me. I was in two minds about putting it back on the shelf due to the price tag, but after reading a few comments about it, I'm looking forward to reading it now.

[Colossus2420]

Originally Posted by khuxford

But I didn't even get to open the envelope.
.

Blame the teleprompter. Next time you can, I promise.