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BEST SHOTS: JLA, 52, FALLEN ANGEL, TONO LOCO & MORE
 From the cast and crew of ShotgunReviews.comYour Guest Host: J. Caleb Mozzocco Welcome to the very first Best Shots column of 2007. Notice anything different so far? No? Maybe you will below, should this particular column be overflowing with misplaced commas and spelling errors (But let’s hope not). Your regular host and master of ceremonies, Mr. Troy Brownfield, couldn’t be here today, so I’m pinch-hitting for him. He’s got a fairly good excuse for begging off this week, and one that has nothing to do with New Year’s Eve revelry. This past week he and his lovely wife had their second little boy, and he got the crazy idea in his head that maybe his time would be better spent this weekend hanging out with his family than monitoring message board bickering about who the best Firestorm is. I know; I don’t understand that guy’s priorities either. I’ll leave announcing the details regarding the happy event (and passing out the virtual cigars) to Troy next week (be sure to ask him what his kids’ names are though, okay?), but in the meantime, please join me and wishing he and his wife and their growing family all the best in the new year. Now let’s review the column rules and then get on with the reviews: 1) Be kind to one another and the hard-working reviewers. It’s fine (and fun!) to disagree with the reviews or with each other, but let’s stick to factual points and literary themes and leave the personal stuff out. Intentionally rude behavior isn’t welcome. And for the record, when you signed the terms of service agreement, you acknowledged that your posts can be deleted for inappropriate stuff. So don’t hide behind free speech when you know what you’re doing. 2) Each review is individually credited to the person who actually wrote it. Don’t let the big, red, u nderlined “Matt Brady” at the top of the page fool you. Mattdoes not write the reviews here; he’s too busy assembling the best comics site on the web to waste time bitching about Black Panther continuity. That’s our job. 3) If you happen to catch a factual error or a typo, drop Troy a personal message he’ll correct it, unless he’s busy with new baby stuff. In a column that can often run up to 20 pages in Word doc form, things do sometimes squeak through. We’d rather you just zap him a mail than derail the entire discussion because a champagne bottle cork went off in my eye while I was googling Black Adam’s secret identity to check the spelling. 52 #34 Writers: Geoff Johns, Greg Rucka, Mark Waid and Grant Morrison Artists: Various From: DC Review by Kevin Huxford 52 is again giving me the same level of excitement I experienced during the single digit issues. I haven’t been this excited at the end of an issue in a long time. Why am I so excited? The last issue set up the Suicide Squad for the reader and this issue immediately delivers the payoff. That hasn’t always been the case with this series. In that payoff, we get to see one member of the Squad living up to the team name…and one of the involved characters having a Superboy-Prime type moment. This might not be an outstanding action scene completely on its own merits; such a scene in a different ongoing series would likely have been longer and had a little more meat to it. The format of the series and the perceived dearth of such moments in the last 10-15 issues, however, make this scene every bit as satisfying as the long form version would give in a regular series. A very slow build to what appears to be a watershed moment in the Question’s part of the story was handled very delicately. I might not personally like the direction the writers are building to, but they are executing it superbly. The Supernova/Superman/Luthor bit is a cute diversion that dovetails very nicely into the issue’s cliffhanger. The book flows so nicely this week. It covers a lot of ground, but doesn’t experience any pacing problems or get weighed down with having to spend a large majority of the time building up background without really capturing the reader’s full, undivided attention. The art is a bit uneven, to the point that the final page looks like it was done by the comic book industry equivalent of AA baseball team, as far as polish goes. But for whatever minor flaws the art might have, it is as strong as it needs to be when it comes to storytelling. I’d give the book 8 out of 10 Johnny Cash cover tunes.  Justice League of America #5Writer: Brad Meltzer Artists: Ed Benes and Sandra Hope Review by Jeff Marsick For a quartet of issues thus far, I have been something of a Justice League marine: One of the few and the proud vocal supporters of this series. While I agree that it has its faults (the most egregious of which are the absolutely horrible Michael Turner covers on the “standard” editions), I feel this series has been entertaining and well worth the money. I am also a salmon swimming upstream, as I have thus far praised Mr. Meltzer’s storytelling, being amazed by his aptitude to start each issue with a shotgun pattern of situations and, over the course of a score and two pages, bring them together into a single dramatic moment. Everyone is a piece to the greater puzzle, and issue four was study in slowly ratcheting up the intensity until unleashing the great “ah-ha!” moment on the last page. The problem is, sticking to this blueprint is bound to get tiresome for the reader and, at some point, is going to make the story hard to follow. Issue the fifth portends that the chinks in Mr. Meltzer’s armor may be wider than I realized. Solomon Grundy is back, and as he stated last issue, he’s tired of dying. He’s apparently tired of being dumb and wearing the Hulk’s tattered hand-me-downs too, because this reincarnation of Mr. Born-on-a-Monday is eloquent, intelligent, and fresh from the pages of GQ. Apparently, with each emergence from the swamp that spawned him, it’s a coin toss as to whether Grundy comes back as an idiot or a member of Mensa. This time it’s the latter, and he reveals himself to be the mastermind behind the first few issues worth of conflict, as he initiated a plan to use the Red Tornado’s android body to rebuild Amazo, therefore creating a shell that can never die. The problem is, due to a downloading issue (no doubt because Microsoft’s Vista has been delayed), Amazo now thinks that he’s the Red Tornado and the issue’s meanderings eventually coalesce into a chase to stop him before he can hurt anyone, like Tornado’s family. The problem for the reader, though, is these meanderings. Mr. Meltzer has us riding shotgun with three concurrent situations, then adds two head-scratcher subplots (the first a one-pager involving Geo-Force and the second a continuation of Vixen’s story), which necessitates backing up and re-reading (especially since Benes’ Black Canary and Kathy Smith look identical in headshots). There’s another degree of difficulty added via the confusing panels where Black Canary, tending to the barely conscious Red Tornado, is depicted out of focus. It took me a moment to realize that we are supposed to be looking at her from Red’s perspective, and the shot he took to the noggin has left him a little goofy. This back and forth between panels is infuriating. Seriously, this issue alone could drive one to drink. Vixen’s story is perplexing in that she continues to seek the return of her totem. Yet, ever since its loss she has yet to show an inability to adopt an animal’s characteristics. The totem’s significance is sort of explained, that it’s not the source of her power, but simply helps to channel it. Clear as mud, thank you. I still fail to see its importance to a woman who is clearly adept without it. There are two other scenes that made me cringe (although not nearly as much as calling Red Tornado, “Reddy”. Ugh. It’s like nails on a chalkboard.). In one, Green Lantern Hal Jordan butters up Batman by supplying an emerald microscope with the focus in the right place, “just like you like it”. It’s a groaner, almost embarrassing, really, simply for the fact that it makes Hal come across more a sycophantic teen-ager looking for an autograph than a seasoned veteran helping out a mate. The second is Roy’s “Pretty bird,” comment upon seeing Hawkgirl fly in. His subsequent inability to speak coherently (“So. Happy.”), presumably because the blood has drained out of his head and into his nethers, indicates that the mantle of resident horny frat-boy has officially been passed down from the Flash. It’s not an honor I am especially keen on seeing at this level of supposed super-powered professionalism. Outsiders and Titans? Sure. Justice League? Nonsense. The artwork by Mr. Benes is still enticing, although I’ve grown tired of Hal’s domino mask being more Green Hornet and less Green Lantern. I figured it was a faux pas that would fix itself after a few issues, but apparently I will have to wait until the changing of the guard for an artist to get it right. As for the cover, well, I think Michael Turner is a frontrunner for worst cover artist of the year. His figures are misshapen, the composition is ridiculous, and frankly, it is a blight on this series. I will continue to recommend this series. But I think Mr. Meltzer needs to stop adhering so tightly to his personal formula for storytelling and explore other avenues, or else risk losing even more readers who tire of being bounced around from situation to situation like a pinball in a Maytag. Unlike the majority who complain that this series labors along at a glacial pace, I think it moves along just fine. I just hope Mr. Meltzer isn’t falling into a trap of his own devising, that he isn’t trying to create a story of such multilevel complexity that the resolution is doomed to be nonsensical and anticlimactic, much like Identity Crisis #7 was. Now, if we can just get someone other than Turner to do these covers…  Tony Loco #1Writers: Derek McCaw and Mark Teague Artist: Mark Teague From: Illusive Arts Review by Koben Kelly I had no idea what to expect from this first issue of Tony Loco. From its cover, which depicts a hulking, armored man, with a squid-like mask and an automatic weapon, I expected this to be some post-apocalyptic story of one man’s survival. How far off base could I have been? Pretty damn off base, it seems. The entirety of this first issue centers around life in a mental institution for the unwell. Tony, our titular protagonist, is a resident of this facility. Tony is a giant of a man, sedate by nature. He hasn’t spoken a word since his arrival twenty years ago, and has provided no clues to his state of mind or the origin of his life of zombified apathy. The other residents are just as bad off as he, if not worse. The ones that do actually speak simply utter nonsensical mush or nonlinear ramblings. The one exception is Jimmy, a recent escapee, who is terrified by his return to the institution. The reason why he is so full of fear is to be explained in coming issues, I assume. When the reader is given a chance to see the world around him through Tony’s eyes, there’s some insight to where the series will be traveling. Instead of the ugly yet human doctors and assistants, his eyes perceive the others as horrible, tribally marked, demonic, skeletal things. Whether this is how he sees everyone, or if he sees into others is not explained. Perhaps he sees what the staff actually looks like, a la They Live. My curiosity and desire to see this further explained shows the creators ability to draw the reader in. The one person who seems to be sympathetic to Tony’s condition is new therapist, Janice Evans. She has actually made an effort to reconnect him to his past in an attempt to help him break through his shell. Without giving too much away, it seems indicated that this effort will initiate Tony’s metamorphosis into the commando shown on the cover. At this point, I have no idea if the series will go back-and-forth from his view of reality to ours, or if an actual transformation will take place. The writing and dialogue of this issue is engaging and tight. I was actually made uncomfortable and ill at ease by the setting and the treatment of the residents by the staff. It’s difficult to really describe the overall sensation of reading the set-up issue of the series, but I will state that I’m hungry for more. As for the art, it definitely leans toward the cartoony. Characters are distorted and exaggerated to emphasize personality flaws. The only character that is pleasant to look at is Ms. Evans, showcasing her inner purity and human beauty. I’m positive she will come to understand and assist in Tony’s mission, whether real or imagined. While it’s hard to pinpoint exact influences, Teague’s artwork lies somewhere between Sam Keith and Judd Winick—it’s extreme in its depictions, but expressive and emotional, all the same. I had a fun time reading this alpha issue, and I’m interested in where it will go. I give Tony Loco issue one seven out of ten K.G.s.  X-Men #194Writer: Mike Carey Artist: Humberto Ramos and Carlos Alberto Cruz Cuevas From: Marvel Review by Steven Ekstrom In the latest round of creative shake-ups involving Marvel’s bevy of X-titles, I’ve taken particular interest in the “Adjectiveless” X-Men title. Mike Carey’s foray into the “X” has brought together the most interconnected and disconnected team of malcontents the Marvel Universe has ever seen. With a line-up that is almost 66% rehabilitated villains (Rogue, Mystique, Sabretooth, Lady Mastermind and the Omega Sentinel) and 33% mainstay alumni (Cable, Cannonball and Ice Man), this series contends to have the most operatic potential with the sheer number of relationships coming to bare, from Sabretooth and his intimate relations with Mystique (they had a kid together), to Cable and Cannonball’s semi-father/son love/hate relationship, it’s like Six Degrees of Mutant Soap Opera Separation, with almost limitless angles of internal conflict. Its so thick Wolverine might have to buy a whetstone to cut through it all. Personally, I get dizzy thinking about it. Carey has entangled us in a group that should have almost no cohesion whatsoever; with Rogue, a character who has always been somewhat troubled, as the squad leader. Not to mention the fact that Sabretooth and Lady Mastermind are reluctant members—constantly threatening or questioning Rogue’s judgment—as was demonstrated in this current issue when Rogue stops Lady Mastermind during some ethically questionable behavior. This group represents the absolute fringe, the outlaws of the X-Men and guess what, Wolverine isn’t even in the ensemble. Thank God too, because, oddly enough, he’s too tame for these guys. However, Sabretooth and Mystique aren’t, and Carey has yet to fully utilize the perpetually scheming Raven Darkholme, with her questionable categorical imperative and twisted “motherly love” for Rogue. Victor Creed is another variable, one who has apparently been neutered in the previous storyline of his homicidal capabilities. I find this ironic because the number of other times he or Mystique have been controlled in similar fashions they have always found a way out or around their predicaments. Also, Mystique’s newfound interest in Iceman has my eyebrow perched and inquisitive: is she “tadpoling?” (A message to Ice Man from Ian Fleming: Older women are best because they think they may be doing it for the last time.) With the introduction of Lady Mastermind and Karima Shapandar, the Omega Sentinel, the cast is almost over-populated with loose cannons; further, it leads me to think that this abundance of cast members detracts from Carey’s ability to tell his story effectively. There’s simply too much going on each issue for one 22-page comic book. Cable and Cannonball are on three or four pages discussing the team’s departure from the Xavier Institute (or Internment Camp X, as I like to call it) with Cyclops, an excellent story point, but one that has predominantly happened off-panel. Also, since it was Rogue’s decision, why are Cable and Cannonball the ones to deliver the message? Oh and Cable’s not really a member of the team per se, he’s “just visiting”—also, a good thing and it’s indicative of his role of absentee father figure to Sam Guthrie, who has grown even more callous in his rise to adulthood. I like this internal conflict but it is almost overlooked while you’re trying to keep up with the fast-paced primary story involving the team’s hunt for the mysterious Pan. There’s just so much going on so quickly, which is almost strange, given all the “decompression” style storytelling going on within the industry these days. In a nutshell, Carey’s book is overpopulated with secondary characters and its quick pace is only more disorienting without a certain amount of focus necessary for cohesive storytelling. With regular penciller Chris Bachalo on a temporary hiatus, Humberto Ramos has been tapped for this three-part story leading to further catastrophe for the outsider X-squad. Ramos’ pencils are oftentimes hit and miss; lots and lots of facial exposure, with very little or no actual background work. Also, at times, his westernized manga style can be a little too disproportionate and yet too highly kinetic to really rivet a reader with action stacked upon action. Oddly the cover sells the book in a big way, but at times during the story even the art is all over the place and disorienting. Is that disoriented feeling of being all over the place what’s going to define Carey’s run? Still, I like the potential of this team and this writer, and out of all the current X-books, this one is definitely the most distinct.  What If?: X-Men: Age of Apocalypse #1Writer: Rick Remender Penciller: Dave Wilkins and What If?: X-Men: Deadly Genesis #1 Writer: Davide Hine Artists: David Yardin and Kris Justice From: Marvel Reviews by Steve Ekstrom I cannot tell you how much of a fan I am of What If…. Marvel would be wise to start selling more of these classic re-arrangements of continuity in trade paperbacks while this new trend is working in their favor. However, I think something could have been done at an editorial level regarding the striking similarity between the two X-related “What If” issues that were released this past Wednesday. In both the Age of Apocalypse and the Deadly Genesis tales the message is clearly the same: the Summers family is crazy.  The alternate version of Deadly Genesis (Ed Brubaker’s successful X-Men suspense yarn) is the better of the two (weighing in at 48 pages and a hefty $3.99 cover price). The slower, more pedestrian Age of Apocalypse remix (slightly smaller with 32 pages and a $2.99 cover price) is a story that has seemingly already been varied upon in past incarnations of the What If…? books, with Nate Summers being a crucial nexus figure in the developments of one of Marvel’s most successful alternative stories.Don’t get me wrong, Brother Voodoo as Sorcerer Supreme and a mythically powered Captain America carrying the hammer of Thor was pretty cool, but the story’s pacing was somewhat of a stutter step within the limited confines of its 32 pages. Also, Dave Wilkins’ pencils were interesting but odd—I have a tendency to find fault when characters look like completely different people from multiple angles. Plus, the fight scenes were not very coherent, there was simply too much done off-panel in some cases, or things were executed in such a manner in other cases that I was left rubbing my eyes and confused. The argument to fix the Age of Apocalypse through time travel had been handled before—and the ending, with the events unfolding to also be the reason they occur is a bit cliché, and it just feels phoned in. On the other hand, the alternate Deadly Genesis story was deliberate and well constructed. The story had a definite beginning (albeit it misleading), middle and end. David Hine’s tale utilizes the lost X-men as the core group of X-Men after the original X-Men die in a struggle with the Living Island Krakoa. While Gabriel Summers soaks up the limelight of being such a fantastic hero, a deadly secret lies on Krakoa. It’s a real page turner; the foreboding builds well. Plus, you get at least a slightly constructed backstory to the structure of their universe, in the form of a two-page splash of what the X-Universe would have looked like with the lost X-Men as the featured centerpiece. The sight gag that there was an actual website where you could download the spread shot was a nice touch also. David Yardin’s pencils are delicious, with a polished consistency you oftentimes don’t see in a monthly. Where are they hiding this guy? He should be on a core title. His storytelling capabilities really shine within the confines of Hine’s pacing of Vulcan’s reflection on past events. Again, the thematic similarities could have been handled differently so that the finishes of these two books (Spoiler warning!), with both protagonists turning out to ultimately be the villains of their respective books, wouldn’t have overlapped so strongly. When it came to the endings, it was a little like reading the same comic twice. I also think the newness of the concept of the lost X-Men carried itself across a lot easier to me. I’m just not one of the niche fans of Age of Apocalypse, so I’m never chomping at the bit to revisit it, but those of you who are will probably enjoy this little morsel. I say both of these are worth the read, just don’t read them the way I did—back to back.  Fallen Angel Vol. 1Writer: Peter David Artist: J.K. Woodward From: IDW Review by Michael C. Lorah Religion and faith are the single most unifying and yet divisive subjects in the world. Such has been the case for as many centuries as humanity has existed, and it is precisely that powder keg of conviction, spiritual belief and dogmatic viewpoints that has inspired countless stories, ranging from the Indiana Jones movies to The Satanic Verses. Taking ingredients from these timeless tales and themes, Peter David has found an intriguing new angle, flavored it with mystery, crime noir and just a dash of humor, and added a twist of inescapable fate. Lee is the Fallen Angel of the title, and literally so, as her origin reveals in this book. Once a guardian angel, she now walks Bete Noire, the city that shapes the fate of the world. What happens when an angel loses her faith? What is God’s true intent for humanity? How does the city shape the world? Well, the last question is never really addressed, and just lingers over the series like a big, black blob of self-important scariness. Perhaps future volumes will delve into the city itself, but for this book, the focus is on Lee, her fall and her struggle to accept the free will of her son. The ongoing theme of Lee’s inability to recognize others’ need to choose their destinies—wrongly or rightly—haunts her throughout the book. A girl's foolish choice leads to Lee losing her guardian angel status, and her family faces a similar dilemma when son Jude goes against Lee’s will. As noted, some of the mystery that cloaks the city Bete Noire is ladled on too thick, noteworthy because the city itself doesn’t seem to have much presence beyond one or two characters dwelling on its power and importance. If this importance were actually displayed, in some way, in the book itself, the impact would have been greater. Nevertheless, the characters ring true and the relationships sell everything that happens. Peter David’s dialogue is a strength in many of his works, and this book is no exception. The speech cadences feel natural, and character voices are clear and pointed. Capturing the ethereal, shadowy quality of Bete Noire, J.K. Woodward’s painted art is a huge asset to the series. His page layouts are clear and easy to read, and the quality of his line and color adds tremendous subtlety to the characters’ emotional states. Moreover, he can pull off a few different styles convincingly, as evidenced by the courtroom sketch quality given to three pages in this volume. Religion is a thorny issue, and many readers may not embrace Fallen Angel’s vision of God and his creation—though Lee’s explanation of God and his plan is entirely limited by her own biases, so don’t judge too harshly yet—but David and Woodward have shown that spiritual existence still provides plenty of storytelling opportunity. Mixing intelligence, spirituality and action in equal portions, Fallen Angel should have something for almost any discerning reader of adventure fiction. Pellet Reviews! The Immortal Iron Fist #2 (Marvel; by Koben) Unlike other series cashing in on hot late-70’s and early-80’s properties, this book is quality all the way. With Brubaker and Fraction writing, Danny Rand’s triumphant return to a regular series is in good hands. The second issue kicks off with a peek into the life of another Fist from distant history, Wu Ao-Shi of the year 1545. Damn, I love that stuff. Then it’s back to current times as Danny’s fight with Hydra. Bru and Fraction inject the drama with some excellent bits of stupid humor, with lines like, “I am Iron Fist, and I know kung fu. Hi-yahh.” The dynamic between Rand and his former partner is especially good. They act and speak like old friends should, without being caught up in the specific trademarks of the writers. The art of David Aja is terribly enjoyable again, but a surprise comes in the form of a flashback drawn by the legendary John Severin. Who is this man named Randall, and what does he have to do with Danny Rand collapsing at issue’s end? This is, hands-down, my favorite Marvel book out right now. JSA Classified #20 (DC; by Koben) I haven’t been too impressed with this series…until now, anyway. I didn’t have much faith going into it, as I picked it up based on my love of Rags Morales’ artwork alone. Thank goodness I did. Firstly, it’s the best solo Doc Mid-Nite story I’ve ever read. Seems that the urban myth of organ snatching has become a reality, with metahumanss as the victims and the rich as the recipients. The story involves the history of the Ultra-Humanite in an around-the-way fashion, making for some amazing Rags depictions of the classic JSA in battle with the big ape. The actual perpetrator is revealed in a manner that makes it even eerier than if it actually was the Ultra-Humanie. If you like classic crime/horror stories in the EC tradition, check this story out. It even has a scalpel-near-propped-open-eyeball scene. I would love to see writer Scott Beatty and Morales team up again on this title for another solo spotlight issue focusing on Mr. Terrific, Jay Garrick or Alan Scott. Double Shot: 52 #34 (DC; by Koben) There certainly was a lot to take in this time around. This issue had the actual (more than a pin-up) debut of the new Suicide Squad. I had no idea they would be so bloodthirsty. (So, when exactly does Boomy Jr. trade sides and join the Outsiders?) Maybe I’m just a bitch for Black Adam, but I really wanted things to go more smoothly for the Black Marvel Family. It seems like Al’s a bit brainwashed to me, based on his words while attempting to apprehend Teth-Adam. I have to admit I was taken aback by how far Persuader went with his attack on Isis. I mean, that’s Michael Myers-level stuff, right there. I don’t blame Amon for his reaction at all, but the first panel that he connects with the Persuader in was an “Oh, $#!%!” moment for me. I mean, I literally said it aloud. On the other hand, it was satisfying to see John actually get a moment to talk some sense to Natasha. She’s having her doubts, finally. Her expressions at the bottom of the page say it all. Then, there’s the one-page convo between Clark Kent and one of Luthor’s goons. Clark’s response to Lex’s big question is priceless. It made the issue for me. I am sad to see how far gone “Charlie” is now. Is Renee gonna do what I think she’s gonna do? Lastly, who else but Brian Bolland could make Zatanna look so good in the back-up feature? The art is amazing, but I was hoping that they would show the scene of Zatarra getting fried from the Swampy annual. Oh, well. Fantastic issue all around. Justice #9 (DC; by Kevin) The art in this Captain Marvel spotlight issue is amazing as always, but the issue fails to capture the sense of urgency to the situation that previous issues have had. I didn’t feel convinced that there was much of a real threat at any point in this story. Beyond that, there is a two-page spread with the heroes wearing protective armor that evokes thoughts of the old days where mini-series were used to help launch alternate costumes for action figure lines (which isn’t a positive observation, given that I’m much more cynical now than I was back then). I’ve liked the series, but I’m beginning to worry that it might not be wrapping up with a thrilling ending. Blue Beetle #10 (DC; by Kevin) I spent this issue trying to soak in some of the last Blue Beetle pages we’ll be getting from Cully Hamner (who I’m a big fan of). But, when I could shake off the sentimental thoughts, I was able to enjoy the issue a lot. Giffens and Rogers were able to work some Giffen and DeMatteis-like humor into the damsel-unknowingly-in-distress parts of the book without making the issue feel too heavy on the humor. I’m intrigued by the New God that I’ve never heard of and exactly where the writers will be taking the title in the encounter with the Fourth World (not to mention all the 52 Easter eggs). Bye Bye, Harvey: A Gun Theory Short Story (Bad Press; by Kevin) I’ve heard a lot of controversy swirling around Daniel Way, so I decided to give this $1.99 book a shot. Daniel Way’s writing in this issue seems to have all the testosterone of a Garth Ennis Punisher or a Frank Miller Sin City, but without much of the talent at making it entertaining. The artwork seems to be a bit “not ready for primetime,” even if it is still a bit better than the writing. The preview included in the back just seems terrible. I rarely say this, but it wasn’t worth my $1.99 to satisfy my curiosity The Life and Times of Scrooge McDuck Companion (Gemstone; by Mike) This book is classic adventure at its finest. Each story is a fast-paced, genuinely funny romp featuring imaginative settings, wild scenarios and hero-making choices. However, what sets Don Rosa’s duck stories apart from those of so many others (as if being a terrific adventure series isn’t enough) is the care and depth given to the characters. Scrooge’s relationship with Glittering Goldie plays perfectly, and small touches like Donald’s refusal to wake Scrooge from his dream at the end of “The Dream of a Lifetime” reinforce just how real these feathered characters become to the reader. These stories complement and enhance Rosa’s masterwork, The Life and Times of Scrooge McDuck, but the Companion is still a rip-roaring good time with or without the main book. This volume is one of the best comics collections of 2006, and absolutely should not be missed. Black Panther #23 (Marvel; by Caleb) T'Challa visits the (uncovered?) grave of Bill "Goliath" Foster (may he rest in peace), comforts the Foster clan, makes a fool out of the Black Widow and meets with Captain America about the possibility of helping the resistance. Like all of the Panther's high level meetings of late, this involves coming to blows, as Cap wants to make sure the Panther's really the Panther, and not one of Tony Stark's clones like Clor was (The Black Clonether, maybe?). Reginald Hudlin's volume of Black Panther has varied in quality from arc to arc, and, generally speaking the less continuity the particular story involves, the better it is. With this new arc, “War Crimes,” he's dealing entirely with the here and now, so the title is currently at one of it’s creative peaks again. The only other real weakness of the book, it's lack of a regular artist and consistent visual look, has yet to be alleviated, as this issue brings in another new artist (Koi Turnbull), but he's a pretty good one, with a slightly exaggerated, highly expressive style that suits the athletic, larger-than-life Panther. Sure, the changing-into-their-costumes-at-light-speed scene on pages 19 and 20 looked pretty stupid, but I don't think there's any way any artist could have helped but make that look crazy goofy (Um, if neither of them have secret identities, why bother suiting up mid-sentence anyway?) Captain Gravity and the Power of the Vril (Penny-Farthing Press; by Caleb)[/b] If you liked the occult-fixiated Nazis and matinee serial adventure style of the Indiana Jones movies and/or Hellboy (movie or comic, really), read this graphic novel. If you like Golden Age superheroics, particularly of the sort Roy Thomas specialized in during his run on All-Star Squadron and Young All-Stars, or that James Robinson reveled in during his Starman run, read this book. If you want to see a pretty cool black superhero that doesn’t make you cringe, read this book. Hell, if you like fun, smart, action/adventure comics, read this book. Writer Joshua Dysart and penciller Sal Velluto have crafted an incredible character-driven World War II-era adventure story about a gravity-powered hero and his struggle with Nazis on the hunt for Atlantis and the secret of vril power, guest-starring Hitler and Ian Fleming. Despite the silliness of the premise, they take it all quite seriously, and it’s made more serious still by the unique characters and their strong relationships; even the villains are fleshed out and given room to breathe and strong motivations. It’s easily one of the best superhero books of the last year. Dinowars #1 (Antarctic Press; by Caleb) In his introduction to this new series with an interesting take on the alien invasion sub-genre, writer/artist Rod Espinosa asks, “What if the ‘aliens’ were smart dinosaurs that left Earth and only returned now?…What if an astronaut found a dinosaur footprint up there on the moon? Would that not be a freaky thing?” Yes, yes it would. It would also be a fairly awesome thing. The first issue of this series, which promises to be Independence Day meets Jurassic Park is rife with clichés from a thousand different movies, TV shows, books and comics dealing with invasions, but, at the same time, it’s about super-intelligent dinosaurs returning to invade earth! From it’s goofy pun of a title to the weird glimpses of dino-tech we get at the end, this book promises big, dumb fun, and I can’t wait for #2. Double-shot: Justice #9 (DC; by Caleb) Alex Ross is lucky he can paint so well because, honestly, if just about anyone else on Earth attempted to give us a two page-spread with an image as crazily silly as that at on the second- and third-to-last pages of this issue of Justice it would come across as groaningly, embarrassingly, cringe-inducingly nerdy. But have Ross cover Doug Braithwaite’s pencils of select Leaguers in their new, Ross-designed armor in paint, the light glinting off their new, photo-realistic costumes, and it somehow manages to seem much cooler than what it actually is—Ross is not only playing in public with DC’s best action figures, but now (to stick with the toy metaphor) he’s customizing them. I won’t spoil the image beyond saying that the League realize they’ll need protection to go up against the Legion of Doom, so 16 of them suit up in weird new ways, with Batman wearing a suit of armor that resembles the Batmobile from the 1960’s TV show melted down and poured all over him. The scene accounts for just three pages of a dizzyingly action-packed, hyper-compressed issue. We also get to see Captain Marvel vs. Black Adam, Captain Marvel and Superman punching each other, an unlikely villain wielding a Sinestro power ring and a non-evil Dr. Leslie Thompkins. All in all, it’s just one more issue of DC fanboy heaven (and a good argument for yanking the Marvels away from Judd Winick and letting Ross, Krueger and Braithwaite handle them). Superman/Batman #31 (DC; by Caleb) There, was that so hard? This issue, DC finally, finally, finally bit the bullet and allowed for a fill-in artist to take over for a late penciller mid-arc on this constantly late title, and—guess what?—the results are wonderful. Penciller Matthew Clark isn't the exact same as Ethan Van Sciver, but his style is quite similar (Particularly when inked by Andy Lanning), and he's a fine substitution. (It's not like "Enemies Among Us," or any story in this title thus far, is exactly high graphic literature, or necessarily important or relevant. Basically, it's a bunch of lame narration and mostly random weird things happening to the World's Finest). Like EVS, Clark seems to have a particular talent for drawing monsters and aliens, and here we get Ultra the Multi-Alien, looking more awesome than ever (and rocking a brand new set of briefs) and seemingly a powerful threat. Underage Supergirl appears nearly naked (as if her costume isn't skimpy enough, Clark draws her skirt practically flying off in one panel and her halter top tucked up under her breasts), but that seems to be in the company's style guides for the new Supergirl. Story-wise, we take another plodding step towards the ending of this all-the-aliens-fight-Batman story, with the shape-changer responsible for impersonating Titano, the Caveman from Krypton and the other Silver Age threats in the arc being revealed. For those keeping score on post-Infinite Crisis/ "New Earth" changes (Spoiler warning!), Martian Manhunter's impish, Bat-Mite-esque sidekick Zook is apparently back in continuity. And displeased with Batman being a jerk to him during JLoA meetings. Huzzah. |
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01-02-2007, 11:18 AM
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#2 | |
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Maybe I misread the issue but didn't Charlie die? I thought he just faded out for good at the end there.  As for JLA, I don't actually mind Roy being all hubba hubba. If it starts getting harped on over and over again that will be one thing. I hope what we saw was just his reaction to the start of a new subplot. And besides, that kind of response was really the only bit of youth that any of the characters has interjected so far. Nice to see the variety. Great reviews as always.  |
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01-02-2007, 11:28 AM
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#3 | |
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I forgot to mention that in my review. I read the book in the comic shop immediately (as my enthusiasm for the series is reborn) and said aloud, "shortest membership in the Teen Titans ever." And I don't know whether Koben or KoC are correct about Charlie...but I personally think it was left where it could go either way. Though I tend to think there would have at least been one more panel or image that confirmed that he had passed if it officially happened.Just to show that us who supply the reviews as those who read the reviews: Caleb's spoiler-ish revelation about Superman/Batman #31 will now make me need to read it. Last edited by khuxford : 01-02-2007 at 11:50 AM. |
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01-02-2007, 11:41 AM
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#4 |
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I've been a huge fan of anything Meltzer has done and this weeks JLoA (Specifically for 2 of the things mentioned in the review...Vixen, Roy) the dialogue just left me at...eh? I felt the same with Justice as well. If not for just the appearance of the Black Marvel family alone... 52 was unbelievable!
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01-02-2007, 11:54 AM
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#5 |
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I bought the first two issues of Iron Fist and I fail to see what all the hype is about. I like Brubaker as much as anybody else, but not everything he touches is gold.
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01-02-2007, 12:02 PM
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#6 | |
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A DAMN GOOD ARGUMENT! |
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01-02-2007, 12:05 PM
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#7 | |
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Solid writing, good art, interesting story. Thats what they hype is about. |
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01-02-2007, 12:15 PM
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#8 | |
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I bought the first two issues as well. You're right, not everything Bru touches is gold.....but this certainly is. Awesome start. |
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01-02-2007, 12:20 PM
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#9 | |
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Uh-huh. Meaning he´s punching some stupid crystal to bring back some dead people? |
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01-02-2007, 12:44 PM
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#10 |
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JLA
Though the series is dragging, the Vixen portion just requires a little examination of her actions. She's been revised so that she can do Animal Man-esque stuff, but it overpowers her. Note how she's with the birds, but then chirps. She actually becomes a bird and thinks she's a bird. It took proximity to a human to help her regain her humanity. If she had the totem, she'd have kept her wits about her and would not have lost herself to the animals like she did. The totem doesn't help her focus her power; it helps reign in the power. |
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01-02-2007, 12:47 PM
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#11 | |
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Marsick's review is spot-on. I agree that the pacing is fine for a story of this magnitude. I also like the multilevel complexity and the way the characters are organically being integrated into the story. It doesn't feel forced. It's as if the line-up is being determined by fate or destiny (rather than solely decided upon by the Big Three). I like Meltzer's writing style overall, but I too don't think it's working well here. The dialogue boxes are unclear as to who it is who is speaking or thinking. I wonder if some of that has to do with the artist. I agree that Turner's covers (for both DC and Marvel) have looked "rushed" and uninspired lately. What looked unique and different last year or the year before, now looks predictable and tired. The only point on which I diverge from Marsick's opinion is the "pretty bird" line. That was pretty good. I mean, come on, a chick with a mace and abs like Hawkgirl? Who wouldn't be hitting that? But Metzler should have left it at that. Roy's comment was warranted and amusing, but his continued ogling took it a step too far. Cocky is okay. Appreciating beauty is okay. A drooling idiot who can't speak is just sad. |
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01-02-2007, 12:48 PM
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#12 |
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52 was great - and I question whether Vic is gone, yet, either. Lex is just damnable.
Blue Beetle was great - and I too loved the 52 hints. X-Men - when I closed this book I said "whew". So much in so little space. I didn't need any extra explaination - Carey is the perfect anti-Bendis. Didn't see any coverage on Supergirl:LOSH - return of Mon-el (for good reason, tho... Waid seems to have lost his love for this and is just going thru the motions). Flash #7 - dumped until the new team arrives. I mean - what is really going on here? You know - I have to say - 52 has really really energized me into loving comics again. The weekly cliffhanger has drawn me back into a medium that I have ALWAYS loved - but often been bored with. Not even Civil War - as much as I like it for it's popcorn-movie like premise - can carry the excitement that 52 can. Even when I dislike an artist - or what is being done to a character - the mysteries - the cliffhangers - the few weeks we have left - just make for exciting comics. Who is Supernova? Where is Rip? What happens to Vic? Do the space heroes make it? What happens to Steel? What happens with Ralph? |
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01-02-2007, 12:50 PM
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#13 | |
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Sounds like he's writing it for the trade collection and completely ignoring the fact it comes out in monthly installments! This unprofessional attitude is dragging down American comics today. Perhaps he could read some old EC Comics or Eisner's Spirit to see how to structure a comic story clearly, or read some sixties Stan Lee to see how to write episodic comics without losing the reader. Is this the same guy who wrote that rape story with Doctor Light and the JLA? Highly unsuitable for children's characters I thought.  Pan |
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01-02-2007, 12:54 PM
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#14 | |
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Oh dear. Damn you Meltzer, think of the children! |
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01-02-2007, 01:15 PM
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#15 | |
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01-02-2007, 01:33 PM
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#16 |
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In Roy's defense...
...Hawkgirl IS pretty flippin' HAWT.
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01-02-2007, 01:34 PM
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#17 | |
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LOL! Okay, I appreciate how pompous I probably came across, but look at the evidence. The JLA and Doctor Light were characters created for kids. That's inarguable. Creators have a responsibility to respect that. I've nothing against adult comics, but I do roll my eyes when publishers think such storylines are appropriate for their mainstream superheroes. Characters that are marketed to children on anything from lunch-boxes to duvet covers shouldn't be used in sex-crime fiction. But I'm moving off topic here. Sorry. Pan |
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01-02-2007, 01:37 PM
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#18 | |
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Actually, I think they were created for nerds of all ages. |
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01-02-2007, 01:39 PM
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#19 | |
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I was thinking more in a "Superboy-Prime meets Pantha and Wildebeest" way. |
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01-02-2007, 01:50 PM
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#20 | |
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Okay, I'll give you the pretty bird line. She is pretty hot and probably any of us standing in Roy's costume would have said something similar. But, like you said, it should have stayed there and not gone further. |
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01-02-2007, 02:10 PM
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#21 |
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It's a shame Uncle Sam and the Freedom Fighters is being overlooked.
That is one fun, fast-moving series with more than a few twists and surprises. Good stuff people!!! |
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01-02-2007, 02:14 PM
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#22 | ||
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I didn't even realize that.  Quote:
Good call. |
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01-02-2007, 02:18 PM
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#23 |
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Captain Gravity was a great little overlooked book.
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01-02-2007, 02:23 PM
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#24 | |
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I agree with your last statement, but disagree with the first. So far, his X-Men work has been very "meh" to me. But I think he's doing a great Iron Fist (and Captain America). |
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01-02-2007, 02:31 PM
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#25 |
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Solomon Grundy and the Hulk
Solomon Grundy is back, and as he stated last issue, he’s tired of dying. He’s apparently tired of being dumb and wearing the Hulk’s tattered hand-me-downs too,
Hulk is the imitation here, not Grundy. |
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