I’ve been on a real Kirby kick lately. I keep telling people that only Grant Morrison and Walt Simonson are allowed to write Kirby concepts. Here’s more proof.
Actual text later on!
In a couple hours, I’m going to be leaving for the weekend for my brother’s wedding. No computer access during that time, so the site is in the hands of the leader guy, the newbie and the guy who’s too busy doing real writing work.
Some quick notes before I go:
- The Dr. Strange movie is the better of the four Marvel animated movies (Strange > Ultimates > Ultimates 2 > Iron Man). The animation is better, the ugly shading is fixed and some of it is genuinely good. Unfortunately, it’s marred with goofy additions like having Strange, Mordo and the others fight by conjuring swords instead of straight sorcery. The ending is the absolute stupidest and laziest deus ex machina I have ever seen in any superhero movie, which is saying a lot. In conclusion, the movie is okayish.
- If you’re going to get the Aqua Teen Hunger Force Colon Movie Film for Theaters on DVD, don’t do it for the 80 minute deleted movie. It’s just an early version of the movie where the animation is only two-fifths done and the deleted scenes (which are available with full animation elsewhere on the DVD) are inserted. Though to its credit, there is a nice unused ending that involves Dr. Weird screaming at Meatwad, “Well, keep it down! I’m trying to fuck a tangerine!” a second before the end credits.
- Booster Gold #1 is fantabulous. It really, really is. The comic is about a muscular idiot in tights, his annoying robot companion and a guy who knows way too much about history banding together to repair the past and keep time stable. Hm…
I always thought this show needed a second chance. Thanks, Geoff Johns!
Okay, I was going to post some more about last week’s comics, but there’s been a change of plans. Batman #667 just came out, and it’s the first of a three part mystery story! I love mysteries, I love Grant Morrison and I love J.H. Williams III, so I’m definitely on board. It’s great to see Batman be an actual detective for once. I spent my time looking for potential clues as to who the mysterious killer is that called the former Club of Heroes to a desolate island. Let’s hope the conclusion won’t be as disappointing and nonsensical as that of Identity Crisis. I’m going to list all the facts in chronological order, and present my theory from there. Also, I won’t be including the information about the Club of Heroes that Morrison has revealed in interviews, as that would be cheating; we should be able to gather everything we need to know from the issues themselves. So let’s begin…
First impressions are important. I’ve spent several hours pondering about how to start my introductory post on 4thletter, and in the end I decided to just take the easy route. Hi, I’m Hoatzin, 4thletter’s newest staff member, but call me Paul if you like. I am Dutch. I like comic books. But only when they are good comics. I also draw, badly, but I’ll leave that for another article. For now, just to get an idea of what type of comics I like, I’ll leave you with some random thoughts on this week’s comics. And yes, I do basically read every single Big Two book that’s being published. Thank you for noticing.
Action Comics 853 - Despite my usual enjoyment of Kurt Busiek’s comics, the fact that this is a Countdown tie-in really hurts the book. Although Busiek does a better job at making me care about Jimmy Olsen’s plight to become a superhero than Countdown, the general storyline is still pretty lame and predictable.
All New Atom 14 - Pointless fan-pandering is rampant in part three of the Hunt for Ray Palmer, with the (temporary) return of Ted Kord in a book that does not feature any characters that should care about him. But Donna Troy is soooo amaaaazing.
Black Canary 3 - Oliver Queen is a moron.
Countdown 39 - A Sean McKeever issue, so at least the dialogue is decent, but the pacing remains glacial, none of the plotlines and characters are compelling and the artwork is once again fairly atrocious. The character introduced as last issue’s cliffhanger panel does not actually show up until the last two panels of the second to last page of the main storyline and the cliffhanger page after that is hilariously pointless. The only reason I’m still reading this book is because it will lead into the Grant Morrison-penned Final Crisis.
Detective Comics 835 - Dini is apparently busy with Countdown, so it’s a filler issue, but a surprisingly solid one at that. John Rozum (creator of Milestone Comics’ cult-hit Xombi) re-invents the Scarecrow as a genuinely terrifying enemy in part one of what promises to be a very interesting two-part story arc. The dark tone of the book is perfectly complimented by Tom Mandrake’s excellent atmospheric artwork.
Fantastic Four 548 - Dwayne McDuffie continues what has so far been an entertaining run on the book. I disagree with the numerous complaints that McDuffie has been overplaying Black Panther; T’Challa is essentially Marvel’s Batman, always ready with a plan and quick on his wits, so his portrayal in the book has been perfectly in-character.
Justice Society of America 8 - After the (terrible) Lightning Saga crossover, Johns has decided to take a breather with two more low-key issues focusing on two of the lesser known JSA members. Last month was a one-shot focusing on the new Commander Steel, this month is a story about Jesse Quick, the new Liberty Belle. It’s a welcome change in pace, but the issue itself is a mixed bag. Jesse’s characterisation is well done, but her relationship with Rick Tyler is obnoxiously written. Johns should also either give Zoom a rest or do something new with the character, because at this rate he’s growing stale really fast. I still fail to care about Damage and his clichéd damaged (ha ha!) past. This issue also has fill-in art by Fernando Pasarin, and although it’s decent, it’s nowhere near as good as Eaglesham’s. Despite all this, it’s not a bad read overall.
Metal Men 1 - The surprise book of the week for me. I was unfamiliar with Duncan Rouleau’s writing prior to this, so I don’t know how it stacks up to his previous work, but this was definitly an entertaining read. There’s a lot of content crammed into 22 pages and most of it is interesting. The banter between the Metal Men is amusing and they each have distinct, defined personalities, Will Magnus is a nice sketch of a character so far and the mysterious ongoings are intriguing, especially the last page cliffhanger. The artwork is another high point. It’s cartoonish and vibrant and the coloring is lovely, with inventive panel layouts and lots of energy. It’s not perfect; at points it gets overly busy and some of the computer effects are annoying, mainly the copy-pasting of specific elements, but it’s a nice break from the conventional look of most current DC books.
And now that I’m halfway through my books for the week, I’m going to take a little break. More thoughts (in particular the new Supergirl and World War Hulk issues) later!
A couple weeks ago, Marvel Zombies vs. Army of Darkness finished off. Marvel Zombies 2 has just been solicited for October. With that in mind, it’s about time I laid out my thoughts on the whole Zombieverse.
It all started back in 2005. Mark Millar was in the midst of his Ultimate Fantastic Four run and he started making some hints at a certain special story arc. From the looks of things, the Ultimate Marvel Universe was about to make a crossover with the mainstream universe Marvel 616. I wasn’t paying attention at the time, since I wasn’t reading Ultimate Fantastic Four, but I can only imagine people were annoyed as hell. Not only did this defeat the purpose of the Ultimate continuity, but Millar probably didn’t garner all that much faith going into what would be such an important story.
But the evidence was there. The story was titled “Crossover”. One of the variant covers for the first issue showed Ultimate Reed exchanging a shocked glance at an older Reed with snazzy white hair tufts. The second issue of the arc showed a more mainstream version of Magneto manhandling the Ultimate Fantastic Four. The first issue builds up to this meeting, including a scene where the two Reeds discuss the differences between their worlds. Older Reed — shown via hologram — mentions the Avengers and his children Franklin and Valeria.
Truly, this had to be the Ultimates/616 crossover we’d been dreading.
Or not.
From Newsarama:
Marvel recorded 48.42% of the Unit Market Share, nearly 20 percentage points above DC’s 28.57%. Both the size of the “spread” between publishers and DC’s percentage of share are perhaps both historic figures in the Diamond/single distributor era.
From a Dollar standpoint, Marvel’s 43.62% to DC’s 27.07% is comparable to May’s figures.
That’s Marvel up twenty percentage points in market share. This is not even remotely a good thing for DC, obviously. Five books in the top twenty? Countdown shedding a couple grand worth of readers a week? Not cool.
I hate on DC a lot, but it’s out of love, believe me. Or maybe like. Anyway– I want them to do better, because they’ve got a sick cast of characters. I love Charlie Huston, but what is Moon Knight, an eternal B-lister, doing selling more than Detective Comics, Wonder Woman, and Superman? What’s DC doing wrong?
DC can do a lot of right. Here’s one you might not of heard of. Son of Vulcan, a miniseries by Scott Beatty and Keron Grant. It’s a legacy book, or at least pretends to be one, so that’s DC’s niche right there. It’s got a kid hero, an older kid hero (who is in a retirement home), and a very colorful and entertaining cast. It’s the kind of world-building that DC just doesn’t do any more.
Scratch that– Blue Beetle, written by the excellent John Rogers (who also wrote the best movie of the summer featuring Robots in Disguise), does this kind of thing and it’s one of the greatest books DC has. That isn’t damning with faint praise, either– Blue Beetle is excellent. In fact, SoV is kind of a proto-Beetle in a lot of ways.
Son of Vulcan. Balls nasty. Six issues. Great comedy. World building. It’s what DC needs more of. Don’t believe me? Here’s a few pages. I want to talk more about the series later on, but I’m still pretty wiped after E3. I’d love to see more of this series, but I don’t think it fits in with NEW EARTH and COUNTDOWN TO EXILES OF NEW EARTH and KILL CHARACTERS IN LIMBO FOR CHEAP THRILLS, you know?
Me, I’m just waiting for Death of the Z-List DC Characters You’ve Never Heard Of mega-crossover.
Enjoy.
from issue five
Let’s be honest here.
I would pay DC money if they let me write an Injustice Gangstas miniseries. Even a one-shot.
Garth Ennis is known for a few things. Blood, curse words, comedic facial deformities, sex jokes, a mild hatred of superheroes, and more blood and then a few more curse words. On the good side, he’s a pretty solid plotter, he knows his strengths, he does great dialog, and he’s the best war writer since Kanigher and Kubert.
Just in case you aren’t familiar, he’s written comics where a demon named Baytor becomes master of hell, Nick Fury strangles another dude with his own intestines, an alien sex pervert becomes a British diplomat and gets eaten by a tiger while dressed in a corset with an orange up his butt, a soldier constantly tries to trick his superior officer into kissing him by faking death, a guy gets his nose swapped with his penis and vice versa, an Australian pope has sex with nuns and curses, the Saint of Killers shoots God, a short man with glasses has sex with a giant statue made out of meat, superheroes are depicted as a bunch of people who are completely worthless human beings (and sex perverts), a dude has sex with himself and then shoots himself in the face in front of his son, and– actually, this is a pretty good sampling of the stuff he’s known for. Plus, this is going to completely ruin the search terms on this site.
Anyway, Ennis has got something of a rep. He’s done his fair share of gross-out comics, though it’s usually played for humor. But, I’ve been noticing something in his comics. He keeps sneaking in these little things that make a scary amount of sense. I don’t necessarily agree with Ennis on the religion front, but he makes good points about how to live life. Sexism, racism, whatever– it’s all stupid. It doesn’t matter. Leave it behind and just do right.
The quote up top is from The Boys #8, a series about some humans whose entire job consists of smearing and then beating the snot out of superhumans, who are all sex perverts and callous jerks. We’ve seen a bulldog have sex with another, smaller dog, and a Teen Titans-alike have a screwed up coke orgy. The book opens with a guy swinging around with his girlfriend like they were in a movie, only a superhuman comes crashing down and basically explodes her on impact, leaving the guy holding her severed arms. There’s also a dude who lives below a comic shop who basically calls Will Eisner a punk. And despite all this grisly stuff, you get little scenes like the one in that image up there.
Punisher: The Slavers dealt with white slavers. On the one hand, it’s a wish-fulfillment fantasy. We, the reader, get our revenge on the rapist and slavers of the world through Frank Castle’s actions. He kills quite a lot of them, and the series ends with him lighting a local boss on fire on video, looking into the camera, and saying “Don’t come back here.” He sends the video back to Eastern Europe with one of the allies of the slavers. On the other hand, though, I can’t remember the last time I saw the aftereffects of rape and kidnapping in a comic. One of the cops featured in the story actually quits the force, because she believes she can do more good helping track and assisting the girls who were kidnapped. The last two pages of The Slavers are heartbreaking. You don’t have the full context here, obviously, but I think the pages are worth sharing. Check out the softcover or the hardcover (B&N link) if it catches your interest. The softcover’s like ten bucks, it’s worth it. I cut out the pages where Cristu was burned alive because they aren’t 100% relevant here.
For reference: Viorica lost her daughter to the slavers.
“All she can do is live with what life they left her.” Ouch.
Read the rest of this entry �
The last comic I read, there was a lot of rape and crying. Kinda harshed my boner for fun, you know?
–Casanova Quinn, Casanova #2
Casanova (words by Matt Fraction, art by Gabriel Ba) can be explained in two lines from a Wu-Tang song:
Yo, too many songs, weak rhymes that’s mad long
Make it brief son, half short and twice strong
–The GZA (Genius), “As High As Wu-Tang Get”
That’s on Wu-Tang Forever, by the way.
Those two lines describe Casanova perfectly. Casanova has, save for the first issue, 16 pages per issue. The average comic has 22 pages. The missing pages are given up to behind the scenes-type text pieces and art showcases. In addition, the series so far is seven issues long, and each issue is a complete story unto itself. One complete mission for Casanova Quinn. The seven issues connect in an overarching way to form the first arc, Luxuria.
Casanova is one of the greatest comics of all time.
I’m trying to review this without ruining it for you, but I think the first issue may end up being a casualty of war. You see, Casanova Quinn is a thief. He’s suave, sophisticated, he’s like Han Solo but more honest with himself. He’s having fun living the life, but everything goes wrong.
Cass has a sister, Zephyr. She dies on a mission, which causes Cass to reconnect with his father Cornelius, the head of EMPIRE. Zephyr was the good twin, so to speak, and the jewel in her father’s eye. Where Cass went left, she went right. Both Cass and his father loved her… because she was not Cass.
After that, Cass’s world goes upside down. He ends up in a parallel universe, one where he died on a mission and his sister, Zephyr, is still alive. Only– things are different. Here, Zephyr is the evil twin. She works for Newman Xeno, noted criminal and head of WASTE. Newman Xeno wants an inside man in EMPIRE, and who better than the evil alternate universe twin of the son of EMPIRE’s top dog?
That’s right. Evil Twin and Evil Twin versus Daddy. What’s the word for that? Ultraoedipal?
Casanova’s dialogue is sharp and pop culture infused, but not in that kind of annoying too cute for it’s own good way that Joss Whedon does it. The characters have real motivations, and these are motivations are ones we can relate to. Cass doesn’t want to save the world, he just wants to do right by someone important to him. Zephyr loves thrills. Cornelius? He gets a good moment where he reconnects with his son.
Casanova has assassin pop stars, hyper-advanced cultures, robots, sex, a dude who creates robots to have sex with, and tons of other mad ideas– but it’s all about the character moments. The ending is real- everything that’s been building up throughout the series comes to bear and zigzags at the last moment, but in a way that feels right. The relationship between Cass and Zephyr alone is a complicated one, and veers from simple sibling rivalry to outright malice, but in this weirdly familial way.
Gabriel Ba’s art works, too. There’s a few panels that are just pitch perfect. The scene where Cass attempts to kidnap a certain man who may or may not be a god is poetry in motion, from eye-opening to “I don’t believe in you.” There’s a panel of someone crying really late in the book that yanks your heartstrings something fierce.
This, along with David Aja’s work in Iron Fist, is some fine, fine work that really brings things to a newer or more experimental level. There are a lot of scenes that really could’ve come off like crap under a less skilled pen. The god scene, yeah, and there’s also a scene where Cass is pretty much reduced to a two-dimensional being and the art totally sells it. He turns into non-toned black lines with no shading at all, and you instantly get the point. Writing-wise, there’s an issue where each page is one of three moments in time and they cycle throughout the issue. Easily could’ve fallen flat– but it works. The art sells it and it ends up working.
Casanova is a brave comic, dense, and better for it. Matt Fraction and Gabriel Ba took a chance and poured distilled quality into sixteen pages. It never stops being interesting, because each issue is like an infodump of fictional and real information. The “savages” from one issue of Casanova are loosely based on a real people, the last living vestige of neolithic society in the modern day. An island of the past sitting in the present.
Casanova is half short, almost, and twice strong. It’s a strong work, and the recently released hardcover is definitely worth your purchase. It’s got more stuff in it than Marvel’s Civil War megahitblockbusterpieceofcrap. Even better– it’s fun.
edit, the next day: I screwed up and forgot to talk about the text pieces from Fraction and art showcase from Ba. Anyway, in exchange, Fraction love from back in the day: Perfection in Slices and A Few Good Comics, wherein I do talk about the backmatter a little.
But, you know what? They really ain’t that bad, either! Onward!
You reading any good comics right now? What’s that? You’re reading comics you don’t like? Pfft and *smh*. Read good comics, okay? Treat the problem, not the symptom.
Playing with a new format today. First up, some desktops. I can’t promise that these are properly formatted, but they are a few of the 221 desktops in my \Documents\Desktops folder so they’re appropriate. Two are related, the others are just cool. We’ve got art from Marcos Martin, Michael Lark, Darwyn Cooke, and Talent Caldwell.
These desktops are Good.
These comics are good.
Mighty Skullboy Army (by Jacob Chabot)
I was sent this one by a buddy who knows the author, so I guess this is my first comp copy of a comic! Sweet! Of course, I received the book in Aprilish, so this is way late and I’ve got no excuse really! Sorry Kevin.
And what a comic it is! Did anyone out there ever watch Dexter’s Lab? I used to love it dearly. Mighty Skullboy Army reminds me a lot of Dexter’s Lab, not in content, but in tone. It’s got that same kind of slick sense of humor that both kids and adults can appreciate. The art is very sharp, too. It’s very cartoony, but a lot of fun to look at. The scenes involving the monkey are, in my ever so humble opinion, some of the best in the book.
MSA is, essentially, about a young supervillain (Skullboy) who is in way over his head. You see, he’s a young fella… and he’s got to go to school. You can’t very well conquer the city, nay, the world, from a school desk. He’s got a few assistants in the form of a monkey, a robot, and an intern. One problem: they’re all imbeciles and/or too flighty.
Mighty Skullboy Army is whimsical, but in a good way. It’s a respite from the super serious, or faux serious, stuff I usually read. I hate to invoke the name of the almighty Calvin & Hobbes, which is the Greatest Newspaper Strip of All Time To Which There Are No Contenders, but it is fun like C&H is fun. If you like good comics, MSA is up your alley.
Batgirl: Year One (words by Chuck Dixon and Scott Beatty, art by Marcos Martin and Alvaro Lopez)
I got my copy for 17.99, it’s 19.99 on Amazon pre-discount. Weird.
Anyway, DC was, at one point, running the Year One concept into the ground. Hard. They whooshed hard on what Year One stories should be and pumped out some pap. And then, Chuck Dixon and Scott Beatty come along and get it right, not once, but twice. Robin Year One, which I believe was drawn by Javier Pulido, and Batgirl: Year One, by Marcos Martin/Alvaro Lopez, hearken back to the noir asthetic of Batman Year One in art.
Batgirl: Year One isn’t quite perfect. Dixon and Beatty seem to love tossing in little knowing nods to DC continuity, including a few too many references to Cassandra the Oracle, and a scene where someone tells Batgirl that heroes tend to end up crippled and stuff like that. It ends up being too cute by half and distracting.
On the other hand, the art and overall story are nearly flawless. It tells the tale of a young Barbara Gordon, a young lady who has just begun to pull on the tights. There are a lot of little character touches that are great. Babs Gordon is short for her age, thin, and not particularly chesty (cf. her current portrayal which is a bit busty and statuesque, ugh). She’s headstrong, impetuous, and very teenaged. She makes a lot of dumb decisions, despite being very smart. It’s practically a Marvel story, to be honest. Babs is flawed, and her flaw is her pride. She’s got to prove she’s better than everyone else expects her to be.
I just kind of realized that Babs Gordon, as written in Batgirl: Year One, is a slightly more responsible version of Veronica Mars. No wonder I like this book so much! Not to mention that it isn’t afraid to be silly.
More tomorrow. I’m trying to get back into the swing of things!
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