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Deadpool #900 [Review]

Posted on October 18, 2009 by Walt

Issue Credits

Letterer: VC’s Joe Sabino
Covers: Dave Johnson
Assistant Editor: Jody Leheup
Editor: Axel Alonso
Publisher: Marvel Comics

For $4.99, this issue would have to do quite a bit in order to justify its cost. Thankfully, it more than delivered. While I was really hoping it would be all-original content, my only real frustration at there being a reprint in the back (Deadpool Team-Up featuring Deadpool and Widdle Wade) is that that was one of about a half-dozen Deadpool comics that I already own from the 90s–and which I’d spent several hours just last weekend digging through 18 longboxes to find.

As-is, this is far from the “typical” Deadpool comic–nothing here seems to be in-continuity in the sense of advancing either of the main plots for the first two Deadpool ongoings. However, this faux-anniversary issue is a great “primer” for new fans, and presumably quite a treat for old fans. There may not be any real throughline in the book, but we get seven short stories starring Deadpool, but different creative teams new and old that give the character a chance to shine.

And the number is a nice play on the recent re-numbering Marvel has done with its various titles (I do wonder if Deadpool himself might have appeared in 900 comics through the years, which would me nicely appropriate).  It definite fits the character to play with the numbering–and I surprisingly don’t mind for this one character, as it seems an obvious riff on things rather than a serious numbering bit.

I really enjoyed Liefeld’s art on the Joe Kelly story–there was just something to it, perhaps simply the knowledge that the art’s by the guy that created the character. My favorite story of the bunch was Swierczynski’s riff on a certain tv show about crime scene investigators. Having enjoyed these shorts as I did…if Marvel ever decides to move the Deadpool books to the $3.99 price point, I would hope they’d consider having new original content such as these included after a full-length “main” story.

As these stories are not part of any of the ongoing stuff, if you simply enjoy the Deadpool character or are curious, this is a fantastic single issue to pick up. The original content alone is really worth the cover price (particularly compared against Marvel’s standard-sized $3.99 books!), and you get a reprint of an issue from the 90s that you’d be lucky to find by itself for the price of this issue, these days.

Long-time fan, new fan, or just curious about who the heck Deadpool is…I highly recommend this issue!

Close Encounters of the @*#$ed-Up Kind
Writer: Jason Aaron
Penciler: Chris Staggs
Inker: Juan Vlasco
Colorist: Marte Gracia

This story sees Deadpool beamed onto an alien spacecraft, where he is subjected to the aliens’ probing. However…Deadpool being Deadpool, the tables are quickly turned with a chewed-off arm (his own) and turning the aliens’ machinery against them. Rather than simply delivering a carload of dead guys where he was headed…he delivers a bunch of dead guys and a ship of dead aliens.

This is definitely an over-the-top sorta Deadpool story–the bit with the arm I’m beginning to sense may be a running gag with the character. The art’s not my favorite depiction by any means, but definitely gets stuff across quite well in an indie-comics cartooney sort of way.

Silent But Deadly
Writer: Fred Van Lente
Artist: Dalibor Talajic

This story opens with a bang…or rather, if we get technical, a “Boom” as Deadpool’s caught in an explosion. Though his eardrums’re blown out by the explosion, it doesn’t take away from his ability to kick butt, facing 3…well, I actually thought of The Joker’s minions, but that’s a whole other sort of thing. They seem to have some sort of invulnerability, at least to Deadpool’s swords. Once he switches to guns…the fight’s basically over. The “punchline” of the story was rather amusing, and seems typical of the character as well.

The art’s not bad, but not what I typically associate with the character. Still, no complaint with it, really–in a quasi-“anthology” such as this issue, I don’t really expect a consistent visual style nor for every visual interpretation of a character to be my personal ideal.

Deadpool: Shrunken Master
Writer: Mike Benson
Artist: Damion Scott
Colorist: Lee Loughridge

With a couple of “light” stories out of the way, this one goes down a much darker path. Here we see Deadpool at a psychiatrist, having an apparently typical-for-Deadpool session. We see the smart-aleckiness of the character, and it’s actually quite interesting seeing him interacting with someone like this, being analyzed and even doing some self-analyzing. However, there’s a twist toward the end as we see that Deadpool’s motive is not to seek counciling, but rather see some justice done.

This was another story that to me comes across as what I can only really describe as “indie”–it’s not typical/mainstream super-hero fare…or at least, none that I’m used to associating with such. Yet, it really carries the mood quite well, and does exactly what it should. Again, not my favorite depiction, but for very well-suited to this particular story.

Pinky Swear
Writer: Joe Kelly
Artist: Rob Liefeld

This was the story I was most looking forward to for this issue, after having read the Marvel Spotlight: Deadpool issue last week. We find Deadpool in the midst of a battle, with a pretty woman hanging on for dear life. We have some…questionable (but fitting) inner dialogue from Deadpool’s voices. Before long, Deadpool is reminded of a date he’s gotta keep–with an old friend from his school days. The boys had a bet over whether his friend would marry someone in particular by a certain time, and mid-battle (with the battle following him) Deadpool finds the guy, and the bet is settled.

I normally don’t care all that much for Liefeld’s art, but it worked quite well here–likely for nostalgia, knowing this is Deadpool as visualized by the character’s creator. The story itself seems to really fit the character–that even in the middle of a gun battle and with an attractive woman at his side trying to stay alive, Deadpool would keep some childhood promise where other ‘dates’ may not be kept. The bet itself really makes it work, as it seems so trivial, and yet Deadpool makes it into this huge thing.

What Happens in Vegas…
Writer: Duane Swierczynski
Artist: Shawn Crystal
Colorist: Lee Loughridge

This story quickly becomes a rather obvious riff on the tv show CSI. Deadpool’s very much aware here of the “real world,” and the formula of the tv show. The fact that anyone would pronounce him dead and yet he’s cognitive–both of his surroundings and of where the reader might be looking–is an interesting use of narrative further illustrating the character’s nature. As it turns out, the story itself is Deadpool trying to get a particular reaction from one of the investigators–inserting himself into the “mythology” of the show, given the typical, cheesey one-liners. And of course, not getting the intended reaction, Deadpool reacts violently, before explaining to the reader what he was going for.

Not all that thrilled with the art on this one, but it fits the story. The investigator characters are pretty much recognizeable, knowing who they’re supposed to be…without being actual likenesses of the tv actors/actres. As said earlier, this was my favorite story in this issue…it took me by surprise, but the fact that I’m aware of the show and the bit Deadpool’s going for…I just really enjoyed it. All the more because of the pun Deadpool’s going for being right up my own alley humour-wise (though of course I do not condone the violence!).

Great Balls of Thunder on the Deep Blue Sea
Writer: Victor Gischler
Penciler: Sanford Greene
Inker: Nathan Massengill
Colorist: Dave McCaig

This was a rather amusing short. Basically, Deadpool’s on vacation on a cruise ship, and his typical, violent nature is most assuredly NOT compatible with the typical vacationer. Unfortunately for Deadpool…Dr. Octopus is also present, and does not take kindly to the mercenary’s presence. Deadpool suggests some “vacation code” (typical that he’d have something like that in mind, whether or not anyone else even KNOWS of it or recognizes it). The ending’s darkly amusing, playing with scene transition in a way that works very well in this medium.

The art is very cartooney, but that works well for this story. This actually may be one of the least-violent Deadpool stories I’ve read, and it looks entirely possible that–while severely inconvenienced–no one in the story actually dies. Really just an entertaining story.

One Down
Writer: Charlie Huston
Artist: Kyle Baker

This story has a bit of typical Deadpool as the character ultimately continues to break the “fourth wall” since he’s fully aware that he is a comic character. It also serves as some strong commentary on the current/contemporary nature of comic characters, especially from Marvel and DC. There’s also a hint of Jay & Silent Bob here at the story’s ending…or at least, I thought of that film with the way it ended compared to this.

We see Deadpool conversing with the voices in his head as he gets up and around for the day, going through all the stuff he needs to in order to reach a particular target. The identity of the target is what brings the whole story together. Once again, a rather dark place for the story to go…quite morbid, actually. And yet, it puts a certain depth and seriousness to Deadpool that I think I’d actually be very interested in seeing explored.

I’m not all that familiar with Baker’s art, though he’s one of the view names I recognize amongst the artists for this issue. The style works very well for the story. The visual and written aspects work very well in a way that really wouldn’t work in anything BUT a comic, even while this piece itself comments on comics.

This one wasn’t as “fun” as the CSI riff…but next to that, I think this was my other favorite of the issue.

Deadpool and Widdle Wade

Well…actually, this is a whole separate issue, deserving of its own review. Its inclusion here obviously beefs up Deadpool #900, especially as it was already a special by itself.

Filed under: Comic Reviews 2009, Deadpool, MARVEL, Marvel Universe | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment »

Green Lantern Corps #41 [Review]

Posted on October 14, 2009 by Walt

Hungry Heart

Story & Words: Peter J. Tomasi
Penciller: Patrick Gleason
Inkers: Rebecca Buchman, Keith Champagne & Tom Nguyen
Colorists: Randy Mayor, Gabe Eltaeb
Letterer: Steve Wands
Editor: Adam Schlagman
Cover: Gleason and Buchman (variant by Greg Horn)
Publisher: DC Comics

As with a number of Blackest Night issues, this issue deals with a number of different ongoing scenes, with a couple dominating the book. While we see Soranik and crew dealing with the Black Ring/Lantern assault on wounded GLs, we also see Arisia facing her uncle, father, and mother who were GLs before her and who had died in service to the GL Corps. We also see Kilowog cut loose against the Black Lantern version of his old mentor and trainer from his own days as a rookie GL. And as the cover shows, we see a bunch of children of the GLs raised by the black rings…and “backup” arrives, ready to kick butt.

All in all, a swiftly moving issue. Tomasi–as with his other Blackest Night chapter this week in the Batman tie-in–shows that he’s got a great handle on the characters involved and things that make them tick–such that the manipulations of the Black Lanterns have something to grab hold of to try to move these characters to particular emotions in preparation for harvesting their hearts. While it’s easy to give Johns much of the credit for Blackest Night, Tomasi‘s getting a lot of moments to shine…and even this issue seems like it may have a huge event in it that isn’t explicitly followed up on.

Gleason‘s art fits the usual expectation for this title, keeping a good handle on what’s going on from place to place/scene to scene. While I (as usual) care little for this style on a number of characters, the artist’s style works well for me in terms of the Black Lanterns. Something seemed really “off” when it came to the visuals of Kilowog, though, and that really pulled me out of the story.

We’re not even halfway through Blackest Night as a whole…there are still 5 issues of the main series, a couple more issues to the first round of minis, a bunch of tie-ins in other titles in november, another round of minis, plus a month of one-shots, plus the requisite GLC and GL issues and probably some wrap up stuff that’ll technically be part of the event.

It’s a lot of elements that make this what it is…while I’ve not been overly ENJOYING this title’s chapters due to the art style, on the whole I’m finding a lot to enjoy with the event…so it’s quite cool that unlike the first round of minis, we’re not ALREADY hitting some conclusion.

I’ve said it before and expect I’ll continue to reiterate it in the coming months: this truly feels like what Infinite Crisis and/or Final Crisis combined SHOULD have been. Length, scope…sheer depth for the characters.

This issue is hardly the point to jump in cold…but for readers following Blackest Night, this is well worth getting and reading–we even see where at least a couple of the shorts from this summer’s Tales of the Corps come into play–they provided context that otherwise would’ve left two key scenes in this book to fall flat.

Story: 8/10
Art: 6/10
Whole: 7/10

Filed under: Blackest Night (Event), Comic Reviews 2009, DC, DC Universe, Green Lantern Corps | Tagged: , , , , , , , , , , , , , , , | Leave a comment »

Haunt #1 [Review]

Posted on October 8, 2009 by Walt

Co-creator/Writer: Robert Kirkman
Layouts: Greg Capullo
Pencils: Ryan Ottley
Co-creator/Inks: Todd McFarlane
Color: FCO Plascencia
Lettering: Richard Starkings/Comicraft
Cover/Variants Artists: Todd McFarlane, Ryan Ottley, Greg Capullo
Publisher: Image Comics

OK, so call me a sucker. This is a first issue, yeah. And I recently missed out on the debut of Chew, which had seemed interesting from an ad or two I’d seen. The Todd McFarlane and Robert Kirkman co-creation Haunt also seemed like a sorta interesting thing–again, from an ad. I’d pretty much forgotten about it entirely, though, until I received an email yesterday (the day before the comic’s release) about its release. I don’t know what landed me on this particular email list, but at least it was targeted, and did its job very, very well. Take these factors: two big names–creators whose books I’ve enjoyed recently, and a cheap-in-today’s-market cover price (this book’s only $2.99 cover price)–and combine them with “notice” or “attention” and you have a combination sufficient to get me to pick the book up. (Unfortunately, though I should’ve realized, there is the taint of variant covers, which I didn’t even consider…I wasn’t paying attention and am not particularly thrilled with the cover I wound up with).

So…what’s this Haunt thing all about? It’s only the first issue, so there’s plenty to wonder at. We’re introduced to a handful of characters and how they’re related to one another…and find out that one of them is actually dead, apparently a figment of his brother’s imagination. Only, there’s something more to it than “imagination.” When the surviving brother looks in on a woman both brothers had been involved with in the past–he’s got some less than wonderful history with her, it seems–he doesn’t think there’s anything to protect her from, though is soon proven wrong. When a couple of armed individuals enter the scene, a bit of a transformation occurs, and we meet the title character of the series.

I doubt much of it will stick as interesting to me long-term. But for the moment, there’s something interesting about the title character to me–the relationship between the brothers and the transformation that leaves one facing “Haunt.” I was put in mind of the Kevin Green transformation into Prime (for those few of you who remember the character). There’s also the slight twist on a quasi-archetype that I won’t get into as it’d be pretty serious spoiler territory.

The art team’s pretty familiar, and yet brings something new to the table. There’s a difference in visual style from Invincible and Spawn, but also a similarity to both…sorta like it has the grittiness of Spawn softened by the brighter style of Invincible. And honestly…works very well to me.

On the whole–for both the story and the visuals–this feels very much at-home in the same universe as Spawn (it remains to be seen if it is, actually) while not entirely out of place in a universe that has Invincible in it. With or without the comparisons…it’s got a fairly generic premise mixed with an intriguing twist sufficient to hook me and leave me interested in seeing what the next issue brings.

I bought this issue thanks to the initial hype/marketing and the names attached to it.

The package itself–the story, the hook–will bring me back for another look-see.

As something new, to get in at the beginning of what’s likely a major project with either Kirkman or McFarlane, this is well worth checking out…if only for this first issue.

Story: 7/10
Art: 8/10
Whole: 8.5/10

Filed under: Comic Reviews 2009, Haunt, Image | Tagged: , , , , , , , , , , , | 1 Comment »

Deadpool #16 [Review]

Posted on October 8, 2009 by Walt

Want You to Want Me Part Two: No Man is an Island

Writer: Daniel Way
Penciller: Paco Medina
Inker: Juan Vlasco
Colorist: Marte Gracia
Letterer: VC’s Joe Sabino
Assistant Editor: Jody Leheup
Editor: Axel Alonso
Cover: Jason Pearson
Publisher: Marvel Comics

After the cliffhanger emphasis put on Deadpool’s decision last issue, this issue was rather abrubt to start out. Deadpool is flatly turned down and away. Upon further consideration, Cyclops sends Domino after him to bring Deadpool in to the team. This results in some misunderstanding between Deadpool and Domino, before Deadpool spills the beans on his plan to show the X-Men what “moves” he’s got to bring to the team.

This is my first new, bought-day-of-release issue of Deadpool in years. I vaguely recall picking up the final issue of Cable/Deadpool a few years back; prior to that, I don’t recall if I picked up the first issue of whatever the long-running solo Deadpool title became with that “reboot” back in 2001/2002ish. And before that, I’d picked up the first issue of the first 1990s mini-series (that came out the same summer as the first Sabretooth miniseries…guess which character’s ultimately had “legs”?).

The “previously” page lets one in on the bare essentials you need-to-know for this issue…I don’t even need to remember what happened in the previous issue (though I’ve enjoyed issues 15 and 12-14 [in that order]). This is one thing I definitely applaud Marvel on that I’ve long felt DC needs to do–especially the WAY Marvel does it, it’s something that adds to the single issue format, and is easily removed for the collected volume with zero loss of story or story pages. But it adds a lot to the issue itself…not to mention providing a consistent place to see which creator did what on a given issue.

Though there’s some dark, violent stuff to this series…there’s a warped sense of fun about it, too, that makes it simply an enjoyable book to read, with some amusing gags and pokes through the “fourth wall.” The art just plays right into this, as the visual style is very solid…and really quite good in and of itself. Cyclops, Domino, and of course, Deadpool all look quite good in this issue, and for that alone the art gets props from me. The visuals bring in contemporary looks for the various characters…and really makes ’em look about the best I’ve seen them in awhile–particularly Cyclops and Deadpool himself.

This issue and its story are grounded in the “Dark Reign” status quo the overall Marvel Universe is mired in…and yet thankfully keeps somewhat above it, in a way. There’s also the fact that the issue is a mere $2.99…which is QUITE a steal on a book from this publisher of late.

There’s plenty of backstory to be had in Deadpool as a character, even just from this current series. That context will add an extra layer of enjoyment to the reading of this issue. At the same time, short of another reboot or an issue specifically labeled on its cover or in solicitations as a jump-on point…this is about as good a jump-on point as one’s gonna get.

If you like the character and aren’t reading this book, I’d recommend giving it a shot. ALso, if you’re avoiding Marvel for all the $3.99 books and yet want a peek into the Marvel Universe of late…this seems an excellent title for peeking in on things at the already-high-enough $2.99 price point.

Story: 7/10
Art: 8.5/10
Whole: 8/10

Filed under: Comic Reviews 2009, Deadpool, MARVEL, Marvel Universe | Tagged: , , , , , , , , , , , , , , , , , | Leave a comment »

Blackest Night: Titans #2 [Review]

Posted on October 3, 2009 by Walt

Bite the Hand That Feeds

Written by: J. J. Krul
Pencils: Ed Benes
Inks: Scott Williams & Ed Benes
Colors: Hi-Fi Design
Letters: Rob Clark Jr.
Assoc. Editor: Adam Schlagman
Asst. Editor: Rex Ogle
Editors: Eddie Berganza & Brian Cunningham
Cover: Benes, Hunter, & Pete Pantazis (variant by Brian Haberlin)
Publisher: DC Comics

There’s a fair amount going on in this issue. Donna deals with the Black Lantern versions of her late husband and child, battling the emotions brought to the surface seeing them back. Dove deals with Black Lantern Hawk who has just killed her sister, a newer Hawk…and of course the implications of a recently-deceased individual in proximity to black rings. Beast Boy deals with the deception presented him, and the whole team winds up facing the imminent attack from old enemies newly risen as Black Lanterns.

This was a pretty good issue, though I didn’t “get” everything that was going on, not being overly familiar with many of the characters…even less familiar with their specific current status quo. However, that doesn’t detract much from the story, I don’t think–just that I’d get more out of it being more familiar with recent stuff. There’s plenty of forward movement story-wise (really, for the middle chapter of a 3-parter, that’s part of what’ll make or break the series). Everything introduced in the first issue that I can recall is followed up on, and we’re left with enough that it’s hard to believe there can be a complete story here with only 3 issues TO the mini.

The art by Benes is top-notch; really no complaint there. The characters are all recognizeable, and even in the yuckiness of the Black Lanterns, this is some of the best I’ve seen these characters…a state of affairs I’ve gotten rather used to in the case of Benes-pencilled works. I wonder just a bit at Williams not inking the entire issue…curious if it’s a timing issue or some such. Despite wondering, I didn’t even notice that UNTIL I specifically looked at the credits for this review, which is saying something (positive) about it in MY book.

This is a bit of a niche book; probably best suited for those familiar with the Titans side of the DCU and seeing how they’re affected by Blackest Night. But if you’re simply following Blackest Night itself, this issue (and the series it’s a part of) seems to serve as a good instroduction to key characters in the Titans family of books.

This is another high-quality issue, well worth getting in context of the above-referenced conditions.

Story: 7.5/10
Art: 8.5/10
Whole: 8/10

Filed under: Blackest Night (Event), Blackest Night: Titans, Comic Reviews 2009, DC, DC Universe | Tagged: , , , , , , , , , , , , , , , , , , , , , | Leave a comment »

Superman #692 [Review]

Posted on October 3, 2009 by Walt

Down Time

Writer: James Robinson
Penciller: Fernando Dagnino
Inker: Raul Fernandez
Colorist: Blond
Letterer: John J. Hill
Asst. Editor: Wil Moss
Editor: Matt Idelson
Cover: Cafu, Santiago Arcas
Publisher: DC Comics

I feel like I missed an issue somewhere. The way this whole “Mon-El is dead, killed by the Kryptonians” plot thread is getting so much play-time seems somehow out of proportion. To me, the big reveal of Codename: Patriot was Sam Lane being what the story’s title was in reference to. Mon-El being killed, or SUPPOSEDLY killed just was not something that really jumped out to me…so I either missed an issue, or failed to “notice” something that would be played out as so significant.

This issue provides some context on the destruction of Metropolis’ sewer/water system and why it’s not simply being fixed by Earth’s metahumans; we also have some references to other characters of recent significance. We see the Guardian reacting to the apparent death of his new friend, as well as what is surely the premature announcement of Jon Kent’s death, though the in-story context speaks to its timeliness.

The art’s pretty good overall, though doesn’t really strike me as other art teams’ work has. It’s not bad, but it doesn’t stand out as wonderful in and of itself. It gets the story across and does what a comic’s art should, but doesn’t strike me as a “selling point” for this particular issue.

All told, not a bad issue in and of itself, but I didn’t enjoy it all that much. I think the New Krypton stuff is beginning to wear a bit thin for me, and I’m also waxing nostalgic for Byrne, Ordway, Jurgens, and other art teams from the late-1980s and early 1990s…so current artists aren’t measuring up to what I hold in memory and nostalgia.

A worthwhile issue if you’re following the title or the Superman family of books. Nothing really here to justify it as a jumping-on point.

Story: 3/10
Art: 5/10
Whole: 4/10

Filed under: Comic Reviews 2009, DC, DC Universe, Superman | Tagged: , , , , , , , , , , , , , , , , | Leave a comment »

Superman: Secret Origin #1 [Review]

Posted on September 23, 2009 by Walt

The Boy of Steel

Writer: Geoff Johns
Penciller: Gary Frank
Inker: Jon Sibal
Colorist: Brad Anderson
Letterer: Steve Wands
Assoc. Editor: Wil Moss
Editor: Matt Idelson
Covers: Frank w/ Anderson
Publisher: DC Comics

I don’t know how to describe it, really…but there’s something special just about the look of this issue. The cover’s fantastic–Gary Frank is by far one of my favorite Superman artists. The logo on the gradient-blue sky background stands out very nicely (and yet does not look out of place). This is the first issue of a mini-series…the Secret Origin part tells us we’re going back to the “beginning,” and seeing a young Clark on the cover, happy and with his parents, also both looking happy–speaks volumes to the characters. Perhaps it’s that this really gives credence to that saying about a picture being worth a thousand words–a thousand words to the positive thus hit before one’s even looked inside the issue.

Then again, perhaps it’s none of that, and simply the anticipation for this issue–after it was announced last year, and I thought it would be out by early summer and had to wait these extra months for it, and I just so enjoy finally getting to begin reading a definitive origin for the character since the Byrne stuff was chucked awhile back.

The story begins with Clark playing football in answer to challenge from classmates. Peter Ross breaks his arm tackling Clark, and guilty as Clark feels for that, he’s guilted further by facing Pa (in a scene that somehow put me VERY much in mind of that scene with Peter and Uncle Ben in the Spidey film as Uncle Ben lectures Peter on Responsibility). We see other elements introduced–Lana, and the school, Ma and Pa, Smallville itself, Lex Luthor, to name a few. These all come together as the issue progresses and we see first the discovery and solution to some newly-developed/discovered powers on Clark’s part (and how his parents play a strong role in that) and then the implementing of his powers as disaster strikes Smallville. Finally, we see the development of the costume.

The art–as I said above about the cover–is just fantastic. There’s a detail and realism to the visuals that works so well with the story and getting things across…and yet, it doesn’t feel like it’s being overtly realistic. It just captures a level of detail that makes it easy for the mind to fill in the blanks and set these static images to motion as you read.

For newer readers, this is simply an “origin” story–telling the beginnings and background/motivation to things we’re seeing play out in the current issues of the Superman books.

For long-time readers, it may be much more. This seems set to be THE origin, the definitive story of Superman’s background in the books’ current incarnations. Forget Man of Steel and Byrne…forget Birthright and Waid…for that matter, forget Smallville. This is none of those…and yet, it seems to be quite respectful to them all, acknowledging them subtlely and taking key elements from them as the story requires.

Though I’ve looked forward to this series–and yes, delivered extremely well, meeting (and maybe exceeding) my anticipation/expectation–I remained skeptical. I grew up on the 90s Superman, beginning while the “Byrne revamp” was yet FRESH…and there are several key moments to that interpretation of the character that have been done away with in recent years that I’ve greatly disliked. While this fails to RESTORE them…something about Johns’ crafting of the story puts other things in a light that begins to redeem the changes, making them sit much better with me.

The return of what I consider “silver age elements” is handled nicely, and in a modern way that makes things quite plausible in the present.

I don’t think I could’ve asked for a better opening chapter of this mini.

Even if you’re not following the current New Krypton stuff in the ongoing titles, or any Superman comic at all…this is a book to pick up. The writing, the art, the story as provided by the blending of both…makes for a great read, and I’m already eager for not just the entirety of the story, but to see this thing put into a single volume.

Highly, highly recommended.

Story: 8.5/10
Art: 9/10
Whole: 9.5/10

Filed under: Comic Reviews 2009, DC, DC Universe, Superman: Secret Origin | Tagged: , , , , , , , , , , , , , , , | Leave a comment »

Archie #601 [Review]

Posted on September 16, 2009 by Walt

Archie Marries Veronica, part 2: The Wedding

Script: Michael Uslan
Pencils: Stan Goldberg
Inks: Bob Smith
Letters: Jack Morelli
Colors: Glenn Whitmore
Managing Editor: Mike Pellerito
Editor/Editor-in-Chief: Victor Gorelick
Cover: Goldberg and Smith
Publisher:Archie Comic Publications

Second issue in, and the story’s even better (perhaps because we’re into the thick of things, with no silly walk-UP-memory-lane as the vehicle to facilitate an “easy out” of this major story).

This issue sees the wedding itself of Archie and Veronica, with a lot of great moments, cliche though some may be. We see Archie and his groomsmen dealing with the woes of tux-fitting, while Veronica and her bridesmaids have a fitting of their own. The couple-to-be shares some concern over what their future is to be. Then we get the “core scene” of the issue in the wedding–with a double-page splash of the big moment, a couple of full-page shots, and then a montage (including the classic Archies’ song “Sugar, Sugar”) that perfectly captures “a wedding.” The tail end of the issue moves the story ahead a year as we find the newlyweds facing another new step in their lives as Veronica shares some significant news with her husband.

All told, there’s not too much to be said on the art on the surface. It’s got that classic Archie style to it, and all the characters seem perfectly recognizeable to me–even if I couldn’t tell you their names offhand, they’re visually familiar from one thing or another of Archie I’ve read in the past. The declaration of the newly married couple and the full-page panels that followed reminded me of the Superman Wedding Album issue and took me out of the story a bit, as I noticed these as being those (newly) “iconic” images that would seem more appropriate for marketing than within the pages of this story. Still, one does not really get to have those double-page splashes, even for huge/important moments in real life…so getting them in a comic isn’t that bad a thing–especially as double-page splashes or even a full-page image seem such a rarity for an Archie book (in fact, I can’t think of any Archie story in the past that has had such pages).

The story itself isn’t terribly complex…but it definitely rings true to life. I’ve been to a number of weddings the last few years as a number of friends have gotten married, and the montage found in this issue made it easy to connect to the characters and the experience. There’s still some drama and conflict…even questions…as the story goes along, but they seem to be the usual sort of human drama…wondering how relationships will be affected, or seeing the various relationships play out in the shadow of an event as important to two lives as a wedding is.

What struck me as particularly interesting with this issue is the Betty/Veronica relationship. The two have always been rivals–one might argue that the rivalry is built into the fabric of the characters themselves in the Archie-verse– but I’m not used to seeing them portrayed as having such meaning to one another…that this is played up a bit does great credit toward making the characters more well-rounded and believable.

All the good of the issue not to say it’s without cliche…there’s nothing particularly shocking–even the issue’s end (while done as a cliffhanger) is only natural in a story like this. The nature of the story at hand allows for such huge things since we’re invariably going to be returned to the status quo after this arc is complete. But while I’m confident I see what the ending will be since the beginning of the arc, the ride is still very enjoyable–so much so that I’m honestly probably going to be disappointed to see the status quo return.

Perhaps Archie comics are aimed at kids…but these are not “just” for kids by ANY means. I’m a 28-year-old male…and I’m enjoying this arc as much or more than most other comics I’m reading these days. If you can find the first isue of this arc, I highly recommend giving the story a chance…whether you’ve ever read an Archie book before or not, if you know anything of the characters, you should have no trouble following right along.

While the story and art taken alone don’t rank quite as highly…this issue’s rating is based on the whole, which is greater than the parts.

Story: 8/10
Art: 8/10
Whole: 9/10

Filed under: Archie (Archie Comics), Comic Reviews 2009, INDEPENDENT/SMALL-PRESS PUBLISHERS | Tagged: , , , , , , , , , , , , , , , , | Leave a comment »

Green Lantern Corps #40

Posted on September 16, 2009 by Walt

Heart of Darkness

Story & Words: Peter J. Tomasi
Penciller: Patrick Gleason
Inkers: Rebecca Buchman, Tom Nguyen & Prentis Rollins
Colorists: Randy Mayor, Gabe Eltaeb
Letterer: Steve Wands
Editor: Adam Schlagman
Cover: Gleason and Buchman (variant by Billy Tucci & Mayor)
Publisher: DC Comics

This is another high-action issue as we see a lot of things going on all at once. The Black Lanterns continue attacking the living on Oa, with strategically-chosen individuals facing those living, seeking the most powerful emotional response. Kyle faces old flame Jade, while Arisia faces lost family, and Guy Gardner faces old comrade Bzzd. While this battle is going on we also see other events unfolding, as the Star Sapphires help Kryb, seeing the genuine “love” Kryb has for her “children” and the various lanterns face the Black Lanterns.

While I continue to find Gleason’s art not quite to my personal tastes, there’s something to it here in this issue that actually doesn’t put me off the way it has with other issues recently. In and of itself, the artwork is certainly solid, and the style has a sort of consistency that adds to the “history” a number of these characters have–with each other, and in the recent DCU.

The story’s solid, as we pick up on earlier plot threads and they’re given more depth, while the overall scope of Blackest Night continues to ripple outward as the threat-level ratchets upward beyond even what we saw in the Sinestro Corps War. The scene with Bzzd–though rather morbid–actually made me laugh at first, with the way it just makes perfect sense, showing how Bzzd WOULD be so extremely dangerous to one who underestimates him.

While this doesn’t really move the overall plot of Blackest Night forward, it’s a solid issue that fleshes things out, developing the situation and showing how this is more than just any other threat the GLs have faced in the past.

Well recommended.

Story: 8/10
Art: 7.5/10
Whole: 8/10

Filed under: Blackest Night (Event), Comic Reviews 2009, DC, DC Universe, Green Lantern Corps | Tagged: , , , , , , , , , , , , , , , , , | Leave a comment »

Magog #1 [Review]

Posted on September 8, 2009 by Walt

Lethal Force

Writer: Keith Giffen
Penciller: Howard Porter
Inker: John Dell
Colorist: Hi-Fi Designs
Letterer: Pat Brosseau
Assoc. Editor: Rachel Gluckstern
Editor: Mike Carlin
Cover: Glenn Fabry (variant by Porter & Dell)
Publisher: DC Comics

I was rather surprised at this issue. I almost passed on it, figuring the character to not be something I’m interested in following long-term. But I gave it a shot, and I’m pretty much glad I did.

We open on a scene that provides us with some exposition–who Magog is, his recent past and what he’s about. We also see him into action with a couple pages that were seen originally in the “preview” in the back of a bunch of DC’s books a few weeks back, showing the more military/black ops side of Magog as the soldier. What he finds there leads him back to his current home and to confrontation with the JSA. After an exchange with Alan Scott, and an introduction to supporting cast members, we see Magog back into action. He’s currently the agent of the JSA who can or WILL get his hands dirty in ways the others can’t or won’t. Magog is not a super-hero; he’s a metahuman in a world of super-heroes, but he’s a soldier. (It would be interesting to see Magog interact with The Shield, come to think of it!).

Storywise, this issue is largely setup and contextualization. It does a good job of that–bringing one up to speed on the basics of the character, putting into place a supporting cast and status quo.

The art is high quality…I really like the visual style we’re presented with here. It’s not totally some grim ‘n gritty visual, but it’s not bright, hopeful and flashy, either. It feels very down-to-earth, and appropriate for the title character.

While this Magog is not the exact same character introduced in Kingdom Come nearly a decade-and-a-half ago, the similarities are there in tone as well as name and costume. One could envision this character developing into that one, but the differences are what add a layer of interest. Differences…or simply more information and insight into the individual…giving him depth rather than being a plot-point in someone else’s story.

Giffen seems to have a good handle on this character, and though I’m not entirely ready to “commit” to this series, I’m sufficiently hooked for at least another issue to see if the magic holds beyond this premiere issue.

Story: 7/10
Art: 8/10
Whole: 7.5/10

Filed under: Comic Reviews 2009, DC, DC Universe, Magog | Tagged: , , , , , , , , , , , , , , , , , , | Leave a comment »

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