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TMNT Forever? [Movie Review: Turtles Forever]

Though I largely lost track of the TMNT animated series the last several years, I’ve tuned in here or there to see where things are. I’d thought the series was nothing but re-runs at this point, and with the sale of the TMNT to Nickelodeon, hadn’t expected anything new to be aired. Thankfully, I was wrong, as this ‘Turtles Forever’ tv movie aired this morning.

The purple dragons find themselves under attack as they seek to rip off some high-tech equipment. Splinter finds his soap opera interrupted by news of four green individuals caught on camera–apparently turtles. However, his sons are all home and haven’t been out. Cue Hun, responding to the Dragons’ having captured the Turtles. Sure enough, four Ninja Turtles have been captured…but they’re not any Hun has ever seen before. Determining they’re of no worth, he orders them killed…but that’s when the “real” (2003) turtles burst in.

After a fight, the two teams of teenage turtles size each other up. One group–pudgey and goofy, the other taller, leaner, and more serious. Before long, the time-tossed turtles from 1987 are introduced to Splinter–who, notably, looks much different. The Technodrome is brought in, as is the bumbling Shredder, Krang, and even the robotic foot soldiers. Bebop and Rocksteady make their requisite appearance.

Realizing that there are other-dimensional versions of the turtles he knows, Bumbling Shredder (1987) uses the Technodrome tech to locate this dimension’s Shredder–not in the USA, Not on Earth, but significantly further away–and beams him into the Technodrome. This dimension’s Shredder, however, is not the human Oroku Saki, but an evil Utrom Ch’rell. The Ch’rell Shredder wakes, makes short work of Bumbling Shredder, Krang, & Co., and implements a new plan–retrofitting the Technodrome with Utrom upgrades, transforming it into a far deadlier, more effective “ultimate weapon” than any previously seen.

The two groups of turtles survive an attack by a mutated Hun (remember the pink mutagen that changed someone into whatever creature they were last in contact with?), and with a dimensional-portal-stick find themselves back in the 1987 world–reversing the groups’ disorientation. The 2003 turtles meet the Hamato Yoshi Splinter, who offers a calm, serious, yet compassionate air to the time-tossed teens.

When the turtles check back in with their home (2003) dimension, they see Ch’rell’s upgraded Technodrome causing loads of destruction, withstanding the best the Military can throw at it…and they realize the box of anti-Technodrome gadgest they have isn’t gonna cut it.

Upon returning to rescue Splinter (2003), the turtles are all captured, held to particular points in a massive chamber, their essense to play a role in locating “Turtle-Prime,” the SOURCE of Ninja Turtles in the Multiverse. (And reminding me a great deal of Alexander Luthor’s tower from DC’s Infinite Crisis).

The Ch’rell Shredder shares what he’s learned, displaying images of virtually every other incarnation of the turtles out there–The 1990s movies, various incarnations from Mirage, and Archie, the newspaper strip, the 2007 movie, and so on. All are branches coming from the source being sought–destroy the source, and all the others will cease to exist. (Destroy a branch and others will continue to flourish).

Before the turtles can be completely dismantled by the device, Karai beams them away, saving their lives, as the Technodrome fades away to this Prime dimension. Another encounter with Hun as the world turns to black and white and then whites out of existence leads the turtles to modify their dimensional stick and they, too, fade out to the Prime dimension.

Arrival there introduces black and white turtles–the ORIGINAL Mirage TMNT. Accurately, the “source” of every other incarnation of the turtles.

The three groups team up to face the threat Ch’rell now poses to the multiverse.

As the story draws to a close, the other turtles return “home,” and the Prime-turtles are left to reflect on what they’ve just been a part of. Finally, they leave with Leonardo’s narration seeing them out. “We are the Teenage Mutant Ninja TUrtles. We strike hard, and fade away…into the night.”

I wasn’t sure what to expect of this when I first discovered it. A friend posted a link to the wikipedia page on my facebook, and I researched a bit from there, ultimately recording the movie and watching it this evening. A blending of the old and new/current cartoons was interesting as a concept, but I figured it would be some goofy, hokey thing that wouldn’t really be much more than “fanservice” or such.

However, goofy as it was at points, I really greatly enjoyed this. The movie REALLY accentuates the differences in the turtles’ incarnations. The “classic” 1987 turtles are goofy, hokey, and not very serious on the whole. The 2003 turtles are far more serious (though Mikey remains a bit of a goofball–but not nearly on the level of all the ’87 turtles). And of course, both incarnations are significantly “lighter” than the original 1984 Mirage turtles.

As far as I could tell, the voices of the 2003 turtles are the same as the long-running series. None of the voices for the classic turtles seemed at all familiar–which was disappointing, though I’d’ve been shocked if they could reassemble those regulars 20ish years later. Still, the attitudes of the characters showed through.

I did feel that the Splinters, as well as April and Casey (2003) got shortchanged…though I could’ve done with a little less than the brief bit we got with the 1987 April. I must admit it was sorta cool seeing Bebop and Rocksteady again, though they, too, were really shown to be the goofy caricatures they were.

Though brief overall, the Prime-turtles were rather cool to see–and it may just be my own prior comparisons of the incarnations that made it stand out for me–but they seemed all the more dangerous and deadly appearing alongside the colorized counterparts.

The movie ending with these turtles first striking the pose on a building that should be familiar to anyone who’s seen the covers to the original TMNT #1, TMNT #50, and so on. Then the thing closed out with Leo’s narration from the ending of that original TMNT #1…

Which truly brought things full-circle. Even though mere glimpses were provided of the numerous versions of the turtles through the years, that technically means they were included here. And so this capped off–“series finale”-style–the animated series that’s been running since 2003, as well as referencing/capping off the 1980s-1990s series, and everything that’s come before in the extended multiverse of TMNT.

I loved the references to past elements of the series. The classic lines were all there. Familiar nuances to voices were present despite different voiceactors–from Bumbling Shredder’s frustration to Krang’s gurgling/burping. The visual styles were consistent at least with what I remember of both series. The Prime turtles seemed a bit off, but the visual cues were absolutely unmistakeable.

This whole thing reminded me a bit of that Batman: The Animated Series episode with the kids relaying their different versions of the Batman, that included the various visual styles of the silver-age Batman, Miller’s Dark Knight, and so on.

All in all, it’s hard to capture every last detail or every last thought and such from the movie. Suffice to say that there are a number of other specific touches that pushed all the right geek-buttons for me.

I sincerely hope this gets released on DVD, whoever puts it out (provided it’s not vastly over-priced for being only about 75 minutes of content).

One of the commercials indicates it’ll be airing again over the next 3 weeks, so if you have not had a chance to see it, and you’re a fan of (particularly) either of the animated series, this is incredibly worthwhile.

Deadpool #17 [Review]

Want You to Want Me Part Three: The Revolution Will Be Televised

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

It’s hard to believe this is only the third issue of Deadpool that I’ve bought new of this series. Since picking up #15 to “try” at a friend’s persistent urging/recommendation, I’ve gone back and bought issues 12-14, the Secret Invasion trade, the Deadpool/Thunderbolts trade, a Suicide Kings hardcover, Merc With a Mouth 1-3 (and 4 “new”), as well as Deadpool #900 and Deadpool Team-Up #899. (And of course, also picked up this week’s Amazing Spider-Man #611 just because it had Deadpool in it).

As the above paragraph probably suggests…I’m hooked. I’m a total sucker for anything Deadpool right now. Of course…that’s for good reason The character’s at the top of his game under the various creative teams right now. And over-exposed or exploited as the character may be, I’m thoroughly enjoying such a concentrated dose of the character at present.

This issue picks up on Deadpool seeking to prove himself to Cyclops, that he can cut it s an X-man. Cyclops is handling a sensitive political situation, and Deadpool doesn’t exactly help. His involvement leads Cyclops to send Domino after the Merc…and a misunderstnding with her overhearing Cyclops talking to Wolverine keeps them from hanging onto Wade once they have him. We’re also given a sort of wacky take on H.A.M.M.E.R. and its agents that fits perfectly with Deadpool. The ending sets up the concluding chapter of this arc on a fairly generic cliffhanger.

The art’s good stuff here, and I continue to really enjoy Medina’s work. This contrasts with the cover art, which–while amusing enough–isn’t all that appealing. Still, I’m thankful for the interior being to my liking.

I like that this title is fairly well self-contained; despite the large number of other Deadpool comics and appearances going on at present, this story isn’t forced to acknowledge all of that; its story is its own entity.

This isn’t a great jumping-on point, really (but certainly is not the worst, thanks to the “Previously Page” that Marvel actually does very well with). As a whole, this really feels like the “main” Deadpool book, allowing the other books their status as “secondary” or “side” titles. This seems the book you’ll want to give a look at if you’re interested in Deadpool’s place in interaction with the current Marvel Universe’s ongoing continuity (Dark Reign and all that).

All in all, another solid issue, and I’m ready for the next.

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

Amazing Spider-Man #611 [Review]

This Man, This [Expletive Deleted]

Writer: Joe Kelly
Artist: Eric Canete
Colorist: Andres Mossa
Letterer: VC’s Joe Caramagna
Asst. Editor: Tom Brennan
Editor: Stephen Wacker
Exec. Editor: Tom Brevoort
Publisher: Marvel Comics

I never expected to be reviewing–much less BUYING–an issue of this title given the current status quo. I’m one of those who has zero interest in the current Spider-Man post-One-More-Day. That I bought this issue at all is high praise to the draw of Deadpool. And, as I’d hoped…this felt more like a Deadpool title than Spider-Man.

The issue opens with Deadpool amidst a bunch of mostly recognizeable Marvel Women taking a phone call about a new job. Of course, this plays out in typical Deadpool-fashion and manages to reference/poke fun at a couple notable points of Spider-Man comics the last couple years. Even the “Previously Page” is given some hokiness, breaking the “fourth wall” having the Marvel EIC and other editors give the situation-so-far. We then quickly move into seeing Spider-Man in action against Lady Stilt-Man and all the ridiculousness one can imagine. Deadpool steps in and he and Spidey fight (though the fight devolves to juvenile “yo mamma” trade-offs). Finally, Deadpool attains his goal, and the scene shifts to show us the real purpose of Deadpool taking on Spidey, with a fairly major character now lying dead, as this title heads into something called “The Gauntlet.”

I’m not familiar with the artist…and honestly, this issue did absolute zero to make me want to get familiar. The style is rather stylistic…but really does not at all fit what I’d expect of something with Deadpool (or Spider-Man, for that matter). If I wasn’t 1. so stoked about Deadpool as written by Joe Kelly and/or 2. never bothered to look inside the issue before purchase, due to knowledge of Deadpool’s presence and the “regular” cover being the one I wanted*…I’d recommend against this for anyone but those already following and enjoying the title.

(* see how I’ll use the asterisk to note something? Sort like Deadpool and his “voices.” I specifically avoided a recent issue of Hulk that had Deadpool in it, due to the fact that the cover I wanted turned out to be a 1:200 or so ratioed-variant. I’d’ve avoided this issue had it been the same set-up.)

Where this issue succeeds is in feeling like a Deadpool story guest-starring Spider-Man. As I have zero interest in Spidey’s current status quo, this issue worked very well by not dealing with it in any focal manner. I recognize background characters–Madame Web, and Mattie in particular–and see how they provide a sort of “framing sequence” that marks this as a sort of “prologue” to The Gauntlet.

Where this issue fails is in establishing anything to bring me back next issue. This felt like a one-off, and though I’m mildly intrigued by what was set up here…I’m still not at all interested in actually investing in the next arc.

Deadpool fan? This is well worth picking up, if you don’t mind the art. Regular reader of The Amazing Spider-Man? This’ll probably be right up your alley and have more significance for you than me (not having touched a Spider-Man comic in close to two years).

Final thought: The cover is great. And yet realy has nothing to do with the issue. This is the sort of image that would make a great ad in that regard…and I daresay I’d buy a poster if they made one of this image.

Story: 7/10
Art: 3/10
Whole: 5/10

Deadpool Team-Up #899 [Review]

Merc With a Myth

Writer: Fred Van Lente
Artist: Dalibor Talajic
Letterer: Jeff Eckleberry
Production: Paul Acerios
Assistant Editor: Sebastian Girner
Editor: Axel Alonso
Cover: Humberto Ramos
Publisher: Marvel Comics

While a THIRD Deadpool title does seem a bit much, this debut issue is great fun. Given that each of the titles so far seems to maintain its own identity or feel and the character himself is somewhat timeless and archetypal, I don’t really have a problem with it. I’m enjoying following all three titles, even though one could really pick and choose which one of the three or any combination and still get a fun “Deadpool experience.”

This issue sees Deadpool teaming up with Hercules. After dreaming about fighting some ultimate opponent, Deadpool soon finds himself trapped in a labyrinth where he meets up with Hercules. It’s soon revealed that the two are dealing with a couple of classic (yet, I never would’ve thought I’d see them teamed up) Marvel villains who have trapped the both and pitted them against their own nightmares. Hercules faces a legion of offspring claiming to be his own children; Deadpool faces an embodiment of the two voices in his head as the entity tries to kill him. Deadpool takes fairly extreme (yet, for him, sorta typical) action to solve the problem, and our ‘heroes’ then face their true foes.

I really like the done-in-one nature of this issue–I assume the series in general will consist of done-in-one issues or at least shorter-than-6-issues arcs. That’s a great selling point for me, as it means that while following the “mainstream Marvel Universe” adventures of Deadpool in the core title and the other adventure in Merc With a Mouth, there are also these full stories coming out that start and resolve quickly.

Unlike most of the comics I follow these days, I’m really not familiar with any of the creative team here. While that’s not something I’m used to, it works to the benefit of the title, I think, as I’m more focused on the character and story without concerning myself with how it stacks against the writer or artist’s previous work. I enjoyed the story, and the art fit the story, making for an overall enjoyable issue whoever’s involved in creating the issue.

“Fun” as the first two titles have been, this seems likely to be the breakout Deadpool title for me. If you’re interested in Deadpool OR Hercules, and don’t want commit from the get-go to lengthy seemingly-structured-for-collected-volumes arcs, this is definitely the issue for you (and for Deadpool in particular, this would be the series for you).

As with Deadpool #900, I actually find some amusement–or at least, appreciate the humour in–the numbering. The irreverence of the numbering lends itself to the timelessness of this title–who cares what the NUMBER is? The specific stories–particularly as one-off issues–should be the draw.

Highly recommended.

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

Captain America: Reborn #4 [Review]

By: Ed Brubaker, Bryan Hitch and Butch Guice
Colors: Paul Mounts
Letters: VC’s Joe Caramagna
Covers: Hitch, Guice and Mounts; John Cassaday and Laura Martin, Joe Kubert and Laura Martin
Assoc. Editor: Jeanine Schaefer and Sankovitch
Editor: Tom Brevoort
Publisher: Marvel Comics

I’m not 100% certain I bought/read issue 3 of this, offhand. Even if I not only read issue 3 but also reviewed it, I don’t at present recall issue 3. Despite that, it’s almost an irrelevant point as this issue finds Cap still bouncing through time, the Skull and crew still getting things assembled, and Cap’s allies still playing catch-up.

Skull and crew arrive in Latveria at invitation of Doctor Doom. Doom fixes their time device, while Cap’s allies are finding out what happened with Sharon and how she–and her blod–hold the key to what’s going on with Cap.

As Doom’s device is activated, things come to a bit of a head as a body is present, though all may not be quite as promising as it appears.

The art’s easily the best part of this story. Hitch draws a great Doctor Doom, and I found myself enjoying the visuals even as the story sped through its own pages. Brubaker’s done a great job overall with the Captain America saga. This series seems just a bit much, though, and something feels a bit “off” from what I enjoyed in reading the first omnibus and the 1.5-year saga following up on Steve’s death and Bucky’s installation as the new Cap.

If you’re specifically a fan of Brubaker’s work you’ll probably enjoy this; ditto if you’re a fan of Hitch’s art. If you’ve been following this mini thus far, probably worth finishing out the story. Otherwise, you’re probably just as well holding off for a collected volume.

Plus, with a collected volume…you won’t have two different titles for the same story (three, if we count the fact that this essentially IS the Captain America title right now, outright replacing the main title for its duration).

Story: 5.5
Art: 9
Overall: 7

Deadpool: Merc With a Mouth #4 [Review]

Writer: Victor Gischler
Pencils: Bong Dazo
Inks: Jose Pimentel
Colors: Matt Milla
Letters: Jeff Eckleberry
Production: Rev. Paul Acerios
Asst Editor: Sebastian Girner
Editor: Axel Alonso
Cover: Arthur Suydam
Publisher: Marvel Comcis

Though not what I’d typical consider my usual fare for comics…there’s something about the over-the-top situation and visuals the character winds up in that just makes this a fun read. Though the story takes place pretty much in context of a current Marvel Universe, it sits on an edge just slightly off from most of the other books.

Whether it’s something outrageous like a zombie Tyrannosaur, to the cheesecake Dr. Betty, to the wisecracking Deadpool himself, this story takes established characters and concepts (AIM, Hydra, etc.) and sets them just on the other side of “fantastic” from “comic book realistic.”

The cover scheme for this book has also been fun–rather than just another logo or standard cover design, the title’s been presented in different fonts, as the covers have been “Deadpool-ization” of other classic images in our popular culture (much the same way Suydam’s original Marvel Zombies covers were “zombified” takes on classic Marvel covers. Even the intro/recap page for this title has been fun, changing things up a bit.

We continue following Deadpool, Dr. Betty, and zombie-Deadpool’s head as AIM and Hydra vie for the “bioweapon” the head represents by way of the zombie virus. One needn’t even be all that familiar with these fictional organizations…just that both involve loads of generic footsoldiers, goofy costumes, and all that…with the smarter folks at the head of the organization. Deadpool deals with the zombified Tyrannosaur, and has what I consider a classic slapstick sorta response in one panel that put me immediately in mind of old cartoons I used to watch as a kid. It was predictable, I totally saw it coming…and while predictable isn’t always good, it felt just right as it was used here.

The issue’s art has a nice balance wherein it’s not terribly realistic (too much realism would totally spoil the feel of the story) and yet it avoids feeling too “cartooney.” The art seems a great fit for the story…and the way Deadpool saw the Tyrannosaur was quite amusing.

The cover is labeled with a “parental advisory,” for good reason. The violence and gore, and PG-13 clothing on Dr. Betty, and a bit of coarse language certainly make this something to avoid providing to the younger crowd.

I have near-zero interest in any of the rest of the Marvel Universe these days…but this little “family” of titles focusing on Deadpool have been reminding me that it’s not the characters or the universe that disinterests me as much as a lack of genuinely enjoyable and amusing stories.

While the main Deadpool title has been very good, this just carries a different level of fun and adventure that makes it my favorite of the two titles…at least for now. (And it remains to be seen how Deadpool Team-Up will hold against the main title and this one).

You don’t need to be reading any other titles to follow what’s going on here–you don’t even have to be following the main Deadpool title. That has its story rooted within current Marvel Event Continuity, while this title has its own self-contained story set in the Marvel Universe but not hampered by the ongoing Event Continuity.

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

Deadpool #900 [Review]

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.

Deadpool #16 [Review]

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

Captain America: Reborn #2 [Review]

By: Ed Brubaker, Bryan Hitch and Butch Guice
Colors: Paul Mounts
Letters: VC’s Joe Caramagna
Covers: Hitch, Guice and Mounts; John Cassaday and Laura Martin, Tim Sale and Dave Stewart
Assoc. Editor: Jeanine Schaefer and Sankovitch
Editor: Tom Brevoort
Publisher: Marvel Comics

Well, I’m glad I picked the cover I did for the first issue…it seems that that was indeed the “standard” cover, meaning if I follow through with this entire series, I won’t be left feeling like one of my covers is out-of-place with the others.

I continue to be baffled as to why this couldn’t just be issue #602 of Captain America (or better yet, #53 or whatever without the renumbering). After all, while we have a different artist in Hitch on the visuals, the story is still Brubaker’s, and honestly looks and feels like any other issue of Captain America. If it’s about the chance at a #1 in the face of combining all previous runs to make the fat ol’ #600…then surely part of the trade dress for this story could have displayed a “part #1” or “part #2” while having the actual issue number in small print.

As said…this story is very much a Brubaker issue of Captain America. Amidst some Lost-styled time-hop scenes of Stever Rogers reliving scenes of his earliest days as Captain America (and his transformation from scrawny kid TO Captain America) we learn a little bit about the time-flashing that likely foreshadows something significant for later in the story. We also see the present as the current Captain America–formerly Bucky–and the Black Widow face Norman Osborne’s “evil” (or is that “dark?”) Avengers and see that Norman’s now got a stake in things as he issues an ultimatum to act as the issue’s cliffhanger.

It seems almost a given to me that Brubaker’s writing is high quality and in top form here–whatever “event” this is billed as, and whatever elements may or may not have been “forced,” he makes the story work in and of itself in its own sandbox that we’ve seen since his run started…while incorporating obvious and relevant elements from the larger Marvel Universe as a whole.

Hitch and Guice provide excellent visuals that capture the tone of the story very well. Though the art may not match up 100% with what the bulk of the Cap series has had, it certainly fits very well with it…having its own style without being a departure from what longer-time readers are likely familiar with. In itself, no complaints from me on the art.

Taken as a whole, this issue was pretty good. I was actually intending NOT to buy this issue due to the price tag and figuring on waiting for the collected edition if anything–but with Marvel’s pricing of late, it’s probably cheaper this way, and I have the feeling this pulled-out-into-itself mini-series will greatly inform whether or not I return to the monthly Cap book this fall.

If Cap’s your thing, this is well recommended. Otherwise…you would probably be more satisfied waiting for a complete arc to read.

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

Captain America: Reborn #1 [Review]

By: Ed Brubaker, Bryan Hitch and Butch Guice
Colors: Paul Mounts
Letters: VC’s Joe Caramagna
Covers: Hitch, Guice and Mounts; John Cassaday and Laura Martin, Alex Ross, Joe Quesada, Danny Miki and Richard Isanove
Assoc. Editor: Jeanine Schaefer
Editor: Tom Brevoort
Publisher: Marvel Comics

After the reveal in Cap #600 that the gun we thought had killed Steve was something other than a simple gun, this issue picks the story up and moves forward. We see what appears to be a flashback to Steve’s time in World War II, though we quickly discover there’s a bit more to the scenes than just flashbacks. In the present, we see the other players of the story gather, and discover the nature of Steve’s flashbacks–which also seems to set up what is to come later in the story. We also discover through terminology and visuals that it would be really quite simple to set “Lost” square into the Marvel Universe.

As returns go, the story seems to be plausible enough in terms of comic book returns. I’ve enjoyed just about everything I’ve read from Brubaker the last couple years, be it Captain America, Criminal, Incognito, and what-have-you. I recently read through the Captain America by Ed Brubaker Omnibus, which gave me a great appreciation for the story he’s told the last few years in the main Cap book (it’s that reading that also convinced me that I think it far, far too soon be seeing Steve brought back). However, as stories go, this seems upper-middle-of-the-road to me, mainly because my first thought at a couple of scenes was of Lost (and reinforced when I saw comments pop up on Twitter on that subject).

The art is good stuff, and seems to fit the tone established across Brubaker’s tenure on the main Cap book–high quality, and nothing jarring me out of the story for any particular visual issue. It’s not spectacular, but it is good–and I really have zero complaint on the art…at least on the interior. I do have a bit of an issue with the variants, but that’s a usual complaint from me–I don’t like ’em.

On the whole, this is not a bad start to this mini–but the cover price combined with its place (presumably) within the ongoing Captain America story…I don’t plan to pick up later issues, and will await the collected volume(s). If out-of-title event minis–or Brubaker–or just Cap–are your thing, you’ll probably enjoy this. I do expect this is going to read a LOT better as a collected single story, though.

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