The Martian Manhunter

Film review: Iron Man 3 (2013)

2013-05-25T01:01:00.001-07:00

I am openly conflicted about “Iron Man 3.” On one hand, I am desperately trying to achieve objectivism in my review. I enjoyed it. It had a solid plot, it tied wonderfully to Joss Whedon’s “The Avengers,” and a majority of its special effects are a technical marvel. I thought that the casting was superb, and personally the inclusion of Sir Ben Kingsley and Guy Pearce always make a filmbetter. All-in-all, the quality of the film sits snugly between the first and the second Iron Man films.

However, on the other hand, I was incredibly dismayed to learn that, “Iron Man 3” would be Robert Downey, Jr’s last standalone Iron Man film. In this context, “Iron Man 3” disappoints. It doesn’t invoke the same sense of finality that I experienced when watching Christopher Nolan’s “The Dark Rises.” “Iron Man 3” felt like a strong mid-entry to the series, but not the epic conclusion that should be expected from the franchise. However, it has been pointed out to me that Robert Downey Jr. will reprising his role for “The Avengers 2,” so maybe a more adequate ‘conclusion’ to Iron Man will present itself within the confines of an Avengers film.

Personal reservations aside, “Iron Man 3” is a topnotch Marvel film. It dives into the character by making Iron Man fallible, resulting in a two-hour character exploration--One of both his weaknesses and strengths. The Mandarin (Sir Ben Kingsley) and the founder of A.I.M. (Aldrich Killian played by Guy Pearce) are excellent villains and far superior than “Iron Man 2’s” subpar Whiplash (Mickey Rourke). I also enjoyed Marvel Studios’ deviation from the more-famous Iron Man comic book plots. It held true to the character (for the most part), but was removed enough to surprise comic book and films fans alike.

I thought that the special effects were top notch, save for the fire effects used for the A.I.M. henchmen. The were starkly different from the other special effect heavy scenes, which made them appear dated and cheap. The end sequence was gorgeously rendered and nearly all of the scenes involving the Iron Man armor were meticulously dazzling; they were fluid and excellently scripted.

My only complaint, besides the shoddy A.I.M. fire effects, is that Stark seems to break character towards the end of the movie. The script alters the very core of the character’s personality, and it as-if the exploratory elements of the film override the source of Iron Man. I am curious to see if Joss Whedon carries this new ‘Tony Stark’ into “The Avengers 2,” or decides to follow a more comic book-like rendition of the character that was presented to audiences in the first two Iron Man films. Whedon will be struggling between cohesion and character integrity, but with his directing and writing chops I am sure a happy median exists.

Overall, “Iron Man 3” is a good film. It is better than the last and is on par with the other Marvel Universe films. Besides my own comic book snobbiness and reluctance to see Robert Downey, Jr. leave the mantle, “Iron Man 3” is more than worth the price of a couple of movie stubs.

I give “Iron Man 3” four-stars-out-of-five.

(SOURCE: Film review: Iron Man 3 (2013))

Review: Nova #2 (2013)

2013-05-10T07:00:00.000-07:00

First off--I absolutely love the cover for Nova #2. The first one was stellar as well, but Ed McGuinness, Dexter Vines, & Mart Gracia out did themselves with the second issue. I particularly love the background image. While paying homage to classic Science Fiction it manages to also respect older space opera Marvel titles. It is very reminiscent of late 90s Infinity Gems/Gauntlet and Warlock comics; it strikes a nostalgic chord, which I very much enjoyed. It is one of the many reasons that this title has skyrocketed to the top of my Marvel NOW! pull list.

The narrative has some amazing symmetry to it, whether intentional or not it is always appreciated due to the cadence created for the reader. Loeb starts the second issue right where the last left off, with Rocket Raccoonand Gamora standing over Sam Alexander’s bedside. Sam (still new to the whole Nova gig) is caught completely off guard and mistakenly calls Rocket Raccoon a “Raccoon,” which leads to one of the more amusing moments of the issue. I was a tad disappointed thatRocket Raccoon and Gamora didn’t have a larger role to play in this issue, but this isn’t necessarily a critique in the strictest sense, it is the comic fanboy in me wanting to jump the gun rather than allowing the story to naturally build and climax as Loeb intends it.

After the brief tussle between Rocket Raccoon and Sam, the issue dives into the typical young hero finding out about his new found powers. For those not familiar withNova this issue provides excellent insight into his basic skill set. Throughout the years various Novas have expanded upon these rudimentary abilities, which have resulted in some very interesting and clever combinations, but for Sam he is completely new to the whole affair. However, from a writing standpoint it creates a unique opportunity to alter and change the character’s power set. The series might start off a little slow, because the writer has to simultaneously introduce a new character to a knowledgeable audience as well as introduce a character to his new found powers, but odds are within a couple of issues the character will become more rounded out and the series will become more action-packed than ever.

This issue is definitely about the transformation and development of Sam Alexander into Nova (aka the Human Rocket). It is his origin tale, and getting characters caught up to speed on the ‘things’ bigger than themselves is a difficult task. I always enjoy reading an origins tale to see how the writer tackles this predicament, because the writer has to essentially balance the fact that the audience knows more than the character knows. Loeb is juggling pacing with character building. He needs to keep an audience with a slower narrative, but in the long run it will provide him the foundation to build a ‘new character from the ground up, which will eventually increase the pace.

The beginning and the end of Nova #2 were my favorite portions of the issues, but the fill-in is necessary and I hope readers don’t drop off because it is a bit too slow--Stick around, it will pick up. I think Loeb is doing a brilliant job reeling people in at the end, while character building in the middle.

I give Nova #2 four-out-of-five stars.

(Source: Review: Nova #2 (2013))

Review: Guardians of the Galaxy #1 (2013)

2013-05-09T18:06:00.003-07:00

Before the Marvel NOW! relaunch news of it was spreading through the newswires like crazy. The buzz was there, and the marketing gurus hired by Marvel were doing their job--and doing it well. In particular, the stories pertaining to Nova and the Guardians of the Galaxy intrigued me the most. I am a Star Wars and Science Fiction nerd-a-holic, and the idea of Marvel rebooting their space opera series with some their most underrated and coolest characters was tantalizing to say the least.

Rocket Raccoon and Nova are some of the best comic book characters ever created, yet in modern times they have fallen from the mainstream. However, sometimes a lull in characters is a good thing. It allows for a generation to forget narrative mistakes and embrace a reboot by allowing the time necessary to solely remember and focus upon the more interesting aspects of ill-fated characters.

The central theme to Nova, Iron Man, and the Guardians of the Galaxy is Guardians of the Galaxy. For those uninitiated, theGuardians of the Galaxy are a motley crew of superheroes that protect the galaxy. Their roster has changed a couple times over the decades, but the current line-up includes:Gamora the assassin, Peter Quill (aka Star-Lord), Groot, Drax the Destroyer, andRocket Raccoon (supposedly Iron Man will be a temporary member of the Guardians of the Galaxy as he meanders about the galaxy in search for something grander than himself).

Nevertheless, the characters are superb and it is an excellent ensemble script. Star-Lord is the leader of the group and stems from galactic royalty. His father is leader of the galaxy, while his mother was human. Created from a seemingly arrogant, uncaring alien father, Peter is the product of a tortured childhood and immense power. He vows to thwart his ambivalent father, while following a strict code of ethics. This willpower and charisma attracts the aforementioned characters to his side and thus the Guardians of the Galaxy were born. The group has always had close ties to Nova and the Nova Corps (a space cop agency of sorts), so with the relaunch of Marvel the titles of Nova, Iron Man, and Guardians of the Galaxy have all become increasingly intertwined in an effort to cross promote and explore characters that have either hit a wall or need a refresher.

The first issue of Guardians of the Galaxy starts off as an introduction to Peter Quill (Star-Lord) and his tumultuous relationship with his father. Brian Bendis starts small and then expands as the issue wanes to encompass the rest of theGuardians as well as setting up for the much larger issue at hand-- the protection of Earth.

Personally, I am not a huge Bendis fan, but my only exposure to him was his pre-Marvel NOW!work with the Avengers. However, his narrative here is exceptional and from a technical aspect incredibly polished and logically outlined. Steve McNiven’s artwork doesn’t draw that same nostalgic Science Fiction feel like Ed McGuinness does in Nova, but its scope is amazing the panels hit when they need to. I particularly liked the splash page featuring the Guardiansentrenched in a space battle with an alien ship. I am not a huge fan of the new Iron Man armor that Stark has been using since his journey into space, but I am not entirely sure who is responsible for the design. I am guessing that Iron Man artist Greg Land was instrumental in the design, and that other, follow-up artists are just following suit for continuity’s sake, but I have no hard evidence for that conclusion. However, I did enjoy McNiven’s character model for Peter Quill. I loved the first couple pages of the issue because it setup Star-Lord perfectly. He was unshaven and gritty, and having him introduced in a shady bar at the end of the galaxy harkened to Han Solo in the Catina in Star Wars Episode IV: A New Hope. Bendis and McNiven provide respect to those that deserve respect, while also creating a world of their own.

Overall, the issue is solid. The plot builds appropriately, and the art hits where it is suppose to. Thus far, I prefer Jeph Loeb’s technique in Nova over Bendis’ in Guardians of the Galaxy, but only by a hair. Ed McGuinness seems to focus more on Science Fiction nostalgia in Nova, whileSteve McNiven is driven by the moment. Both of which I appreciate, so as for favorites goes it is difficult to definitively decide. I would recommend giving both a whirl--you can’t go wrong.

Guardians of the Galaxy gets four-and-a-half stars out of five.

(SOURCE: Review: Guardians of the Galaxy #1 (2013))

Review: Nova #1 (2013)

2013-04-13T01:14:00.002-07:00

In my opinion, Marvel NOW! has been a smash hit. The quality of the content has been phenomenal, and in retrospect it makes me sad to think of DC’s NEW 52. There were some gems to be gleaned from those 52 new titles, but Marvel has managed to best them at their own game with essentially the same core writers and artists. At the moment, they seem to have that small publisher feel, but with the backing of a large one.

The reboot of Nova and Guardians of the Galaxy were the series I was most looking forward to and their respective creative teams didn’t let me down. Nova #1 is a fresh take on the title character and its artists have filledNova’s glossy pages with classic science fiction art that I have been missing since I was a child.

Nova #1 centers around Sam Alexander.Sam leads a life that not many would be envious of--he is the laughing stock of his school due to his father’s janitorial position and repeated drunkenness. Sam believes that his father’s bedtime tales of the Nova Corpsand his adventures are fabricated, but whatSam doesn’t realize is that the Corps is real and the root of his dad’s depression and irresponsibility. His dad’s fantastic tales of heroism, talking raccoons, and deep space battles are all true, and it isn’t until his father goes missing and the Guardians of the Galaxy come a calling that Sam begins to believe in his dad’s tales.

Jeph Loeb spins a classic science fiction tale that bridges the prior Nova volumes with a logical, new character that is obviously destined to be the new Nova. Ed McGuinnesscompliments Loeb’s story perfectly by creating a ‘Last Starfighter’ vibe to the series. His facial expressions are incredibly appropriate to the characters he is recreating; they are not overly complicated, but they always seem to convey the proper emotion of the character within every panel. Also, to note, the coloration (Marte Gracia) and inking (Dexter Vines) are particularly vibrant, which add to the nostalgic, classic sci-fi tone to the artwork.

Not only does the story modernize Nova, the artwork and inking tie it to its roots, creating a stellar transition from the past to the present. I can’t recommend the Nova series enough. Nova #1 receives five-out-of-five stars.

(SOURCE: Review: Nova #1 (2013))

On Comics.

2013-04-10T02:38:00.000-07:00

Comics are cathartic for me. They conjure up images of the impossible. It is a fantasy that strikes at the heart of social and political change without even trying. It bundles escapism with reality--and does so elegantly and masterfully. It is an underappreciated art with very few equals. I am hopeful that the film industry can revive the crippled comic book industry by injecting some cash into its dwindling coffers.

It is such a fascinating industry, and it would be an incredible shame to have it lost to capitalism and poor support. I am a creative writer at heart, meaning dusty ol’ tomes are my bread and butter, but being uttered, I have read some of the most innovative literature and viewed some of the most stunning pieces of art within the pages of a comic.

We have literary giants among us, but they get overshadowed by the misconceptions of the masses. Comics aren’t for kiddies anymore, kiddies. They’ve grown to encompass American culture and thus cultures across the globe. They hit on hard topics before society even recognizes them as a ‘hard topic.’ They’re cutting edge, and almost everyone seems interested (due to the films), yet like most-things Americans they tackle it with apathy and feigned knowledge.

Comic books have the amazing ability to bridge the large with the small. They find context within chaos. At a personal level, I rely on them. I find personal solace within the twenty-or-so pages of glossy awesomeness. They are nuggets of escapism. You can devour the by the truckloads or read one or two between coffee breaks--revelatory moments captured in mere minutes.

I’ve been a bit behind on comics over the past several months, and it has been my own undoing. I’ve let my greatest hobby slip away from me as-if it were nil, and I deeply regret it. I’ve yet to crack an issue of “Age of Ultron” and I am more than a month behind on all of my comics, but my goal is to catch-up and begin producing strong, well-structured articles--to get a conversation going, again.

I was busting out several articles a week without a sweat, yet now I can barely get one out a month. My personal life has been tumultuous to say the least, but in times of strife we should all fallback on our greatest loves--partners, family, and the arts.

At the writing of this I have a wall of comics to my left, a head full of ideas, and a heart finally ready to get back into the game. From henceforth, I intend to be a bit more personal. I’ll be writing my usual comic book news and reviews, bit every once in a while I’ll throw an editorial piece this way to let you know what is going on either in the industry from an opinionated source or about my life and comics from an incredibly opinionated source.

Cheers,
A.R. Schultz

(SOURCE: On Comics.)

Review: New Avengers #1 (2013)

2013-02-12T20:43:00.000-08:00

Jonathan Hickman is a genius--plain and simple. Never before have I read a comic book riddled with comic universe defying discontinuities that baffle me, but simultaneously entrance me. I always crave more at the end of a Hickman comic! -Like a drug fiend pleading for more, but eventually forgetting the “Why?” of it all- It is a truly curious affect that I attribute to quality writing. Like aforementioned, “plain and simple,” Hickman does it right. Pre-Marvel NOW! Hickman gave fans a remarkable Fantastic Four run, that inevitably spawned the equally spectacular series, Future Foundation. And, as much as I enjoyed these endeavors I always found something to be missing--as-if Hickman was merely scratching the surface of greatness, but never truly embracing it.

With the New Avengers, Hickman now has the opportunity. He is developing the most rich characters of the Marvel Universe with the same sort of reckless disregard for continuity that Grant Morrison does with Batman & Robin in Batman, Inc. They are both creating compelling tales on their terms and their respective companies allow them creative freedom because they sell comics.

New Avengers #1 sets the stage by breaking character a bit. It takes Doctor Strange, Iron Man, Mr. Fantastic, Namor, and Captain America into a dark place. Specifically, into a secret organization called the Illuminati. Their sole purpose being: to rule society in secret in the best way possible. This organization is of course self-appointed and perfectly ‘qualified’ to do so. At the onset, the Illuminati sought to recruit the Black Panther into their midst, but due to the self-evident flaws in a secret society ruling humanity, T’Challa refused.

Primarily Hickman’s first issue focuses on the Black Panther, which is something that I have long-looked forward to. T’challa’s status within the Marvel Universe has grown these past few years to include large-scale Marvel events. The New Avengers takes bold steps in a good, ‘new’ direction. It may change how we view certain characters (even at times defying them), but it does not do so idly. It all has a purpose--you just have to trust Hickman.

The New Avengers headlines the top tier of Marvel NOW!--five-out-of-five stars. While you're at it, checkout Hickman’s Fantastic Four graphic novels and complete Future Foundation collection at Merlyn’s Sci-fi and Fantasy Shop in downtown Spokane.

(SOURCE: Review: New Avengers #1 (2013))

Comic Book of the Week (11.21.2012)

2012-11-29T00:42:00.000-08:00

It has been a bit since I have posted a comic book of the week, and some of you might even notice that my 'Comic Book of the Week' tab has been completely removed. Unfortunately time has become scarce for me, and it has been only recently that I have caught up on my stack and been able to reasonable post a comic book the week. Hopefully, I will be able to stay up on my readings, but if I'm not then the lack of a post will be its indicator.

This week marks another introductory week for Marvel's NOW! promotion and I have to say I was pleasantly surprised by the week's pickings. The Indestructible Hulk was a fantastic start, especially considering that it was coming off the heels of Aaron's spectacular Hulk run. Iron Man #1 was simply atrocious in my opinion, and my only hope for the character is that justice will be served in the newest incarnation of Guardians of the Galaxy. Rocket Raccoon equals awesomeness...always.

However, for this week, I was pleasantly surprised by Captain America #1 as well as Matt Fraction's Hawkeye #4. I thought that Captain America added more depth to the already famous character by showing is about of Rogers' childhood and by paying homage to some of the most classic Captain America villains. As for Hawkeye, it was not only hilarious, but it holds true to the character and firmly cements the increased popularity of one of Marvel's most underdog characters. Hopefully, Fraction's first official story arc with the character holds strong and it finishes out just as famously as it started.

Check out their respective cover artwork below, and as always feel free to comment and critique.

Who is The Winter Soldier?

2012-11-24T22:12:00.003-08:00

Recently the title for the upcoming sequel to the 2011 film, "Captain America," was revealed alongside its release date...but, what exactly does the title suggest to fans and movie-goers? A hardcore comic book fan might have some notion as to what the film title suggests, but to those who are avid movie-goers but lack the knowledge of the source might have difficulties piecing together the reference.

No matter which camp you belong to (or even if you reside in the center of the geek Venn Diagram) here is some basic knowledge to help you plunder your way through the rich and diverse Captain America, Bucky, and Winter Solider fictional history:

Before the character Winter Soldier existed, there was James 'Bucky' Barnes, a soldier in the U.S Army and close friend of Steve Rogers. Eventually Bucky ascertained that Captain Rogers was in fact Captain America. At this juncture they began their joint battle along side one other throughout the bulk of World War II. However, during the close of the second Great War, Bucky was supposedly killed in action and Captain America frozen for many decades.

Much later it is discovered that Bucky is alive--by a stroke of luck he had been found by a crew of Russian patrolmen. He had suffered massive brain damage (which resulted in his amnesia) and lost an arm due to the explosion. Russian scientists built him a mechanical arm and brainwashed him to be a become a Soviet, Cold War Agent. He was then bequeathed the codename: Winter Soldier.

As a Soviet Agent he was sent on missions usually involving political assassinations and espionage, which resulted in crossovers with such characters as Wolverine and Black Widow. when not on the aforementioned assassinations he was kept in a cryogenic stasis missions resulting in a sort of longevity.

Eventually he was found by Captain America and his memories were restored using the reality-altering Cosmic Cube, and having gained back his memories, he was forced to carry the burden of his past as...The Winter Soldier.

Recommended Readings:

"Captain America: Winter Soldier Ultimate Collection"

Trade paperback includes: "Captain America #1-9" and "#11-14."

"Winter Soldier, Vol. 1: The Longest Winter"

Trade paperback includes: "Fear Itself: Captain America: #7.1" and the first issues to the current ongoing series, "Winter Soldier #1-5."

You can also check out a review of "Winter Soldier #1" here.

Related Articles:

Review: Winter Soldier #1

Review: Winter Soldier #2

Review: Winter Soldier #3

Review: Winter Soldier #4

Magazine review: The Walking Dead, The Official Magazine #1

2012-11-11T11:19:00.001-08:00

It’s rich, it’s original, it’s decomposing-ly fresh.

“The Walking Dead” is fantastic. It is a sales juggernaut, a creative spin on the undead, and is fast becoming a cultural icon. As a comic book series “The Walking Dead” is probably the only property outside of DC and Marvel to put ‘em on their heels, and as a television show their viewership and ratings has knocked AMC into a whole new stratosphere. With a toy line blossoming under the banner and two video games in utero it can be a bit difficult to keep the mythos and the news straight.

That is where “The Walking Dead, The Official Magazine” comes in.

Titan Magazines and Skybound are producing one of its more ambitious projects, “The Walking Dead, The Official Magazine,” and it aims to streamline all of the most update “Walking Dead” info into one slick, reasonably priced package. This ongoing magazine will feature all manner of materials relating to “The Walking Dead” universe, whether it be interviews from AMC’s “The Walking Dead” cast and crew, the latest news from the creators of the comic series, original artwork (fan or otherwise), the latest toy and video game announcements, or (as in included in the first issue) a short story bridging “The Walking Dead” novels together. Whatever little nuggets of information “The Walking Dead” has to offer one thing will be certain: it will be available courtesy of “The Walking Dead, The Official Magazine.”

Here is Robert Kirkman’s take on the magazine:

This magazine will be your one stop destination for all the news pertaining to the comic, TV show, video game, toys, games, and whatever else exists in the ever-expanding Walking Dead universe! If it's happening, you'll find out all about it right here!

Issue #1 of “The Walking Dead, The Official Magazine” is currently available in the U.S., and will be available in the U.K. November 8th and in Australia & New Zealand December 8th! You can buy all 100-pages of the magazine for $9.99 online or wherever magazines are sold. Released alongside the U.S. print version of the magazine was the digital edition, which can be downloaded anywhere in the world for your iPad, Nook, or Kindle--just search for ‘The Walking Dead Magazine’ in the app store or newsstand.

Also, as a special promotion and homage to the comic book industry “The Walking Dead, The Official Magazine” will come in a myriad of variants. Here is a list of participating stores and their very own alternate covers (attached to this article is a slideshow, which includes all of the variant covers listed below):

Comickaze Comics, San Diego, CA - www.comickazeonline.webs.com

Forbidden Planet, London, U.K. - www.forbiddenplanet.com

Midtown Comics, New York, NY - www.midtowncomics.com

Redd Skull Comics, Calgary, Canada - www.reddskull.com

Ultimate Comics, Durham, NC - www.ultimatecomics.com

Ultimate Treasures, 11240 Village Lane Clinton, MI 49236-9595

Wade's Comic Madness, Levittown, PA - www.comicmadness.com

Titan Magazines is also offering up a snazzy subscription offer through their online store. If you subscribe to the print edition of “The Walking Dead, The Official Magazine” fans of the series will receive a FREE “Walking Dead” T-shirt! Head on over to Titan Magazines to subscribe now or view more information on their incentive.

You can also keep tabs on “The Walking Dead” magazine and their latest offers and news by following them on either Facebook or Twitter.

(SOURCE: Magazine review: The Walking Dead, The Official Magazine #1)

Indie spotlight: Point of Impact #1

2012-10-27T13:16:00.004-07:00

“Point of Impact” is a four-part miniseries that is as much a crime drama as it is a study of the human condition. The first issue begins with the death of a woman.

A couple sits tentatively waiting for that goodnight kiss, when suddenly a body strikes the roof of their car, crunching the roof and the body in unison. The following page is a full page spread of the woman’s body lying atop the destroyed car, and the two passengers standing on either side taking in the horror. All of this is depicted in a scant five panels on the first two pages. It is a startling beginning, but it sets the tone of the series immediately.

The rest of the issue unfolds by introducing the key players--all the individuals tied to the woman...and perhaps her death. Her husband, her paramour, and her cop friend (who is investigating her murder).

The lead-up is fairly simple; it could be the pilot episode to any new cop drama on television, but what makes it unique is its execution. Writer, Jay Faerber, solidly composes the first issue by depicting the event (the murder) and then ties the main characters to that event. The transition between narratives is fluid and does not lead to any confusion, which is difficult to pull off when writing an ensemble. Ensembles are always the sought after choice when writing practically anything, but to properly weight each character accordingly and create audience interest in each character is a valuable and acquired skill. Faerber pulls it off masterfully.

However, like any comic book...there is always another side to the coin. The writing is superb, but what really rounds out the issue and pushes it to ’11’ is Koray Kuranel’s artwork. As the artist for the book as well as the cover, Koray creates tension and drama by removing the color and focusing on the stark contrast of a black and white world, that as written by Jay Faerber is metaphorically filled with gray. It creates a beautiful noir atmosphere that naturally fits the crime drama genre.

Charles Pritchett is the letterist for “Point of Impact,” and personally his artistic touches to the series do not detract or add in any significant capacity. Maybe that is the mark of a great letterist? Like in poetry the rhyme should be hidden, but present--just never overtly. Regardless of the intention, or the mark of a great letterist, the print is present, but never distracting or flamboyant.

All-in-all, this is a great indie title that I think will unfortunately be missed if not plugged more. Image Comics is producing some amazing titles. It isn’t all about “The Walking Dead”--their entire lineup is topnotch, and in quality compares and perhaps exceeds what DC andMarvel are producing. Image Comics has that small publisher feel, but with the potential to reach out to their readers like the large publishers can.

Pickup all of your Image Comic goodies at your local comic book store. If you support local, you support your city as well as its people.

(SOURCE: Indie spotlight: Point of Impact #1)

Splish Splash: Incredible Hulk #12

2012-09-21T08:00:00.000-07:00

"If it was Thanos or Dr. Doom breaking into your secret old underground prison, you'd get Captain America and Thor. But when you got a Hulk problem... You get us."

In "The Incredible Hulk #12," writer Jason Aaron wraps up his five-issue story arc ("Stay Angry") with another moment of the Hulk waking up in a strange situation and piecing together Bruce Banner's evil plot. In this issue the Hulk awakens in a forgotten S.H.I.E.L.D. prison nestled deep within the confines of Antarctica; he realizes that his plan of 'staying angry' has not worked out quite as planned, and is promptly pitted against Wolverine and The Thing in an all-out slugfest.

Unsurprisingly, the Hulk does a lot of damage; there is a lot of pain for all parties, lots of stabbing, and lots of punching. It is an action-packed issue that instantly becomes the highlight of Aaron's story arc. By bringing Wolverine, the Hulk and Thing together for an all-out brawl it has a sort of throwback feel to it.

Overall, I really enjoyed this issue--more so than the last few. I had never really considered myself a huge Hulk fan up until reading Aaron's run, however, with his writing and the stellar art it's hard not to be a fan! In particular though, this issue caught my eye--from page two onwards (which features Wolverine and The Thing heading into the prison discussing their reason of being there). Carlos Pancheco's art and Frank Martin's coloring are spectacular, and at its heart is the inspiration for this post. That coupled with the line above really sets the tone for the whole issue.

Indie spotlight: The Massive #1

2012-09-20T20:59:00.001-07:00

The Massive is a subtlety. It lies entrenched amongst the indie explosion, but still along the fringes. This is not to imply that it ebbs into the mainstream superhero front, but rather the opposite. The Massive is a comic about the environment, activism, politics, social change, and so much more. It focuses on serious topics framed by a series of cataclysmic events that leaves the Earth alive, but limping. After the world turns its heels against humanity is humanity still supposed to protect its dangerous mistress? Writer Brian Wood would say, “Yes.”

Published by Dark Horse Comics, The Massive focuses on Callum Israel, the enigmatic leader of an environmental activist group, Ninth Wave. Ninth Wave has in times past been considered a radical environmental group that has been unfortunately labeled as a terrorist organization by numerous world agencies due to prior events that are removed from the present storyline.

While out at a sea a world shattering series of natural phenomenon decimates much of the world. Leaving millions dead, coastlines re-written, and the world economy left in ruins. The Massive takes place roughly year after the start of these events, and focuses on Callum Israel’s crew and lead vessel, The Kapital, searching for its lost companion ship, a supertanker by the name of TheMassive. Whilst searching for The Massive, The Kapital, (during Dark Horse Comics’ three-issue introduction) contends with marauders and pirates, missing ports, government agencies, and countless other natural perils that ultimately disable The Kapital from effectively findingThe Massive and their missing crewmembers.

Throughout these issues Callum continuously questions his primary directive, but as the first story comes to close he realizes that now more than ever the world needs an active environmental group. People all over the globe are banding together and piecemealing society with the refuse of the old. In the eyes of the Ninth Wave, it is the greatest environmental movement ever conceived.

The art is a refined series of sketches. Kristian Donaldson’s panels are crystal clear, but they embody the nature of the content beautifully by incorporating muted tones (Colorist: Dave Stewart) and incomplete lines to depict the notion of Armageddon--all the while, being framed by lofty ideals and subtle constructs written by Brian Wood. The writing is simultaneously coherent, but not. I found myself re-reading the issues in order to find out all of the little nuggets of information, but in the end it fleshed out the completeness of the plot that was well worth the re-reads. It was as-if I was searching for The Massive’s own Easter Eggs, and for it me I found it to be quite enjoyable. I loved the subtleties and foreshadowing that came along with the well-conceived plot.

The Massive is not action-packed by any means, and like the slower periods in Robert Kirkman’s Walking Dead it instead focuses on the seriousness of the obscene. If zombies existed how would humans stay humane? Brian Wood queries the same-type of question: If an environmental apocalypse occurred would environmentalism still exist?

If you can stand a strong and deep narrative, rather than nonstop action and violence, then pickup The Massive. It is incredibly poignant and just as James Cameron re-packaged environmentalism in his hit film, Avatar, Brian Wood has done the same type of re-packaging except within a different medium. With this in mind I give, The Massive, four-and-a-half stars out of five.

Stay local and buy/order your copy from your local comic book shop. I am positive that they will appreciate the business. If you are a Spokane resident I highly urge that you hit up Merlyn’s Sci-fi and Fantasy Shop on Main in downtown Spokane for your comic and gaming needs. They’re friendly, they’re affordable, and they’re local. Stayed tuned for more reviews...here at the Examiner.

(SOURCE: Indie spotlight: The Massive #1)

Batman & Robin: War of the Robins

2012-08-20T22:14:00.001-07:00

"And this is to prove what exactly?"

"That I am the best Robin, of course."

The 'War of the Robins' is a sort of mini-event that began in issue "Batman & Robin #10," where young Damian declares that he is the best Robin. He promises to best Nightwing, Red Robin, and the Red Hood at their own game by taking something precious of theirs.

The current Robin has some major shoes to fill, having his father as Batman and three prior Robins, but Damian, the tough assassin, ends up outsmarting both Tim Drake and the Red Hood; however, at the end of issue #12, Nightwing is no match for Damian. Instead of fighting him, Nightwing merely gives Damian his Escrima Stick and a few words, essentially stopping Damian in his tracks, making him rethink his purpose of defeating the Robins at all--as Nightwing implies Damian is already apart of the legacy.

This is incredibly understandable when considering that Nightwing used to be Batman and Damian was his Robin. Even in the new DC continuity, their relationship is unique, and represents one of the few instances that falls outside of the Wayne legacy. The respect that these two share for one another straddles that line between father and son, as well as brothers. Nightwing inevitably puts Damian in his place, but what Damian failed to realize beforehand is that he had already come into his own--he is a Robin.

I really enjoyed Patrick Gleason's panel in #12 (above), featuring the four Robins looking to the left in a "40's Aviation, Howard Hughes, looking to the future" sort of way. It was what sprouted my excitement to do this post, and show a few of my other favorite panels.

Along with the art, writer Peter Tomasi does a great job of bringing the four Robins together, without disconnecting the reader from the primary plot. I would have preferred more focus on the Robins, but if the rumor mill holds true, we may just be seeing a glimpse into the plans for a new reoccurring series titled, "The Robins."

Martian Manhunter leaving Stormwatch?

2012-08-03T13:29:00.002-07:00

As probably assumed, I am an avid comic book reader, and even though my tastes may wax and wane as creative teams get shuffled about there are still a of couple characters and teams that I always love reading about.

One such character is the grossly underappreciated Martian Manhunter.

For the uninitiated, Martian Manhunter possesses similar strength and speed to that of Superman, but he is also laced with strong psychic powers and has the ability to shift into any form. Pretty snazzy, right? Personally, I have found it frustrating that the Manhunter from Mars has not hit the mainstream populous, but due to the lack of an early fan base and some unusual character development choices throughout the years he has largely remained along the sidelines when compared to the Trinity and Green Lantern.

He led the Justice League of America for many years in the 1980s and Grant Morrison’s JLA in the late 90’s/early 00’s, in perhaps his most influential runs, before being cast as the martyr in DC’s Final Crisis. Finally reemerging during DC’s famously complex Final Crisis the Manhunter from Mars was slain, but like all superheroes and villains with potential, he was revived in Geoff John’s Brightest Day maxi-series.

With DC relaunching its universe in September of 2011 the Martian Manhunter became an integral part in Wildstorm turned DC franchise, Stormwatch. Paul Cornell, who is an amazingly talented science fiction writer, grabbed reigns of the new ongoing series, but was sadly yanked from the run after only one story arc, and replaced by Peter Milligan.

Unfortunately, I have a huge stack of recent back issues that I have been meaning to read, but just not gotten around to. However, this morning I was able to start cracking into my monstrous pile with a nice cup of Seattle’s Best. One such unread title that I got to peruse and finally read was Stormwatch #12, which primarily focuses on Martian Manhunter wiping the minds of his fellow teammates, so that he could leave the team without any repercussions. The Shadow Lords (the otherworldly benefactors of Stormwatch) allow him to break their coveted rule of ‘no one leavesStormwatch alive,' but in return they ask a favor of him. This little plot detail leaves a nice open-ended plotline for the Martian Manhunter to follow as time progresses.

For me this plot twists came as a complete and utter shock. First off, I only started reading Stormwatch for Paul Cornell’s writing and Martian Manhunter. Now, with the proactive missing in action I see almost no other reason to continuing reading the series. Besides the unfortunate turn of events in an otherwise solid series a more important question comes to mind: What will DC do with Martian Manhunter?

It stands to reason that the creative team behind Stormwatch could be leading up to a story arc that would better fit a solo working Martian Manhunter. This would create a unique split narrative that might better flesh out the character development of those in Stormwatch, which would imply that Martian Manhunter would return to the team (in an official capacity) at the conclusion of the plotline. Also, Geoff Johns’ and Jim Lee’s Justice League has made slight references to Martian Manhunter, so his exodus from Stormwatch could merely insinuated that his introduction to the Justice League is imminent. Or, with DC’s cancellations coming up in September Martian Manhunter could be thrown a bone and receive his own title, or even a group to lead that would be comparable to the stellar (but, unfortunately canceled!) Justice League International.

Honestly, who knows what DC has in store for the good Martian, but one thing is for certain they better include him in something. He is a stellar character who is slowly garnishing the attention that he deserves. He is gracefully reaching the upper echelons of awesomeness.

I love the character so much I even named my personal comic book blog after him. So, to not see him in anything reoccurring would be practically maddening for a fan boy like me.

Check out character bios over at the DC Comics' website, and do not forget to check back here—I have a surprise hitting the Internets tomorrow.

(SOURCE: Martian Manhunter leaving Stormwatch?)

Adam Hughes cover art for "Fairest"

2012-07-21T13:48:00.001-07:00

I thought that these covers from the spectacularly written “Fairest” was an excellent choice of content for a post. Adam Hughes does a masterful job of penciling these covers, and I can’t wait to see what comes next. Check 'em out! My personal favorite is the second one over in the second row featuring the beautiful ice princess.

Review: Avengers vs. X-Men #6 of 12 (2012)

2012-07-16T20:08:00.002-07:00

Avengers vs. X-Men has been a chaotic mess of inconsistencies, and a mish mash of Marvel Architects. Thus far, there have been few glimmers of hope, but overall Marvel has continually lowered the bar. However, after reading issue six of Avengers vs. X-Men, the glimmer seems to be sparkling a bit brighter now. Jonathan Hickman dives into the narrative with this issue, and manages to piece together the odd turn of events from last issue’s finale. He pushes the plot forward with a wonderful bit of finesse, while straddling the line between the old and the new. Also, this issue marks the passing of the art baton as Romita, Jr. hands it over to Olivier Coipel, resulting in some slick splash pages and magnificent panels.

Avengers vs. X-Men #5 concluded with the Phoenix Force being splintered and siphoned into five prominent X-Men characters due to a failed attempt to stop the Phoenix Force by Tony Stark’s wannabe Transformer. Hickmanpicks up from Fraction’s awkward ending and begins the issue by finally formerly introducing Xavier to the events of Marvel’s Avengers vs. X-Men. Hickman cleverly uses Magneto to bridge the gap between the story arc and the inclusion of Xavier.The rest of the issue unfolds in two parts like prior issues. One half showcases the Phoenix Five as they transform the world in their image. Some spectacular panels and splash pages penciled by Coipel detail the Phoenix possessed X-Men as they transverse the globe in a dash of reformation and peace. The other half depicts the Avengers and Iron Fist as they desperately try to piece together legend with prophecy in a last ditch effort to stop the Phoenix Five from world domination disguised as peace.

I found Jonathan Hickman’s writing to be in fine form here, and it was as-if I were reading one of his stellar Fantastic Four/Future Foundation arcs. The Iron Fist lore is incredibly appropriate and timely; I was glad to see a little more Iron Fist, especially in such a large-scale comic book event.

Olivier Coipel’s art is a welcome relief. Normally I applaud John Romita’s work, but I was disappointed with his pencilings in the first couple issues of the series. In particular, I loved Coipel’s Iron Fist pencilings. Coipelcaptured the essence of Iron Fist perfectly. Along with his excellent character models Coipel also created some brilliant splash pages for the issue—two pages specifically come to mind: one focusing on Magneto when he first greets Xavier, and another depicting Colossus standing atop a freefalling missile amongst dozens of other falling missiles. Olivier Coipel has definitely started off with a bang, and I am incredibly excited to see where he takes his artwork next.

I give Avengers vs. X-Men #6 four-and-a-half stars out of five. This has been the best issue by far, and I am incredibly hopeful that the rest of the run will finish off phenomenally.

(SOURCE: Review: Avengers vs. X-Men #6 of 12 (2012))

Review: Avengers vs. X-Men #5 of 12 (2012)

2012-07-09T19:17:00.000-07:00

Avengers vs. X-Men #5 is by far the worst issue to be released in the series. It tries to be edgy and on the cusp, but unfortunately it dives into the weird and starts to bend continuity to the breaking point.

I thought that the opening was just as stellar as the prior issue, but it was all down from there. It was definitely a great throwback to X-Men: Schism and seeing Wolverine burnt to a crisp (yet alive) is both wrenching and a testament toLogan’s awesomeness.

Continuing with last issue’s moon battle the (now standard) duels have carried over while the Phoenix Force speeds towards them. In traditional Stark fashion Tony has ‘hopefully’ devised a way to stop the Phoenix Force via a technological innovation. As a writer, this avenue is logical and fits fairly well into Stark’soverall character.

However, Stark’s invention looks incredibly like an early Transformers' Autobot. I found it an unusual path to take considering that within the world of science there were so many other possibilities that would have been more viable. Also, this precludes another contention: Where is Reed Richards during all of this? He would be the perfect asset to assist Tony Stark and would have been more than willing to help evade a world-destroying event, yet he is mysteriously absent. His expertise and knowledge are practically unrivaled, and it is disappointing to see him omitted from the plot line.

As the Phoenix Force appears, key individuals are depicted throughout the globe being affected by the God-like energy. Interestingly enough Charles Xavier (Professor X) and his son are shown within a single panel. It was out of place, and I hope that he has a larger role in the issues to come; otherwise he’ll become just another plot inconsistency.

SPOILERS

The issue concludes with Tony Stark’s Transformer splintering the Phoenix Force into five separate energies, resulting in the force possessing Cyclops, Emma Frost, Namor, Colossus, and Magik. I am curious as to why the Colossus and Magik were chosen to be apart of the ‘Phoenix Five,’ when considering that there are other more prominent members of Cyclops’ X-Men such as Magneto. Overall, this plot twist is grossly unexpected and (yet again) redefines the entity known as the “Phoenix Force.”

END OF SPOILERS

Matt Fraction’s dialogue was acceptable, but the plot points are muddled, and the general direction of the series is blatantly disregarding the Marvel Universe’s continuity.

Even with all of the narrative splices, John Romita’s artwork takes the leap in, and represents some of the best work that he has produced for the series. The cover is also incredibly apropos and appropriately sums up the intrigue of the issue. Jim Cheung and Justin Ponsor have really outdone themselves and created some spectacular covers for the series, and I am excited to see what they have to offer for future issues.

Avengers vs. X-Men #5 receives a flat three-out-of-five stars.

(SOURCE: Review: Avengers vs. X-Men #5 of 12 (2012))

Review: Avengers vs. X-Men #4 of 12 (2012)

2012-07-09T11:38:00.002-07:00

Avengers vs. X-Men #4 is very much a filler issue. It is nothing more than a transition comic from one major plot point to another. It does not stray too far in either direction plot-wise, so all-in-all the comic serves its purpose.

Starting off where the last issue left off (almost to the panel) Wolverine is depicted trudging through the snow with a newly adorned Polar Bear for warmth. All of a sudden he finds a can of beer protruding from the snowline, then another, and another, and so on and so forth. Eventually this trail of ‘Wolverine candy’ leads to an awaiting Hope Summers, who is interested in employing Wolverine’s aid in an effort to get to the Phoenix Force before the others. All of this is on the promise that if things go awry Wolverine has Hope’s permission to slay her like he always intended to do.

Personally, I thought the opening sequence was great!John Romita’s artwork really shone during the introduction, and the narrative was humorous, but still on point.

The issue then segues into the various skirmishes across the globe that are occurring between the X-Men and the Avengers. I loved the action sequences, and the battles presented really showcase Romita’s talent, but a lot of the material seems to have been recycled from the Avengers vs. X-Men companion series, Versus. I would rather have an extra four or so pages of battle sequences in the main series and Versus cut entirely, or have the panels that are already represented in the Versus run to be stricken from the core cannon and replaced with a little more exposition and narrative to iron out the inconsistencies in the plot.

Essentially, the issue splits into three (almost four) different narratives that all tie-in at the end in a finale that takes place on the moon. Several pages are devoted to following the Avengers and/or the X-Men, others follow Hope and Wolverine on their trek to the moon to receive the Phoenix Force, and the last plotline follows Thor and company as they try to thwart the Phoenix Force’spath towards Hope and subsequently Earth.

I do not want to divulge too many plot points, but I found Wolverine’s actions to be very contradictory to his prior rhetoric. A more thorough transition from one school of thought to another would have been much appreciated. I feel as if Wolverine backtracked a bit, and then dived further down the rabbit hole with his whole handling of the Hope situation and resulting journey to the moon.

Overall, the story was solid, but nothing momentous came to fruition. Jonathan Hickman’swriting is admirable, but very un-Hickman-like; it is as-if he were following a strict outline or guide, so very little of his style bled through in the final product.

The art was phenomenal at its high points, such as Romita’s introductory panels with Wolverinetrudging through the snow with a newly slain Polar Bear upon his back. But, for every high…there was an equal low. I thought Thor’s blood was incredibly fake-looking, and several pages in, there is a shot with Quicksilver running over the crest of the hill that is so horribly skewed it looks like he is a little person jogging. Jim Cheung’s cover was slick, and appropriately held the tone for the issue.

I rate Avengers vs. X-Men #4 a middle of the road three-and-a-half stars out of five.

(SOURCE: Review: Avengers vs. X-Men #4 of 12 (2012))

Comic Book of the Week (6.13.2012)

2012-06-23T07:00:00.000-07:00

Fantastic Four #607

Prior Comics of the Week

Comic Book of the Week (6.6.2012)

2012-06-22T07:00:00.000-07:00

Before Watchmen: Minutemen #1

Prior Comics of the Week

Comic Book of the Week (5.30.2012)

2012-06-21T19:22:00.000-07:00

Batman Annual #1

Prior Comics of the Week

Review - Night of the Owls: Batman Annual #1 (2012)

2012-06-21T13:46:00.002-07:00

The first annual to come out DC’s NEW 52 cannon happens to be nestled right within Scott Snyder’s Night of the Owls crossover, and manages to introduce Mr. Freeze to the new continuity while simultaneously tying him to the Court of Owls. On the whole the annual does exactly what it aims to do, but there are several sections where improvements and character truisms could have been adhered to rather than eliminating them to make way for another Night of the Owlstie-in.

The annual opens up with a flashback. A young Victor (Mr. Freeze) joyously plays in the snow while his mother follows. In single, near silent moment Victor’s mother plummets through the ice and disappears without a word.

The issue then transitions to an interrogation session of Mr. Freeze. He uses this as a window to escape his cell successfully subduing and killing several guards. In an act of trickery he eventually obtains his specialized armor, which allows him to escape Arkham Asylum. Mr. Freeze’s first thought is to quickly locate the Penguin in order to re-obtain his equally specialized weaponry, which he plans to use against his nemesis, Bruce Wayne.

An informative segment explaining why Mr. Freeze despisesBruce Wayne is presented in another flashback. And, like the lore of before, Victor is driven by his near-dead wife, Nora Fries, which Bruce Wayne unceremoniously took away fromVictor causing him to break and become Mr. Freeze. In search for Nora, Mr. Freeze finds another cryostasis chamber and is shocked by the inhabitant’s aged appearance.

At this moment, Nightwing and Robin take the opportunity to enter in an effort to stop Mr. Freeze in the sublevels ofWayne Tower. They briefly squabble, but unfortunately the two are thwarted and Mr. Freeze escapes unscathed. He proceeds to climb Wayne Tower eventually finding Noraalone and still frozen in a large empty room. Batman enters in his traditional fashion, and plans to finally end Mr. Freezesrampage once and for all.

The issue concludes nicely adding a couple of twists for the benefit of the reader slightly altering the mythos surroundingMr. Freeze and his origins. I won’t spoil it, but it was definitely a classic Snyder touch; it was much appreciated. It was incredibly symmetric and a great way to structure Mr. Freeze’s origin story. Also, Snyder and Tynion take an obvious and logical avenue to explain Mr. Freeze’sinvolvement with the Court of Owls, and within the issue they do a great job of portraying his reaction to his interaction with them.

Personally, I found the issue to be enjoyable, but there were a couple scenes that disappointed me, and on the whole this annual didn’t feel much like an annual. It could have very well been the next issue of Batman or a giant-sized issue, rather than an annual. The scene that troubled me the most was how easily Mr. Freeze defeated Nightwing and Robin as well as his subsequent escape. Together, Nightwing and Robinare more than a match for Mr. Freeze, and if Mr. Freeze is as cruel and ‘cold-hearted’ as to be believed he would have just killed them when he had the chance.

Nevertheless, I thought that Scott Snyder and James Tynion IV’s plot was tight and coherent, and I really appreciatedJason Fabok’s pencilings and Peter Steigerwald’s corresponding colors. I give Batman Annual #1 four-and-a-half stars out of five.

(SOURCE: Review - Night of the Owls: Batman Annual #1 (2012))

Review - Avengers vs. X-Men: Versus #2 of 6 (2012)

2012-06-17T10:16:00.000-07:00

*This review DOES contain spoilers in so far as revealing the winners of each match-up in Marvel’s Avengers vs. X-Men: Versus limited series.

Issue #2 of Marvel’s Avengers vs. X-Men brawl series pits Gambit against Captain America, and Colossus against Spider-Man. It’s not as awe-inspiring as the first issue, but it still packs a punch, and gives readers a couple of curve balls and twists for good measure.

Round 3

Gambit vs. Captain America

I would have been surprised if Cap didn’t win this one, andMarvel appeased fans through-and-through having Gambitbattle America’s super soldier. Gambit begins by tossing several of his trademark kinetically charged playing cards leaving Captain America to dodge the sudden explosions. He quickly bounces back and follows up with his trademark move: the shield toss. However, mid-flight Gambit snags the shield, charges it, and hurls it back at Cap in an even more devastating explosion.

Now, the two can battle one-on-one. Cap with his superior training gains the upper hand, snapping Gambit’s staff in half with his palm, but even pinned to the tree Gambit has one last trick up his sleeve. In a move that would have felled most men Gambit charges Cap’s suit creating a fiery explosion, which rockets Captain America backwards in tatters. At the end of the day, however, Cap wins in a shield rush and a knockout punch to the jaw that leaves Gambitunconscious.

At the end of the day…

Captain America Wins

Round 4

Colossus vs. Spider-Man

Spider-Man and Avenger compatriots hit the streets of Latveria looking for Hope when a portion of the X-Menambush them leading to the Colossus and Spider-Man in a battle for keeps. Spider-Man begins by keeping out ofColossus’ reach and web slinging his way into tripping up the unstoppable mutant, as well blinding him. However, theColossus thinks quick and claps; this successfully shatters all of the glass in the surrounding area and sends Spider-Mancareening.

Spider-Man then falls into the clutches of the Colossus and is forcibly tossed into one of the many stone corridors ofLatveria. As Spider-Man tumbles against the walls, Colossusnabs up a Doombot, splits it in half, and throws at Spider-Man to finish him off. Spidey dodges, grabs the destroyedDoombot with a web and redirects towards Colossus. Being the Colossus/Juggernaut hybrid that he is though, he merely punches it creating an explosion that leaves the Colossusunscathed, but unfortunately sends Spider-Man backwards (yet, again!).

At the end of the day…

Colossus Wins

This issue of Avengers vs. X-Men: Versus was on par with its series counterpart, but it does fall short of its predecessor. It doesn’t further the plot like the first, but it has some great action sequences that supplement the core series nicely. If you get a chance to check it out I would highly recommend it, especially if you’re a fan of the Avengers vs. X-Men series. I give Avengers vs. X-Men: Versus #2 three-and-half-stars out of five.

The NEW 52: Ravagers #1

2012-06-11T20:00:00.004-07:00

Ravagers hits you with a dull thud the moment you take a gander at it. The cover is riddled with eye-distracting text, which effectively buries any semblance of artwork beneath its heel. On a related note, I am surprised by the lack of fact checking that took place on the cover. Artist Jeremy Whittington pointed out to me that two of the team members are misnamed, due to a transposition, creating a fairly blatant error that now gets to rest upon comic book shelves all across the country for all to see DC’s wonderful editing skills.

As guessed, the first impressions of Ravagers #1 are not a stellar. The Ravagers spins out of the Titans Titans crossover, The Culling. Essentially, the Harvester (a villain from Legion Lost’s time period) has meta-humans compete in what is dubbed the ‘Culling’ to see which are skilled and strong enough to become his own personal minions, otherwise known as the Ravagers. These individuals are often tortured and experimented on in order to enhance or evolve their power sets. This often has horrible side effects resulting in unstable abilities and memory gaps and/or loss. However, despite all of this, in the closing pages of theCulling a small group of Ravagers escape and try to begin anew in Ravagers #1.

The first issue of this new DC series begins and ends rather sluggishly. Led by Harvester scientist Fairchild aids the beguiled Ravagers to the surface above the underground complex amidst a flurry of snow and broken ice. Almost immediately the loose knit team splinters, pairs off, and takes their own lives in hand in an effort escape.

There is some brief dialogue between the characters, but the comic tries to pick up again when two of Harvester’s more prominent Ravagers (Warblade and Rose Wilson) arrive on site to wrestle the remaining Ravagers back into their cages. In desperation the team reforms under Fairchild’s leadership and instead of fighting the two head on they use Thunder’sunchecked power to cut off a section of the ice shelf successfully separating themselves from their enemies and plunging them into the newly created chasm.

On the whole, the Ravagers is much worse than last month’s G.I. Combat. For a second I almost thought that I was reading a J.T. Krul penned comic, but alas I was mistaken. Like Krul, the dialogue and plot structure are clumsy and ill structured. I see the intent behind some the scenes, but they are injected at odd junctures and try to convey much deeper motifs than can be explained in a single issue.

From my understanding one of the main tenants of theRavagers’ dynamic is the simple fact that they are essentially tortured meta-humans with a tampered moral compass. As a group they are going to have to ascertain their place upon the good vs. evil battlefield, and instead of setting some underlying narrative to dive into this as the series progresses there are particular snippets that try too hard to explain something too complex for the infancy of the series.

The art is middle of the road. It’s not bad, but it’s not Jim Lee’s Superman either. I was hoping that I would be dazzled with a brilliant splash page or two after slogging through such poor narrative, but alas I was wrong again.

I give Ravagers #1 two-out-of five stars; I’d shelve this one and move on to something more intriguing. DC has rolled out some great titles, but unfortunately this isn’t one of them. Save yourself the trouble and pick up Dial H to satisfy your hankering for something fresh.

Also, don’t forget to check out more of DC’s New 52 at your local Spokane comic book shop, Merlyn’s, downtown on Main Street. They’ve recently changed their pricing to include 20% off of graphic novels and 50% off of back issue comics 2011 and older. It’s a stellar deal, but it’s first come first serve, so stake your claim quick. Stayed tuned for my upcoming review on DC’s first Before Watchmen title, Minutemen #1. Here’s a preview: It’s Awesome!

(SOURCE: The NEW 52: Ravagers #1)

The NEW 52: Batman Incorporated #1

2012-05-27T19:30:00.000-07:00

One of DC’s most anticipated titles is Grant Morrison’s Batman Incorporated. Volume 1 of Batman, Inc. predates the DC relaunch, and directly followed the death, search, and return of Bruce Wayne. During last September’s relaunch of the entire DC Universe Batman Incorporated was mysteriously absent from their new lineup, until December which heralded the release of the Batman, Inc one-shot,Leviathan; Leviathan served to wrap-up the loose ends from the first volume’s story arc. With DC canceling six of its titles room for a second volume of Batman, Inc opened up, and continues exactly where the Leviathan one-shot left off.

Grant Morrison takes the interesting concept of Batmanbuilding a global, Wayne-funded corporation to thwart the world’s villains, and furthers it by writing a compelling and believable plot. Continuing directly from the Leviathan one-shot, Batman, Inc #1 begins with Alfred consoling a downtrodden and humiliated Bruce Wayne due to the events of the Leviathan story arc. In contrast the issue then transitions by showcasing Chris Burnham’s great (but sometimes gory) artwork by penciling Batman and Robin’sbattle against goat-masked butchers.

Batman and Robin kick some serious butt during this sequence, but by the end of the battle Robin’s life is almost dashed by an incredibly skilled sniper. Luckily, Batman saves the day and rescues his son in the nick of time. The rest of the issue unfolds by showing the uneventful exploits of the rest of the members of Batman, Inc. in their West Coast headquarters, the chasing of the sniper, and finally the realization that Damian’s mother Talia al Ghul is the one responsible for the assassination attempts on Robin.

Morrison’s script is fantastically written! It was humorous, poignant, and continues upon the excellent groundwork thatMorrison laid down in the prior volume. There is a particularly amusing moment in which Damian proclaims to be renouncing meat due to the actions of the goat killers. You’ll have to check it out for yourself to get a good laugh (F.Y.I. it's included in the slideshow attached to this article). I also appreciate the subtle tie-ins to Snyder’s Batmancontinuity, but Morrison is forging new ground and doesn’t fall inline with the ever encompassing Night of the Owls crossover—it’s a nice break from the ‘now’ norm. I giveBatman, Inc. a five-out-of-five stars and I whole-heartedly recommend it as my comic book of the week.