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Images & Words – Fantastic Four #580

Thursday, June 24th, 2010

FF580

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Historically, the Fantastic Four has never been my favorite superhero team.

As a young child, I was all about the motherfuckin’ X-Men. Outsiders who help humanity by using the very attributes they’re castigated for having? Ill. Later, I realized that the pantheon known as the JLA was my top choice. Maybe it’s because I’ve been agnostic nearly my entire life, but the convening of these pseudo-gods is appealing in a way that that other team-ups just can’t recreate. In a thousand years, I’m sure incredulous youths will ask their trusted adults, “Wait – these people didn’t really believe in a Wonder Woman or Green Lantern, did they?”

We sure did, Billy. We sure did.

Anyways, back to my point: up until recently, I haven’t given much of a damn about the Fantastic Four. Sure, I liked all the individual characters (especially Ben Grimm) but I just couldn’t get into the group efforts. I was born about sixteen years too late to read a Lee/Kirby production of Marvel’s First Family and as a child of the 1990’s, I routinely saw them being abused.

Witness the horror:

In case you don’t know, that video is forreal. Long story short, it was made simply to secure the movie rights and was never intended to be released. And no, cast & crew were not informed of this minor detail.

But let’s flash forward to 2010 – time has been kind to the Richards/Storm/Grimm squad. The titular book has spent the last year being rocked by such forces as Mark Millar, Bryan Hitch, Dale Eaglesham, amongst others. Characters and stories that can easily deteriorate into lame-ass nerd fodder have been remodeled, crafted into entities that are both heartwarming and throught-provoking.

Fortunately, this week’s release of Fantastic Four #580 sees writer Jonathan Hickman and penciler Neil Edwards perpetuate this wonderful trend.

Over the course of the last few issues, Hickman has been bringing a grand story to a controlled, well-calculated apex. Valeria, the younger Richard child, was visited by a future-incarnation of her older brother who forewarned her about an impending struggle between four cities. Lo and behold, four different civilizations have since appeared before the Fantastic Family. This is the larger structural frame onto which the monthly stories have been assembled.

But what makes Fantastic Four #580 particularly successful is that the reader doesn’t have to study piles of back issues to understand (or care about) the plot. Within the pages of this comic are two readily accessible stories. Intertwining, they offer two glimpses at the same familial unit.

In the first plotline, Johnny Storm takes his nephew Franklin and a mutant friend to a toy store for the new Impossible Man merchandise. In order to sell more action figures, Impossible Man shapeshifts into what is a hilarious parody; a combination of characteristics of both Martian Manhunter and Superman. But it’s not long before the Human Torch realizes that Impossible Man is being manipulated by Arcade, who is trying to turn a profit while murdering children. A battle ensues and the good guys finish on top.

The second embedded tale is of Reed Richards’ search for a brighter tomorrow. Acknowledging that he may be too far rooted in his ways, Dr. Richards assembles the Future Foundation – a group of children from different species that have taken refuge in the Baxter Building, as well as his daughter Valeria. He asks them to come up with an initial project, and they undertake the task of curing Ben Grimm’s orange-rock complexion. As babes with fresh perspectives, the members of the Foundation come up with a potential solution.

As with previous issues, Fantastic Four #580 also includes a two-page interlude that chronicles the future of Nu-Earth. Shit seems kooky, but it’s all building to something. Hell, it’s even been confirmed that the team will look different come September.

I don’t blame you if you’ve never been a fan of the Fantastic Four. They have been…well, fucking dorky. But this is the time to start reading, I assure you. Reed isn’t an introverted loser, he’s a genius with incredible insight. Sue isn’t some invisible wench, she’s a peacemaker. Ben Grimm isn’t just an orange rock man, he’s an orange rock man with a heart of gold. And Johnny Storm…well, he’s still a brash shit-talker, but with an urbanity that enthralls.

I didn’t do this comic justice. Go support the dying print medium and buy Fantastic Four #580.

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Images & Words – Jonah Hex #56

Wednesday, June 16th, 2010

Jonah Hex

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

For the second time in less than a week, Jonah Hex’s ugly mug has popped up on OL. I assure you, the decision to give Jonah Hex the weekly comics spotlight isn’t rooted in the fact that I tried to pimp out a promotion for the movie. (By the way, if you are still interested, the contest is still on! Rock a submission and get free stuff!). No, this issue has been deemed the best collection of panels and prose, the most bang-for-your-buck on the racks.

For the first time since its inception, Images & Words is proud to present a Western!

[Cue this shit up]

With your first glimpse at the cover, you know this comic means business. The always fantastic Darwyn Cooke offers an interpretation of Hex that draws heavily on Clint Eastwood’s most infamous character. Of course, he then disfigures Eastwood’s beautiful face, adding the scarring for which the titular character is best known. Cooke also presents his artistic license in adding a heart to Jonah Hex’s shirt; cleverly, this shape is actually a hole in the fabric, which can either suggest that he has no heart at all or that he has one but it is empty.

Looking to spruce up an apartment on the cheap? Buy Jonah Hex #56 and toss the cover on a wall. Your friends will think it’s super kawaii.

But if you like reading comic books, you’re still in luck! In fact, this issue offers two self-contained shorts – a welcome change considering the fact that most comics are incomplete sections of storylines that stretch over months. Any time that the format is fiddled with, I can’t help but allot some points. Fuck it, I have no qualms about rewarding novelty, a running against the grain that helps open minds. Two stories? I’m sold.

Fortunately, both of the tales presented in Jonah Hex #56 are rad.

In the More than Enough, we first see Jonah Hex’s loyalty being purchased by an elderly Native American trying to retain ownership of her land. Then, J. Hex’s services are sold to the three neighbors harassing the old woman. It’s impossible to figure out where the antihero’s morals lay, which is far more preferable for such a figure. I assure you, the resolution is just and ironic

First True Love takes the reader through a crash course of Jonah Hex’s history. His time being raised within an Apache tribe is chronicled, as are his first trials and tender sentiments. We see a potentially blameless youth crafted into a dark, cynical gun-for-hire. Love, in a number of forms, is given and then taken away. And at the conclusion, we see what happens when a man who has spent his entire existence fighting for his life and watching people die is threatened by hapless fools.

Jonah Hex kicks ass. Writers Justin Gray and Jimmy Palmiotti know how to take the archetypal Western-antihero and then succeed purely in terms of narrative execution.  The team proves that well-worn character-types don’t have to be boring, but sloppy storytelling usually makes them so.

Everyone should read this comic book – whether they are dead or alive.

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Images & Words – COWBOY VIKING NINJA #6

Wednesday, June 9th, 2010

COWBOYNINJAVIKING6

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

COWBOY NINJA VIKING has finally made its triumphant return! I caught wind of this series back in early April and have been eagerly anticipating this sixth issue ever since. Fortunately, the wait has paid off as the comic delivers.

Plot-wise, the reader follows Duncan as he struggles with two different dilemmas. Stemming from the turmoil of daily life, most readers will be able to relate to the first of these predicaments; being torn between two lovers. On one hand, the protagonist is quite interested in Grear as he and her “have industrial amounts of sex that’s like, porn star awesome.” On the other hand, Duncan finds Nix “God-damn alluring in a completely non-threatening manner, which makes [him] incapable of forming coherent thoughts…” With the skill of an excellent TV drama, COWBOY NINJA VIKING takes the reader through the process of selecting a mate.

Now, if that shit doesn’t hook you then perhaps you’d be more interested in Duncan’s other hang-up. Sent to a shrink named Meyerhoffer by his boss, the hero comes to realize that maybe he doesn’t want his gift anymore. Sure, wishing away talent is reprehensible, but it’s hard not to sympathize with Duncan – all of his abilities are rooted in his multiple personality disorder. Having the strength of a Viking, the speed of a ninja, or the aim of cowboy might be great, but having to battle them for mind-ownership is another deal all together.

While all of us might not have multiple personalities, COWBOY NINJA VIKING does raise more universal questions about the necessity of fulfilling roles. Sitting back at the end of a day, anyone can ask “Who am I? What makes me who I am? How am I defined?”

Are we defined by our careers? Mailman. Teacher. Lawyer. Engineer.

Are we defined by our relationships? Husband. Wife. Sister. Nephew. Daughter. Cousin.

Are we defined by our values? Skeptic. Optimist. Believer. Cynic. Realist. Idealist.

I’d like to think to that we are flesh and blood examples of synergy, the sum totaling to more than the combination of individual characteristics. But even so, sometimes we can’t utilize our more valued qualities and the less desirable rise to the surface.

Anyways, all of this reading between the lines is tied to a solid tale of espionage. The Triplets have been called upon by the government to head to Bangkok so they can purchase a black market nuclear device and return with it. The catch is that they have to bring a government engineer with them so he can run diagnostics on the bomb…and pray that a self-detonating security system doesn’t activate.

Per the demands of narrative structure, when shit starts to go down in Bangkok, Duncan finds that he is no longer able to summon his inner cowboy, Viking, and ninja. Does he now find himself wishing he had never spoken against his personalities? Hell no. In the midst of chaos he stands tall and proclaims “HOLY SHIT. I’M CURED.”

But even with this sick-ass story in hand, the most enthralling aspect of COWBOY VIKING NINA is the art. Riley Rossmo kills it on every damn panel, from the first page’s letterbox format to the four images of the final page. His panel divisions and figures are all amazing, but it is his use of tones that truly astounds. The colors are vibrant and well-placed, hallucinogenic strokes upon a dreary dark surfaces.

In essence, the visuals of this comic reach out to you and say, “Hey, I don’t give a shit what you’re used to – this is how I do things.” And then you step back, insulted at first but realizing that maybe this guy’s way is better after all. As though, things don’t have to be bland and formulaic.

Make it your goal to buy COWBOY NINJA VIKING #6. Hell, even if you don’t read comics, you should pick up one of these oversized issues and toss it on your coffee table. Motherfuckers will think you’re hip.

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Images & Words – iZombie #2

Thursday, June 3rd, 2010

iZombies #2

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

iZombie is the story of Gwen Dylan, a zombie with a heart of gold. She doesn’t particularly like the fact that she’s undead, nor does she revel in having to eat a human brain every month. In fact, she says that the fleshy snack “tastes awful. Combine the two most horrible tastes you can imagine – like motor oil and someone else’s vomit – and you  won’t even come close to this level of nasty.” But Gwen chomps on brains as it prevents her from having a really bad hair day.

To atone for her less-than-delicious sins, Gwen solves crimes using the powers endowed to her. Specifically, every time that a brain is consumed, memories of the once-living individual are accessible. Since this is a comic book Gwen just so happens to eat the brains of people murdered in mysterious ways, thereby leading her on strange adventures!

In addition to Gwen, iZombie features a slew of supernatural characters. There’s Scott, the werewolf-computer-nerd who is pining for the pallid protagonist. There’s Ellie, the  ghost of a best friend who resides in the cemetery Gwen works at as a gravedigger. Nemia’s a man-hating vampire living in a virtual vamp sorority, encouraging her roommates to seduce men to their deaths. And the list goes on, including vampire hunters and maybe even an incarnation of the Invisible Man (or is he a mummy?!).

On paper, iZombie may just seem like another cash grab at one of the newest trends of fiction -  the saccharine supernatural. Yeah, we’ve had plenty of wannabe vampire-studs (this is a hunky vampire) and lighthearted romps through post-apocalyptic zombie-lands. So the territory is familiar. But in this instance, the comic succeeds more because of execution than the premise.

Through the course of the first two issues (okay, I admit it – I picked up the first issue of iZombie today as well) writer Chris Roberson manages to make the reader care about the characters and the conflict at hand. With concise exposition, Roberson expresses just how bummed out Gwen is about her whole not-alive-but-not-dead disposition. The reader feels for the first victim whose murder the protagonist investigates after reliving his final moments through memory. And humor runs abound, such as with the inclusion of Scott’s video game-lovin’ coworkers who just don’t understand why he never hangs out on full moons (DUH!).

Most important to iZombie’s success, however, is the stunning art of Mike Allred. I’m not going to waste your time with my half-accurate, feeble minded descriptions. Instead, I want you to feast your eyes:

Zombies Galore2

IZOM_5pp_prev.qxpZombies Galore1

iZombie was an impulse purchase, an attempt to make up for the fact that this was a relatively light week at the comics shop. But it paid off, and I was presented with a solid tale of horror supported by the authentic work of an enthralling artist. Buy this book.

Zombies Galore

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Images & Words – The New Avengers Finale

Thursday, May 20th, 2010

New Avengers Finale

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Spoilers Ahead. Forreal.

Marvel Comics is ushering in a new era for its brand, a return to form dubbed The Heroic Age. Under this new banner, the Marvel universe is (hopefully) going to realign itself and enter a period in which a status quo can be relied upon. And this is a good thing, giving the reader a chance to breathe after seven years of turmoil that included team breakups, civil wars, and alien invasions.

As any avid comics enthusiast knows, every event is accompanied by a slew of one-shots and tie-ins. Often, these are transparent attempts to earn a couple extra bucks by inserting tenuous connections between the major happening and an otherwise unrelated title. I can’t help but shake my head in disgust, disapproving of the theft of nerd-dollars that could be best spent elsewhere.

But sometimes, when the planets line up just right, tie-ins can be really fucking rad. And it looks like Jupiter and Neptune are in sync, because The New Avengers Finale is the book of the week.

Bendis’ script takes the reader through the direct aftermath of Siege; Norman Osborn has been exposed, the remaining villains are on the run, and Earth’s mightiest heroes have finally reunited. The remaining superheroes have to figure out their place in this brave new world, now that the all the major threats have been averted and the Superhuman Registration Act is null and void.

This setup provides the opportunity for bridges to be built across the chasms created over the last few years. Needless to say, this comic argues on the behalf of forgiveness, second chances and teamwork as the champions of justice come together to take down The Hood, Madame Masque and her father Count Nefaria. This crisis, coming after the siege of Asgard, doesn’t seem especially critical but it serves as an excellent excuse to see the Avengers assembling for the first time in years.

Iron Man? Captain America? Thor? Friends again?! Fuck yes.

The New Avengers Finale, like many of Marvel’s notable works of late, is penciled by the always astounding Bryan Hitch. Receiving some assistance from Stuart Immonen, the artist depicts the Avengers with a detail and vibrancy of which few are capable. Hitch really goes balls-to-the-wall, giving the reader all sorts of wonderful eye-candy to slobber over. For me, the visual highlights include a two-page spread of the newest Avengers lineup as well as a full splash page of Wolverine getting read to lay down the law.

But what convinced me that this had to be OL’s top-choice of the week were the book’s last eighteen pages. Nine splashes, spread across two pages each, take us through various flashbacks of the Avengers during the recent strife. Every single one of these images is jaw-droppingly gorgeous, the stuff that nerds fantasize about when they’re not dreaming of babes. If you need more convincing, just check out the list of artists brought on board specifically for these flashbacks:

David Finch, Danny Miki, Frank D’Armata, Steve McNiven, Dexter Vines, Morry Hollowell, Olivier Coipel, John Dell, Mike Deodato Jr., Pimental, Dave Stewart, Leinil Yu, Mark Morales, Laura Martin, Bryan Hitch, Rain Beredo, Billy Tan, Matt Banning, Justin Ponsor

Holy shit.

These pages remind the reader that the comics medium is rooted in illustration. While great storytelling can compensate for lackluster art, the greatest works always have pages that please the eye. This comic book gives us nine examples of this simple fact.

I purchased The New Avengers Finale with low expectations, anticipating that it would do nothing more than help me put off work for another fifteen minutes. But what I would up with was a real treat, the perfect transition out of the Dark Reign and into the Heroic Age. After reading this book, I have no doubt that good things are on the way for Marvel readers.

Excelsior, motherfuckers!

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Images & Words – The Return of Bruce Wayne #1

Thursday, May 13th, 2010

Return of Bruce Wayne

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Spoilers Ahead. Forreal.

Don’t listen to Caffeine Powered.

Well, actually, you should – he’s a smart guy and is generally on-the-ball with all of the latest news pertaining to comics, video juegos, movies, sports, and all that other shit I live my life by. As the firstborn in the family, he taught me that superheroes aren’t just creeps in spandex and that the entire …And Justice for All album is a goddamn anthem. And so, I tip my cap to him.

But on Tuesday, Caffeine Powered wrote some pretty hurtful things about time travel. I won’t quote him verbatim, but his general argument is that between comics, television, and movies, time-hoppin’ has become pretty played out. I won’t deny the fact that it’s become almost ubiquitous, an apparent necessity for any franchise with even the slightest of science fictional properties. And maybe I should be a bit more pessimistic, pissed off that one of my favorite plot devices has been misappropriated as a plaything for retard America.

But I’m still pretty stoked on time travel. And I guess that’s why Caffeine Powered and I are the dynamic duo of nerdcore brothers; between the two of us, we’re bound to be digging some shit that the mainstream doesn’t talk about at the dinner table.

So while big brother is approaching The Return of Bruce Wayne with cautious enthusiasm, I have a nerd-lust that defies physics. One issue in and I’m already a total believer in this miniseries. Yeah, Grant Morrison’s last attempt at a big event was a total mindfuck and he’s been known to get kooky from time to time. But he’s been kicking ass ever since that last debacle and I’ve been questioning reality on a daily basis.

So what do I make of a time-lost Batman blindly stumbling through the centuries? What if he’s not sure how he came to be in his current predicament? What if he has to fend off the enemies indigenous to each era? Well, I think it sounds like a damn fine comic book.

And, so far, it is.

The first issue of The Return of Bruce Wayne sees Gotham’s favorite son chilling in the prehistoric times of cavemen. These cave people are just like us – they divide themselves into rival tribes, fight one another for arbitrary reasons, and occasionally smoke cigarettes. Of course, Brucie (despite being too messed up in the brain-piece to even feign coherence) aligns himself with the sympathetic Deer People. They recognize him as one of the “shining ones” and believe a fallen rocket ship to be his; they treat him with reverence and wished their Old Man lived long enough to have a conversation with him. So when the villainous Blood Mob comes to fuck shit up the Batman has to come to the rescue.

He isn’t completely successful, but he manages to defeat their chief…while wearing the hide of a giant bat as a damn costume. It’s wonderful.

Throughout the entire ordeal, Bruce never really gets to speak (again, he’s still woozy from being shot through time). While I can see fans griping about this, I like where Morrison is headed; rather than relying on the exposition of a super-detective, the reader gets to experience the comic from the perspective of the time’s natural inhabitants. So in this issue, Bruce Wayne’s journey is described through primitive speculation. For instance, notice how the leader of the Blood Mob announces his arrival;

THE CHIEF WHO SCARES DEATH HAS RETURNED!

CONQUERING CHIEF SAVAGE BRINGS GIFTS FROM THE FORBIDDEN LAND!

A SKY-CART OF THE BRIGHT ONES!

FOUR SCALPS OF DEER WARRIORS!

AND A MAN-GOD WHO CAME FROM ABOVE TO CHALLENGE ME!

Could this come off as hokey? Sure. But Morrison’s script is backed up by the more than legit art of Chris Sprouse and Karl Story. This speech is accompanied by a two-page spread of Blood Mob revelry. We get to see skulls impaled on spikes, fires being danced around, and a close-up of a savage snacking on a huge hunk of…heart? brain? I’m not sure, but it’s something fleshy and gross.

Seriously, this art is beautiful and I think that a great deal of credit should be awarded to Karl Story’s colors. During the introduction to the Deer People, the skyline is painted with shades of light red and pink, offering a sense of liveliness and fading hope. But as the interlopers make their way into camp, Story shifts into dark grey, dark blue, and good `ole black; only fire brightens up these panels and it adds dramatic tension. By filling in Sprouse’s pencils, Karl Story deftly sets the unspoken tone for The Return of Bruce Wayne.

By the issue’s end, Batman has fended off the bad guys, saved a young member of the Deer People and unknowingly shifted forwards in time. Right after Bruce hops ahead on the timeline, Superman, Green Lantern and Booster Gold pop into the prehistoric era. They’re dismayed to realize that he is no longer there. In fact, their disappointment takes a turn for the ominous as they discuss the necessity of finding their comrade;

Green Lantern: Batman has no memory of who he is. He has no idea what’s happening to him.

Booster Gold: What chance does he have? Even he can’t make it.

Superman: You are joking, right? He can survive anywhere. Anytime. Surviving is what he does. But if he survives this, if he does the impossible again…If Batman makes it back to the 21st century on his own…everyone dies.

Oh shit! Hey Booster Gold, why don’t you shut the fuck up?!?! Fucking dumb-dumb.

The Return of Bruce Wayne is over-the-top, filled with shit I’m not sure I quite grasp yet, and serves as the beginning to the unfortunate end of Dick Grayson’s reign as Batman. With that being said, the book still works. And it works well. If you give me time-travel, caveman beatdowns, and the goddamn Batman I’m going to enjoy it.

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Images & Words – Ultimate Avengers 2 #1

Thursday, April 29th, 2010

Ultimate Avengers 2

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Spoilers Ahead. Forreal.

Holy shit. I really am a goddamn fanboy.

This is the realization I came to when doing the prep-work for this week’s Images & Words (see: reading comic books). While I believe in the power of comics as a medium first and foremost, I can’t help but willingly belly-flop into some of its pitfalls. Dudes with capes battling nefarious evil-doers. Womenfolk with impossible boobs and butts. Over-the-top splash pages. It’s all so damn glorious.

And the reigning king, the master of the dominion that is Nerd Manor, is Mark Millar. And that’s why we’ve written about him once or twice at OL. The man knows how to take the time-tested characters and put just enough spin on them to make them interesting again while retaining those properties we fell in love with in the first place. In short, Millar rules.

So I really shouldn’t feel bad about awarding yet another Millar book a spot on Images & Words. I shouldn’t. Seriously. But when I concluded that the pick of the week would be Ultimate Avengers 2 #1 I couldn’t shake the feeling that I had just given a Mark Millar comic the weekly feature…oh wait a second…I did…just last week.

Fuck it, this is my post and I make the damn rules. I am the arbiter of the OMEGA-COMIX-ZONE! I rule with a turkey drumstick in one hand and a paneled page in the other! Fear my lack of hygiene! Admire my useless knowledge! Now, step off my Nikes, you’re going to smudge them you prick!

*Ahem* Sorry. It’s been a long day.

Anyways, this introductory issue of Ultimate Avengers 2 shakes the narrative ropes like the Ultimate Warrior. The first caption reads “The Punisher gets busy” and is followed by eight pages wholly dedicated to various murders committed by Frank Castle. While most Marvel readers know that the Punisher’s methods often border on pure sadistic savagery, this first third of the comic takes the uninitiated and throws them into the deep-end without any floaties. “Swim kid, swim for your life!”

Millar’s Punisher is a man whose heart has truly been blackened and swept away by the wind. Without remorse, he guns down not only the targeted criminals but also anyone unfortunate enough to be (even loosely) affiliated with them. It’s unadulterated brutality.

In one instance we see Castle shoot a potentially innocent man. Hoping to be spared, the man pleads, “…I have two young sons. I do not even know these people. I am just their driver, man.” In another scene, the Punisher is reminded that one of his most recent targets, though a criminal, was still only in high school. For all intents and purposes, this is an exaggerated, hyperbolic version of the character. Which is interesting, because his status as a hero (or, I suppose, anti-hero) has to be called into question.

Punishing

Of course, there’s a sting operation and right when Frank Castle thinks he’s going to nab some Russian mobster, Captain America pops out and fucks his shit up. Ah, good `ole Stevie Rogers, always willing to arrest people convicted of murdering “over two hundred people.” Once in custody, Castle is informed by Nick Fury and Black Widow that the only way he can stay off of Death Row is to lead a black ops team tasked with doing the dirty work that Captain America and his buddies aren’t willing to deal with.

Right now, I’m not 100% sure how I feel about this whole bad boy working for the good guys plot. If it turns into nothing more than Frank Castle and Steve Rogers punching each other out in the name of conflicting ideologies, I fear I’ll be a bit disappointed. But if we get to see these two heroes look past their differences for the sake of beating villainous ass, well then I’m all in. Either way, the first issue of Ultimate Avengers 2 instills enough faith to remain optimistic and so I plan on doing so. Remaining. Optimistic, that is.

Thus far, the true beauty of Ultimate Avengers 2 is found in its art. Leinil Francis Yu rocks a pencil with a precision and detail that would make surgeons weep. When Frank Castle brains someone, blood is expelled not in a single horror-movie stream, but with miniscule droplets and tiny rivulets streaming all about. When a body is flung into a car window, it really seems as though millions of shards of glass are going to fly off of the page. Hell, he even makes a black eye fold over with multiple creases the way they actually do.

Another thing I love about Yu’s pencils (and an open source of debate between Caffeine Powered and me) is that not all of the lines are cleaned up or erased. In fact, a lot of them remain and are inked right over. I love this shit. I think it hits the reader’s subconscious, reminding him that what is being experienced is a fucking comic book. Not a photograph. But a comic book, a series of real drawings that were crafted by an artist.

Again, I’m not sure where Ultimate Avengers 2 is going. It has the potential to be campier and more ridiculous than its predecessor, which isn’t necessarily a bad thing. But so far, the big violent roller-coaster of a sequel has come out of the gate and ascended the first peak. Arms up, motherfuckers.

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Images & Words – Ultimate Avengers #6

Thursday, April 22nd, 2010

Ultimate Avengers 6

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Spoilers Ahead. Forreal.

This week’s top comic came down to two serious contenders. One of them was more of a fantasy-based, all-ages type deal. The second was the comics equivalent of a hard PG-13, a book with superheroes who aren’t afraid to fuck shit up. And while both were worthy adversaries, one got the definite edge after displaying supreme excellence in the squared circle. So if you can afford two comics this week, make sure you pick up Joe the Barbarian #4.

But if you’ve only got enough pennies for one cartoon-book, make your choice Ultimate Avengers #6.

Millar and Pacheco bring the first arc of Ultimate Avengers to an ending that is equal parts shocking and appropriate. Taking place in the Ultimate Universe of Marvel Comics, Captain America has spent the first five issues evading capture at the hands of his friends. Why’re the Avengers hunting down Steve Rogers? Well, he just found out that the Red Skull is his son and they’re worried that he’s going to go loco. With good reason.

Of course, this issue sees Captain America and the Red Skull finally going toe-to-toe. But before this battle can occur, the requisite Pre-Final-Confrontation Confrontation has to go down. And it does. We get to see the Red Skull, wielding the fucking Cosmic Cube, dispatch each member of the Avengers. It’s an epic buildup, a suitable appetizer to the main course for which we’ve all been starving!

That isn’t to say that there aren’t some great moments in this melee as well. One highlight is seeing the cowardly Nerd Hulk finally being worked up into throwing down. Sick of the Red Skull’s hurtful words, this Banner-clone lunges into the conflict and screams,

STOP TALKING TO ME LIKE THAT! STOP PUTTING ME DOWN!

It’s a great moment.

As you can guess, this only leads to the final battle. I won’t spoil too much, but you can rest assured that Steve Rogers wins. And since this is a Mark Millar book, he wins in quite a crafty and violent manner. Ok, here’s a hint: It involves impalement. Alright, one more hint: It involves a fighter jet. In other words, mission accomplished.

But what I really love about this issue of Ultimate Avengers is that it cleans up enough of the first storyline while leaving more than enough breathing room for the next. After delivering a sincere declaration that all he ever wanted was a happy ending, Red Skull is laid to rest by Red Wasp via bullet to the head. Nick Fury and Gregory Stark have a heart-to-heart in which it is revealed that Red Skull may have been purposely lured out of retirement. The reason? To justify the necessity of a Black Ops squad led by Fury. And lastly, we’ve still got all of the members of the Avengers alive and accounted for (clearly Jeph Loeb didn’t write this shit).

Ultimate Avengers #6 is a joyride of a comic book. If you haven’t read any of the previous issues, I’d say either hunt them down or wait for the trade paperback. But you’re going to want to hop on board for Ultimate Avengers 2, which starts at the end of this month. In addition to being penciled by the lovely Leinil Yu, the first cover features Frank Castle. The goddamn Punisher!

Ahh, I love comics so damn much!

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Spoilers Ahead. Forreal.

This week’s top comic came down to two serious contenders. One of them was more of a fantasy-based, all-ages type deal. The second was the comics equivalent of a hard PG-13, a book with superheroes who aren’t afraid to fuck shit up. And while both were worthy adversaries, one got the definite edge after displaying supreme excellence in the squared circle. So if you can afford two comics this week, make sure you pick up Joe the Barbarian #4.

But if you’ve only got enough pennies for one cartoon-book, make your choice Ultimate Avengers #6.

Millar and Pacheco bring the first arc of Ultimate Avengers to an ending that is equal parts shocking and appropriate. Taking place in the Ultimate Universe of Marvel Comics, Captain America has spent the first five issues evading capture at the hands of his friends. Why’re the Avengers hunting down Steve Rogers? Well, he just found out that the Red Skull is his son and they’re worried that he’s going to go loco. With good reason.

Of course, this issue sees Captain America and the Red Skull finally going toe-to-toe. But before this battle can occur, the requisite Pre-Final-Confrontation Confrontation has to go down. And it does. We get to see the Red Skull, wielding the fucking Cosmic Cube, dispatch each member of the Avengers. It’s an epic buildup, a suitable appetizer to the main course for which we’ve all been starving!

That isn’t to say that there aren’t some great moments in this melee as well. One highlight is seeing the cowardly Nerd Hulk finally being worked up into throwing down. Sick of the Red Skull’s hurtful words, this Banner-clone lunges into the conflict and screams,

STOP TALKING TO ME LIKE THAT! STOP PUTTING ME DOWN!

It’s a great moment.

But, as you can guess, it only leads to the final battle. I won’t spoil too much, but you can rest assured that Steve Rogers wins. And since this is a Mark Millar book, he wins in quite a crafty and violent manner. Ok, here’s a hint: It involves impalement. Alright, one more hint: It involves a fighter jet. In other words, mission accomplished.

What I really love about this issue of Ultimate Avengers is that it cleans up enough of the first storyline while leaving more than enough breathing room for the next. After delivering a sincere declaration that all he ever wanted was a happy ending, Red Skull is laid to rest by Red Wasp via bullet to the head. Nick Fury and Gregory Stark have a heart-to-heart in which it is revealed that Red Skull may have been purposely lured out of retirement. The reason? To justify the necessity of a Black Ops squad led by Fury. And lastly, we’ve still got all of the members of the Avengers alive and accounted for (clearly Jeph Loeb didn’t write this shit).

Ultimate Avengers #6 is a joyride of a comic book. If you haven’t read any of the previous issues, I’d say either hunt them down or wait for the trade paperback. But you’re going to want to hop on board for Ultimate Avengers 2, which starts at the end of this month. In addition to being penciled by the lovely Leinil Yu, the first cover features Frank Castle. The goddamn Punisher.

Ahh, I love comics so damn much!

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Images & Words – Choker #2

Thursday, April 1st, 2010

Choker 2

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Spoilers Ahead. Forreal.

The second issue of Choker has hit stands and my nerd-tummy is churning and bubbling… With excitement! The first issue pushed the reader right into Shotgun City, the neo-slum that makes Blade Runner’s Los Angeles step back and say, “Hrm…Maybe I’m not so ugly. Let’s go buy jeans so the boys notice our butts!” Alongside, Detective Johnny Jackson, the reader is thrust into a search for Hunt Cassidy, the sociopathic drug dealer referred to as a prince among bastards.

As one would expect, the narrative continue to develop in this new installment. Jackson is still down on his luck, the bad guy is still at large, and Shotgun City is still a shithole. But we’re starting to get glimpses into the reality of the terror at hand, realizing just how worse for the wear the cast of characters are.

For instance…the black glove on Jackson’s left hand? It slips off while he’s sleeping to reveal a mangled, disgusting mess. A mangled, disgusting mess that grabs a gun and tries to shoot the hero until he can stab it with a sedative. Shit’s bizarre/I fucking loves it.

This second issue of the McCool/Templesmith collaboration also introduces a saucy female partner for Johnny Jackson. Her name is Kara Thrace. Whoops, my bad! I mean to say that her name is Walker. But really, if you’re familiar with BSG’s resident lady-badass, then you certainly know Walker. When we first meet Starbuck, she’s drinking space-booze and trading insults with the boys. When we meet Walker, she’s smoking a butt and telling another officer that she’d “rather be molested by clowns” than sleep with him. Starbuck asserts herself, punching Tigh in the mouth and proving that a man can’t keep her down. In place of fuzzy dice, Walker hangs her ex-husband’s nutsack from her rearview mirror. Oh, and they both have short blond hair, personality-defying good looks, and a sick jacket.

But don’t think I’m complaining. Because the fact is that sometimes using tried-and-true archetypes works. Walker is the tough-as-nails woman that Johnny Jackson is going to have to deal with. And, in a not uncommon twist, Walker is working for the slimeball that hired Jackson back in the first place. So we have to spend some time trying to figure out who exactly this femme fatale is going to play – her new partner, her corrupt boss, both of them? Again, standard crime story fare, but it’s working!

Once again, Templesmith’s art is the absolute fucking balls. His line art is top-notch, but it’s his work with tones and colors that elevate Choker to the plateau of visual ecstasy. As I read the comic, I find myself feeling as though I’m lost in some sort of bleak neon nightmare. There is a general gloominess afoot, and the occasional splashes of light are only used to sparingly highlight an impending horror. Take, as an example, the first splash, in which a pack of hillbilly cannibals reveal themselves from the shadows – only their ravenous, drooling faces receive full color.

In terms of visual structure, it’s worth noting that dark gray ink clouds often stretch themselves across the page. Effectively, this helps to blur the otherwise rigid divisions between panels. So while the paneled sequence remains clear to the reader, a subtle sense of narrative obfuscation is presented. Which is useful, considering that Choker is a crime-mystery, slowly revealing itself over the course of six issues.

I’m not exactly sure where Choker is leading. But I’m going to follow.

PS,

Warren Ellis – I want you to read this shit and look at the sexy art. And then I want you to take your beautiful, fish’n’chips snatching fingers and put them to a keyboard. And then, I want you to finish Fell.

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Images & Words – Nemesis #1

Thursday, March 25th, 2010

Nemesis

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Spoilers Ahead. Forreal.

In a strange way, I had hoped that Nemesis wouldn’t end up getting the Images & Words spotlight. The reality is that I’m a Mark Millar fanboy and so is Caffeine Powered. On top of that, we’re particularly fond of the writer’s collaborations with Steve McNiven, such as Civil War and Old Man Logan. With these comic book Mega Powers reuniting, we’ve been ranting and raving for months about how sick Nemesis is lining up to be. Which, to be completely candid, calls our objectivity into question.

Hell, the OL wad might’ve already been shot – there’ve been two posts about the comic before I could even get my grubby, powdered-sugar dusted hands on it. With this much hype, picking Nemesis as the week’s top comic seemed like a foregone conclusion. And I didn’t want to know which comic released on Wednesday was best before reading them. I wanted to sit down with my stack of funnies and say, “Let’s see who wows me!”

In fact, I even said, “Maybe Nemesis won’t even be that good. Maybe Millar’s played out. Maybe the new Streets of Gotham is going to rise to the occasion. Maybe. Maybe. Maybe.”

Maybe I shouldn’t have acted a damn fool.

The first chapter of Nemesis is fucking awesome. As promised, Millar delivers an ultra-violent, wonderfully vulgar twist on the billionaire-superhero archetype. The reader gets to see what would happen if someone had all of the resources and ambition of Bruce Wayne, but not a single ounce of his altruism. Matt Anderson is the end product of replacing the philanthropic sentiments with sheer lunacy, and then stripping away every good intention so that they can be raped in the bathroom of an abandoned bowling alley. He is the Nemesis.

Panel 2

The titular character hunts for sport. But, as a maniac, he conducts his very own rendition of The Most Dangerous Game; he finds the best law enforcement officers in the world and then sends them a card that tells them exactly when they are going to be murdered. This game that Anderson plays is both incredibly cerebral and shockingly destructive. Not only does this predator toy with his prey, savoring the moments leading up to the killing stroke, but he makes sure to make a spectacle of the event as well.

In the opening sequence, Nemesis reminds a Japanese inspector of all the recent crimes he has failed to prevent. He then informs his target that the men coming to the rescue are on time, but two miles away – in a hotel that Nemesis has rigged with explosions. Then, in a grand twist, the inspector realizes that he is bound to a chair that is on a train track; not only is he killed by the oncoming transport, but the train derails as wreckage from the hotel bombing interferes with the train line. This is the undiluted, masterfully-executed plan of a homicidal genius.

Opposing Nemesis in this series is Blake Morrow, the thematic equivalent of Jim Gordon. The reader is introduced to the Washington D.C. Chief of Police as he shotgun blasts a bunch of crack-heads that have taken hostages in their attempt to hold up a convenience store. This dude is the archetypal old man bad ass, the aging dude who has paid his dues but still isn’t afraid to get his hands dirty. Take for instance, this exchange with younger officers;

Officer: What the Hell? How’d you even get in here, Chief?

Morrow: Well, crack-heads tend not to count their hostages, son. I just wandered in the back door wearing a baseball cap.

Sergeant Lee: You are something else, boss. I had your job, I wouldn’t come near this shit.

Morrow: Language, please, Sergeant Lee. We’re supposed to be an example here.

Of course, Morrow isn’t one to piss his pants when he gets the death-sentence card from Nemesis. Instead, he remains calm and decides to put together a plan to take on the world’s only supervillian. Which is even more impressive when the reader realizes that this is an impossible task – to prove his dominance, Nemesis hijacks and crashes Air Force One. He then televises his challenge to Morrow, informing the public that “It’s time you hailed your new fucking Chief” as the President of the United States kneels before him beaten and whimpering.

Thus far, the most intriguing aspect of Nemesis is that I’m not sure who I’m rooting for yet. I’m not even sure if the reader is supposed to favor one character over another, as Millar introduces Matt Anderson as Player One and Blake Morrow as Player Two. Perhaps this is all just a game to sit back and enjoy, not worrying ourselves with getting too invested in either side. In effect, both players can be lauded for their respective supremacy.

Yes, Matt Anderson is a fucking lunatic whose atrocities would never be praised in reality. But this is comics. And moreover, the character has a swagger about him, exuding a confidence and fuck you attitude that most of us wish we had a little more of. And to top it all off, Millar intimates that Anderson has some sort of troubled past, as the character declares,

“Washington shall suffer just like Tokyo before it, but my new campaign has a personal touch. Call it revenge for a stolen childhood. The black sheep of the Anderson family has returned to burn these idiots who believe that you protect them.”

Even if you end up hating Matt Anderson, I have a feeling that you are going to love to hate him.

I genuinely think I could read Millar’s script and be on the edge of my seat. Fortunately, I don’t have to, as the mighty Steve McNiven rocks that shit out of this book. The highlights include three splash pages, two of which I foresee becoming requisite posters for every comics shop. Seriously, within the first issue McNiven’s visuals help convince the reader that Matt Anderson is a bad, bad man.

Nemesis Interrogation

The only other note pertaining to the art is that I perceive a slight difference between Nemesis and McNiven’s other work. In this book, some of the art seems to have more lines. It’s not as sketchy as Leinil Yu’s art (which I adore), but keeps a sincerity that is sometimes inked right over. The art speaks as though it is proud of itself, and not as a comic that desperately wishes it were a movie or television show. Again, I know very little about formal art, so take that for what it’s worth.

Nemesis #1 is a sick book. You should read it if you like any of the following:

Superheroes

Supervillians

Explosions

Die Hard

Swear Words

Sick Art

Guns

Old Dudes Who Beat Ass

Condemnations of Society

Crack-Heads Getting Shot

Ultra-Violence

Cool Shit

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