[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!

Warren Ellis is the most intriguing figure currently in comics. He’s fueled by energy drinks, alcohol, and cigarettes. Despite his disdain for them, his superhero stories stand above the rest. And his creator-owned properties are just out of fucking control. Every writer should aspire for Ellis’ mastery.

The trailer for Captured Ghosts, a 2011 documentary about the scribe, has hit the infonets. Peep that shit:

Way back in the day, during the beta-stages of OL, I did a feature on a dude named Nadim. This guy had bought a t-shirt from an old website of mine and was so enamored that he offered to rock a banner on his own site. Curious, I made my way to his piece of Internet real estate and discovered that he was an underground comics creator.

The thing is, Nadim is still a comics creator. He illustrates and co-writes Deadhead, a fantastic satire of superhero books. There’s Stoner, a telepath/telekinetic whose powers only manifest when, well, when he’s stoned. Alongside him is Apeman, a giant ape who was a world-renowned hero in the 1980’s but is now little more than the town drunk. And then there’s the titular character, Deadhead — a guy with no discernable powers but a strong desire to beat supervillain ass.

Corresponding with Nadim recently, he expressed concern that with Kick-Ass hitting the theaters his book would be perceived as nothing but a mere knock-off. I can assure you, that is not the case at all. Even though both titles feature powerless protagonists, they are quite divergent in theme and internal logic. While Mark Millar’s newest comic-turned-movie ostensibly takes place in the real world, Deadhead is about a real dude in an unbelievable world. In Nadim’s work, there are superheroes, but the main character just isn’t fortunate enough to be one.

Another major distinction is the fact that Deadhead is completely free. Seriously. If you hit up the website, you can download every single issue and the first trade paperback without cost. It’d be nice if you tossed starving artists some sandwich money, but at the very least go generate some traffic.

[source]

via cbr:

DC Comics has announced via their official blog, The Source, that John Cassaday will be the new regular cover artist for “Superman” starting with issue #701. Cassaday will be joining incoming writer J. Michael Straczynski and interior artist Eddy Barrows on the title.

Dude is so gorgeous.

[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.

Shit’s late. I know. Normally I pump out Images & Words for Thursday consumption, sometimes even Wednesday. But this week I’ve been fighting the worst sickness I’ve had in years. This battle has included two trips to my primary care physician, a visit to the Emergency Room that lasted until 2:30 AM, and another voyage to Infectious Diseases. All in all, I stumped somewhere around eleven doctors. Huzzah? Oh wait, shit…

But despite feeling physically and mentally broken, I managed to read this week’s comic books. As they tend to, the comics lifted my spirits and helped me forget, if only for a few moments, just how miserable I was. It’s a magical gift, and truly part of the reason I will always return to the medium.

The comic book pick-of-this-week is Daredevil #506, which is hardly a surprise to me. Daredevil is easily the most underappreciated title of the last couple of years, even after Ed Brubaker departed with issue five-hundred. It feels like the only book from either of the Big Two Publishers that isn’t afraid to actually develop its characters rather than reeling in every progressive line cast. Matt Murdock is no longer a New York City attorney, but the leader of the global crime syndicate The Hand. He’s been trying to use The Hand for good — with mixed results. The one consistency, however, has been a refreshing and captivating monthly release.

This issue centers around Murdock’s attempts to bring together the Daimyos of The Hand’s various regions, despite their distaste for one another. The book opens with Daredevil and Bakuto, an outspoken critic of The Hand’s new leader, fighting off a pack of ninja assassins. Which, as you probably know, is a simple enough task — except that they’ve both been drugged. The result is a battle filled with all sorts of trippy visuals; Murdock looks like Satan, the ninjas look like ghouls, and the flashes of reality are grim & striking.

This sort of layered quality is present throughout the rest of the issue. There’s plenty of action in Daredevil, but it’s tempered with a story that keeps the reader guessing. Which of the Daimyos can Murdock trust? Is Bakuto really a villain? Was Elektra really on that page or was she just a vision? Writers Diggle & Johnston succeed in leading us to these questions while not instantly offering answers. There is a definite mystery to Daredevil and the title is the better for it.

The art provided by Marco Checchetto and colors by Matt Hollingsworth are simply perfect for this book. There is a real darkness to the imagery, conveying the sense that Matt Murdock is wondering through his own internal confusion. In fact, the brightest page of the whole book comes in the aforementioned opening scene, as a hallucinatory-moon shines onto the battle. Leaving a bit of a shroud around the characters really fits the tone at hand. Murdock is trying to sort out the mess in front of him and the reader has to occasionally strain an eye to do the same.

The other important visual characteristic worth mentioning is the range of subjects. Checchetto and Hollingsworth deftly work their way through crowded fights, evaporating skeletons, two-person conversations, dream sequences, and a slew of other varied scenarios. It’s always nice to have artists who can handle a variety of narrative styles within a single issue. And this is part of the wonder of Daredevil – we get to see the titular character travel through a number of different worlds. This isn’t just the rough urban environment Daredevil has become synonymous with, but a sort of mystical Japanese realm that harkens back to the days of feudal lords.

If you enjoy superhero comics, go snag Daredevil #506. It’s a worthy read, with writers and artists who know what they’re doing. Trust me. After all, I’m not an expert.

Let’s get this out of the way. I thought Dollhouse was a steaming ball of fuckhate. But I like Joss Whedon. A lot. Not as much as some of the people I’ve seen, who build monuments to him out of their own pubic hair and ripped-up Firefly t-shirts they lost their virginity in. But I do. And I was pretty worried about the Avengers movie, so hearing that he’s probably going to be directing it? I am gladdened by it.

via slashfilm

On April Fool’s Day, IESB   had the bad timing to report that Joss Whedon   was on the shortlist to direct The Avengers for Marvel. Really bad timing for that scoop – while Whedon is the sort of guy a lot of fans would like to see on this film, there was too much reason to be skeptical when it ran on April 1. The LA Times confirmed that shortlist a few days later, but even then it was tough to tell if the studio   was serious, or just spitballing in the same way it seemed to do with the Captain America casting.Either way, things are evidently serious now, as there’s a report that Whedon is in final talks to direct the film.

I can only imagine the amount of fluids being excreted by fanboys and fangirls if this shit comes to consummation.

[Variant Covers is a column every Tuesday that breaks down the various titles coming out that week in the world where Billy Shakespeare is a wizard who must fucking die!]

Kill Shakespeare #1

It’s Tuesday, which means only one thing. I’m shotgunning Diet Mountain Dews while praying to the Gods of the Weekly Releases that there’s something worth covering for the weekly comic book gig. And they have responded with charity and righteousness this week.

Kill Shakespeare. Amazing.

Why, what’s the premise behind this comic book? Uh, to fucking kill Billy Shakes! Duh! But more seriously, the premise of this comic book is that Shakespeare’s greatest heroes such as Hamlet, are pitted against the most bad-ass villains of his works, as they try to hunt down and kill reclusive wizard. Who happens to be Shakespeare himself. Is this brilliant? Is it stupid? Is it brilliantly stupid? I know that it’s totally pissed off Frank “The Goddamn” Miller’s girlfriend, who happens to be a Shakespeare scholar.

Me? I sort of fucking dig it. It’s absurd, and perhaps suffuse with metafictional awesomeness. The previews tout it as the Shakespeare equivalent of “Fables”, and that’s probably aiming a bit high. But I mean, just the ridiculousness of the comic alone makes me want to pick it up.

I can understand those who hold Shakespeare super reverentially to be crapping their pants at this heresy, but they need to chill the fuck out. I’ve always dug the acclaimed works of Billy, and this doesn’t seem particularly threatening. At the very least, it’s something of a shitty homage. At the best, it could be some sort of mind-warping exercise in mimesis. That seems worth the risk to me.

Daredevil #506

Daredevil is fucking legit. The Man Without Fear is running amok as the leader of the Hand, slapping down errant bitches with his baton-thingies. How can you not dig this guy? But seriously, I’ve been pumping Daredevil almost every month, and I’m sure you’re yawning and telling me to shut my trap. Maybe it’s just the week of Marvel releases its sent out with, but it’s constantly the most boner-inducing of the batch.

And if you’re one of those mouth-breathing completionists who has to follow every event no matter how drab or boring, you’re going to want to start checking out Daredevil. Matty Murdock is currently in Japan, trying to solidify his grasp on the five-fingers of the Hand. There’s so many vomit-inducing puns there. And all of this is tied around his desire to build a “Shadowland” underneath New York City. What the fuck is a Shadowland? I’m not really sure, but it’s going to be an Event in the Marvel Universe this year.

So yeah. If you want to understand what the fuck is going on, without having to buy Shadowland Prelude Preliminary # -1, then start reading Daredevil. It’s consistently terrific.

Elsewhere in the Marvel Universe is Lockjaw and Pet Avengers Unleashed #2. Just when you thought that Marvel had ruined the Avengers by casting everyone in their universe in some derivative of that title, they have dragged their pets into it. Oh lord. There’s also Siege spin-offs for Captain America, Loki, and Young Avengers. I’m sure they’re totally important to the fabric of the Marvel U, and its canon. Or not. I’m pretty sure you can skip this and miss nothing. Save your money and buy yourself a Double Gulp and some fucking Laffy Taffy.

Keep Reading »

[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.

Admittedly, I’m not 100% comfortable with this week’s featured comic book. Most of the time, Images & Words showcases a comic that I could actually describe to another nerd. Yeah, the standard fare’s something along the lines of “In this book Superman fights the bad guys, saves Metropolis, and still manages to meet Lois for dinner.”

But this time around, I’m not quite sure what the hell is going on. I know that there is hilarious dialogue. The characters seem authentic and relatable. There are some bad ass fight scenes. And the art is just goddamn gorgeous.

So without knowing exactly what I’m getting into, the comic of the week is COWBOY NINJA VIKING #5!

Keep Reading »

After the events of Marvel’s Civil War, Steve Rogers aka Captain America was going to be tried for treason. Dude didn’t want to cop to making it mandatory that every superhero register their identity with the government. Before the guy could be tried though, he was totally killed, and sent into the time stream.

Having come back though, he was pardoned by Barack Obama in the pages of the funny book. And then someone got the actual Barack Obama to sign the page where it occurs. Amazing. I came across this today via Ed Brubaker’s Twitter feed. If you don’t know who Ed Brubaker is, he’s the dude who knocks it out of the galactic ballpark every month with his work on Captain America, amongst other things.

[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.