Steamroller of content: Hibbs' 10/10

Yes, yes, let's keep this week's Steamroller of Content rolling along, with me doing This Week's Comics actually, y'know, THIS week...!

BATMAN #13: I thought this was very very effective, full of mood and tension and anxiety and evil clowns and, yeah, just everything you might want in a modern comic. To a certain extent, I think the vigor as a commercial product that BATMAN has shown since its relaunch might possibly single-handedly make "the new 52" have been worth it. Clearly America's #1 superhero comic book of the moment, I thought this was frankly EXCELLENT.

BATGIRL #13: this one, on the other hand? Not so much. I mean, the main story was perfectly adequate attempt at making  grrrrr/gritty nemesis for Babs (who, let's remember, until now has primarily be associated with Killer Moth) -- but it feels to me like... dunno, trying to hard or something? I was pretty insulted by the "tie-in" to the Batman storyline, with its wraparound cover and instant sell-out, but only being, yuck, 2 pages  of anything, and that thing was pretty much no-thing, anyway. So, yeah, I thought it was pretty EH.

AvX: CONSEQUENCES #1: I think that personally, my favorite "consequence" of this issue is that Cap apparently went squirrelly, and decided that the best time to go shopping for new clothes was in the narrow space between AvX #12 and this... and that no one is willing to say anything to his face about it. "Cap, seriously, you look like a penis now." or "Nice look, did NFL Superpro have a sale?". Anyway, the plot of this is mostly "Cyke's in jail, doesn't care"... I don't know, where can he possibly go as a character from here? He was always the most boring of the X-Men original or giant-sized or uncanny or new, and this isn't doing him any favors. He's just as dull watching mope around a prison cell. Hope is also told she can go be a normal kid first, but someone is going to have to take her hand and take her clothing shopping first, because she looks distinctly unnormal standing around in that combat suit talking like that. Just, god, please don't let it be Cap taking her to the store -- his fashion sense sucks! That comic was extremely EH.

UNCANNY AVENGERS #1: I really wanted to like this, but man I have such a hard time with the things they're trying to get us to believe about how the world perceives the mutants, etc. I sure don't believe when Captain America comes along and says that *Alex Summers* is the last, best hope to lead mutantkind to their new Avengery-destiny. Dude, Alex Summers is a damp squib of a character. Just about the only thing he's got going for him is that cool costume. But past that? Name one actual human-personality trait he's ever shown in some 40 years of existence? No, you can't, because he's never exhibited one either.

I mean, honestly! You want the even duller brother of the world's most tedious mutant to lead an Avengers team, really?

The main thing UNCANNY AVENGERS has going for it is John Cassaday, who is, of course, a very fine artist. My problem is that this isn't a gathering of characters that I want to see him draw, and the situation he is drawing is fairly uninteresting to me. This was OK.

HALLOWEEN EVE: This is one big Amy Reeder showcase, and, yeah, she's an artist to watch, with a wicked sense of style and verve in her drawing. I'm less enthused about her lettering and coloring -- the former looking entirely computer done with too large baloons, the latter being too bright in too many places, and without a good balance between background and foreground. But who cares, the art itself is so pretty! The story, on the other hand -- pretty much just "A Christmas Carol", except set during Halloween -- I've read worse, I'm sure, but it was pretty average stuff. So what to rate it what to rate it... Oh, hell, I'll go with a low GOOD.

POINT OF IMPACT #1:  Jay Faerber's new ongoing black & white crime book, and while part of me thinks that maybe it veers towards the wannabe TV Pilot that Abhay was discussing earlier (at least partially pushed along by the ode to Boomtown in the text page), I thought it was a zippy enough first issue to say something about it. Artist Koray Kuranel is new (or at least "new to me"), and he's still got some awkward drawings to get out of his (?) system -- look at that hand in the next to last panel of the last page and tell me that doesn't look like that weird SNL character with the tiny hands? But I was more struck through a lot of the issue that the art kind of looked like Ian Gibson. Haven't seen his art is years -- still working in the UK?

Anyway, this is a noble effort that looks like it has a certain amount of potential. I'll also call it a low GOOD.

RED SHE-HULK #58: Or, what would, in any other universe, be called #1. I'm very much not the audience for this, I don't think, because in my brain, making Betty Ross a hulk (let alone the very idea of multiple, colored hulks!) seems about as wise as having, say, Jean Loring become Eclipso after killing Sue Dibney.  But, even if I didn't think that, I'd want to see some characterization or personality or motivation, all of which seem to be 100% absent in this comic book. Is it too much to want the titular hero of a book to be a protagonist... well, or at least a motivating factor in things that happen? Yeah, this ain't for me. AWFUL.

PHANTOM STRANGER #1: I can't believe that I'm going to say this, but maybe this was even worse than #0.  If only because it didn't have the deeply wrong Judas backstory, yet was, in effect, exactly the same story as issue #1 -- someone wants PS to help them (in this case, it is Raven, once [but no longer] of the Teen Titans), PS betrays them because God tells him to, PS levels up (he's down to 28 pieces of Silver now, woo!) -- exactly and precisely the story of #0, where it was the Spectre then. Douchebag Monthly! This is going to sell and sell and sell!

I lie, there is ONE more thing that's slightly different, something which pushes this issue truly into howler territory -- at the end of this it sure looks as though the Phantom Stranger goes home to his wife and loving children. Yep, not only have the entirely missed the point of being a "stranger", they now seem to be saying that Judas has changed his name to "Phil", and is living The American Dream in what looks to be a suburb.

I'll just let that idea sink in for a moment.

I kind of now need to give this comic just one more issue to determine if it is merely criminally insane, or Bob Haney-style brilliant. I know which way I'm leaning, but I have to leave the possibility of brilliance open, don't I?  So, while I want to say "CRAP", I'm barely, and perversely going to call it as "INCOMPLETE".

AME-COMI GIRLS #1: Well, even shrunk and reformatted, I'll stare at Amanda Conner art all day long. And, boo, that she only does about 2/3rds of the comic, but it still looks nice in those bits. Plotwise the comics is a bit sex-n-gore-y, but if you're looking for an anime-style version of Wonder Woman, with nice cheescake art, there are certainly worse directions this comic could have gone.  So, that's, what? OK, I guess?

OK, enough from me... what did YOU think?

-B

Everyone Loses: Hibbs on 9/3's cape comics

Four superhero books below that cut!

AVENGERS VS X-MEN #12:  Man, it would be nice to have a Marvel crossover once that ended right. I don't know what frustrates me more: Captain America's extraordinary hypocrisy in the face of the breaking point he engendered, or why no one is asking about what happens with all of the *good* stuff that the Phoenix Five engineered (food, energy, water, worldwide). but, these are superhero comics, and superhero comics don't like dealing with ramifications, do they? Like I said back at the review of #1, this comic clearly is reviewer-proof; nothing I could say or do would impact it's entire success as a commercial juggernaut -- I'm certainly selling twice or more copies of AvX than I do of either of the component characters any longer.

The thing is, I'm afraid that this series fundamentally broke the X-Men -- what are they any longer?

With Xavier dead, the mutants no longer an "extinct race", Cyclops considered a super-villain, what's presumably the world's stock of Sentinels melted down (along with all of the battleships and nuclear weapons in #6) "Uncanny Avengers", and so on -- well, what's next? Where can you go from here? The core metaphor might still have need today -- but can the X-Men still be the spirit of alienation in any clear way when mutants are now responsible for bringing peace and food and water to Africa, y'know? I have my doubts, especially because the first new x-book off the blocks this week is actually an Avengers title, and the "flagship" X-comic is going to be a time-travel story, which doesn't even sound remotely sustainable to me as an ongoing monthly.

At the end of the day, I thought AVENGERS VS X-MEN #12 was pretty AWFUL. Though I doubt that's any real surprise to anyone out there. I also thought that the X-Men "won", in that Cyclops was right, and his species is now viable again... even though they're left at the end as being a largely irrelevent concept in the Marvel Universe. Funny how those things work out.

AVX #6: As a modern piece of comedy, I thought this was generally pretty darn GOOD. "Captain America is level 15 in Guilt Trips," indeed! Though the Hawkeye sexploitation dream was pretty dang grody, and prevented the book from scoring higher.

DAREDEVIL END OF DAYS #1:  I was originally looking forward to this, because on paper, at least, it sounds good: Bendis, Mack, Janson, Sienkiewicz all back on Daredevil for one final story. Too bad the result is a gory mess, with multiple scenes of people beating each other to death. Yay, comics? Overall the art, mostly Jansen being inked by Sienkiewicz, has the worst of each artist's tics, though there are a few nice and painted panels that entirely work. Seeing those lovely panels make the rest of the book look that much worse, sadly.  Pretty AWFUL.

LEGENDS OF THE DARK KNIGHT #1: So, this is a collection of  Batman stories that, as far as I know, ran as digital content before being collected here.  This is the fourth (fifth?) "re-purposed" digital comic, and, at my store at least, sales have all been uniformly awful on these books, but I can't tell if it is the chicken, or if it is the egg. Batman, in serialization, is going through a pretty nice period right now -- BATMAN itself is my top selling DC comic. and all five of his monthly books are selling at least 25 copies a month for me. This one? I sold 2 copies in week 1, and I'm not expecting that to grow in any manner I'm willing to carry the risk on. So, is LDK flopping out because it is digital first, and people don't want leftovers? Or is it flopping because it's Batman-led comic #6? Or is it flopping because it is shitty?

There are three stories here, one by Damon Lindelof & Jeff Lemire which is close to the worst Batman story I've ever read being, I think, a "what if?" of "What If Batman was an arrogant drunk?" Hrf?!? The second two stories are kind of  NEW TALENT SHOWCASE teaming newer writers with solid artists (JG Jones, Nicola Scott) -- but the stories aren't any great shakes, neither rising above what you might hope for in a new talent anthology series: not shitty, exactly, but not so great either. At least not for $4.

The bigger problem, for me, is that these comics are kind of the "proof of concept" for the problem of what you do for natively-digital work when the iPad landscape/computer monitor being different proportions from the printed page.  Mark Waid was the first person I ever heard who said, "Duh, just plop the two screens on top of each other, and your back to normal proportions", and I thought he was genius when he said that.

Except... now I've seen what it looks like in practice. It is... not very good.

So, first, if you're even slightly aware of it, you can "see" the weld made on each page as writers are aiming the "beat" for the bottom-rightmost panel of each "page", except each page now has two of THOSE, and it TOTALLY blows the "rhythm" of the comics page.

Second, because you have to present the page smaller than it displays on monitor/iPad, it feels oddly cramped, with too-small lettering.

Third, it really shows just how limited the landscape format is for density-of-content -- It is hard to cleanly fit more than 4 "panels" on any "page", then, which gives you an extremely limited number of choices of page layout and panel arrangement. then you see that twice on each printed page, and it is kind of a mess.

So, I guess now I really don't think that digital comics can be reformatted to print in this way without kind of crashing out the beauty and strength of the real unit of comic books: the page. I thought the Lindlehof story was AWFUL, but the rest was decent enough it could drag the entire book closer to an EH.

That's me, what did YOU think?

-B

Pitiful Fool: Hibbs Catches Up

Man, do I pity the poor fool who has to follow that awesome post by Abhay -- it's going to make anything else sound like "Dur, duh, durdur!!" Oh, wait, the fool is me? *sigh*

Yeah, poor sad me -- my brain's not even fully in gear, since I had to work the entire weekend (and got the order form AND Onomatopoeia finished) -- but tomorrow I have to go to a vendor fair about what kinds of plastic bags will be acceptable (San Francisco's Board of Nannies Supervisors has decided no store will be allowed to give out bags come October), so if I don't get this done now, then I'm out for ANOTHER week, and that's not the deal, now is it?

And while I said that I was just going to totally skip the 6/13 books, I've decided instead to combine 6/13 and 6/20, since there wasn't a LOT I wanted to say about 6/20.

ASTONISHING X-MEN #51: I really do think that writing TO a plot point, rather than a plot point arising because there's no other way the character could act, is just plain weak, and I think the former is strongly on display here. I don't know, maybe it is because it is Pride week in San Francisco (Twin Peaks actually had a glowing Pink Triangle on it this weekend, made, I think, of Fiber Optic cables), which always strikes me as an excuse for outrageousness, rather than a celebration of actual outrageousness, if you see what I mean? I don't know, maybe it's all of the "Good Corporate Partner"-ing of beer companies trying to get a piece of that pink dollar, when Pride started as a way of remembering the anger of Stonewall; maybe it's that 50 foot high glowing Pink Triangle, which I don't think is actually an ironic recasting of the mark nazis put on gays and lesbians in the concentration camps (if 10% of the partiers know that, I'll be surprised), but this comic seems so deadly cynical and horrible to me, despite all of the tourists who flocked in to buy it. I don't know, it isn't my community, I don't actually get to judge, but it feels transparent and pandering to me. At least I'm not in Arkansas where I have to deal with the complete opposite reaction. *brrrr*, terrifying!

I think maybe the thing that set me off the most about this issue was the "con" side, as expressed by the character "Warbird" who says she can't attend the wedding because she thinks gay marriage is a lie. Yeah, except she's a half-bird alien, whose wiki page says (and I'm not making this up) "Warbird's life since birth has been, according to her, an endless parade of combat and murder and at unknown point in her life she conducted "mating rituals" with someone while trapped inside another being and surrounded by flesh eating monster aliens."

So, y'know, credible straw man.

Hell, why not have it be Rahne (Wolvesbane), who we already know to be a bigoted little lassie?

I'm sure Marjorie Liu has all of the best intentions, but this feels like cynical pink-washing to me, probably mostly because Kyle isn't even a character yet, just a hostage.

I did like Logan getting all drunk and maudlin though!

Anyway, I thought this was pretty AWFUL

  AVENGERS VS X-MEN #6: Man, it LOOKs a whole lot better, doesn't it? But, seriously, no mention of the demon princess or her bound-to-Cytorak brother? I mean, I know the whole set-up isn't exactly air-tight in the first place, but that seems like a significant detail to overlook? The other thing that made me nuts? That the solicits dropped, and the AvX HC is *$75*! Jeez louise, that's excessive! Oh, oh, and the OTHER other thing? that's there's ANY connection between Phoenix and Iron Fist. I can't possibly hate that idea more. Anyway, this issue was highly OK, but most of that is how much nicer that it looks now that Olivier Copiel is drawing it.

  AVX VS #3: I just want to give a strong and hearty "Fuck you!" to whoever it was who thought it was prudent and wise to have the Black Widow vs Magik fight take place mostly in Russian. That's a really cruel thing to do to a readership that has plunked down FOUR DOLLARS. "Ha ha, you can't even read it!" Cunts.

  BATMAN #10: I have to say, when I first got to the reveal, I was all "bogus!", but then I read the spoiler piece at Rich's, and I felt a smidge better. But, really,  pre-existing relationships or not, my bigger problem is "Yet Another Ideological Doppelganger", as Batman has just too many of those. I know that this is the most popular regular Batman story in a real long time, but I'm really really ready to see the back of the Owls, and to just have Batman be self-contained superhero stories for a few months, dang it. This story (and issue) is GOOD, but it's been dragging on for at least 2-3 months too long.

  FUCK ALAN MOORE BEFORE WATCHMEN SILK SPECTRE #1: After Minutemen, I was ready to write the whole project off, but then Darwyn Cooke went and completely made this one everything you might want in a prequel -- actually dwelling in a period that we don't know anything about, expanding the actually CHARACTER of Laurie, and containing subtle callbacks to the original work (Look at the staging on the fight between the Spectres, remind you of anything?). It also doesn't hurt that the art is absolutely lovely (just as everything that Amanda Conner draws is), AND also contains a (modified) 9-panel grid. I'm still not certain what the audience really wants from these (if anything), but this was very nearly straight-up "Rebellious Teenage Girl Comics" that would never ever be greenlit without the Watchmen connection, and, despite myself, I thought it was actually VERY GOOD.

  FUCK ALAN MOORE BEFORE WATCHMEN COMEDIAN #1 : this, on the other hand, was everything I feared and dreaded it might be. The Comedian is really just a plot device in the original, and a horribly loathsome one at that, and Azzarello chooses to go for the lazy political allegory than to show where the character might be from, or what shapes him. That last scene made me vomit in my mouth a little, too. While I thought this was AWFUL, I'm apparently in the minority -- this was the best selling of the three released so far, at my store.

  SAGA #4 : has now become our best-selling comic book at Comix Experience, something that thrills me utterly. I had first printing #1s up until this weekend, and was shocked (and kind of amused) to see that it is a FOURTH printing that I'll be receiving when I get in my reorder. There's really not a single page of this I'm not loving (and that includes those letter pages!), and I really thought that the presentation of Sextillion was perfectly perfect. I know I'm not adding anything new to the conversation, but I just like having at least one review where I can enthusiastically say: EXCELLENT!

  SHADE #9: Again, I don't care so much for the story (Shade's a supporting character, blah blah blah), but this issue was crazy good because of the fabulous Frazier Irving. Man, that page that's JUST a car driving was one of the best designed pages I've seen all year. This needs to be put up for an Eisner right here. VERY GOOD.

  SPIDER-MEN #1: this is the kind of first issue that just kills me -- that makes me want to close up the store and just give the entire thing up. For $4 we get a bunch of Peter running around, and he meets Miles on the FINAL PAGE. this is everything wrong with modern first issues. Why not have it start with them already having met, and actually have something (ANYthing!!!!) happen in the first issue. We wonder why Marvel's sales are circling the toilet right now (except for AvX?) Exhibit fucking A right here, people. Not only is this a cynical little exercise (Joe Quesada:  "We're officially out of ideas"), but it's ineffably shabby and thin. Completely AWFUL.

  X-MEN LEGACY #268 AVX: And, just to end us on a down note (sorry, It's alphabetical!), can I ask how on earth Marvel gets off billing something as an AvX crossover when it's almost exclusively about how Frenzy was abused as a child, and how Abuse is Bad, mkay?  It's not neccesarily bad, but it sure isn't the kind of thing i want to read for entertainment, no. AWFUL

Right, that's it for me until later in the week -- what did YOU think?

-B

And, lo, there shall come a sell-out! Hibbsing 4/25

I have reviews, yes, under the jump.

ARCHIE #632: In the "just because I can sell you one digitally" category, let's start off with this one. This is the third in the "Archie Gets Married" comics -- this time it's to... Valerie of Josie & The Pussycats? Uhm, OK? I must be horrible backwards on my Archie-ana lore, but I didn't even have the slightest idea that they'd ever even dated before? Did they? Oh, huh, wikipedia says that they first dated in ARCHIE #608 (2010) ("making her Archie's first black girlfriend; previously, Archie Comics has been very hesitant to depict interracial romantic relationships.") which sounds about par for the course for the modern Archie.

The thing of it is, in 2012 (or even 2010), the idea of a mixed race couple isn't much of a big deal... well, at least here it isn't; I'd say at least 20% of the families at Ben's school are mixed in one fashion or another... and if you opened that up to religions as well, it might be as much as half -- so it is really hard to find a dramatic hook in this; though that's clearly why Archie tried this as another "stunt" book.

What I found somewhat interesting here is that Archie's path in all of these "memory lane" stories is largely dictated by Archie's choices before he proposes -- for example in the "....marries Veronica" story, he's working for Mr. Lodge, while here he's a full-time musician with "The Archies" band. Implying that his choice of romance is dictated by his job.

I also find it a little weird that there's a little subplot about the paparazzi are very interested in this marriage, but most of it focuses on the Pussycats side. Why is that weird? Well, I don't know, it's kind of because Valerie is the "...& the Pussycats" portion, and the real world would seem to suggest that only the "front man" is considered famous -- what portion of the world could name a single member of "....& the New Bohemians" or "...& the Blackhearts"? Unless, in earth-Archie, the Pussycats are on par with the E. Street Band?  Yet, conversely, Mr. Andrews band is *called* "The Archies" (which is actually weird, when you think about it, it's almost like, say, The Talking Heads being called "The Davids"), but it really doesn't read in the comic that he's the "star" of the band. Weird.

There's also this really weird 3 panel interlude where some chick with a white streak in her hair schemes to take Val's place in the Pussycats, but I have absolutely no clue whatsoever who she is supposed to be, since she's not named, and I don't have a degree in Pussycat-ology.

So, yah, cute, if house-style art, sloppy writing (both by Dan Parent), and low-stakes drama... yeah, it's an Archie comic, and it's certainly no worse than many I've read, and better than a few (like the Kiss crossover) -- it's perfectly competent and OK.

AVX VS #1: I'll say that the "this has no plot!" introduction page removed much of the weight that might follow here, and, yup, just punching. I pretty much disagree with the results of BOTH of the fights, as shown, especially since they were both X-Men losers, AND they were "worthy antagonists for an entire team of characters" characters, but it was still fun enough for the brainlessness of the work (I also liked the running "fun fact"s), but CHRIST ON A BIKE, $4? Are you nuts? Damn, that's just crazy brutal, takes it down at least two grades, relative to the depth of the content, and means all I can say is EH.

Also? I think it's kind of insane that the Parent book, titled "Avengers Vs. X-Men" looks like it's called "AvX" on the rack, while this one, which IS called "AvX" looks like it's actual title is "Avengers Vs X-Men" -- I don't think we can quite call that "bait and switch", but it's some dumb planning, if you ask me.

BATTLE SCARS #6: Seriously?

I mean, it's stupid enough that they're trying to align Marvel comics continuity with movie continuity (seriously, anytime the answer to "wait, who is that?" has to be answered with a paragraph long description, you've just fucked up your continuity), but to have a nearly last page reveal that "Marcus Johnson's" name WAS ALWAYS "Nick Fury", so that's what everyone is calling him now, is just kind of insanely dumb. There's also nothing in the text of the comic that would suggest that this kid is even vaguely competent enough to be made head of S.H.I.E.L.D., and, in fact, since his pal "Cheese"... er, I mean "Agent Coulson" (Gr!) bugged him in order to have the Avengers rescue his ass, I'd say the text suggest quite the contrary. At the least, the OLD Nick shoulda died... but he's still bouncing around in the background, so it's probably just a year or three before this gets reversed.

This might not suck if people actually cared, or bought it, but I've sold ZERO rack copies of #4 & 5 of this series, and #6 survived Wednesday without anyone showing any interest whatsoever. What if you threw an origin and nobody came?

Really the only positive thing I can say is that, as a $2.99 book, which Marvel has made self-cover, and removed 4 pages of ads, there's a significantly better reading experience by not having those ads. On the negative side, with the reduced cover stock and the one less signature, these $2.99 books have AWFUL "hand" -- they feel flimsy and cheap and terrible. I'd strongly recommend they pump the cover stock back up to compensate.

This was a badly told comic, for an unreasonable and unwanted goal, and that really makes it AWFUL.

MOON KNIGHT #12: I didn't write them up, but I really liked the twists of the last two issues, and of how Moonie's mental illness was being expressed, and I thought the book was finally actually going somewhere, but this issue just has the Avengers come in all Ex Machin-y, and makes the whole thing kind of pointless. Can Marvel now admit that Moon Knight can't carry a solo book? Even with Bendis and Maleev? Sadly, this last issue was very EH.

POPEYE #1: Another we'll-sell-it-to-you digitally book, and this one at least, I can thoroughly and unreservedly recommend. No, it isn't E.C. Segar, but it's done with so much respect for that original work, that it wouldn't feel out of place with Thimble Theatre. Roger Landgridge's script has the voices Just So, and the art by Bruce Ozella is astonishing -- absolutely in line with Segar, but it doesn't feel "old fashioned" or slavish for that. You couldn't really ask for a better first issue, though I was surprised to not see a single can of spinach on display. I thought it was VERY GOOD.

RICH JOHNSTONS CAPTAIN AMERICAN IDOL #1 RICH JOHNSTONS SCIENTHORLOGY #1: I think I can review this as a pair?  Honestly, if Rich's name wasn't on these, I wouldn't have ordered a single copy; and even with is name on it, it's really only down to the audience that reads Bleeding Cool. These kind of look hacked out to my eye, or cashed-in, your choice, and while each has an amusing moment or two in them (Thor punching someone in a Guy Fawkes mask, saying "thou art Anonymous!" is the height of the wit here), the best thing they have going for them is David Hasslehoff cast as Curtis Joh... er, I mean, Nick Fury. If you're looking for CRACKED-level parody, without the Severin art, as you build up to Avengers, then this might be the comics for you! Me, I thought they were both EH (with Thor being marginally better, mostly due to Michael Netzer's art)

Yeah, so that's me; as always, what did YOU think?

-B