Haven't finished reading everything yet for the week, so this is just part one... but I'll be pretty close to Old School Savage Critting, here...

ANGEL & FAITH #4: I'm kind of loving this book. I suspect that's because both the premise, as well as the motivation of the protagonists is significantly more focused than over in BUFFY SEASON 9. The art's fab, too. I honestly think this is VERY GOOD stuff. BATMAN ODYSSEY VOL 2 #2: What. The. Fuck? I didn't read #1 (and stopped reading v1 at #4, I think?), but whoa this has taken a serious turn towards the inexplicable with Caveman Batman and Robin, and dinosaur riding and man oh man Neal Adam's style is kind of inherently "serious", y'know, and completely works against what I think is meant to be a Silver Age Pastiche. Or tribute, maybe? Hard to actually tell. His Batman is zooming all around here, at one point really even sounding like a teenage girl (with an "I hate this. I hate this. I hate this." as he starts to ride a giant flying bat, followed by a big ol' "I love this!", yowsers!) I m just utterly baffled at what Adams is going for, and it is ultimately stiff and awkward and weird. So much "Work For Completionists Only", and kind of crazily AWFUL, sorry. DAREDEVIL #6: The idea of a villain with sponsorship patches, like an anti-Booster Gold, is sort of amusing, but that was a bloodier end to the fight than maybe was needed. The McGuffin of the patch was likewise interesting, but I guess I just don't see what the stakes are for DD. The art as is nice as always, but I just couldn't wrap my head around how this was a Daredevil story, and not a Spidey story. still, even with that, it's still a low GOOD. FF #12: I didn't say last week, but I thought FANTASTIC FOUR #600 was pretty terrific, but no I didn't like this. Maybe it's because in a FF book, I want to see one of a quartet of individuals specifically driving the action; or maybe it's because Bobillo's art (dunno for certain if it's a change in base-style, or the inker's work) went from sweet cartoony (like in his run of SHE HULK, man, those are great) to like harder edge euro-styled art. Like, dunno, Alex Nino, and that whole school of Philippine artists that was most prolific at Warren in the 70s? Either way, not a change I liked personally. So, yeah, while I can appreciate the intricacy of FF, this left me feeling pretty distant, so best I can must is a weak OK.

FLASH GORDON ZEITGEIST #1: Back to the top start again on this venerable property, and it is done with adequate style -- more enjoyable than the BUCK ROGERS reboot from last year, say. I'm just kind of loath to recommend any Dynamite book to people because I know if it show the slightest chance of catching on, Nickie will commission three different spin-off series, and we'll lose all of our readers for it, and have to stop ordering it. But, anyway, that's too meta! There was also an interesting choice at the end to have the rebel aliens come to Earth before ever encountering Flash, which would seem to me to be extremely likely to dramatically shear the central appeal of Flash which would be "Rugged American Individual goes to weird (and primitive, except for the spaceships) alien planets, shows them how incredible fucking awesome Rugged American Individuals are". Tell me you can't picture TEAM AMERICA's "America: Fuck Yeah!" playing behind any filmed Flash Gordon to date, right? Well, we'll see how that thread plays out, but I'm not optimistic on that. The rest of it I quite liked, though -- and that is a pretty awesome Ming, so, sure, I'll say this comic is a strong OK.

GAME OF THRONES #3: A lot of good choices in this adaptation, but the art's a little cutsie to work, I think. EH.

HAUNT #19: New Direction! Jump On Now! I thought the Kirkman/Capullo run was just too much trying to evoke a Spawny/Venomy kind of 90s feeling, but Joe Casey and Nathan Fox really change it up well here. I'm going to put the bulk of that on Fox, I think, as this looks pretty much the opposite of a Capullo comic. Solidly GOOD, though I can't say I would rush to buy another issue, necessarily.

STAR TREK ONGOING #3: Loving this, as well. Really, it's kind of a brilliant idea to adapt the old episodes with the new cast, they've got 150+ issues of material on tap, without having to generate a new story idea, yet they seem fresh because of the new dynamics among the characters. Solidly GOOD.

THUNDER AGENTS VOL 2 #1: A much better first issue than the last one -- action, AND plot movement, AND mysteries for the future AND soap opera is really the format that each issue of a super hero comic should deliver, and the first run had issues with only half or less of those in any average issue. Still, dang, in any incarnation of these characters, I'd have to say I think the appeal tended to be the artists drawing them (from Wood to Kane to Perez), and this is a writer-driven run, I think, from Nick Spencer. That's not to say that CAFU isn't fine (he [?] is), but not really in that same kind of weight class as many of the others. Ultimately, I kind of don't care about these guys outside of that art nostalgia, so you'd have to be exceptionally exceptional for me to say anything better than an OK on this. And while this is competently done, that's about it. If you have a jones for these guys, you'll probably rate this much higher than I.

THUNDERBOLTS #166: I'm going to kind of recycle the last few lines of the previous review for this -- this is competently done, but I have nothing emotionally invested in these characters, and this issue doesn't do anything to change that, so, sure, it is therefore kind of EH.

ULTIMATE COMICS ULTIMATES #4: First issue of the 4 that I liked on its own merits. I think this miscalculated on scale -- millions more dead, and this after the earlier devastation of New York... these things would dramatically change a world and how it operates, and it's exhausting as a reader to boot. THIS issue seemed a lot more personally driven, and so worked for me much better. It's a low GOOD.

UNCANNY X-MEN #2: That's all weird, and not really very X-Men-y (though, yes yes, I get "new premise" and all; whatever, I stand by that assessment), and it doesn't suck, but it sure ain't for me. OK

WOLVERINE #19: I like Funny Jason Aaron, I think, better than All Serious one. Very enjoyable, low GOOD

X-MEN LEGACY #259: I feel like I can see the sets, and someone left the script pages in the shot, and no no no no, you're supposed to emote, dear! and it's just little stick figures being moved around, and it's no different than the rest of Carey's run, mostly, and I think its unfortunately pretty AWFUL. I almost upgraded that just so we wouldn't end this session on a down note, but ugh, can't do it.

Right, more tomorrow (I think!), what did YOU think?

-B

Enter my personal four colour nightmare! Gonna make your eyes boil like eggs! Or bore you senseless. Hard to tell really. Anyway, I read some comics wrote some words - it's a story as old as Love itself! Like my face. (You look lost, stranger - The Shipping List is the next post down)

You know, without your glasses and your hair down like that you look like you'd enjoy hearing about:

PUNISHERMAX#14 by Jason Aaron(w), Steve Dillon(a), Matt Hollingswoth(c) and VC’s Cory Petit(l) (Marvel/Disney, $3.99)

“FRANK Part Three”: Then: Back from The ‘Nam Frank continues to brighten up the lives of all around him while exploring new career opportunities. Now: A wholly expected riot erupts. Will Frank learn to hate again. Will he learn to kill again? Time may just be running out for everyone’s favourite sad mass murderer…

Yes, every story element in this comic is so totally unoriginal that every scene is as familiar to me as my sainted mother’s “disappointed” face, but it cannot be denied that it still retains narrative power and wrongful fascination enough to stick a shank right into any misgivings and jerk that sucker about until the toothbrush handle snaps in half. Nick Fury is a bit of a cranky man though; I think Frank would make a great dishwasher. Keep him away from the cutlery perhaps. Also, I hope Big Jesus’ surname is Trashcan. Oh, I see, I see how it is. It’s just David Bowie references that are Da Kewl. Fine.

Meanwhile Steve Dillon’s backgrounds continue their audition for a revamp of the Simon MacCorkindale detective/body horror series but they appear to have misheard the title as “Minimal”. It’s too late. I made that joke thirty-five minutes ago! Somewhat predictably this was VERY GOOD!

FLASHPOINT BATMAN: KNIGHT OF VENGEANCE #1 by Brian Azzarello(w), Eduardo Risso(a), Patricia Mulvihill(c) and Clem Robbins(l) (DC Comics, $2.99)

Thomas Wayne is The Batman! The Joker has kidnapped Harvey (not Two-Face!) Dent’s twins(!). How nasty will it get before someone tranq darts Brian Azzarello? Very, I'm guessing.

I really like Brian Azzarello’s Batman and the reason I really like Brian Azzarello’s Batman is because he is so very, very unlikeable. There’s no way this is accidental. Of course in regular DCU continuity Mr. Azzarello’s apparent experiment in aversion therapy is hampered by the fact that Batman can’t just machete open Killer Croc’s head like a coconut. Luckily the very special, very Geoff Johns-ian, magic of Flashpoint is that Batman can in fact do just that. So he does. So here’s Batmaniac, kids; everything everyone who ever got upset that Batman didn’t just kill The Joker has ever wanted. Now eat it. Eat it all up. Eat. It.

Mr. Eduardo Risso brings his usual experimental theatre production approach full of weird lighting sources, minimal stage design, excellent blocking and fine character acting and it is a dreamy thing indeed. This comic also has the dubious honour of having a last page so nasty the thoughts it provoked made me ashamed of my own brain. Relentlessly foul and repellent and, since that seems to be wholly the point, - EXCELLENT!

DOOM PATROL #22 by Keith Giffen(w), Ron Randall(a), Pat Brosseau(l) and Guy Major (c). (DC Comics, $2.99)

“Doomsday (No, Not Him)”: Mother of God, is this the end of The Doom Patrol? Like any of you lot care, right? Waaaahhhhhh!

I say, I say, I say, why do trade waiters read with gloves on? Because their hands are wet with the blood of cancelled comics! Bwa ha, and indeed, ha! Despite art that barely lurched above serviceable Keith “Take Me For Granted, Please!” Giffen served up a series that was loopy, clever, dense and oddly moving. Like a crab with a wooden leg. One that’s really good at telling stories, mind you.

The climax to the issue/series was a hilarious piece of rug pullery; the sort of thing that might upset some, but probably only because they forgot that in THE DOOM PATROL anything can happen and probably already did while you were separating your socks. It’s the sort of “4th Wall Breaking” that’s been going on since the ‘40s but that’s still inexplicably taken as modern and has folks breaking out “meta” (your flexible friend!) and in all likelihood blaming the series’ demise (but only if the series is sexy!) on the incredibly difficult demands it made on the poor audience (The Ben 10 Defence).

Not here, though, none of that will be happening here because Keith Giffen just thinks making smart comics is part of his job and that’s just not going to give anyone a pup tent in their pants now is it? Well, y’know what, every time I read an issue I was entertained and call me unfashionable (that’s your cue…) but that made this series VERY GOOD!

T.H.U.N.D.E.R. AGENTS#7 by Nick Spencer(w), Cafu/Bit(a), Mike Grell(a), Nick Dragotta(a), Santiago Arcas(c),Val Staples(c), Lee Loughridge(c), Patrick Brosseau(l)

“On Victoria”: What if the original Dynamo and The Iron Maiden had shacked up in suburbia? Would a panel consisting of her hand holding a cucumber make you turgid?

Oh dear, no. I rather think not. Here it is, my nightmare made paper – a whole page consisting of four panels the sum total of which is that a woman on a plane is asked if she wants a glass of water. She accepts. The only useful narrative information transferred is that she is preoccupied and reading a file about The Iron Maiden.

Enough, already! That’s a whole page up the Swanee right there. You only have 20 of these things now, y’know. Either writers today cannot see the very real differences between ALIEN: THE ILLUSTRATED STORY by Archie Goodwin and Walter Simonson and ALIEN: THE PHOTONOVEL or they think their readers can’t. You want to do cinematic comics see the aforementioned Goodwin/Simonson masterpiece or read AMERICAN FLAGG! Howard Victor Chaykin didn’t nearly kill his fragrant self breaking new ground just so you could all drive away readers with lazy tat! Nothing personal to all the talented individuals involved but this approach is helping no one because it is AWFUL!

BONUS! Courtesy of the preview of CAPTAIN AMERICA #1 here’s Steve “Did I mention the shield is quite important to me?” Rogers with Comic Book Scripting Secrets #2398:

“If I narrate something quite ordinary/but spread it out/over enough panels/by Sterile Steve McNiven/ or maybe Banal Bryan Hitch/by the time/I have finished/saying it/you will assume/you have read/something of substance.” Repeat. For ten years. EH!

Yeah, I'll probably read some more comics and, yeah, I'll probably tell you about 'em too later, see? 'Cos you can't stop me copper, see? See?

(PS Working on the scans thing but don't hold your breath is my advice.)

Thanks for letting me into your eyes!