That’s right, kids! With David and Matt both AWOL in the real world doing boring real things, Gil is OWNING this website for this week! So sit back and enjoy a bunch of reviews hand picked from the pull of the one and only Gilbert as he takes you on the most explosive ride of your life!
(for the record, David is reviewing some comics too, but we all know you really came to see mine! -Gil)
Buffy the Vampire Slayer #28
It’s been a while since I’ve read a Buffy book, and it’s a shame too, because I just caught up, and wow, I sure have been missing a lot. This week was especially welcome because of two reasons: the return of Seth Green’s character Oz and my personal favorite feature from this issue, the entirety is told from the P.O.V. of everyone’s favorite sexually ambiguous nerd, Matt Andrew!
The script, penned by Buffy alum Jane Espenson, really highlights her love and knowledge of the characters. The voices of the characters, made famous by the long running WB/UPN show of the same name, are true to form, but Matt’s Andrew’s nagging annoyingness is the real highlight.
If you haven’t been reading, the plot is as such: the slayers are on the run from a being called Twilight(no, not the shitty book series/movie, a guy.). And they figure the only place to do that is at a sort of monastery where magicks are absorbed by the Earth. Werewolves don’t have a problem, but neither do…slayers. Oz lives there for obvious reasons with his partner Bayarmaa. I’m not even going to try to pronounce that. There’s also a twist at the end, and man. It’s a doozy. I’m talking Rain of Fire doozy, for those of you who watched Angel.
As I said, the writing is top notch, but the art is also incredible. Everything really feels like it’s an extension of the Buffy world. not just something with the Buffy name slapped onto it. Georges Jeanty really knocks it out of the park, and also scores points for having such a funky name.
Even though it’s mid arc, I suggest you buy this issue and go back, discovering the rest of the series. It’s really worth it.
Verdict: Buy
Chew #4
Only a few issues in, and this book has won the title. It’s is hands down the STRANGEST book I’ve ever read. But that’s definitely not a bad thing. It’s weird as all get out, but it’s also originality at it’s finest.
The plot is certainly one for the books. This month’s issue actually reminds me a bit of Planetary. Tony Chu is learning the secret history of the world, one cannibalistic act at a time. And while I’m at it, I’m randomly seeing a Superman reference. It’s slight, but it’s there. And I love it.
The art, handled by the talented Rob Guillory, is also some of the best and most dynamic out there. The colours suit the pencils perfectly, and It’s definitely not going for Alex Ross-level realism, or even Ed McGuinness-like muscles and mayhem. It’s a more low-key animation on par with the late and sorely missed Clerks cartoon. am I the only one who misses that cartoon? Probably.
As for the characters, Tony Chu, the lead, is the most engaging character since Scott Pilgrim. But he’s engaging on a completely different level. Whereas Scott is hilariously sure of himself and always has a child-like level of enthusiasm. Chu is a lot more reserved and shy. Wouldn’t you be though? If all you could eat were beets?
John Layman is a mad genius, drawing inspiration from some of the most twisted minds in comics to bring a book so unique, so odd, and so…TASTY(bad pun, sorry) that I cannot wait for the series to continue. I want more, dammit.
Continued belowVerdict: Buy
Deadpool #15
Damn, you know things are bad when Deadpool, the irritatingly chipper Merc with a Mouth is feeling blue.
At first, I didn’t know what to make of the book. Deadpool is alone on his pirate ship, and he’s doing some soul searching. what does he DO? How bored is he? What is life to someone who’s essentially immortal? Heavy stuff for a guy who makes Street Fighter references while punching Kitty Pride in the face…in front of Wolverine.
Daniel Way is certainly doing a fine job of weaving Deadpool back into the X-Universe, but it’s not without it’s problems. First, it’s tying into something that hasn’t fully finished yet. I’m not blaming Way for this, the blame is squarely on the shoulders of Marvel’s editorial department. Issue #14 came out LAST WEEK. Deadpool must really be like printing money, because they’re pushing him almost as much as a certain hairy Canadian who says “snikt” on a regular basis (no, not Mocle). You see the cover, where it says “classified?” Well, that’s a certain spoiler they didn’t want to reveal here, but in the comic, it’s OK. Whatever. Stupid editors.
The best part about the book this week is the art. It’s a vast improvement over the previous issues. Deadpool actually looks scarred and ugly, just like God intended. It’s actually sort of gorgeous in it’s own twisted way.
As I said, the writing was more melancholy than I’m used to, but it’s still entertaining in that oh-so-Deadpool way. There’s a certain irreverent stereotype used when Deadpool lands in San Francisco(I’ll let you figure out what) as a way of Deadpool trying….and failing…to fit in with the population.
The twist in the end is not unexpected, as I heard about it some time ago, but it’s still going to be fun to see him try.
All in all, it’s pretty good, but I would really pass until the X-Men Utopia arc finishes up. It’s just jarring to get a spoiler to a major crossover like this!
Verdict: Pass(for now)
Hotwre: Requiem for the Dead #4
First off, let me say that what could have been a great comic was ruined by what seemed like an eternity of delays. Radical Comics is a publisher who tried to get an entire series in the can before releasing it, but this one seemed to be the first that didn’t live up to that mission statement.
The main draw here is the art. It’s hyper-realistic just like Alex Ross, but still has a level of grit that is appropriate for a book like this.
For those of you who missed it, this is about what is essentially Ghostbusters set in a world like Blade Runner. The lead, a girl named Alice Hotwire, is a cop in this world, charged with ridding the streets of London of various kinds of spectres that have infested the city limits.
As I said earlier, the biggest failing is it’s release schedule. I was really into this book aaaaaages ago, but after a few months of it not cominc out, I completely forgot about it. I boxed issues 1-3 and moved on. But now 4 is out, and I can barely remember what happened in the previous three issues.
It also suffers because it’s based on a story by Warren Ellis, but he doesn’t actually write the damn thing. He put together the story, but it’s up to the artist Steve Pugh to put pen a script to go along with his amazing visuals. Does it work? Kind of? The story works, but it can be a bit too frenetic, even for me.
When taking all that into account, the best I can give it is a browse, but be sure to check it out when it inevitably comes out in trade format.
Verdict: Browse
Incognito #6
And with this, Ed Brubaker ends another stellar book in Incognito. It’s told in his signature noir writing style, but that’s not a bad thing.
Zack Overkill is dealing with a lot of issues. His brother’s been dead for ages, and now he’s hanging with his brother’s ex, Ava Destruction.
She’s always been a sore spot for Zack, as his brother was the one who found love, and he didn’t. They shared a bond that let them feel each others emotions, but not experience it themselves. Kind of a mutual empathy. Which would suck if you pined away for someone who was sleeping with the person you’ve bonded with.
The art, rendered by Sean Phillips, is exactly what you would expect from a book written by Brubaker. It’s dark, it’s very…Brubaker. Yeah, I just turned the author’s last name into an adjective. You gonna stop me? I didn’t think so.
It’s not perfect though. I think the big “twist” given halfway through is revealed too late, and it’s a rush to the final battle between Zack and…this person. I thought the pacing made it unduly rushed, like the reveal should have been in the previous issue, with a build up until the final confrontation.
Aside from that though, it was highly enjoyable. The action scenes are all put together really well, so you can almost feel the action coming at you. The ending leaves it open for a sequel, and I have to say, I’m on board.
Since it’s the last of the series, I would recommend waiting until the trade paperback(if you haven’t been following it). But definitely pick it up.
Verdict: Buy(the trade)
Justice League: Cry For Justice #3
I’ll give DC one thing. They’re trying to New Avengers-ize(I’m trademarking that) the Justice League, and I applaud the effort. Inducting each member into the team based on the desire to earn justice for any number of reasons, from the death of a family member to the loss of a friend and colleague, every one has their reasons for justice. This Justice League is very proactive, going after the villains before the villains can go after them.
It’s an intriguing idea. Pro-active heroes? Count me in. But I’m not sure that any of these heroes should BE pro-active. Hal and Ollie in particular know the consequences of having such an attitude toward heroism(I’m referring to Identity Crisis, for those of you playing the home game.). To be fair, I don’t know much about the motivations of the Shazam. Yeah, he’s not Captain Marvel? OK, I guess that makes sense. Sort of.
The writing, scripted by a usually capable James Robinson, feels a little disjointed(the ape and the blue guy seem to have nothing to do with the rest of the heroes yet, the almost cameo from Prometheus), and it’s on the slow side. There isn’t much action involved, if any at all. But credit where credit is due, Robinson is elaborating on a lesser known villain in Prometheus, and he’s making him one of the most calculating and frightening villains in history. Imagine if Lex Luthor put on Batman’s cape and cowl. That kind of brilliance and cunning paired with the level of sheer badassery is absolutely amazing.
The art, handled by the amazing Mauro Cascioli does not disappoint. It’s similar to the art in Hotwire, but with a bit more texture added for effect. Characters are absolutely stunning, as are the locales.
Overall, if you’re already reading this, you should definitely pick it up. If you’re not already reading it, you should pass, but if you are, you should definitely…
Verdict: Buy
…and OK, here are some DAVID REVIEWS
Scalped #31
It’s getting pretty difficult to express why this book is so damn good. This issue finds everyone at the Rez dealing with the ramifications of Red Crow’s actions at the end of last issue, as the Feds are closing in, Bad Horse is feeling the heat, and the Hmong gang is on their way. The tension is palpable throughout as writer Jason Aaron takes time to add layers of overarching depth to these pages, as the one good cop on the Rez continues his hunt for who killed Gina Bad Horse. There is so much going on in these pages, you’d think it’s either a double size or that the pace would be totally shot, but it speaks volumes about Aaron’s feel for writing that everything about this issue comes together perfectly.
As per usual, R.M. Guera is the perfect partner for Aaron. Gritty and dirty yet with clean lines and incredible character work, Guera supplies the visual filth in the most attractive way possible. His pencils capture the explosive emotions going on each page as well as they capture the quiet moments between the aforementioned good cop and his mentor. Everything is building to a climax in this arc, and this is another stunning installment of what is rapidly approaching Fables as the best Vertigo book out there.
Verdict: Buy (the whole series)
Invincible Iron Man #17
As much as I’ve enjoyed this arc, please please PLEASE end it soon. We’re running on the tenth installment of Matt Fraction’s “America’s Most Wanted” arc and while entertaining and extremely well made, there is something to be said about brevity. It looks like it will likely end up taking 12 parts to wrap up, which is most definitely the longest mainstream comic arc I’ve ever read. Of course, that it comes from Fraction is no surprise.
This issue finds Madame Masque victorious, Tony Stark struck dumb (literally, the guy can barely email but he can pilot an Iron Man suit…hmm), Maria Hill captured, and Norman Osborn closing in. A lot is happening and all is handled extremely well by Fraction, as he can write a superhero comic as well as anyone when he wants (I assume he just doesn’t want to on Uncanny). His handling of the degradation of Stark’s intellect is masterful; however, a lot of this arc is leaving me with a pretty major question: what are we going to do with a stupid Tony Stark? Can he reboot his intellect? What is Fraction’s grand plan? We’ll see soon enough I suppose.
Salvador Larocca, the series artist, does very solid work here as his action scenes and surfaces glisten with a fine sheen. However, my biggest problem with his work continues to be more evident with each passing issue: his faces are occasionally bizarre and not-human feeling. Example: I hate whenever Osborn comes onto these pages because I cannot stand to look at his face. Not because I hate him (I do), but because of Larocca’s facial designs.
While this arc has been a good one, it’s approaching “omg why didn’t you write a book instead Matt Fraction” status. For those that aren’t already reading it, I’d suggest trade waiting. It’s a great series and deserves to be read, but this arc is just filthy long. For the rest of you who are reading it…
Verdict: Buy
Northlanders #20
This series brings us full circle back to the character and the story who led off the title with an 8 issue arc. Sven the Returned…returns this issue, except now he is Sven the Immortal. This is a one off issue about the transition from a former young turk to wizened veteran of the warrior community, now just wanting to live with his wife and children. Of course, some new young turks have a different idea and are keen on showing him that.
This issue is all about showing us that the warrior spirit never really leaves you, as (with shocking brutality) Sven shows us that. This issue is a standalone (as opposed to the 8 issue monster that Sven was featured in before) and sufficiently acts as a coda to the legend of Sven. Brian Wood has gradually become one of my favorite writers in comics, and within these pages he exhibits a far sparser and action oriented writing style than usual. Mostly, he lets Davide Gianfelice do the “talking” as this is a very visually oriented issue. Thankfully the guy is a champ and renders the brutality and the caring moments with equal aplomb.
This is a series that at this point gives us one or two issue looks into slices of Viking life, and it is rolling on a twenty issue hot streak right now. With nothing tethering the series together besides the uniformly high quality creative talent on it and the fact that every story is about Vikings in some way, it may not be for some people. If you want a serial narrative, this isn’t for you. If you want stellar writing, incredible art, and all of the Viking awesomeness you can handle, this is the book for you.
Continued belowVerdict: Buy
North 40 #3
This was a book that I picked up on a whim, mostly for review purposes to be honest. However, it has turned out to be a very good one, as we’ve been presented a classic tale of good vs. evil in the vein of Stephen King’s the Stand as an entire town has been granted superpowers and we’re now waiting for the coming of the big evil. All the pieces are now on the table and the story and art are rousing, yet there is something wrong with this book.
With so much going on (and believe me, the character list is impressive for it being 3 issues in), it’s easy to get lost in the web of arcane happenings. I know everything that is happening is extremely well made and I’m enjoying it, but certain aspects are being lost and certain character names are foggy after the month breaks. For that reason, I strongly recommend trade waiting on this book. It’s a very good book that will read even better in trade, as it will lose a lot of the story blur problems it has now when you read it one fell swoop.
Verdict: Buy (the trade)
Ultimate Comics Spider-Man #2
As a person who used to read Ultimate Spider-Man (back in the day, not at the end of the run) and someone who had not been picking up any of the recent Ultimate line tales (including the apparent trainwreck that was Ultimatum), reading this book is a bit perplexing. With appearances by Johnny Storm, Kitty Pryde, Gwen Stacy, a dorky Mary Jane, a Spider-Man aware Aunt May, a destroyed NYC, and a weird Mysterio, a lot of what is going on is kind of dumbfounding. I need a Wikipedia page, stat!
However, one thing I do know is Bendis has still perfectly captured Peter Parker’s voice and what it is like to be a young person with a big secret. In many ways, this is the perfect Spider-Man book, as it captures his juggling act between his Peter Parker and Spider-Man identities as well as anything ever has. The fact that evidently everyone loves Spidey after Ultimatum adds another fun and interesting wrinkle as that is something that has never really happened in any Spidey book.
David LaFuente’s heavily manga influenced art style fits the book to a tee, as he captures the youthful spirit and the traditional Spider-Man kinetic energy in a very lithe and powerful fashion. Depicting both high school drama scenes (such as the Kitty Pryde phasing scene) and the action scenes equally well, LaFuente is a great fit for Bendis.
This is just a massively entertaining book. While it will doubtfully ever produce anything that really shocks you or makes you think “that was one of the best comics I’ve ever read,” I feel strongly that it will continuously produce very solid issues that entertain readers all across the world. As we’re only two issues in, you owe it to yourself to pick this up.
Verdict: Buy
