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| Monday, September 17, 2007 11:02 PM |
| The Take |
 by Fëanor |
Planetary: Crossing Worlds
This book I actually picked up some weeks ago, but then I deliberately didn't read it because I wanted to know more about Planetary and about The Authority first, as this is a crossover book wherein Planetary meets The Authority, amongst many others. I have since read all the Planetary collections that I know to exist, but I was still planning on reading at least The Authority Volume One: Relentless before coming back to Crossing Worlds.
But then Tuesday night I just broke down and read the damn thing anyway. And as it turns out I don't think I missed much for not knowing more about The Authority (although of course I will read this book again after I have read more of The Authority). Crossing Worlds actually consists of three Planetary crossover stories: Planetary/Authority: Ruling the World, Planetary/JLA: Terra Occulta, and Planetary/Batman: Night on Earth. They're unconnected except by theme and characters; there's no over-arching story.
The first chapter teases us with the idea that it will be like your typical crossover book, and will feature the two groups battling each other before realizing they're on the same side and joining forces against some great evil. In fact, the former never occurs, although the latter does, in its own way. The story is fast-paced, action-packed, funny, and fun - as all comic book stories should be - with some great art by Phil Jimenez. It even features a cameo by H.P. Lovecraft himself! Okay, Ellis never actually comes right out and calls the guy H.P. Lovecraft, but it's quite clearly him. And although I found Ellis' parodic depiction of him cringe-inducing, it's also quite funny. Oh, and the cameo by the evil, parallel universe Authority? And then the part where Jakita kicks that thing into that other thing? Awesome.
Next up is Terra Occulta, the JLA crossover. Except, it's not really a JLA crossover. It's a parallel universe version of the three most important members of the JLA (rather similar to parallel universe versions of the characters introduced by Ellis in earlier StormWatch and Planetary comics) meeting an evil parallel universe version of the four members of Planetary - who here are more like their archnemeses (the Four) than the lovable folks we know. Ellis manages to sneak in cameos from pretty much every other major hero in the DC Universe, too - though of course as twisted, ruined, or even stuffed versions of themselves. The result is an exciting, brutal, and pretty damned fantastic story. Jerry Ordway's art is a bit odd in places, but in general I like it. Also, Batman kicks ass.
Speaking of Batman, the final story is Night on Earth, where we return to the regular old Planetary universe - but not for long. Our three heroes start out in their own (hilariously slimy and downtrodden) version of Gotham City, tracking down an insane killer. But the killer quickly starts transporting them from one Gotham to another, where they are forced to confront Batman in each one of his many incarnations. This story gets a bit corny near the end, when Batman gets to speechifying, but the art, by John Cassaday, is totally freaking fantastic, and it's great to meet all the different Batmans, and to see them interact with the Planetary folks, often quite hilariously. ("He's your special Bat-friend." Ha!) Also hilarious (if occasionally also a bit hard to take for a fan like myself) is the not so gentle Bat-satire in which Ellis indulges. But even after taking some knocks, Batman comes out looking pretty awesome; you can see that Ellis really respects the character. Especially since he lets him go a few rounds with Jakita and actually hold his own!
So, overall, Crossing Worlds is quite a satisfying collection. I'm mighty pleased. Mr. Ellis, you've done it again!
Heroes for Hire #13
The cover for this week's WWH tie-in issue is really quite ridiculous. It's done in manga style, and the subject is pure hentai: all three of the main women characters in the group are tied up, their clothes torn and straining at the seams with their bulging womanhood, while slimy tentacles rise up threateningly in front of them, and weird alien bug creatures look on from the background. Yes, it's tentacle porn, right on the cover of a mainstream Marvel comic! It's amusing, offensive, and arousing, all at the same time!
Sadly, the inside of the comic isn't nearly as interesting. It's just further adventures amongst the bug aliens, and further developments in the romantic relationships amongst our "heroes." Also, turns out at least some of the bug aliens are interested in putting down roots on Earth, which is kind of ominous. But again, it's the back-up story that's the more intriguing of the two in this book. This is the story wherein S.H.I.E.L.D. agent Scorpion has infiltrated the NYC long-term evidence locker full of supervillain paraphernalia looking for a specific item that S.H.I.E.L.D. hopes will help them get rid of the Hulk, but meanwhile Paladin has followed her. Last time the two got into a battle where they were each grabbing random super-weapons off the shelves and attacking each other with them. It rocked. In this issue, we see the conclusion of this storyline and learn that S.H.I.E.L.D. has been engaged in some dirty tricks again, which isn't particularly surprising, but does make for a pretty good story.
New Avengers/Transformers #3
Sigh. I really don't think I'd still be reading this series if it weren't so short (next issue will be the last one). It's not that it's really bad; it's just not very good. It's thoroughly average in every way. Oh, there is the occasional glimmering moment of promise - like when Captain America flies in to the rescue in a jet singing, "O say can you see, by the dawn's early light?" and then answering himself, "I CAN" while strafing Decepticons with his guns. It's utterly ridiculous and nonsensical, and yet completely hilarious and awesome at the same time. But there's little else in the issue that really sticks out or grabs my attention. I think part of the problem is that the whole series so far has taken place inside, or just outside of, the Decepticons' bunker/array thingie. It's not an interesting enough setting to spend three issues just hanging around it while fighting sometimes happens. Also, Dr. Doom seems to act rather out of character in this issue - by which I mean, stupidly. Then again, maybe it wasn't really Dr. Doom, but a Doom-bot!
Anyway, yes, I will probably go ahead and buy the fourth issue of this, like the foolish completist I am, but this series is really quite mediocre.
Nova #6
Every issue of this, I am surprised all over again at how freaking good it is. Sure, there's that moment when Ko-Rel returns to find all her shipmates dead, and her reaction is both corny and yet at the same time not emotional enough. But I hardly noticed it in the midst of all the incredibly fantastic and effective sci-fi action. This story goes at about a mile-a-minute, is crammed with good ideas, neat dialogue, and impressive art, and the ending is totally brutal and full of dread. It's fantastic! Oh, and also, Gamora is totally hot.
Punisher War Journal #11
Something was bugging me about this book and after the first few pages I realized what it was: new artist! It's weird to get used to characters drawn a certain way, and then have to figure out who they are again when a different guy draws them in a completely different way. In this case the new guy is Leandro Fernandez, and I have to say he's a pretty big step down from the previous guy (Ariel Olivetti). His work is acceptable in some places, and a bit clumsy and amateurish in others. Sadly, Fraction's writing is a bit clumsy in this issue, too, as he weaves three different storylines together and tries to parallel them and their themes with all the subtlety of a jackhammer. The three storylines are: Iron Man trying to talk G. W. Bridge into coming back, Bucky confronting the Punisher, and Ian the poor crazy guy getting some questionable psychotherapy from a really creepy lady. None of them work as well as they could. I would have liked to have seen more go down between Punisher and Bucky. And the talk between Tony and Bridge is a little corny.
Still, I don't want to give the impression that this issue is all bad. The story is interesting, it's just not executed as well as it could be. And anyway, the patented surprise reveal at the end certainly works; made me say, "Oh no!" right in the middle of a crowded PATCO train.
B.P.R.D.: Killing Ground #2
Mignola and John Arcudi are still kind of taking their time building up the tension and horror and mystery in this issue. Johann continues to get creepier and creepier and more and more incompetent as he becomes obsessed with enjoying his new body to the greatest extent possible. Meanwhile, there's an intruder, an escape, and a murder, and whatever Daimio's secret pain is has got to come out in the open pretty soon. My favorite bits are definitely Liz's horrible nightmares/visions. It's here that Guy Davis can really go crazy and draw some incredibly vast and terrifying vistas of apocalyptic grandeur. And what is going on with these things? They have something to do with a plague of frogs, but is there a connection with the mummy lady? I'll just have to read on and find out!
Ultimate Power #7
I was wrong, there are not seven issues in this series, but nine. Making this one seven of nine. Heh heh. That's hot. Anyways, it's a pretty good one. It starts out revealing something that leads you to believe you know who's really behind the destruction of the Squadron Supreme's world, but then takes things in a completely different direction that's unexpected and interesting. It's both disappointing and relieving to me that Reed is not really the one responsible. I understand why they wouldn't want their hero to be the guy who killed millions of people on another planet - but it would have been kind of an interesting thing for him to have to carry that around. Nevertheless, the story as it is has still got me hooked, especially since another bunch of superheroes are thrown into the mix at the end of this issue, setting things up for an even bigger superhero war in the next issue. Awesome!
War of the Worlds
Came across this via my man Warren Ellis' blog and it just blew me away. Clicking on the title above will take you to the comic itself - the entire thing is available for free online. And I suggest you take some time out and read it, because it's excellent. It's an adaptation of Wells' famous novel, and appears to be pretty faithful as far as I can tell. It's written/adapted by Ian Edginton, but the real star here is artist D'Israeli, who captures perfectly the awe and terror of the story in his amazing, breath-taking images. Brilliant!
Ghost Rider #15
Boy, that Lucifer sure is a right bastard, isn't he? The story (by Daniel Way): funny, clever, ominous, intriguing. The art (by Javier Saltares, Mark Texeira, and Dan Brown): lovely, detailed, effective. Yep, I'm glad I started collecting this book.
Daredevil #100
The big impressive 100th issue of Daredevil, featuring art from big names in comics - both contemporary and old school - and a story wherein Daredevil faces off against his worst fears from throughout his history... is actually pretty disappointing. The art is certainly not the problem - well, at least not most of it. Regular artists Michael Lark and Stefano Gaudiano do their regular excellent job throughout the frame sections - that is, the parts of the book that take place in "reality." Each of Daredevil's "fear attacks," as it were, are drawn by a different artist or team of artists. I wasn't sure who Gene Colan was (looks like he's an old school artist from back in the day), but his work on the nightmare sequence featuring The Black Widow is really quite awful; I mean, he can't even draw a believable human figure. Bad stuff. But the quality comes back up when John Romita Sr. and Al Milgrom come in (with colorist Dean White) for a quick two-page sequence done in their own classic style. Then there's an interesting, surreal, painted sequence by Bill Sienkiewicz featuring Elektra, and another very well done bit of Daredevil in his yellow costume by Alex Maleev. But the best art in the book - and, indeed, the best writing as well - is definitely in the section where Matt finds himself boxing his father. The art here is spectacular - moving, dramatic, but extremely realistic - and comes courtesy Lee Bermejo and colorist Matt Hollingsworth. I'm not sure we can give much credit for the effectiveness of the scene to Brubaker, as I suspect it would not have worked nearly as well as it does without Bermejo's amazing work.
Indeed, despite all the interesting art, I found myself pretty underwhelmed by the story. It's essentially just a weak excuse to do all those crazy art sequences and take a bit of a gimmicky look back at Daredevil as a character and all of his issues with fear and relationships. In fact, I think I may just drop Daredevil altogether. I haven't read a really bad issue of it yet, but I also haven't read one yet that I really enjoyed. The title as a whole seems to be ridiculously dark, melodramatic, and mediocre. It almost reminds me of JMS's writing on Amazing Spider-Man - although not quite that bad.
I should mention that this issue includes in the back reprints of the classic ('70s?) two-issue story arc that introduced (and then quickly eliminated - although clearly not permanently!) the villain plaguing Daredevil in this story - Larry Cranston as Mr. Fear. The art is by Colan, the guy whose section in the current issue I so dislike - but here he actually does a pretty good job. The problem again is the writing, this time by Gerry Conway. It's dated and ridiculous, with people acting and speaking in ways that make little sense, and spouting jargon and slang that I can't believe anybody used even back then. The story is also pretty hard to believe, and Cranston himself comes off as a ridiculous and rather laughable villain.
So yeah, great art and a few effective scenes aside, I wasn't too impressed by the #100 Daredevil spectacular here. I'm on the fence as to whether I'll pick up #101 or not. Maybe I'll wait and read some reviews of it before I decide.
Death Note Volume 6: Give-and-Take
Ah, another crazy, exciting episode of Death Note. Once again, the book starts out relatively slowly, but keeps things going with a shocking moment or two, and then the last 40 or 50 pages zoom by at the speed of light, loaded with tension, drama, and surprises, as L and Light and their whole team spring a trap on the new Kira, but as usual things don't go exactly as planned. Once again, things have changed drastically and I'm totally excited to see where they go next. Guess who's going to be Kira again?
World War Hulk: Gamma Files
This is that book I picked up a while back that turned out to be an encyclopedia of, if not every character ever in a Hulk story, then at least every character ever affected in some way by gamma radiation in a Hulk story. Which, as it turns out, is a lot of damn people. Also, reading an encyclopedia - even a comic book encyclopedia - is kind of boring, so I only just finished reading through this book, having read it in bite-size chunks over a long period of time. What this book made me realize is that, 1, if you're a friend, a relation, or even only vaguely familiar with the Hulk or David Banner, then you'll have to expect to be severely injured, killed, and/or turned into a gamma-irradiated monster at some point, and not necessarily in that order. Also, 2, a matter-of-fact textual description of a comic book character's history, taking in every important story arc that ever happened to him/her, will come off as utterly ridiculous, no matter what you do. The Hulk's entry is particularly unbelievable and insane, as it is so very, very long and so very many completely crazy things have happened to the poor guy over the years. At first Banner transformed into an unintelligent grey Hulk and only at night. Then it was green, and only when he was angry. Then it was green, but somehow he was able to keep his intelligence. Then he was separated from the Hulk. Then his buddy Rick Jones became the Hulk. Then he had a human head on a Hulk body. Then he became a different kind of Hulk and called himself Mr. Fix-It. And besides all of his crazy Hulk transformations, there's all the crazy stuff he's had to deal with, like defeating a future evil version of himself from another universe, and fighting a Nazi super-soldier in a microverse created by an all-powerful being, and becoming one of the four horses of the apocalypse, and so forth. And almost every other character in the book has a similarly unbelievable litany of insane life events. They can work, read one at a time in an actual comic book. But summed up all at once together in one place, they're not exactly easy to swallow.
Which is not to say the book is a complete waste of time. It's actually the kind of thing I really wanted to read, so I could fill myself in on the histories of some of these characters, and of the Marvel universe in general. The entries were enlightening, interesting, and at the very least amusing even when they weren't believable. I feel better equipped now to continue reading the rest of World War Hulk, and I feel like I have a better conception of just how crazy things used to be in the Marvel universe.
The Authority Volume 1: Relentless
AAAAAAAHHHHHHHH! Holy shit! This book is freaking AMAZING. I was going to borrow it from EverMike, but I figured I'd end up wanting to own it anyway, so I decided I'd buy it if I found it before I got it from him. And that's indeed what happened, and I'm glad, because it kicks ass. Sure, it's got some corny bits, like when the Doctor is going on about what magic is, or when Shen is teaching Apollo how to "read the wind." But it's also - as usual with Ellis - full to bursting with mind-shattering ideas, breath-taking visuals, jaw-dropping action, and epic violence. I officially love the Authority. They're an amazing superhero team who, as Grant Morrison says in the introduction, don't just put things back together the way they were - they put them back together the way they think they should be. They're also not against killing a few innocents if it's necessary to take out the bad guys. They're so powerful, they're actually scary - even to each other - and awe-inspiring. Plus, did I mention that they're all totally fascinating characters? Jenny Sparks, the Spirit of the Twentieth Century, an ageless British super-bitch who's pure electricity. Jack Hawksmoor, whose alien organs allow him to tap into the power and knowledge of cities. The Midnighter, the perfect warrior, who sees all your strengths and weaknesses, and has already countered all of your attacks before you've even made a move. Apollo, the Sun King, a nigh invulnerable dynamo of power, a one-man nuclear-powered army. And I love that the Midnighter and Apollo are a couple. What other superhero team has a gay couple in it?
And then there's the stories. The incredibly epic battles they get into constantly. The ridiculously amazing things they can do. The gigantic abandoned living spaceship they found that allows them to travel between dimensions and open doors into anywhere. The enemies they have to fight: an insane terrorist organization with a machine that generates super-powered clone warriors. A brutal alien-ruled empire from a parallel Earth.
And they don't just fight these guys - they go to war with them. Huge, insane war. They literally change the world - hell, multiple worlds. It's classic Ellis. It's excellent.
According to Wikipedia, Warren Ellis only wrote 12 issues of the series, so as of now I only plan to pick up one more volume of the book, unless I hear something really good about some of the later parts of the series. I'm also thinking about going back to collecting Grant Morrison's new run on The Authority, although it's apparently on hiatus at the moment.
Runaways Volume 5: Escape to New York
Yep, it's another strong Runaways collection/story arc, with plenty of clever, self-referential, post-modern humor ("A Wolverine appearance? How novel."), an interesting plot, and some fascinating character development. Also, Super Skrull! And now we get the reveal at the end that somebody on the team is going to die within the year - which I assume means, within the next volume. Which means I have to buy that next volume, of course. |
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