Showing posts with label Avengers. Show all posts
Showing posts with label Avengers. Show all posts

5/20/2016

More NonSense: Dawn of the Civil War

Captain America: Civil War

Critics and fans have observed that a common theme connecting the much-derided  Batman V Superman: Dawn of Justice ( leading to a corporate reshuffling) and the more well-recieved Captain America: Civil War is how both comment on the current political climate in the U.S., namely the issue of America's descent into authoritarianism. Some have noted, with some dismay, that the titular hero Steve Rogers has now become an un-American douchey libertarian/unilateralist. It's also a 180 degree turn from the days when Tony Stark was the jerk telling Congress and the military to kiss his @$$, but is now willing to work with more government oversight because he once unintentionally created a genocidal AI called ULTRON who almost destroyed the world. On the other hand, unwieldy bureaucracies (the U.S. army, World Security Council, S.H.I.E.L.D.) have consistently let Steve down, and the government tossing his pals into a maximum security prison located in the middle of the ocean without due process isn't helping him change his mind. Good or bad, it's not entirely out-of-character for Captain America's cinematic incarnation. For all the hype, the filmmakers doesn't necessarily side with him on this.

Superheroes may not be real. The Manichaean world view the genre espouses doesn't quite fit the real world. But their central themes of authority and violence seem to have struck a familiar chord with film viewers. Or maybe it's the cool special effects that only the studios can afford.

Some have noted that with the release of X-Men: Apocalypse, the X-Men film franchise has not kept up with superhero movie trends. With Civil War's reveal of a dorky, bright spandex-wearing Spider-Man and the unexpected success of fourth wall breaking Deadpool, there's greater pressure on filmmakers to be faithful to the source material. Alas, Superman's red trunks will probably not be making a comeback given that they've been banished from the comics.

One of the more noteworthy features of Civil War was the number of Black superheroes on screen. Particularly important was the introduction of Black Panther. Unlike the Falcon and War Machine, he's clearly a hero who goes through his own character arc, and not just a sidekick. This primes the audience for the upcoming Black Panther movie, which reportedly has now cast Michael B. Jordan and possibly Lupita Nyong'o. That's a pretty strong cast. There's also an article on how Nate Moore, the lone African-American producer in Marvel Studios' film division, helped bring these characters to the screen.

DC Comics released a statement regarding their sexual harassment policies. While not addressing specific incidents, this is clearly an attempt to address regarding the allegations against Eddie Berganza and the firing of Shelley Bond. Honestly, the banal wording feels like an attempt to downplay/bury the controversy over DC's less than ideal workplace culture. It's the kind of culture which finds it acceptable that Berganza can be the editor for Wonder Woman: Earth One, a book about a feminist icon created by an all-male team.

Wonder Woman #37 by Darwyn Cooke.

R.I.P. Darwyn Cooke (1962-2016), who lost his battle to cancer. His family has indicated that donations can be made in Cooke's name to the Canadian Cancer Society and Hero Initiative. Cooke's distinctive style didn't ape trends toward more complex and murkier art, but often evoked a more classic age, making him one of the most recognisable artists working in mainstream comics. He's perhaps best known for DC: The New Frontier. and his adaptations to the Parker book series.

R.I.P. Maurice Sinet, a.k.a. Siné (1928-2016), French political cartoonist and activist known in his home country for his anti-colonialist, anti-capitalist, anarchist views. He founded the short-lived journal, Siné Massacre, in 1962, and L’Enragé in1968. He worked for a time at Charlie Hebdo until he was controversially sacked after being accused of anti-semitism (Siné was a strong supporter of the Palestinian cause). Siné died after undergoing surgery at a hospital in Paris on May 5th.

There's an article on why Kate Beaton recently decided to return to her hometown of Mabou, on Cape Breton island, and how the move has changed her perspective. This piqued my curiosity about her planned book about Fort McMurray.

Here are some photos and panel recordings from the Toronto Comics Arts Festival (TCAF), which took place from May 13 – 15.

11/22/2015

All-New, All-Different Avengers #1 & All-New Wolverine #1

All-New, All-Different Avengers  Story: Mark Waid Art: Adam Kubert, Mahmud Asrar Colors: Sonia Oback, Dave McCaig Letters: Cory Petit Covers: Alex Ross, Mahmud Asrar, Luchiano Vecchio, Jim Cheung, Jason Keith, Cliff Chiang, David Marquez, Jack Kirby, Dick Ayers, Paul Mounts  Avengers created by Stan Lee and Jack Kirby
All-New, All-Different Avengers #1

Story: Mark Waid
Art: Adam Kubert, Mahmud Asrar
Colors: Sonia Oback, Dave McCaig
Letters: Cory Petit
Covers: Alex Ross, Mahmud Asrar, Luchiano Vecchio, Jim Cheung, Jason Keith, Cliff Chiang, David Marquez, Jack Kirby, Dick Ayers, Paul Mounts

Avengers created by Stan Lee and Jack Kirby

The All-New, All-Different Avengers actually splits the difference between the old and the new. On one hand, virtually every character included in this incarnation of the team is based on a well-established property who does have ties with the Avengers. But more than half the members are more recent versions created within the last few years, which helps to generate a more convincing illusion of change than past team shake-ups. Their youthfulness and diversity makes for a different kind of Avengers. Instead of the usual group of self-assured veterans, they’re a bunch of relatively inexperienced superheroes looking to establish themselves within the Marvel Universe.

Even the team’s two elder statesmen Sam Wilson (Captain America) and Tony Stark (Iron Man) introduce themselves in this issue by commiserating with each other about their current personal and financial woes affecting them within their respective solo titles. Apparently, Steve Rogers (original flavor Captain America) now hates them both. They run into Miles Morales (Spider-Man) while passing by the former Avengers Tower, only to get trounced by a powerful alien warrior. They're not exactly Earth’s Mightiest Heroes anymore.

Meanwhile at Jersey City, Kamala Khan (Ms. Marvel) and Sam Alexander (Nova) team up for the first time to stop a monster from trampling one of Kamala’s favorite hangout spots. They tackle the threat easily enough, but become tongue-tied being around each other since they're both insecure teenagers and all. It’s the comic’s meet cute story.

All-New, All-Different Avengers  Story: Mark Waid Art: Adam Kubert, Mahmud Asrar Colors: Sonia Oback, Dave McCaig Letters: Cory Petit Covers: Alex Ross, Mahmud Asrar, Luchiano Vecchio, Jim Cheung, Jason Keith, Cliff Chiang, David Marquez, Jack Kirby, Dick Ayers, Paul Mounts  Avengers created by Stan Lee and Jack Kirby

A few core members are still outstanding by the end of the issue, and there’s still the problem of how to stop the big mean alien from tearing up New York. Jane Foster (Thor) and Vision will presumably be joining Kamala and Sam in making the trek across the river by the next issue to kick alien butt, and the new team will then be officially named. Writer Mark Waid keeps the banter light and humor-laden, and makes a reasonably fine effort in juggling the different voices of every character. Artist Adam Kubert draws some spectacular action sequences for the first part of this issue, while Mahmud Asrar mostly deals with the Kamala/Sam pairing. Asrar is a much less capable draftsperson than Kubert. But at least he’s able to convey the awkwardness of the two adolescents’ interaction.

I will however complain a little about the cover art from Alex Ross. His stiffly posed photorealism is starting to look pretty generic at this point, conveying zero personality from his subjects. And the way he illuminates his figures so they all look like they’re draped in dull satin has always been a particular weakness of his style.

All-New Wolverine  Story: Tom Taylor Art: David Lopez, David Navarrot Colors: Nathan Fairbairn Letters: Cory Petit Cover: Bengal, David Lopez, Art Adams, Peter Steigerwald, David Marquez, Marte Gracia, Keron Grant  Wolverine created by Roy Thomas, Len Wein, John Romita, Herb Trimpe Laura Kinney/X-23 created by craig Kyle and Christopher Yost
All-New Wolverine #1

Story: Tom Taylor
Art: David Lopez, David Navarrot
Colors: Nathan Fairbairn
Letters: Cory Petit
Cover: Bengal, David Lopez, Art Adams, Peter Steigerwald, David Marquez, Marte Gracia, Keron Grant

Wolverine created by Roy Thomas, Len Wein, John Romita, Herb Trimpe
Laura Kinney/X-23 created by Craig Kyle and Christopher Yost

All-New Wolverine situates the reader right in the middle of the action with no explanation given, and doesn’t let off til the very last page. There’s plenty of gunfire, explosions, car chases, leaping from great heights, hand-to-hand combat, and off course the requisite slashing with adamantium laced claws. It’s kinda awesome and exactly what any reader wants out of a Wolverine comic, although a little problematic for reasons that will be shortly made clear. But as the title suggests, this isn’t Logan beneath the mask anymore but his clone/protege Laura Kinney who has taken up the mantle. And she’s not quite as crazy as the old man. As Logan admits, “You’re the best there is at what you do. But that doesn't mean you have to do it.”

A rain-drenched Paris at night functions as the backdrop for the action set piece, the evocative setting enhancing the intrigue of the story (An unfortunately timed choice, given the horror of recent real-world events). The two artists of David Lopez and David Navarrot provide a nice balance of fine detail and rough textures. They provide plenty of excitement right off the bat with a frantically staged sequence of Laura fighting her way up the Eiffel Tower in a failed bid to stop an assassination attempt. Colorist Nathan Fairbairn offsets all the gritty detail with overlays of softer tones.

While writer Tom Taylor provides little context for the action, he does squeeze in some quiet characterization through the budding romance between Laura and the teenage Warren Worthington (Angel). Witnessing Laura become grievously injured from a fiery collision into the Arc de Triomphe (Again, not the most appropriate national landmark for the hero to be wrecking at this time due to recent events that took place in real-world Paris) and unable to do anything but wait until she heals, he expresses his concern by patting her on the head. It’s the one all to brief moment of tenderness they share before the action resumes.

All-New Wolverine  Story: Tom Taylor Art: David Lopez, David Navarrot Colors: Nathan Fairbairn Letters: Cory Petit Cover: Bengal, David Lopez, Art Adams, Peter Steigerwald, David Marquez, Marte Gracia, Keron Grant  Wolverine created by Roy Thomas, Len Wein, John Romita, Herb Trimpe Laura Kinney/X-23 created by craig Kyle and Christopher Yost

10/04/2009

Short Pamphlet Reviews

Make mine Marvel...or not

Incredible Hulk #602: Hulk defeats the Juggernaut
Incredible Hulk #601-602 by Greg Pak, Fred Van Lente, Ariel Olivetti, Michael Ryan, Guru-eFX, Simon Bowland

Greg Pak returns to writing the Incredible Hulk, but only after Jeph Loeb has his way with him and leaves him a de-powered shell of his former self. The experienced fan should already know that's not going to last. Even the characters are genre-savvy enough to know this. In the meantime, Hulk's ingrate of a son is going to fill his big shoes. Skaar wants to kill his father, but settles for being trained by Bruce Banner until he can Hulk Out again. Just to prove that he's up to the task, Banner has him fight the Earth's biggest human punching bag, the Juggernaut. Once again, the fight demonstrates that the Juggernaut is literally an unstoppable moving object, but he's a bad guy so of course he's beatable when the plot demands it.

Bruce Banner uncharacteristically starts becoming more proactive. In one subplot he intervenes in a child abuse situation by creepily keeping tabs on the father, Big Brother style. How long is he going to keep that up? But what bugged me was this scene were Bruce picks up the Hulk's giant sword like it was nothing. What's this, anime? The digitally painted art is too stiff and the backgrounds too generic for my tastes. There's also a backup story about a She Hulk from one of Marvel's many alternate timelines that leaves me feeling indifferent.

Spider-Woman #1: Jessica Drew's origin
Spider-Woman #1 by Brian Michael Bendis, Alex Maleev, Cory Petit

The first from Marvel's motion comics initiative. The story is sandwiched between crossover events Secret Invasion and Dark Reign, making it a bit behind other serials, and a terrible jumping on point for a first issue. Jessica Drew sulks in her apartment, then gets recruited by secret organization S.W.O.R.D. to exterminate Skrull agents and other hostile aliens. I know it's standard operating procedure for Marvel characters to whine endlessly like teenagers in a high school drama, but when a 4th-string character tries to out-angst an A-lister like Wolverine, I stop taking the character seriously (That's not really true. The cover, complete with boob sock, immediately eroded my confidence in the title). Alex Maleev's photo referencing isn't too egregious and his style is appropriate to the morally ambiguous spy milieu. But he often sacrifices clarity for mood and atmosphere.

Thor Annual #1 by Peter Milligan, Tom Grindberg, Mico Suayan, Tom Grindberg, Edgar Delgado, Chris Sotomayor, Joe Caramagna, Marko Djurdjevic

This is a throwaway story about how Egyptian god Seth tries to kill Thor. If the Marvel Universe pantheon were like high school, then the Asgardians (minus Loki) are the handsome, mostly blond, jocks, while the Egyptians are the freaks and suspicious looking foreign exchange students called by weird names. Seth senses weakness from Thor since he killed his grandfather Bor a few issues back. But a pep talk from Donald Blake sets Thor straight, and he bashes the Egyptians back to the underworld.

Ultimate Comics Armor Wars #1 by Warren Ellis, Steve Kurth, Jeffrey Huet, Guru-eFX, Joe Sabino, Brandon Peterson

The Armor Wars story arc is updated for the Ultimate Universe by Warren Ellis, which means that Tony Stark is an even bigger asshole when drunk than he ever was, at least at the beginning. After the events of Ultimatum, Stark Enterprises is in shambles, and the corporation's technology is being stolen by as of yet unrevealed enemies. That doesn't stop Stark from podcasting about his woes, tech savvy entrepreneur that he is. But a damsel in distress situation reawakens just enough altruism to get him behaving like a hero again. Not that saving the world from rogue organizations using his technology won't help his reputation and credit rating. This is the only Ultimate title I've read were New York still looks like it's still recovering from the Ultimate Wave.

Ultimate Comics Avengers #2 by Mark Millar, Carlos Pacheco, Danny Miki, Justin Ponsor, Cory Petit

The origin of the Ultimate Universe Red Skull. Marvel is populated by characters who wallow in self pity, bemoaning their terrible childhoods or how their dads didn't love them, so it's okay to kill them. I don't buy it. It feels like a short cut to characterization, especially in this series. The Red Skull, like the rest of the world, presumably thought that his father Steve Rogers is dead. But after he learns that he's alive he suddenly wants to kill him? That makes sense. What the reader does get is catty dialogue between Carol Danvers and Nick Fury, and a lot of ass-kicking from Captain America and Red Skull.

8/25/2009

Short Pamphlet Reviews

Pissing All Over The Superheroes

Invincible War cover
Invincible #60-65
by Robert Kirkman, Ryan Ottley, Cliff Rathburn, Fco Plascencia

One of the pleasures of reading Robert Kirkman's comic series Invincible is watching him construct a universe through interconnected story arcs that feels both straightforward, but multi-layered. His characters aren't complex, but he manages to balance the ever growing ensemble by deftly switching between the the interactions of main character Mark Grayson a.k.a. Invincible - The son of an extremely powerful superhero who was revealed to be an agent for a world conquering alien race called the Vitrumites, and his supporting cast. Much like the best of the nascent Marvel titles of the sixties, there's an engaging naivete to the cast, and a sense of wonder watching a new world unfolding. But I have to wonder how long Kirkman can keep this up before his creation becomes too byzantine, or too weighed down by its own internalized status quo.

There have been recent moves to connect the title to a larger shared universe that could be said to have culminated in issue #60. Lex Luthor stand-in Angstrom Levy has gathered an army of Invincible's villainous alternate Earth versions and unleashed them on the world. This provides an excuse for cameos from all of Image Comics superhero lineup. Much bloody chaos ensues. The whole thing turns out to be one gratuitous gimmick and a prelude to a knock down drag out fight between Invincible and a Vitrumite soldier sent to keep him in line. The superhero population is largely incapacitated. People die, including an important supporting character. Another's boobs get bigger, literally. But her powers start going all wonky. Half a dozen plot points for future arcs are sprinkled throughout. Mark reaches an important turning point, and suddenly this series has gotten a lot more complicated. Oh boy.

Power Girl hits Ultra Humanite repeatedly
Power Girl #1-4
by Jimmy Palmiotti, Justin Gray, Amanda Conner, Paul Mounts, John J. Hill

And speaking of gratuitous there's Power Girl. Is there any superhero so obviously derivative with such a convoluted history? Female characters possessing superpowers and ample cleavage should be easy enough to sell. Just look at Cutey Honey. But at DC she's ranked lower on the totem pole than Superman, Wonder Woman, and Supergirl. Given how DC sometimes treats even marquee properties like Wonder Woman like shit, what chance does Power Girl have of moving up from being a magnet for puerile big boob jokes? Jimmy Palmiotti and Justin Gray attempt to develop her civilian identity and supporting cast. But the battle between her and the Ultra-Humanite feels indifferent despite the over the top scheming from Humanite. Actually I'm put-off by the attempt to update the classic supervillain with a more distasteful violent origin. More humor is used in issue four, but it's not enough to block-out the bad taste from reading the last three issues.

Batgirl #1
by Bryan Q. Miller, Lee Garbett, Trevor Scott, Guy Major, John J. Hill

Hey, another derivative character. This is a passing of the Batgirl mantle from Cassandra Cain to the often abused Stephanie Brown despite the latter girl's reservations. Meanwhile the original Batgirl, Barbara Gordon, broods as if she's trying to be Bruce Wayne. The issue's pretty confusing as the reader is simply dumped into the story mid-stride without prior explanation. But then, who cares about Batgirl outside of the rabid Bat fans.

Ultimate Comics Avengers #1
by Mark Millar, Carlos Pacheco, Danny Miki, Justin Ponsor, VC's Cory Petit

First, that's not what the title on the cover says. Second, they aren't called the Avengers in this issue. Oh look, they've bought Mark Millar back along with his trademark wit, or what passes for wit in these pages. In fact he picks up from where he left off determined to ignore as much as possible the intervening events. But then again no one seems to care. The Ultimate line hasn't been around that long, but this already feels like a reinstatement of some long-standing status quo.

Ultimate Comics Spider-Man #1
by Brian Michael Bendis, David Lafuente, Justin Ponsor, VC's Cory Petit

This is even more insistent about the return to the status quo. Six months since a massive tsunami submerged New York and things have returned to normal? Then again Spider-Man's public cred has never been higher, so maybe that counts for something. Brian Michael Bendis is still writing the title, and this has given it a consistency not found elsewhere in the Ultimate line. I haven't kept up with it lately, and this relaunch has yet to convince me to return to the ongoing teen soap opera that is Peter Parker's life.