More NonSense: Eddie Berganza vs C.B. Cebulski

Eddie Berganza

Thor: Ragnarok, which was inspired by Marvel's comics adaptations of the Norse apocalypse, and fan favourite story Planet Hulk, is the 16th film from the ongoing Marvel cinematic universe. It's as solid an entry as any of them, with a healthy dose of swashbuckling space adventure more typically associated with Guardians of the Galaxy. But as a continuation of several plot threads going all the way back to 2011, it works very much like the middle chapter to a bigger story. This hasn't hurt its box office performance or dampened enthusiasm for the MCU. If anything, people want to know how it will pan out in the end.

What does set it apart is how it ties together Thor's sordid family history into a pointed commentary on the revisionist nature of imperialism.

Abraham Riesman lists five Thor comics to read before seeing the latest film. He also recommends eight comics for November.

Justice League is the other superhero tent film of November, and has opposite concerns. The news isn't good for those hoping it would build upon the positive reception of Wonder Woman. Much like Zach Snyder's past directorial contributions to DC's cinematic universe, Justice League is overstuffed with references  that are mostly unearned. It's a half-formed world trying hard to fool the audience into believing that it's a fully developed universe. Background information is haphazardly doled out about the new characters to make them more sympathetic. But the only reason why Flash and Aquaman are at all likeable is because of the performances of Ezra Miller and Jason Momoa. Overall, Justice League is notable for the ways it sets the stage for the future cinematic universe than for its own modest merits.

The modern superhero film is today's equivalent to the classic movie musical.

Publisher's Weekly lists its best comics for 2017.

Tony Isabella interviewed about his return to the character her created in 1977, Black Lightning.

These Calvin and Hobbes strips are a nice reminder of how we love to exclude outsiders. Seems particularly relevant today.

A page of Maus is lauded for its' aesthetic qualities.

Eddie Berganza was accused of sexual misconduct in a recent Buzzfeed article. Comics professionals reacted. Then DC first suspended Berganza, only to fire him a few days later. Even more women have since come forward. Rumours about Berganza's terrible conduct are nothing new, and DC was criticized in the past for its tepid response. The difference now is that these allegations are finding new life as part of a wave of similar allegations against other powerful male figures within the larger entertainment industry, and society in general.

What's particularly upsetting is how Berganza was tolerated despite having long developed a reputation within the comics community for being a jerk:

But Berganza’s editorial skills aren’t all he’s known for in the comics industry. At best, he developed a reputation for making offensive jokes or line-crossing comments in the presence of or at the expense of women; one former staffer recalls hearing Berganza tell a female assistant that a writer needed to make a character in a book they were editing "less dykey." Asselin recalled Berganza once telling her that the reason he didn't hit on her was because he had too much respect for her spouse. But at worst, he’s alleged to have forcibly kissed and attempted to grope female coworkers. One woman said when she started at DC, she was warned about Berganza — advised to keep an eye on him, she said, and to not get drinks with him. "People were constantly warning other people away from him," said Asselin, a vocal critic of gender dynamics in the comics industry.

Berganza's reputation spread throughout the comics industry, so much so that Sophie Campbell, an established writer and artist, turned down an opportunity to work on a Supergirl comic two years ago because Berganza was the editor overseeing the project, even though she wouldn't have had to speak directly to him during the job. It would've been a cool gig, Campbell told BuzzFeed News, but it also "felt scuzzy and scary."

"I didn't like the idea of being in professional proximity with him or having his name on something I worked on," she said.

A former DC employee said Berganza’s reputation was "something that I didn't like, but I stomached it. Everybody did. It was a gross open secret."

C.B. Cebulski

Meanwhile, editor C.B. Cebulski replaced Alex Alonso as Marvel's Editor in Chief, in a year the publisher experienced weak print sales while making controversial statements. He then admitted on Bleeding Cool that he once masqueraded as a Japanese writer by naming himself Akira Yoshida. He found himself penning comics such as Thor: Son of Asgard, Elektra: The Hand, Wolverine: Soultaker, and Kitty Pryde: Shadow & Flame. This was done to get around Marvel's policy of not allowing staffers to write or draw any of the publisher's comic books.

I stopped writing under the pseudonym Akira Yoshida after about a year. It wasn’t transparent, but it taught me a lot about writing, communication and pressure. I was young and naïve and had a lot to learn back then. But this is all old news that has been dealt with, and now as Marvel’s new Editor-in-Chief, I’m turning a new page and am excited to start sharing all my Marvel experiences with up and coming talent around the globe.

Rewarding an employee who once lied to the world about being an Asian man. Way to go, Marvel. That the two biggest publishers in American comics can put up with the actions of a known sexual harasser, and a self-admitted fraud who brushes off his past indiscretions as acceptable for a person of his lofty position, indicates something rotten within this industry.

Sana Amanat has responded to Cebulski's confession by actually defending him. The revelations have also inspired a hashtag bringing more attention to Asian comic creators. Cebulski is part of a long line of writers creating orientalist portrayals at Marvel, and within the comics industry. Though I can't think of any industry insider who went so far as to extend the practice to fudging their race and nationality for pure economic advantage.

Jim Shooter, Marvel's legendary former Editor in Chief, interviewed  by Chris Hassan.

Nobuhiro Watsuki, best known as the creator of the manga Rurouni Kenshin, has been arrested for possession of child pornography.

More NonSense: Harry Potter 20th Anniversary Edition

Image by Kazu Kibuishi. (via Mashable)

The Harry Potter franchise will be 20 years old this June 26. The publishing phenomena taught a generation of kids how to enjoy reading an increasingly hefty book series, and they would grow into one of the defining fandoms of 21st century popular culture. Pottermania helped push geek culture into the mainstream. The Harry Potter and "Lord of the Rings" film adaptations from the 2000s made it impossible to dismiss sci-fi/fantasy as mere niche entertainment.

But Harry Potter's early fame would naturally court controversy, namely with conservative Christians accusing the books for promoting occultism, paganism, devil worship. The usual stuff. Such dunderhead arguments did however touch on an important truth - Harry Potter's early appeal rested on Hogwarts. Like Starfleet or the Xavier mansion before it, the wizarding school was the kind of nerdvana misfits and outcasts could dream about. Everyone feels the desire to belong somewhere. And like its titular hero, fans would come to see Hogwarts as an ideal home for them as well. Who wouldn't want to attend a school which feels so comfortingly familiar, yet teaches subjects that are so cool, useful, and unconventional? A safe haven from the oppressive muggles who don't understand their geeky obsessions. And who now doesn't want to know which of the four houses is a natural fit for them? Go Slytherin! Or maybe it's Ravenclaw?

Tiffany Babb examines the mythological structure of superhero comics, using Marvel character Loki as a case study.

Abraham Riesman lists eight Comics You Need to Read This June.

Marta Bausells profiles Jillian Tamaki.

A short video on Trina Robbins as the first women to draw Wonder Woman.

Alex Abad-Santos on how the Wonder Woman film tackles her origin and its feminist content.

Marvel Studios head Kevin Feige thanks God that Wonder Woman has helped make it easier to make female-led superhero films. Alrighty then.

Cecilia D'Anastasio on the state of manga scanlators trying to go legit.

Deb Aoki on why manga industry can smile in 2017. Among them are increased variety of genres, digital first initiatives, and simultaneous English/Japanese publishing schedules.

Michael Livingston explains what "The Great Wall" gets wrong about Chinese history, and how it ends up playing into the White Saviour complex.

Derf doesn't have anything good to say about the ACHA.

Charles Pulliam-Moore asks why so many black superheroes have electricity powers? Sadly, it didn't occur to me until I read this that Jamie Fox playing Electro in "The Amazing Spider-Man 2" follows in this trope.

Sean T. Collins ranks ninety three "Game of Thrones" characters in order from most good to most evil. I don't think there's any disagreement on who the bad guys are. But who is the worst of the worst? The placement might spark some debate.

Matt Furie keeps trying to save his creation Pepe the Frog from being appropriated as an alt-right token. His latest move is to launch a kickstarter for Pepe to reclaim "his status as a universal symbol for peace, love, and acceptance." I wish him luck. It must be infuriating when one of your characters is officially considered a hate symbol. But the attempt sounds pretty futile.

Is Michelle Pfeiffer in "Batman Returns" the best movie supervillain?

RIP Adam West (September 19, 1928 – June 9, 2017), the world's most beloved Batman. More from Glen Weldon, Evan Narcisse, Keith DeCandido.

RIP Michael Bond (January 13, 1926 –  June 27, 2017), creator of the beloved character Paddington Bear.

The Mighty Thor #15

Story: Jason Aaron
Art: Russell Dauterman
Colors: Matthew Wilson
Letters: Joe Sabino
Variants: Ryan Sook, Christian Ward, Mike Deodato, Frank Martin, Andrea Sorrentino

Thor created by Stan Lee, Larry Lieber, Jack Kirby.

The Mighty Thor continues to be one of the best monthly titles coming out of Marvel. Artist Russell Dauterman and colorist Matthew Wilson paint gorgeous set pieces full of the requisite magical elements and epic battles. This is compounded by the high stakes dramatic conflict provided by writer Jason Aaron. Entire worlds are threatened with annihilation while Thor/Jane Foster continues to fight a losing battle with cancer. But even more pertinent to current events, the series is about the main hero facing down a succession of powerful males who won’t hesitate to mansplain to her at every opportunity. Whether it’s the all-father Odin, who still can’t believe his son isn’t worthy of the hammer Mjölnir, the venal Roxxon CEO Dario Dagger, or the genocidal Dark Elf King Malekith. It helps that they strut around like the villains they’re mostly meant to be. In fact, Malekith is still on the loose and plotting the death of millions of innocents when with this installment, the series pivots to commence another arc called the Asgard/Shi’ar War.

The action is what readers would come to expect from such a title. Heimdall, guardian of the rainbow bridge Bifröst is suddenly attacked by Kallark, better known to fans as Gladiator. Unfortunately we don’t get to see the ensuing fight because the scene cuts to Jane being confronted by all-around nice guy Cul Borson, who wants to evict her from Asgardia. Is it amusingly defiant that Jane is wearing a Big Gay Ice Cream shirt, or is that too much New York-based humor? Their verbal sparring match is interrupted by the commotion outside. By the time Cul can witness it for himself, the rest of the Imperial Guard has entered the fray, commencing a battle royale with the entire population of Asgardia.

The rest of the issue is taken up with Thor joining the Asgardian defense. But if fans are dying to see how she fares against Super-douche bag Kallark in an emotionally satisfying extended beat down (The old Thor had already fought him twice), the action is cut short by a cliffhanger ending. I strongly suspect that question will be answered in future installments. But for now, the mystery of the Shi’ar Empire’s unexpected quarrel with Asgard is this story’s more immediately pressing quandary.

The Mighty Thor #1

Story: Jason Aaron
Art: Russell Dauterman
Colors: Matthew Wilson
Letters: Joe Sabino
Cover: Russell Dauterman, Matthew Wilson, Olivier Coipel, Mike Deodato, Sarah Jean Maefs, Judy Stephens

Thor created by Stan Lee, Larry Lieber, Jack Kirby.

Despite the #1 designation, The Mighty Thor follows up on the previous series’ final panel revelation that Thor’s longtime love interest Jane Foster had assumed the Thunder God’s mantle. More importantly, the new series retains the old creative team and the overall direction they were mapping out before being interrupted by Secret Wars. While this doesn't make it the most convenient jumping on point, there’s no lapse in quality from their work in the previous series. If anything, the team is finally settling into a comfortable groove now that the whole mystery of the new Thor’s identity has been resolved.

The issue actually feels a bit like the arrival of a Game of Thrones season premiere after a lengthy hiatus. There’s a lot to catch up on, and the story moves briskly from scene to scene. The failure of Jane’s chemotherapy treatments to stem her cancer, Thor’s evolving relationship with Earth’s superhero community, the deteriorating marriage of Odin and Freyja, the suddenly missing Odinson, the fallout from the Frost Giants retrieval of Laufey’s skull, the unholy alliance between Dario Agger and Malekith, and their secret genocidal campaign against Alfheim. Each plot point serves to increase the sense of unease as Jane’s many enemies, mundane and divine, are lining up against her.

One of the most fun things about the series is how it continues to poke fun at the more regressive features of the fantasy genre. Odin’s prejudice against the new Thor has come to negatively impact how he governs Asgardia. The realm eternal has never been a functioning democracy, but Odin’s misdirected antagonism has edged him even closer to totalitarian rule. Yet he still fails to recognize that the true enemies of his kingdom are serving it a generous helping of warmongering, corporate greed and environmental destruction, all while he imprisons or alienates its most effective protectors and hampers the efforts of its staunchest allies. If this isn’t also writer Jason Aaron making some loose reference to the demoralizing state of contemporary American politics, then what is?

What sets the overall tone for the comic is Jane’s losing battle with cancer. As she undergoes her regular treatment at a hospital, she monologues through a series of captions with almost clinical detachment the debilitating effects of chemotherapy on her mind and body. She even reveals how the enchantment of Mjolnir is actually neutralizing the chemotherapy, thus making every transformation into Thor nudge her closer to death. This sense of inevitability Aaron invokes is enhanced by the cold sterility of the hospital environment drawn by Russell Dauterman. This is the series’ first intimate look at Jane when she’s not playing thunder goddess, and it's a harrowing portrait of human fragility for a mainstream superhero comic.

But at the first sign of danger, Jane leaps into action. Her single-handed feat has her stopping a plummeting space station from crashing into the Washington DC Mall and saving everyone on board. Dauterman illustrates its physics-defying glory with his characteristic use of exploding jagged panels. He continues to excel with supernaturally-based action, and this particular issue allows him to draw more of Asgardia and the various mythological denizens of Norse mythology. But it’s the digitally rendered technicolor palette of colorist Matthew Wilson that rounds out the picture by imbuing the otherworldly setting with a warm glow, filling all negative space with mysterious, cackling magical energy.

Thor #8

Story: Jason Aaron
Art: Russell Dauterman, Mike Mayhew
Colors: Matthew Wilson
Letters: Joe Sabino

Thor created by Stan Lee, Larry Lieber, Jack Kirby.

After seven issues chasing down what are now obviously a bunch of false leads, we finally arrive at our destination - the big reveal as to who is the new Thor. That is unless you already know her identity from reading various online leaks. Given how definitively she was ruled out much earlier in the series, this might prove to be a sticking point for some readers. But there is a certain fannish logic to her assuming the mantle of the Thunder God considering her deep association with the lead character. The reveal itself is a perfect mirror of the final pages of the first issue, a slow transformation obscured by tightly composed panels arranged in a grid, only to pull back to get a wider perspective for the final one page spread.

Otherwise, the primary action is the massive battle between the unstoppable Destroyer armor being possessed by one of Odin's more reprehensible lackeys, and new Thor backed up by the heroines called on by original Thor (who now goes by the name Odinson) because they were on his shortlist of possible new Thor suspects. It's a fun set piece that demonstrates how the series' art team has come a long way in portraying the requisite over-the-top action. Unlike most of his predecessors, Russell Dauterman draws his figures with a certain studied elegance eschewing the usual exaggerated anatomy, kinetic poses, and dramatic perspective of a traditional Thor comic. He carefully composes the action so that his characters have room to breathe and smashes the grid layout in order to create dynamism, tilting the panels to better reflect the chaos within them. But much of the action would still be incomprehensible if it weren't for the efforts of Matthew Wilson, who Dauterman heavily leans on to differentiate the large and colorful cast. Wilson seems to summon every tone possible in offset printing and employ every technique in the digital coloring process to render every bolt of lightning, every magical hex, and every Kirby crackle. It's a virtuoso display of what modern comics technology can achieve with the right talent.

Unfortunately, the battle ends a little prematurely to build up to the big reveal, leaving this issue without a very satisfactory conclusion. The reader might know Thor's true identity, but that just raises more questions. Even more troubling are all the various plot threads left dangling, such as the machinations of the series' two arch villains seemingly about to pay off. This abbreviated quality is due to the fact that Thor is being forced to wrap up for now because the entire Marvel Universe is presently caught up in the crossover event called Secret Wars. It's an unfortunate reminder of the corporate nature of these properties. And just as the series' creative team was hitting their stride.

Thor #1 and Chilling Adventures of Sabrina #1

Thor #1

By Jason Aaron, Russell Dauterman, Matthew Wilson, Joe Sabino, Frank Martin, Sara Pichelli, Laura Martin, Esad Ribic, Andrew Robinson, Alex Ross, Fiona Staples, Skottie Young.

Thor created by Stan Lee, Larry Lieber, Jack Kirby.

The new status quo for the latest Thor series relaunch begins with the Asgardians assembled on the surface of the Moon to watch a moping thunder god. Having recently returned from yet another period of self-imposed exile, Odin finds his son hunched over his magic hammer Mjolnir, inexplicably no longer worthy of lifting it. His response to this sight is to blame his wife and interim leader Freyja for letting the emasculation of one of Marvel’s manliest heroes happen on her watch. This bit of dickishness being exhibited by one of the publisher’s more awful father-figures provides a not too subtle setup for the grand entrance of a much publicized, all new, unmistakably female Thor. But she only makes an appearance at the very end of the issue, so the reader’s denied the great pleasure of witnessing Odin’s horrified reaction.

What this issue does offer is a cantankerous Odin and sharp-tongued Freyja trading verbal barbs (in which she usually gets the better of the exchanges), Malekith behaving like a complete sociopath by happily tormenting a couple of mere mortals, and Thor acting depressed until he’s snapped out of his funk by the call to action. Always be the hero, even if only an unworthy one. While previous artist Esad Ribic drew in a more classic fantasy vein, Russell Dauterman finds a balance between the fantasy and superhero approach, which suits the demands of the story. His facility with faces allows him to portray perhaps the most emo version of Thor I’ve encountered in the series. And he seems comfortable recreating a variety of sci-fi and fantasy settings, whether deep space or the bottom of the ocean, immortal gods, frost giants, or killer sharks. He’s capably aided by colorist Matthew Wilson, who keeps everything bright and saturated with judicious use of a limited palette tied together by carefully shaded blues, greens, reds and yellows. Probably my favorite panel is a two-page spread portraying in dramatic panorama an army of giants attacking an undersea base, their skin faintly illuminated by the artificial lights. This is a comic of high stakes realized in the widescreen format.

Discovering someone other than Thor who can lift Mjolnir has become a bit cliched at this point. But if you don’t count alternate continuities, the candidates have all been invariably male. Writer Jason Aaron emphasizes the significance of this point through revealing some of the misogyny found within Asgardian society. Putting gender roles aside, the story does strongly imply that the new Thor is a supporting cast member who’s decided to step up to the big leagues. But unless her identity is quickly revealed next issue, this could be a form of misdirection.

Chilling Adventures of Sabrina #1

By Roberto Aguirre-Sacasa, Robert Hack, Jack Morelli.

Sabrina the Teenage Witch by George Gladir, Dan DeCarlo, Rudy Lapick, Vincent DeCarlo.

Sabrina the Teenage Witch’s various media adaptations have tended to play to the Disney Channel/Nickelodean/ABC crowd through employing inoffensive tween humor. By contrast, her first appearance in the short story written by George Gladir and drawn by Dan DeCarlo portrays a character with a sinister edge to her. She’s been tasked to interfere with the lives of her fellow high school students, which she does by making them fall in love with each other, or by altering the outcome of various sporting events. As dastardly acts go, it’s still relatively innocuous stuff. But that darkness at the heart of the character forms the basis for this latest, horror-driven, reimagining of her.

Visually, Chilling Adventures of Sabrina smartly moves away from the seductive imagery of the legendary DeCarlo by using more realistically drawn figures. Robert Hack’s heavily textured surfaces and inky blotches certainly imbue the otherwise bucolic setting in an uncomfortable, claustrophobic haze, making everything look like they're covered in soot. Adding to the level of uneasiness is the intense yellow and orange color scheme. The whole story sometimes looks like it’s set on Mars, or a post-apocalyptic desert landscape. Everyone shambles around like zombies. Nothing about this world would make me want to live in it.

If I have one complaint, it’s that Hack still doesn’t have a firm grasp on the characters yet, especially the main protagonist. Sabrina’s jawline and eyes keep changing every few panels, and that’s pretty distracting.

Storywise, this issue jumps around a lot, feeling a little disjointed in places. It starts with an origin tale featuring Sabrina’s parents, followed by a montage of Sabrina’s upbringing, ending with her first day in Greendale High School. Many of the classic supporting characters are introduced from aunts Hilda and Zelda, cat familiar Salem, cousin Ambrose, school crush Harvey, and teenage rival Rosalind. In keeping with the horror angle, the witches worship Satan, practice the dark arts, and are casually cruel to mortals. Sabrina herself comes across as a mostly amoral figure with a touch of Carrie and the Anti-Christ. There’s this unexpected subplot involving two famous Riverdale characters being members of another coven that’s largely disconnected from Sabrina's narrative. But the creepy cliffhanger raises some questions as to how the supernatural is supposed to interact with the mundane world.

Ragnarok is Upon Us

From Thor: Ragnarok, originally published as Thor #272-278
by Roy Thomas, John Buscema, et al.

So claims the Jorvik Viking Festival (via Lauren Davis)

I for once will not argue with a bunch of axe-weilding viking warriors. Those are some hardcore cosplayers.

Thor!

By Becky Cloonan

Go to: Drawbridge (via Michael May)

Thor: The Mighty Avenger #1-5

By Roger Langridge, Chris Samnee, Matthew Wilson, Rus Wooton

When reading superhero comics, it's often difficult to untangle objective analysis of the story's merits from appreciation of how that story manages to play off against the expectations of long-time fans. The genre is too entrenched, and its most prominent characters have been around too long, to see it through truly fresh eyes. Thor: the Mighty Avenger is no different in that respect. This retelling of the origin of a classic Marvel superhero is easily accessible to first time readers. But truthfully, much of the pleasure derived from the series comes from how the comic successfully reinvents and streamlines many of its well-worn elements so that they at least feel like they're new again.

What is immediately appealing is how writer Roger Langridge has removed the Marvel-style Sturm und Drang and replaced it with a low-key, leisurely paced approach to storytelling that leaves room for humor and more subtle character moments. It's far less melodramatic, but more human in scale. Jane Foster isn't just the love interest who prompts the hero into action, but the point-of-view character who bridges the gap between the mundane and the superhero worlds. Thor himself is an affable individual who can sometimes behave impetuously under pressure. The budding romance between the two anchors much of the story, making Thor's quest to return to Asgard all the more interesting.

The writing is ably complimented by the drawings of Chris Samnee, whose blocky and impressionistic linework isn't nearly as fussy as the more heavily rendered art found in many mainstream comics. Particularly noteworthy is how his figures are just stylized enough to appear fantastic, without resorting to outrageous bodybuilder type physiques dressed in skintight fetish-wear. Jane looks like an ordinary, if attractive brunette. Thor has the build of a heavyweight athlete. Hank Pym has a more slender frame. Namor the Sub Mariner has a lithe but muscular figure with a slightly alien appearance. This thoughtful approach to character design is nicely accompanied by the muted tones of colorist Matthew Wilson.

Even the fight scenes are considerably lighthearted, with comparatively little emphasis on collateral damage or bodily harm. Nor do they function as a metaphor for the inner demons the hero must confront and conquer. I particularly like how the confrontation between Hank and Thor was resolved by Hank using his brains instead of his brawn. Even the first meeting between Namor and Thor portrays the former as cool and calculating, and he ends up lecturing the latter on the value of humility. That's right, the guy who screamed "Imperious Rex" in past incarnations is telling Thor to bring it down a notch. Every fight serves as part of a learning process in order for Thor to eventually make his way back home of Asgard.

What this means is that Thor the Mighty Avenger doesn't fit in with the rest of Marvel's lineup: Not the mainline Marvel Universe, or the Ultimate Universe. And probably not with the upcoming Thor movie. This probably also means that the series won't last beyond the original creators' involvement with it. Frankly, that's not necessarily a bad thing.

Short Pamphlet Reviews

Make mine Marvel...or not


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 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.