You have to understand, I've been around comics for many years -- first as a fan and then as a professional. At this point in my career it takes a lot to get my attention. (And no, changing the sex or race of a character or killing off someone renown for their healing factor... not going to do it.)
But this past weekend at Comic-Con I was passing through Artist Alley looking to say hello to some old friends and make new ones...
... when I stumbled across Eliza Frye and her graphic novel, REGALIA!
And I was floored. Honestly, almost breathless as I flipped through the pages of this 160 page book that she wrote, illustrated, lettered and designed. I would not realize until I got home that there were nine short stories the made up this original graphic novel... and at the point I bought it none of that mattered.
Just from my first glance it was clear that not only is Eliza a phenomenal talent... she's clearly a rule breaker! Each story is completely different from the next, each with its own pallet, each with its own design. Some of the stories are sexy, some are mysterious, and one "Lucky House" is at once a little unnerving and a lot heartbreaking.
It didn't surprise me at all to discover she had once been nominated for an Eisner. Or that her Kickstarter raised twice the amount of money she had sought to raise. Apparently there are a lot of people who were already aware of the amazing Eliza (I didn't discover Breaking Bad until season five, either).
Do yourself a favor and get this book. Whether it is on Amazon, at a local comic book store, or from Eliza herself when you discover her in your own Artist Alley.
Eliza Frye is the future, kids. You heard it here first!
Get down, America! From the far reaches of Duckworld – he has returned! That’s right, the Master of Quack Fu takes center stage when the Howard The Duck Omnibus Hardcover returns for a brand new printing! Experience the groundbreaking adventures of this wild waterfowl all over again, or for the first time ever when these iconic Marvel stories return to print this October! Collecting stories from Adventures Into Fear #19, Man-Thing #1, Giant-Size Man-Thing #4-5, Howard the Duck #1 - #33, Marvel Treasury Edition #12 and Marvel Team-Up #96, no fan can afford to miss this essential piece of Howard history!
Created by Steve Gerber and Val Mayerik in 1973, Howard the Duck would go on to become a staple of the Marvel comics of that era. Born on a planet populated by talking waterfowl, Howard the Duck found himself trapped on a world he never made: ours! The archetypal outsider, Howard waddled his way through the Marvel Universe for years armed with nothing but his razor sharp wit. Now, explore every one of these groundbreaking original stories as they take you from Duckworld to our world, in a Howard the Duck experience like no other!
Strap in for wild ride that celebrates the best of the foul-mouthed fowl when the duck comes home to roost in October for a new printing of the Howard the Duck Omnibus Hardcover!
For more on Howard the Duck and the history of Marvel, stay tuned to Marvel.com/75 for articles, milestones, galleries and more celebrating Marvel’s 75th Anniversary – featuring your favorite characters and creators.
RETAILERS: Place your orders for the Howard the Duck Omnibus Hardcover using Diamond Code DEC072241. Final Order Cut-Off for the Howard the Duck Omnibus Hardcover is 10/06/14.
Back in 1983, Kevin Eastman drew something pretty ridiculous: a turtle wearing a mask and armed with a pair of nunchucks. The sketch was made just for fun and this generated a friendly competition between Eastman and Peter Laird as they tried to one up each other with the silly premise. The end result was four masked turtles, each armed with different melee weapons.
As we all know by now, the two decided to move forward with this totally absurd idea and flesh out the team's story within the pages of a comic. Eastman said he didn't expect the debut comic -- an issue which was a gritty and fun nod to several other franchises -- to sell well, but the polar opposite happened and eventually the heroes in a half shell turned into a household name. In fact, the franchise has become so popular that co-creator Kevin Eastman placed the first picture of a ninja turtle on sale for a whopping $2 million dollars. That can buy a whole lot of pizza.
The famous characters are celebrating their 30th anniversary and it really is a great year to be a TMNT fan. The animated show on Nickelodeon had some fans worried because it looked too kid friendly, but they've been killing it since the very first episode. It's a show that finds the right balance between appealing to pre-existing fans and generating new fans, too. That's more than clear with the impressive merchandise sales. Meanwhile, IDW is publishing some memorable and superb TMNT comics. It's plenty familiar and has everything we love about the iconic group, but they've also taken big steps to instill noteworthy and exciting changes.
One thing both of these projects have in common is they show a whole lot of respect for the source material as they sprinkle in just the right amount of changes to make the mythos fun and refreshing. On top of that, there's a new live-action movie coming out this Friday. We can't comment on its quality because we haven't seen it yet, but you can bet we're anxious to check it out. Yes, it seems to bring some major changes to the designs and story, but it seems like it has a proper handle of the character dynamics and that's critical.
Even though it all basically started as a joke, this franchise has been around for 30 years and it continues to prove it has what it takes to create new fans in different generations. So, how does such a silly premise stand the test of time and adapt to make sure kids -- and longtime fans -- love it? Well, we believe it's because the Ninja Turtles focus on a few key elements that can appeal to people from any generation.
On the surface, TMNT's about odd looking characters that are awesome at fighting. The designs are just different enough and, let's be honest, who doesn't love ninjas? The aesthetic basics are simple, appealing, and certainly memorable. However, Ninja Turtles isn't just about four dudes that excel at battling ninjas and mutants --- it's about the importance of family. Above all else, Ninja Turtles is all about the bond between children and the ones who raise them. These aren't four characters that are stuck on a team with one another and won't be all that concerned if one is in danger or decides to quit. These are four brothers and the bond between them is unbreakable. This is something that IDW's storyline, City Fall, focused on as Leonardo joined Shredder's forces. Even as an only child, the connection between these siblings is something anyone can appreciate and the creators always find a way to make sure this aspect is -- forgive the pun -- oozing with emotion and showcasing how important it is to be close with the ones you love. And that's not even getting into the character dynamics they share with their father, Master Splinter, and their two best friends, April O'Neil and Casey Jones. Even if you can't see eye to eye and constantly argue with the ones in your family, it's critical to find a way to move forward and, at the end of the day, realize those are the people that matter the most in your life. No matter what the incarnation may be, being close with the people you care about is a top priority and that is regularly front and center. It's a simple yet effective message that will always stand the test of time.
While the origin story produced a gritty and dark comic book series, the franchise adapted to balance a more lighthearted tone because of the fact its protagonists are teenagers. The story embraces what it's like to be young and obviously, that's something everyone can relate to. Whether you're experiencing those years as you discover the franchise or if they're in your past, we all know what it's like to goof around with the people closest to us, celebrate our favorite food (who else craves pizza after watching TMNT?), and learn from the person we respect the most in life. Even though we're talking about heroes that battle ninjas and save the world from aliens, these elements have the potential to hit close to home for all of us.
Last but most certainly not least, this franchise endures because its characters each have personalities that will always appeal to someone. Leonardo's the leader who just wants to protect his family, Raphael's passion sometimes makes him hot-headed, Michelangelo's the lovable clown, and Donatello's the intellectual one that loves technology. These common yet different qualities always find a way to establish a link to fans and we often select our favorites based on these personalities. Sure, some out there pick a favorite based solely on the mask's color or the weapon, but a majority find the personality to be the most appealing attribute and our preference is something that can change as we grow. How many of you thought Leonardo was lame when you were younger but have a newfound appreciation for the character? No matter how much society may change, these will always be personalities people can connect with.
Relatable characters and an emphasis on family and entertaining action means the Teenage Mutant Ninja Turtles are unlikely to fade away anytime soon. No matter what age you may be when you discover the franchise, these core elements play a prominent role in the franchise's biggest incarnations and are something anyone and everyone can appreciate. Yes, the franchise may have started as a joke, but over the years, the heroes in a half shell have proven they have lasting power and will always find a way to create new fans. As said above, it's a great time to be a fan of the franchise and, considering how popular the new animated show is, it looks like the latest generation's kids will grow up with a whole lot of love for Ninja Turtles. Maybe in 30 years they'll be voicing their opinions about a new TMNT reboot.
Why do YOU think TMNT has stood the test of time and remains popular? Share your thoughts with the world in the comments below!
You know how INJUSTICE: YEAR TWO has delivered a ton of buildup? Yeah, that part is over and now writer Tom Taylor seems to be having fun unleashing all of the kinds of craziness we've come to expect from this alternate universe. This chapter's primarily about the ground invasion and the "source on the inside" finally revealing their identity. This, of course, produces a great cliffhanger, but before we're left waiting to see what happens next, Taylor dishes out some madness on the ground attack. There may not be a memorable one on one battle yet -- one is definitely teased, though -- but there's still a ton of exciting action to check out. Everything from the GCPD getting some well-earned payback to a perfectly executed plan is displayed. While the cosmic scene doesn't get too much focus, the little we do see of it really stands out. It's one heck of a way to open the chapter.
While the serious and violent tone is once again taking the spotlight, the chapter isn't without a little bit of levity, either. As expected, I couldn't help but smirk at Harley Quinn's role and I love the way she's debuted in this one. Nothing made me but laugh out loud, but it's nice to have a bit of well implimented lightness in the middle of all this chaos. There's also a nice bit of a fan service with her towards the end. To say any more would spoil it!
Bruno Redondo (pencils), Rex Lokus (colors), and Julien Huggonard-Bert (inks) make sure the ground assault is every bit as frenetic as it should be, but it's the looks at space that really leave a mark. We're treated to two double-splash pages and both deserved the extra room. Even when the pages in space are broken into a few panels, we're still given a look at some unforgettable bits. The aftermath of the Green Lantern Corps' initial assault is sure to leave an impression.
The Bad
The plan is fun, but a few things left me scratching my head just a bit. For example, where are the rest of Clark's allies? You'd think the place would be a little more defended, especially when it's clear they're under attack. Yes, they're bringing the big guns to space, but with so many tacticians on the team, I'd imagine many would want to make sure the HQ on Earth is safe, too, and everyone is on alert if needed. And I realize a certain someone got a certain attire because of a previous attack, but it seems a little coincidental that said person was the one to fly perfectly into where they needed to be. It just seemed a little too easy, especially since it was made clear they have such a heavy presence.
The Verdict
INJUSTICE: YEAR TWO #18 offers the adrenaline pumping kind of madness you've come to expect from the franchise. The war is underway and there really is no turning back now. Yes, we all know which side wins after the dust settles and yes, it's a bit of a bummer certain characters didn't receive a little more focus (would have loved to see Black Canary, Shazam, or Hawkgirl), but the action is increasing and honestly, it's a blast. The glimpses of the attack in space are powerful and the ground assault was a fun little sequence that has now opened the door to so much more potential. It's looking like a more compelling and emotional experience is right around the corner. Unsurprisingly, I'm once again left feeling anxious to see how the next chapter will follow-up on these events.
Jim Starlin is back, writing and drawing Thanos? My goodness. This is something I didn't think I'd see again. Let's get one thing straight right away, this isn't the Thanos from today. After the events of INFINITY, he's a little preoccupied. What we get is a Thanos from a few years ago. At first the exact time period isn't clear. But soon you can figure out around when this takes place due to some of the other characters involved.
If you think about Thanos over the last two decades, he has gone through some changes. The Thanos here isn't quite the MAD Titan we sometimes see. It is almost possible to reason with him. Of course he has his own agenda and will do what he deems needs to be done.
The interesting part of the story is the return of a character that accompanies Thanos on his quest. The character goes through some changes and there's no telling what will happen the next time we see this character.
With Starlin's return, we get a pretty trippy ride on an extremely cosmic level. It's a treat to read the entirety of Starlin's story in one sitting. Long time Starlin and Thanos fans will enjoy the presentation here. Frank D'Armata and Rachelle Rosenberg's colors will amaze you.
The Bad
Of course with the story set in the past, there is a bit of a limit as to what could happen during. There are some developments, more so with the mysterious other character I don't want to spoil (it's not too hard to find out who if you really want to know). This character's costume also goes back and forth between two versions. I believe I know why this was happening in the story but it was a little distracting during the story until it's somewhat clear what's going on.
I also mentioned the story gets trippy. While the art is gorgeous and we get the occasional full page or double page shots, you might find yourself wondering what exactly is going on. Or as Thanos is taking his journey, the strange going-ons are merely background imagery. It looks great but is it fully necessary?
Those not completely familiar with the more philosophical Thanos might be wondering why he's a lot calmer than he's been in more recent appearances.
The OGN hardcover package is really nice but some might question the $24.99 price tag for 100 pages.
The Verdict
Thanos is big news these days and what could be better than having Jim Starlin return to the character? Starlin has told many epic stories with the character and it's great to revisit his take on the character. The story obviously doesn't take place during the current timeline but we do get a nice completely self-contained story. This is the Thanos that likes to contemplate things. There is a big massive cosmic journey that only Thanos and Starlin could pull off. Fans of the character, especially during Starlin's time, should definitely check this out. This story might not be for everyone but if you dig Thanos, you'll want to see how this adventure play out.
Teenage Mutant Ninja Turtles is almost here and to help make sure the movie's on our radar, the studio has released a new clip that's focused on comedy and ends on a note that longtime fans are sure to appreciate. Sure, these are big mutants that are fighting the Foot and Shredder, but it's important to remember they're just teenagers, too. This video makes that point crystal clear. Some may have a pep talk or get really nervous before facing the big bad, but these dudes? Well, see for yourself!
Did you enjoy the clip or do you think you're going to avoid this movie, Viners? Let us know below! Teenage Mutant Ninja Turtles opens this Friday.
There are spoilers in the Superman: Doomed story line here. This is the third part of the three stories released today. Make sure to read ACTION COMICS ANNUAL #3 and SUPERMAN/WONDER WOMAN ANNUAL #3 first before jumping on ACTION COMICS #34.
First and foremost, it is fantastic to see DC do an opening page that updates readers on what is going on in this series. Writers Greg Pak and Charles Soule have done a lot with Superman and the secondary characters, spread out through numerous books, so having this little one-page insert, which is designed like a page from the Daily Planet, that explains what has happened here is a wonderful way for readers to get on board. No one will feel alienated or lost because this page exists and does a fine job at explaining what has happened.
This issue is crazy. It's chaotic. It's a ton of fun. After reading both Annual tie-ins that happened this week, there is a great flow between the issues. ACTION COMICS #34 is the tail end of an all-out war, so folks just jumping on here will feel like they were tossed into Mardis Gras just after waking up. As much as that sounds like a bad aspect of this book, it's something I found most interesting.
It's the world against Brainiac, and while the battle is fun and entertaining, the ending of this issue, which ties into earlier issues of BATMAN/SUPERMAN, is what really got me excited. Pak is really doing a fantastic job at utilizing characters and stories from previous Superman books and connecting everything, no matter who silly the other stories may have seemed at first. This story feels more like an event, but in a good way since everything is interconnected so well.
This book features two artists I really love: Aaron Kuder & Scott Kolins. While the art looks great throughout, Wil Quintana's colors make the action explode off the page. His shading and color transitions are so smooth and he makes those characters pop off the page and gives them a great amount of depth. As a whole, the team did some great work with establishing shots, really setting up the chaos in this issue.
The Bad
In order to get a full scope for this issue, this week, you need to read up on ACTION COMICS ANNUAL #3 and SUPERMAN/WONDER WOMAN ANNUAL #3, which also came out the same day as ACTION COMICS #34. That's a lot of reading for one story in a week as well as a lot of changes with the character and story. It's a bit much and because of how much came out, the big changes don't have as much impact as the rest because they don't get a chance to settle, especially if you're reading everything back-to-back.
The Verdict
Superman: Doomed has been a back and forth story for me. At times, it's a complete home run and really moves the story forward and at other times, it feels like a bit of filler. All three Doomed issues this week were great, but ACTION COMICS was really the stand-out for me. This issue worked on numerous levels and was incredibly captivating. Both the art team and the writing are wonderful and that cliffhanger has me hooked. Overall, I highly recommend this issue.
Today, Boom! Studios announced that they are partnering with Humble Bundle to help out the Comic Book Legal Defense Fund, as well as offer a ton of comics to readers for a low price.
Award-winning comic book and graphic novel publisher BOOM! Studios is proud to announce the launch today of the Humble BOOM! Bundle, a two-week initiative that will allow fans to pay what they want to download DRM-free digital copies of BOOM! titles while supporting the Comic Book Legal Defense Fund (CBLDF), a non-profit organization dedicated to the protection of the First Amendment rights of the comics art form.
Boom! and Humble Bundle are offering a plethora of books including DAY MEN, HACKTIVIST, MOUSE GUARD: THE BLACK AXE, THE WOODS, LUMBERJANES and much more. All you have to do is go here, and name your price to get these books.
As a corporate member, we are extremely proud to partner with Humble Bundle to help support one of our favorite charities, the Comic Book Legal Defense Fund,” said President of Publishing and Marketing Filip Sablik. “Plus, this is a great, inexpensive way for people new to BOOM! Studios to try out some of our great titles, from our authentic licensed works to our innovative original stories. No matter what you like to read, there’s something in here for everyone.”As with all Humble Bundles, customers can choose how their purchase dollars are allocated between the publisher, Humble Bundle, and the determined charity (CBLDF).
The Humble BOOM! Bundle starts right now, runs for two weeks, and ends Wednesday, August 20, 2014 at 11a.m. Pacific time. Check it out for a full list of books available as well as all the info on the Humble Bundle.
Endings are a tricky thing in comic books. Large events in particular traditionally have trouble sticking landings (Civil War, anyone?) but often the need to return to some semblance of a status quo can render endings impotent and almost meaningless. Clearly that is not the case here as this Earth has been irrevocably changed and no matter how the final battle went, there would be no simple return to normalcy. Normalcy has been dead since issue 1 of this series. Val-Zod confronts Superman and the two crash into each other with enough force to shatter mountains, but theirs is not the only battle. A massive Boom Tube is about to obliterate Earth and it falls to Marella and Jay Garrick to free the trapped minds of the architects of the horrible construct that makes it possible. Tom Taylor is bringing an exceptional amount of wit to the title, in particular the problem of Flash transporting Marella. Ironically, though, the best parts of this book have no humor nor wit as we see a newly powered Val-Zod confront the rampaging Superman and, in a shocking reversal of the usual trend, Zod maintains his promise of pacifism right up until the tragic end. Considering that almost every character who has a vow of non-violence across all fiction winds up betraying it "when pushed too far," or the "for the right reason" and I found this to be an incredibly refreshing and legitimately surprising development and one that I wholeheartedly support.
Nicola Scott ends this arc in typical, fantastic style. Her pencils in this are as good as they were in any previous issue, giving animation to the proceedings and emotion to the characters. I’ve loved her designs and interpretations of various characters, but seeing so many of them come together here is a true pleasure. Trevor Scott’s inks calcify the action, giving a crispness and sense of impact to the series of vicious battles, and even emphasizing certain moments of comedy when they come up. Pete Pantazis’ colors are beautiful and bright, communicating the tonal shift from the grim, horrific violence of past issues to one of uplifting hope.
The Bad
First things first: the cover coupled with the solicitation makes me think this issue underwent a MAJOR change because both are total nonsense. Power Girl is not in this issue at any point. This is as close to an old-school cover where Superman would be killing Jimmy or conquering Earth on the cover only to have the interiors be about the Man of Steel buying eggs and finding out that one was cracked after he left the store as I’ve seen a modern comic get.
I loved everything about Val-Zod that happened in the conclusion to this story, but disliked a great deal about Superman. Without going into too much detail, what exactly happened and why it happened is entirely mystifying and doesn’t even have the barest hint of an explanation. It’s not quite to the level of the writer writing himself into a corner, but it’s close. Additionally, Marella states that she arrives at the final battle not for the World Army but for Batman. I don’t recall any kind of serious relationship forming between the two but even if I'm wrong, the notion that she wouldn’t turn up to help save the ENTIRE world, which INCLUDES the ocean, is a little absurd and seems to serve the cult of Batman a little too much.
The Verdict
This isn’t a perfect ending, but it’s a very good one. It takes a few missteps, but Val-Zod’s arc is ultimately incredibly satisfying and the visuals help elevate it as a whole as well. There are moments of levity and humor, which help contrast the ending, equal parts hope for the future and grim realizations, and it leaves the world in an incredibly interesting place. As long as you don’t take the cover at face value, this is a very satisfying end to one of the most tumultuous arcs in recent memory.
Joshua Dysart's HARBINGER has been doing a great job balancing character development and pure spectacle. And, if you've been following along, you know the team just went through a very rough ride and the team -- well, Faith and Torque aside -- have gone their separate ways. Now comes the tricky spot in the Harbinger mythos: following-up with each individual and preparing us for what comes next in the Valiant universe. In the wrong hands, this could be a total bore as it awkwardly jumps from character to character and tosses mountains of exposition at us. Luckily for us, Dysart continues to prove he's a talented writer and a great fit for this team of rich characters.
This opening chapter covers a lot of ground. Torque and Faith are mostly glossed over (you can catch them over in ARMOR HUNTERS: HARBINGER #1), but the spotlight on the remainder of the cast feels fitting and most certainly entertains. Seeing Toyo Harada finally act the way he wants to is a thrilling and even frightening development for the character. He no longer needs to hide his intentions and let's just say he makes a very smooth transition into "true villain" mode. Watching him no longer need to dance around politics and save face is a great change of pace for the character and something I'm very excited to see more of. As Toyo's narrative goes for setting the stage and dropping our jaws, Peter Stanchek's tale is a much-deserved follow-up on how recent events have impacted his mind and motivation. It's understandable he'd revert to a darker place and, considering his powers, Dysart does an interesting job showing how he blames himself while trying to cope with what has occurred. It's scenes like this one that show just how character-driven this franchise can be. Meanwhile, Kris Hathaway's emphasis isn't quite as emotional as the rest, but that's because it's geared towards moving the narrative forward.
Visually, HARBINGER: OMEGAS #1 is a fascinating ride. From impressive displays of Harada's power to Peter being down in the dumps, each page by artist Rafa Sandoval, inker Jordi Tarragona, and colorist David Garcia Cruz are able to strike a fitting set of panels for the book's tone. The opening is bold and bright as the focus is on might and raw power and swiftly transitions to darker shades and strong character work when the mood becomes more depressing and even a little twisted. They do a phenomenal job delivering a heavy dose of shock value when the book takes a surprisingly graphic turn, too.
The Bad
Just a heads up, this opening chapter attempts to be new reader friendly but I don't recommend it as a jumping on spot at all. You won't fully appreciate the impact and emotion behind these events and you'll likely feel in the dark with a few characters and remarks.
The Verdict
Love HARBINGER? Then this should be a more than obvious purchase for you! Dysart continues to fill the script with great character moments, big displays of sheer spectacle, and crafts an overall narrative that's loaded with tension and intrigue. This is going to be a critical limited series for this franchise and this first chapter does a more than commendable job hitting us with all of the buildup and character depth. As expected, this is must read for HARBINGER fans.
Doc Ock's tenure in Peter Parker's body might be over but there's still an adventure left to see. Back when Spider-Man 2099 went into his past, we saw SpOck momentarily disappear. He came back with his costume in tatters and in mid-sentence. "--I'll find a way! You haven't heard the last of Doctor--what?!" We've been wondering what happened that he was about to (possibly) reveal himself. Now we get to see where he went.
It's no secret he ends up in the future. As SpOck puts it, it's the universe's way to balance things. With Miguel O'Hara in the present, SpOck ends up in the year 2099. With his intellect and the technology he's able to track down, he works out a way to try to escape the future. What's interesting is this isn't just a continuation of SpOck's story, it's also laying out the groundwork for SPIDER-VERSE. Spider-Men across the multiverse are being hunted and SpOck becomes a witness to this. Still with his newfound heroic nature, he's determined to get himself involved. Dan Slott and Christos Gage are heating things up.
Giuseppe Camuncoli's art brings us back to the series we knew, except the environment is way different. Camuncoli is not only tasked with drawing the 2099 world but he also has to depict some of the other parts of the Spider-Verse. Of course, he handles it all with ease, giving us loads of detail. It's always fun seeing alternate worlds and versions of characters.
If that wasn't enough, we also get an eight-page back up continuing SpOck's adventures in other worlds with art by Adam Kubert, written solely by Gage.
The Bad
We know Otto Octavius is/was a smart guy. It feels like a stretch how easily he adjust to being in the future and the ease he uses the futuristic technology. His goal is to use his intellect and the tech to return home. Because it's not clear how long he had to actually study the tech, it feels like he easily puts it all together to create a device that allows him to travel through time and to other dimensions. Pretty impressive for a guy that has always been defeated in the past. When he encounters the different parallel timelines, it doesn't phase him one bit.
SPIDER-VERSE is shaping up to be an interesting story but it's a little unfortunate that this final SUPERIOR Spidey story is setting that up rather than sit on its own. It could be a matter of how much time did Doc Ock spend on this adventure. We know he was only gone 24 hours in the present (even though issue #19 says he was gone nine hours) but that doesn't mean he wasn't gone for a week, a month, or whatever while traveling through time and parallel worlds. Let's hope we get enough of SpOck's return here, next issue, and in SPIDER-VERSE.
The Verdict
Doc Ock is back as the SUPERIOR Spider-Man. He hasn't been gone long but he has been missed. Now we get to find out what happened when he disappeared during issue #19. Not only does this issue start off SpOck's final adventures as Spidey, it also sets things up for SPIDER-VERSE. You get a sense of how big this story will be and seeing Ock involved is pretty cool. Dan Slott and Christos Gage have their hands full with Doc Ock's return and we get some cool art by Giuseppe Camuncoli and Adam Kubert. It would have been nice to see SpOck focus more on his own adventure but the set up for SPIDER-VERSE makes this something Spider-Man readers won't want to miss.
Well, that was an exciting and proper note for Jeff Lemire to leave on! Not only does he script an awesome action scene, but he manages to depart the book in a very praiseworthy way. You can really tell this chapter is his way of saying goodbye to the great series and you can't help but appreciate it. Aside from the ending with "Richard Dragon," he manages to tidy up a few plot points, leave others open for more potential, and pave the way for an all-new status quo. Let's just hope the upcoming team can make proper use of the mythos he's established!
The big fight was well worth the wait. As said above, the way it ends is a bit of a bummer, but man, Lemire's script really gave the art team the chance to go all out and obviously, they did a tremendous job. Not only does Lemire give Dragon the opportunity to show off his abilities as a fighter (a very cool POV shot returns), but he also uses this chapter to make me care even more about Emiko. Yes, she totally feels like a female version of Damian Wayne, but since when is having similar traits to a totally lovable character a bad thing? She had at least two lines in here that made me smirk and she's definitely a welcome addition to the cast. The dynamic between her and Oliver is loaded with possibilities. Even though the stakes are through the roof in this issue, Lemire also manages to sprinkle in a little more levity during a moment in an elevator.
As expected, artist Andrea Sorrentino and colorist Marcelo Maiolo create a final chapter that's overflowing with beautiful, creative, and memorable panels. From the execution of the big fight scene (there's an elbow attack that dropped my jaw) to the absolutely gorgeous final page (a nice contrast to the frequent shots at night and implies a bright future), my eyes were more than pleased by each and every page. Personal favorites include Richard Dragon's big "come get some" pose and the final splash-page, but there's so many good panels to choose from! It really is impressive how Sorreinto and Maiolo find a way to make each page stunning. The upcoming art team has some very big shoes to fill, that's for sure.
The Bad
My only noteworthy complaint is the conclusion with Richard Dragon. It feels pretty abrupt the way it all wraps up and, compared to his previous showings, definitely seems to downplay him (unless he was fazed by that tackle, but he seems tougher than that). They were building a lot of tension between these characters and, even though there's a good bit of dialogue, it feels like there isn't proper closure with that narrative. It really is a shame this is the creative team's final issue because there's so much potential with the way this issue ends. Maybe there's a lucky alternate universe out there where Lemire, Sorrentino, and Maiolo get to continue Oliver's adventures.
The Verdict
Can you believe it's already time to say goodbye to GREEN ARROW's stellar creative team?! It feels like not so long ago that Lemire, Sorreinto, and Maiolo took over and put this book in a whole new and legitimately exciting direction. It's a real shame they're now going off to different projects, but at least they're leaving us with a thoroughly satisfying conclusion and a meaningful ending. It's a bit of a bummer the way the conflict with Dragon was resolved and I would have liked to see a wee bit more closure with Fyff and Singh, but this is still a great issue and an especially great way to depart the book. GREEN ARROW went from a book that wasn't on many radars to one of the best books available. They did wonders with Oliver Queen's life and produced some excellent adventures. You'll be missed, Lemire, Sorrentino, and Maiolo! Here's hoping the next team can give this conclusion a proper follow-up!
The moment a lot of fans have been waiting for, since the start of the series, is here. Miles Morales and Norman Osborn have a no holds barred, drag-out fight. Peter Parker Spider-Man returns to help even the score as well.
If you wanted a fight of pretty epic proportions, then this is the issue for you. This fight is pretty dang brutal and doesn't let up, even though it destroys the neighborhood around Miles. David Marquez (art) and Justin Ponsor (colors) really deliver a lot of suspense and drama through their art in this issue. There's some particularly great looking moments, like web Miles hits Osborn in the face, with the helicopter shining a light down on them. The color work here is awesome, especially on Osborn's face.
Marquez makes his page layouts as chaotic as the battle itself in this issue. Each page is unique and gives the readers a new perspective on what is happening in this fight. Each page offers something new from this fight and this is a book Marquez was born to draw. He takes a lot of chances with the way he presents Bendis' writing and it has yet to disappoint.
In addition to this fight, we get to see the reactions to those closest to Peter and Miles: Ganke, Gwen Stacy, Aunt May, etc. This fight isn't just a one-on-one (two) happening. Everything happening here has a ripple effect through the Ultimate Universe, and it's nice to see looks on other people's faces that are glued to their televisions/computers/tablets, during this.
The Bad
MILES MORALES is starting to feel very formulaic. The past couple of issues have been a moment in time more, contributing to the story, rather than something a little more fleshed out. Miles has a problem, he faces said problem, it looks like he's going to fail, someone comes in to help out, and cliffhanger. While it's a fun ride, there's still little given to the reader about what is going on with Peter Parker and the Spider-Crooks, which is fine in a sense, but still a tad frustrating.
The Verdict
MILES MORALES #4 gives fans a fight, but puts a hold on a few of the sub-plots/mysteries that made the kick off to this series amazing. The issue is a ton of fun and has some gorgeous artwork, and it's still one of Marvel's top books, month after month. If you haven't been reading this series, what are you waiting for? Mile Morales is the greatest Spider-Man ever. I said it.
Javier Pulido is BACK! And with him comes the tone of a throwback, Silver-Age comic with modern sensibilities and mentalities, bringing us the best of both worlds. Part of that is, of course, Charles Soule crafting a story absurd enough to deserve visuals like this, but still organic enough to fit into a modern setting, and Soule absolutely succeeds here. A new upstart duo have perfected a shrink ray, at least THEY think it's perfect, but their company is owned 50/50, and half of that hundred doesn’t want to sell to the prospective buyer. He’s gone so far as to shrink himself and hide out, forcing his partner to hire Jenn to not only negotiate a contract, but use her Hulk powers to help find his partner. Hellcat comes with, as does expert shrinker Hank Pym, leading to some of the best comedy of the issue. We also get some great character development as Patty Walker’s insecurities and Shulkie's prejudices and even arrogance get challenged in what is a legitimately great, tense exchange. That this is in the midst of so many moments of amazing comedy, yet still works completely in the issue, is a compliment to writer and artists.
Pulido’s return to linework is a joy to see, especially as we’re now dealing with things like scale and perspective, as I predicted, and we get great use of that. The stakes have shrunk along with the protagonists: the fate of the world isn’t being decided and while lives hang in the balance, there’s the distinct impression that things will work out, which means the art actually has to work quite a bit harder. The fact that it DOES, and that it gives the reader the impression that this was unearthed from the Marvel vaults, is a testament to the great work of Pulido. With as much as he does, I’d be remiss to not mention colorist Muntsa Vicente, who brings a bright, whimsical sense of wonder to Pulido’s linework. A simple backyard has scarcely looked this impressive, nor have the tiny and giant denizens of it. We even get a great, if brief, fight scene with some ordinarily mundane attackers. The return of these visuals is a delight.
The Bad
For better or worse: this is a highly standalone issue. It’s a good jumping-on point, but that’s by virtue of it neither coming nor going in terms of the overall plot of the book, and with so many questions unanswered, there’s a slight twinge of frustration to that.
The Verdict
While I’d love to have a few more questions answered, or a few more mysteries solved, it’s hard for me to turn down a straight-up, standalone story about unstable shrinking methods. There’s a grinning glee that permeates this entire issue and it’s bereft of irony or sardonic detachment. This is, very simply, an incredibly fun issue of an incredibly fun book. It doesn't apologize for that, and it brings on artistic talent to make sure that the tone is communicated in every panel. Fun books are one thing, but this feels like a fun book that was unearthed from a time capsule AND turned out to be vastly ahead of its time.
Another issue, another fantastic crossover between Black Widow and another upper street-level hero. This time Frank Castle makes an appearance, disrupting, then helping, Black Widow’s inspection of a ship and interrogation of one of its only remaining denizens. Nate Edmondson has been writing both these characters and while I’ve had mixed feelings about his PUNISHER, I’ve been consistently a fan of his BLACK WIDOW and a cross-over between the two is definitely something that would interest me. Sure enough, Frank fits in perfectly, bringing Crossbones and his crew in from his own title while not disrupting a single thing in Widow’s narrative. While she and Bucky had some incredible chemistry, with Castle it’s all business and that fits just fine. This issue feels like another jumping off point for a bigger story, breaking the streak of semi-self contained issues just in time to get Romanova back into a longer-form story.
Phil Noto continues to, apparently, make use of his own professional time machine and turn in solo art that looks like it would require months of time to hammer out. The action has a vicious fluidity in this issue as well as an organic flow that makes the characters almost seem to move through the book of their own accord, and I always love to see it. His colors are subdued and murky, matching the tone of the book perfectly. This is a book, and an issue, where things like morals and allegiances are questionable at best and Noto communicates that on every level.
The Bad
This issue crosses over with PUNISHER #9 and you really need to read both to get the full story, particularly why Punisher and Crossbones are on this boat in the first place, and even then it remains a bit unclear. Widow arrives on the ship with a ton of questions and, by issue’s end, has almost no answers. Punisher isn’t out of place in the least, but if you just take this issue at face value, he definitely seems to blow in without any kind of rhyme or reason. He’s not unwelcome, and it isn’t that he doesn’t fit with the rest of the book, but there’s a logic hiccup, particularly considering how the issue ends, which is even MORE ambivalent unless you read Punisher’s issue. Overall it gives the issue a sense of being disjointed and only part of a larger narrative.
The Verdict
Despite being a little too tied to another book which is, to both issues’ credit, also by Edmonson, I still thoroughly enjoyed this as a starting point for another, longer storyline. “Fun” comics may be getting their share of praise, and rightly so, but there’s something to be said for a comic that takes itself deadly seriously and goes out of its way to EARN that tone, which this one does. Black Widow is fast becoming the covert hit of the year, and I can’t think of anything that would be more apropos. Edmonson writes Natasha as cold, but she never comes off and boring or emotionless and Noto’s visuals continue to be almost unreal in how consistently great they are considering he does them all solo, making this book a look underneath the curtain of the Marvel U, but one that’s worth checking out if you want to see what goes on when the Infinity Gauntlet isn’t obliterating entire worlds.
Word came out earlier this week that Sony Pictures is looking to expand the Spider-Man movie franchise. It was announced during Comic-ConSinister Six will be released on November 11, 2016. It's always made sense to try to bring a feature focusing on Spider-Man's villains to the big screen. There are so many good characters and this could be a way to avoid the problem when a superhero movie contains too many villains.
With The Amazing Spider-Man 3 pushed back to 2018, it was reported that Sony was planning on a movie to featuring a female character from the Spider-Man universe to fill the gap in 2017. Apparently there are some characters being considered: "There are several strong possibilities — Silver Sable, Black Cat, Stunner, Firestar and Spider-Woman, to name a few."
Some of these make more sense than others. There are also other female characters in the Spider-Verse that might make more sense.
Felicia Hardy seems like the most logical choice. She's had a big role in Spider-Man's life in the comics and has appeared on animated shows such as Spider-Man: The Animated Series and Spectacular Spider-Man. She's also possibly already appeared on the big screen.
In The Amazing Spider-Man 2, we saw Harry's receptionist was named Felicia, played by Felicia Jones. This could be just a coincidence or perhaps it was Sony's way of planting a seed. Black Cat has a mixed history of being a burglar/villain as well as a hero, of sorts. The question is, would she have enough recognition and appeal to carry a solo film?
She even has "Spider" in her name. What better way to try to cash in on the SPIDER-MAN name and franchise? Jessica Drew has been around since 1977. She has a pretty complex backstory that would give plenty for screenwriters to work with. We even did a 3-Minute Video (seen above) on her history.
The big question is where exactly does Spider-Woman fit? Is she part of the Spider-Man franchise? Her origins aren't directly related to Peter Parker's world and she's been more active in the pages of Avengers comics.
If she's not available to Sony, what about the Ultimate Comics version? It could be possible that a female clone of Peter Parker could carry her own movie. That would definitely change things up a little.
Silver Sable was mentioned in the original report. She's another character with a bit of a story to her. While she first debuted in 1985, her mercenary background could give Sony a different type of movie to shoot for. If we're making comparisons, many have marveled over Black Widow's big screen portrayal and this could be Sony's way to try to capture that excitement before Marvel Studios gets around to making a solo Black Widow film.
She might be dead currently in the comics but that's never prevented a character from moving on to bigger things.
These seem like odd choices. Does anyone care about Stunner? She's definitely not a household name. She had a tie to Doctor Octopus so he'd have to be established first (in Sinister Six). Would Sony want to make a movie focusing on villains and follow it with another movie on a lesser known villain? Probably not.
Firestar got her start in the Spider-Man and his Amazing Friends animated series. But she's also a mutant. The question is, where do her rights lie? Is she another ambiguous character that Fox would have to share with another studio?
What about Spider-Gwen?
We'll see this version of Gwen Stacy in September's EDGE OF SPIDER-VERSE #1. People are already Cosplaying as her. It's Gwen Stacy from another universe but it could be a way to get more Emma Stone on screen. Sony could use this as a way to feature Gwen in a third movie. Does this movie have to be tied directly into their Spider-Man movie universe? Maybe they'd be willing to do a movie in an alternate universe. But that could be confusing for some. They could also go the Ultimate Comics route with Carnage's involvement.
She recently made her debut in the new (current) volume of AMAZING SPIDER-MAN. It turns out before the spider that bit Peter died, it also bit another. She's been in hiding all these years to avoid really bad things (you should be reading the current series to find out why). Even though she was bitten by the same spider, her abilities are a little different than Peter's. This, again, gives some slight variation so it's not simply a female version of the movies we've just seen.
Someone Else?
There are plenty of other female characters in Spider-Man's world. We've had the future daughter of Spider-Man and Mary Jane with May "Spider-Girl" Parker. But we'd need Mary Jane introduced first. There's also Anya Corazón. Her story is different enough from Spider-Man's so it doesn't feel like a simple retread over what we've just seen. Or maybe we'd see a movie dealing with all of Spider-Man's past girlfriends and them realizing they don't need him for anything.
What are your thoughts? Which female character do you think could carry a big budget live-action movie?
According to Variety, Warner Bros. announced dates for 9 upcoming films based on DC Entertainment comic characters and properties from 2016-2020.. Marvel Studios recently did the same thing for five films up until 2019. In addition, Warner Bros has pushed back the release date of Batman v. Superman: Dawn of Justice to March 25th, 2016 from May. Originally, the film was going to go head-to-head Captain America 3.
This six year plan is really about getting as many of DC's iconic characters onto the big screen, while working with Diane Nelson, who worked on the "Harry Potter" franchise. There are currently plans for a Man of Steel sequel, a Justice League film, and a solo Wonder Woman film. In addition, a film based on the Vertigo series SANDMAN, by Neil Gaiman is also in the works.
The kick off to this large wave of DC based films starts March 25th with Batman v. Superman: Dawn of Justice. Here are the upcoming release dates for the unnamed DC movies:
I'm sure those opening lines sounded really mean. However, it's meant in the best way. Overdrive's origin is well, the least interesting origin story I've read in quite some time, but that's really the charm of this whole story. Everyone expects a villain's origin to be full of revelations and epic moments that shaped the person they are now. With Overdrive, he's a race car driver that wants to eventually become a hero, so he can hang out with the Avengers. It's a bit sad, but it really shows how much heart this character has.
This issue is 100% non-stop fun. In fact, the whole series is. Nick Spencer writes a fun series with characters most folks don't even care about. It's nice to see they have a home in such an amazing book. Lieber, Ellis, and Rosenberg provide art that molds well with the writing. It's zany, fun, and has cartoonish elements to it. Everything about this series is the best.
One of the best moments here is the two page spread which we'll call "Overdrive's How to Guide." It's fun and silly and a nice little way to present an action sequence in a whole new way. This is something I love about this series. This creative team is always presenting stuff to the reader in a whole new light.
The Bad
Little to nothing bad about this issue. It's exactly what you'd expect, month after month.
The Verdict
SUPERIOR FOES OF SPIDER-MAN is the cat's pajamas. The story inches forward, but we're getting to know a little bit more about Overdrive and his relationship with the rest of the team. I laughed a lot during this issue. It's easily one of the funnest reads each month. Pick this up in trade and catch up. It's easily the best on-going series about Spider-Man B-list villains ever made. However, I can't think of too many others. Anyway, I highly recommend this issue.
Joshua Hale Fialkov's THE BUNKER is getting deeper and deeper. We've seen the letters from the future and the modern day cast has to figure out what to do. They've been told they're responsible for basically messing up the world, big time. With the knowledge they have, they could try to change things but what if that makes things worse? This is the lovely dilemma in time travel.
As they try to figure things out, Old Grady (from the future) is going about trying to push them into what he says needs to be done. The rest have no idea whether or not to trust him. With the flashbacks...or flashforwards, we see more on what Grady did before venturing into his past (which is really the present). And it turns out there's another bit added to the story that Grady hasn't felt the need to reveal.
THE BUNKER might sound sort of like some types of stories you may have seen but Fialkov is really adding a different twist to things. Jumping back and forth from the present to the future is keeping us on our toes. If you haven't been keeping up, Oni Press released the trade paperback with the first four issues today as well.
And then there's Joe Infurnari's art and colors. His style is fresh and adds to the feel of the chaos going on in the story. There is a mix of beauty and eeriness that really separates the look of this book from other comics.
The Bad
The only bad thing is the sinking feeling you get in your gut as you read the story. You'll want to know how it's all going to turn out but you'll also be a little afraid that things might get worse for the characters.
The Verdict
THE BUNKER is simply a treat to read. Joshua Hale Fialkov and Joe Infurnari are creating a story that is more of an experience. Fialkov keeps things moving and throws twists at you that you won't see coming and Infurnari's art is a wonder. The trade collecting the first four issue has also been released so do yourself a favor and make sure you're reading this series.
