Thor #1 – Of God and Man
So, Thor #1 came and went, no real hullabaloo. I'm sorry to say that for the triumphant return of a major Marvel character, it really was more of a whimper than a bang. Slow, decompressed art pages, a wandering conversation between Donald Blake (yeah, what's HE been up to since Thor ascended and all that? Can you really go back to your day job, even when you're a doctor? I mean, I'd say there's a story there, Blake dealing with the loss of the godly powers and the whole darned pantheon to begin with-... but I'm not writing this book. Back to the show, sorry to barge in there.)
Blake tells Thor that if he doesn't want to deal with Oeming's awesome Ragnarok story, he doesn't have to. Screw continuity, man! Just make it up! Don't get me wrong, he has a point what with the idea that man decides whether gods exist more than gods themselves, but still. Basically, how do you call out a God of Thunder? You call him a chump. Donald Blake calls Thor a chump for sitting on his butt in the Void (wait, THE VOID?! That's gotta be little 'v'.) when he could get up and start living again. It works, Thor does, and Donald Blake checks into a little bed and breakfast in the middle of nowhere, Oklahoma. There's a bit of a gag about his I.D., some chatter, and then he goes to his room, cracks a stick on the ground and we're left with a shot of lighting with a great thunder sound effect.
I dunno. Maybe I'm a little weird,but I thought when Thor would come back to the Marvel U, he'd come in a like a frikkin' Zepplin album cover, just RAAAAAAAAAAAAAA!, lighting everywhere and beatin' fools with a big ol' hammer. Come back as he left us, part of some greater story that has legend wrapped around it like a little kid's super-hero cape. Instead, we get an existentially split monologue telling us that while the Earth has been going to Heck (everyone thank Tony, kids), that while Captain America was shot like a horse in the street, Thor's been kicking it in nowheresville, land of the semi-spacescape background.
And yeah, I was pissed off about this when I read the preview. Where's freakin' Thor? Why isn't he bashing anyone in the present tense? What's with all this "And then..." captioning?
Every once and awhile, there comes a time when one has to step back and looking at things from a broader perspective. My perspective wanted Thor hitting fools upside the head. Marvel, in general, has to take things another way. He's been gone for so long, a lot of the groundwork for this story has been laid by Neil Gaiman and is being written by J. Michael Straczynski, two men not known for their balls-to-the-wall action. It's going to be a more cerebral book. It's going to have a lot of repetition because we're catching Average Joe Reader up with years and years and years of story. This is a #1 issue and by it's very nature should be accessible to everyone and that's got to take some time.
As much as I'd like to start with some heavy hero action, it all has to start somewhere and if their going for a more of a tale of yore than an adventure comic, they did a pretty good job and laying some groundwork. And you know what? I can wait. I'm a fan and I have all the background and information I need to know that eventually, Thor is going to meet up with Tony Stark and kick his metal hiney. The Average Joe Reader? He has no idea about Civil War yet, all he knows is Thor looks cool, hey it's a #1, let's get the Turner cover.
That reader can't wait to catch up with the rest of us, but I think it's pretty cool for us to wait for them.
HEY EVERYBODY! – Preview Reviews for the Week of 7/25
You know, screw it. If a US soldier can explode an entire city with the words 'God Bless America' on her lips and Peter Parker didn't see Spider-Man 3 where Aunt May plainly and patiently explains that Spider-Man doesn't kill... I can spoil a few books coming out this week. All of these were written off the cuff as I read them over this weekend, in between work, work and more work. It's preview reviews, everyone! Fresh and snappy.
Amazing Spider-Man #542
And we start out with a grand speech from Kingpin with Black-Emo-Rage Spider-Man just stading there for two pages. Apparently, the suit represents "a promise about all the things I said I would do and all the things I said I would never do...because doing so would destroy everything this suit stands for. And that, you see, is why you're confused." Damn right I'm confused. Oh, the suit represents the Hero Spider-Man, so that's why he takes it off (woo!) to "kill" the Kingpin. Oh Batman. He kicks the ever-lovin' shit out of the Kingpin, and is there, ready to kill him at his lowest moment of having his his big butt handed to him surrounded by the criminal element by some nothing school teacher and then... Peter Parker pulls back, saying that when Aunt May dies, he's gonna come back and finish the job. Oh, lookit me, big man kicking the crap out of someone who exploited my stupendously dumb acts during Civil War.
This serves as both a warning for the Kingpin and for everyone else in that prison thinking "Hey, I can look up Peter Parker in the phone book!". He goes back and there are money complaints, all of which will probably be taken care of by Mr. Fisk next issue. I mean, come on.
Annihilation: Conquest - Starlord #1 (of 4)
Four pages. BAM! You know who Starlord is, flaws and strengths as well as where he's at now. Why can't all books be like this? The Dirty Dozen in Space. The book knows it and has no bones telling you to your face what you're about to read. All the characters are introduced summarily, their mission dire (being put in the middle of the Phalanx to dismantle some potential 'seeds', thus preventing the Phalanx from spreading throughout the galaxy.). It's got personality, action, some fantastic artwork and just the right touch of self-humor and redemption. Once again, a Annihilation book meets all my expectations and gets me excited for what's to come.
Black Panther #29
Okay, really. No more zombies. The covers were cut and cool and now they're just obnoxious. I think I figured out my oddity with Hudlin: when I first read Black Panther, it was from Christopher Priest, so there was a level of 'taking things serious' with the book that I grew accustomed to. I don't think this book is supposed to have some greater moral objective, some lesson for us all to learn, some deeper meaning. It has a parental advisory on the front, but feels more like an all ages book and it would be fantastic as an all ages book. Weird. Anyhoo, this one brings you more adventure on a Skrull world in the Marvel Zombie universe (just, for the love of Pete, don't give it a number!). People get eaten, Black Panther meets his other self, and the allies they had with the Skrulls are now zombies too.
Incredible Hulk #108
So, Rick Jones and Miek are kind of one in the same, okay, I'll buy that. Even though Rick Jones kind of went on later to become a much deeper character than just 'the Hulk's sidekick' and helped a lot of other heroes, stopped a war... We get a little in-the-wings moment pre-World War Hulk #2 with Miek and Rick Jones thinking in really big splash pages about the Hulk and their connection to him where we, the reader, are supposed to infer that they are very similar. Well, in any case, whatever the motivation, Rick convinces Miek to do something about all this craziness instead of just going along with the plan to kill all humans. Now, mind you, from what I remember about the Hulk's buggy chum, he might just get a couple blocks down the road, change his mind and go to what he was doing before, so... not really sure what we're supposed to be getting here, besides a lot of info for new readers on who Rick Jones is at the core of it all and how important Miek is to the story at large. Eh. I expected more from a Rick Jones appearance, but then again, I might not be the target reader for this book.
Iron Man #20
Meanwhile, the Hulk's just sort of smashing around, doing his thing and SHIELD is now under sub-director Dugan. (Side note: have I mentioned how weird it is to call this all World War Hulk when everything is happening in New York?) Hulk shows up, talks to Dugan, finds out more about how it was an LMD who tricked him into space to start this whole mess and takes off, giving SHIELD a pass for now. Dugan does the smart thing, takes two guys who've Hulkbusted before and gets the lamest ideas of either 'waiting this all out' since the Hulk seems pretty focused on his revenge or attacking now with nothing they can say for certain is going to do the job. So their out of luck and that's when Dugan gets a secret message from Tony saying that if all this goes to hell, Dugan is to OPEN UP THE NEGATIVE ZONE and BLOW UP MANHATTAN. He wants to destroy the Fantastic Four, himself, entire divisions of soldiers, heroes standing up for him, just to get at the Hulk. It's Dugan's call on when to use this Doomsday Device.
I don't know any more. On one hand, Tony's got a big brass pair to pull something like this to cover his own ass. On the other, something that large a scale may stop the Hulk, but will ruin him personally. If Speedball is a national enemy for being connected to the blast in Stamford, no one's going to trust Tony again after effectively nuking New York. He may spin it, but there's got to be an end to all these lies.
Interesting stuff.
Mighty Avengers #4
Stop. Stop, right now. Go to your local comic shop, tell them you want this book off your pull sheets and that you'd prefer to collect it in trade instead. Because this story arc is useless in 'floppy' format. Ultron says she's going to destroy all humans, the team figures out that Ultron is merely going off of old plans and is nothing new under the sun despite appearances, and there's some empty fighting. Though, at least it's not ninjas. Really, that's about it. Ares says he knows how to stop Ultron, but DOESN'T SAY HOW. Just an epiphany, more fighting, maybe nuclear threat, end of book. Now, if this was just chapter four in a six-chapter book, maybe it'd feel less empty because I sould see the pages ahead and get to the heart of the story... whatever it is. I'm sure the thought balloons would still irk me, but at least the story would read a lot better. Such a sad sad waste, I tells ya.
Wolverine #55
I'm sorry, guys. I'm so sorry. I didn't so much as read as flip through the pages really fast, avoiding all word balloons and occasionally stopping to wonder what Simone Binchi's next project is. The man's really good, he just deserves a better story than this. From what I can read without gouging my eyes out, Wolverine and Sabertooth are connected since the dawn of time (or 'primordial ooze' as Logan puts it) and are all either descended or connected to someone named "Romulus". He is at the top of the list of all 'feral' mutants and is the great manipulator and whatnot. Sabretooth's gone wild and Logan has to take him out back to the woodshed, so he goes to <strike>Batman</strike> Cyclops to get the <strike>Kryptonite Ring</strike> <strike>Plot Device from Wolverine: Origins</strike> Masamune Sword. Mutants with regenerative powers can't heal the wounds made by the Masamune Sword, so this should do the trick on ol' Victor Creed. After some obligatory Cyclops/Wolverine tension (it's in the contract), Logan gets on a plan with Rahne and <strike>they go to Spain</strike> they talk up Romulus and how bad Creed is (he killed an unarmed girl! OMG!!) and Wolverine goes back to where it all started, and chops off Creed's head with the magic sword at Silver Fox's old cabin. Fresh out of Hot Topic, Wildchild shows up and explains that the whole reason Wolverine and Sabretooh have this big grudge (uhm, had, whatever) is that ONE IS BLONDE AND THE OTHER HAS BLACK HAIR. Blah blah blah, different tribes, blah blah blah, curse you Romulus, into the night.
This has been a pretty murky and lousy storyline and I can't even get mad about it anymore. At least it's over.
X-Men #201
Fight fight fight fight fight fight fight fight fight. Some neat power tricks, more mysteries and just when you thought the Mauraders were enough, along comes Exodus and his crew. Hey, if I want to read Shakespeare, I'll go to the library. Entertaining, but not really fulfilling. It's the pretzel of X-Books right now. Endangered Species chapter five reveals that the Neverland (from the Weapon X series awhile back) was a real death camp horror story and Dark Beast was either in charge or was required to show in to keep up their last page reveals.
X-Men: First Class #2
So, if X-Men #201 is a pretzel, think of this as your healthy apple slice. Now that's the book is an ongoing series, we get a two-part story (or so I surmise, maybe it'll be three) about the X-Men being sent by an absentee Professor X to a very strange island full of weird dangers and perilous adventure. It all seems very strange to Fearless Leader Cyclops who, after getting quite an earful from Xavier after questioning the team's uncertainty about what they're supposed to be doing, is almost certain something's fishy. And it is! Because Xavier is shown coming home to the mansion only to find a sneaky looking guy in his house and *gasp* NO X-MEN! Is Jeff Parker going to give us Krakoa the Living Island?
Any questions?
The Weight of a Neutron Star
When looking over the new comics quite a few weeks back, I was surprised to see the latest issue of Astonishing X-Men, like I'd forgotten they were even still in the middle of a story or that the book was even coming out at all. I was even more surprised to find out that I simply could not bring myself to care.
These were the X-Men, classic favorites from my childhood under a celebrated writer and a fantastic artist, so it should have been the time for excitement, joy at least. But actually reaching out to pick up the book was like going against gravity. I felt like I was flipping through the book under orders or because I owed someone a favor.
A lot of people adore this book and consider it a funny and fun take on classic characters; don't get me wrong, I really want to like the book. Due it it's lateness and slow, stylized plotting, I can find no reason to feel the same. There is no way that this story is going to change the way I feel about these characters. The plot isn't going to be necessary for anything ahead. And, to save face, I'm not going to go into my feelings about how Joss Whedon has a hard time going out of his established characterization norm.
There no reason for this bi-whatever book. All the characters are safe at home, involved in new plot that's integral to the Marvel Universe and/or being a mutant and/or the characters themselves.
Is this just some sort of after effects now embedded into my buying habits from all this mega-event crap? Am I now stuck on 'So What?' on every comic I buy because everything Marvel does these days seems somehow connected to a larger story that if we just keep reading, is going to get really really good? I vaguely remembered Iron Fist as a guest star from some book or another in my youth and now I am devouring his new series every chance I get, so I don't feel hampered by the need to have a big bar across my comics that connects it to a larger whole. Is it the lateness then? Why did even looking at Astonishing X-Men make me groan, as if to say 'Another one?'