What I Buy Wednesday: April 22nd 2009

Where Brendan's word is law. And also lawless.

It never fails- have a quiet week at the comic shop, and the next week will come on like gangbusters. To top it off, this week offered a diverse selection of all my favorite kinds of comics, and it's these kinds of weeks that make obsession worthwhile.

Viking #1 (Image): If nothing else, you should know that it takes very little for me to become interested in vikings. But even given that, I've been really hotly anticipating this book. And that was before all the “retailers got one look at this book and bought the shit out of it,” stuff started going down, and it was sent back to the printer, and held off from shipping. Seriously, this is a wicked smart idea, because there would be value lost in having a first printing ship, and then having a delayed second printing that some parts of readership might frown upon. Instead, by exercising a little patience, these guys poised themselves for success. Nevermind the fact that Nic Klein is some sort of super-artist, and that Ivan Brandon seems fatefully poised for a big year of comics-makery. This book is exactly the sort of thing that makes me excited about reading and talking about new comics. It also makes me profoundly jealous. Moving on...

Thor #601 (Marvel): So, yeah. Norse stuff. When JMS relaunched this title with Coipel I was impatient to shit. Thor had been off the map so long, all I wanted was for him to be reintroduced to the forefront of the Marvel U. I couldn't deny that the world-building approach taken to Asgard's relocation into Oklahoma was a better way to fully realize the character's world, but I still wanted Thor to, like, get into shit with the Avengers. 'Cause he's Thor. Instead, Marvel wisely waited until Secret Invasion to fully unveil the god of thunder to his peers, and immediately sat Loki at the table of Marvel's most dastardly douchebags. Now, finally, what happens to Thor matters to the MU at large, and vice-versa. Marko Djurdjevic is a great alternate for this book, and it is evident that his skill grows with each issue.

Detective Comics #853 (DC Comics): There's a pretty good chance I'm going to buy any book Andy Kubert draws, so when Neil Gaiman is playing type-master for that same title, I might as well buy it twice. As a fan, I've been disappointed by the lack of output by both Kubert brothers during their time as DC exclusives, just because it feels like so many missed opportunities. On the other hand, the two have both been afforded high-visibility, generally high-quality projects, on iconic characters, and one can't ask for much more than the most literate writer in comics directing your pencils. I thought the first part of this Whatever Happened to the Caped Crusader? two-parter was a little dense, but this one tied it all up nicely, and was totally satisfying. Gaiman tells stories about big ideas, and Kubert conveys crystal-clear story, so it is a complimentary match. Plus, these days you've gotta take the stories you can get about the real Batman where you fan find 'em.

Invincible #61(Image): I think Kirkman has given himself a real challenge to outdo any and all superhero comic competition each and every month within his single superhero title. Mark is somberly dealing with the bloody Aftermath of last issue's Invincible War, and the costs are steep. I don't know how Ottley and Kirkman manage to make this the most awesome book of superhero drama and fighting on the shelves every month, but they do. It simply keeps getting better and better.

Ignition City #2 of 5 (Avatar): I'll admit, I will sometimes only check out the first issue of a Warren Ellis miniseries, because I am more interested in finding out Ellis' hook than awaiting and seeing through the execution of an (often delayed) project. I usually end up catching up with the traded collection, because, well, that's how Ellis reads best. But I can't be patient with Ignition City. This book pushes my brain-buttons.

Amazing Spider-Man #592 (Marvel): Mike McKone illustrates, and I cheer. Mark Waid is an almost obvious addition to the Spider-team, and fits right in while telling a story that is clearly of his own creative mind. Waid has a good handle on J. Jonah Jameson's combative nature, and Spidey's playful one. Also- the last page? Eww.

John Constantine: Hellblazer #254 (Vertigo): Milligan writes a good Constantine, and has shown a knack for horror with the Scab arc. Next up- the Bubonic Plague. What the hell could be scarier than that?

X-Force #14 (Marvel): Messiah War continues to make an X-nerd out of me. There was a time when I took pride in my stature above the squabble and fray of frivolous comics like X-Men crossover books, or even worse, X-Men spinoff crossover books, but the creative team behind this Cable/ X-Force team-up has my number. I give up. You win. I'll buy it. Just promise to not have a shitty ending. Oh, who cares, I'll still want to check out the follow up. I suck.

Booster Gold #19 (DC Comics): Dan Jurgens just draws comics the way I think they should look. He kind of defines “convention,” to me, in that he is a clear, basically literal artist. And really, if anyone should be the one still drawing the 90's head-sock, hair-out-the-top look, it is Jurgens with Booster Gold. I'm not sure how long this title will last without a “name” writer like Geoff Johns onboard, but I honestly don't think the title has slipped with Dan Jurgens at the helm. I think Jurgens, Johns, and Jeff Katz really built this book into a machine that works, and that uses the character to his fullest, and I'm not bored yet. So here's to the semi-forgotten characters of yesteryear.

Elektra #2 of 5 (Marvel): I liked the first issue of this series more than I thought I would. I might've liked this one more. Judging from the last page, I think I'll like the next one even more.

-->

Marvels: Eye of the Camera #5 of 6 (Marvel): Kurt Busiek has a great intuition when it comes to really tying superheroes and zeitgeist, and this series is no exception. I was against doing this sequel without painter extraordinaire Alex Ross, but Jay Anacleto has really made this project his own, with a different sort of realism in his work.

What I Buy Wednesdays: April 15th 2009

Abandon individual opinions, all ye who enter here

Once again, I reflect on the merits of my weekly funnybook purchases. You are enraptured, I am sure-

Beta Ray Bill: The Green of Eden One-Shot (Marvel): I'm not sure there is an analogous phenomenon to the “spin-off character” in realms outside of comics. But in comics, you've got a sidekicks, cowl-sharing families, and stubbled, gritty knock-offs. Why create an original character when you can slightly alter an existing one, and call it “brand new”? Well don't let my tone fool you, I actually generally love spin off characters, and Beta Ray Bill is no exception. An alien, horse-faced version of Thor, Bill is kind of like Thor without any baggage. Not tied to Earth or Asgard, as a character Bill offers all the scope of Thor, but casts the mythological character to a harder sci-fi backdrop. Forget Thor-Frog, Bill is Walt Simonson's greatest legacy on Thor. Okay, and the frog. Anyway, following up on Fraction and Braithwaite's Secret Invasion, this one-shot squares the other hammer-bearer against the vagrant Skrulls across the universe, aimless and desperate for something to believe in. Dan Brereton provides the pencils here. They're very strong, but I must admit I was a tad disappointed to learn that he wasn't doing the fully-painted interiors he has made a trademark with. Still, the coloring by Jose Villarrubia is masterful, managing to sell deep emotions without contradicting the science fantasy. Moreover, I am just pleased that Marvel is invested in putting out Beta Ray Bill material, and taking care of this classic, if perhaps somewhat unoriginal, character.


The Strange Adventures of H.P. Lovecraft #1 (Image): In writing classes, students are told that writers, or artists, or most any left-brained type folks, make for poor protagonists. Introverted, prone to indecision, and generally just too contemplative, the conventional logic is that by going the other way, for an action oriented “doer,” allows for stories that move faster, and that audiences are more prone to root for, or something. Well fuck that noise, this book proves that a writer can make a helluva hero, provided you pit him against circumstances that force him out of his comfort zone, and demand action. This book casts the enigmatic Howard Lovecraft in its leading role, and before long action, intrigue, and fantastical horror nips at his heels. There are many books that tap into the creative energies of thE Cthulu master, but this one found the unique angle that made it must-see for me. Mac Carter and Tony Salmons, two creators I am admittedly unfamiliar with, really knock this first issue out of the park, and deliver on the promise of this great premise.


Incognito #3 (Icon): I LOVE seeing what all-star talent chooses to do when left to their own devices. With Brubaker and Phillips, the product of that labor is usually the damn near perfect comicbook Criminal, the book that forgoes a lead character for a series of interconnected ones, and tells the secrets of their underworld. Incognito is a perfect compliment to that series. Ostensibly still crime noir, this series embraces the realm of superheroes and villains. Brubaker has made himself one of the best superhero writers working, but he clearly has an affinity for the seedy underbellies opposing the shiny good guys. Power to him, because he, along with the art team of Phillips and Staples, create the most active, exciting, unpredictable adventures on either side of the law. I wouldn't even know how to miss one of these installments.



Punisher #4 (Marvel): I dig what Remender is doing with this title. He knows how to enjoy the Punisher, make him dryly funny and balance the street sense with the superhero contrast. Jerome Opeňa matches style perfectly, no surprise given their collaborative history on Fear Agent. I don't think the Punisher is a particularly difficult character to crack, because his motivations and desires are pretty straightforward. The challenge then becomes finding both the right antagonists to cast him against, and cooking up the sadistic, but efficient, means by which Frank Castle does his dirty business. The Hood, the leader and organizer of the super villain syndicate, makes the perfect foil to ol' skull-chest. The Punisher basically works alone, with the occasional tech-exception, and the Hood rolls about 400 deep. They contrast well. And the thing is, Punisher doesn't really fight villains, he fights criminals. The Hood is really less of a super-villain than he is a super-criminal, and that puts him right in Frank's wheelhouse. So far, this series was worth it just for the Punisher's utterly ridiculous assualt costume revealed in this issue. Plus, the cover to this issue paid homage to the #1 of the 1987 ongoing series, which was the first semi- valuable #1 issue of anything I ever bought. So that's cool.


A small week, I made up for it by acquiring a wholly irresponsible number of graphic novels and trade paperbacks. I'll justify those excess purchases next time.

What I Buy Wednesdays: April 8th 2009

Or, How I Learned to Stop Worrying and Surrendered My Life to Comics

-->

I looked at the release list this week, and figured “Oh, this will be a small week.” But everything's relative, I guess:

Ignition City #1 of 5 (Avatar): Despite my belief that he's the finest author working in comics, I don't actually follow each and every one of Warren Ellis' creator-owned endeavors. Instead, I find solace in the knowledge that they exist, and that whenever I need a shot of romantically pessimistic fiction in my life, his extensive backlist will be awaiting me. This issue demanded my attention, though, as it was a wholly fresh take on steampunk, updated to the mid-20^th century. After reading it, I would compare it favorably to Ellis' masterpiece in collaboration with Chris Weston, Ministry of Space. Similarly to that work, it is a ficticious history of the 20^th century, wherein space flight became possible perhaps at the dawn of the century, and popularized by the mid 1940s. In this book it is so commonplace that it has actually become unfashionable, and thus this is the story of the last woman whose dreams lie in the stars. Ellis is smarter than you or I, and if we don't try to siphon knowledge from his retro-future brainslice, I fear we will all become outmoded.

Superman: World of New Krypton #2 (DC Comics): I'm not following the ins-and-outs of this latest Superman megasaga, but the high concept of Superman on a planet of Supermen intrigues me enough to draw in. James Robinson and Greg Rucka are commodities as writers, but it is actually the work of artist Pete Woods that made this a must-buy for me. Woods was fantastic on the Up, Up, and Away Superman arc of a few years past, and has really established himself as the Superman artist I most closely associated with the modern era. I just dig his sensibilities. This New Krypton status quo wouldn't work as a “forever” sort of deal, but it makes for one of the most interesting Superman stories I've ever read.

Deadpool: Suicide Kings #1 of 5 (Marvel): First of all, I'm disgusted with myself that I didn't recognize the cover work of one of my all-time favorites, Mr. Mike McKone, until I read the credits. I'm supposed to be a pro, goddamnit, I can't allow such rookie mistakes. I could blame the coloring for throwing me off, somehow, but I'm above such excuses. Anyway, the realization made me wonder why we aren't getting a Mike McKone penciled Deadpool book, and really why there is so little McKone interior work in general. I want more! Getting back to this book, Mike Benson and Carlo Barberi have already done some work on 'Pool in recent months, it seems editorial decided to get them to push more Deadpool product, and release this mini to supplement the main ongoing series. As a reader who spent years pining for more 'Pool, color me satisfied, (which I assume is some sort of turquoise). This book doesn't do a ton to separate itself from the main series, but it does prove that old saying- more is more. And this is more.

The Amazon #2 of 3 (Dark Horse): Seagle and Sale are veteran industry all-stars, and as a young, sometimes aspiring comics' mind I cannot overstate how valuable it is to see their early efforts. It isn't that the mini is rife with flaws to harp on, it is the fact that the book is so pure, and the concepts and methods so primal, that it makes a great tool to see how creators create. It is also interesting, and kind of sad, that in the late 80's two young creators could put out a work like this, and expect it to be somewhat visible. Nowadays, this book might be DOA, due to its non-adventure story and that it maybe has a social agenda, if not for the names adorning the cover. That might be a tad fatalistic, but given that this series is about the destruction of the rainforests, that might just be appropriate.

Green Lantern #39 (DC Comics): I was so ready to dislike Philip Tan's work on this book. I'm not sure I had any rational reason, except that the preview art I'd seen had been very rough, and was worried his style might be too jagged for this book. I was wrong. Tan is really consistent with his work here, and the matching with inker Jonathan Glapion is pitch perfect. It is detailed without being overdrawn, and moody enough for this story about the emotional spectrum. I'm no longer surprised by how much I enjoy this mega-scale Blackest Night storyline, I only wish I could stay away from it long enough to build a bit of a que, and read multiple parts at a time. But I'm just not that patient.

Wolverine: Weapon X #1 (Marvel): If you were Marvel, and you had a Wolverine movie about to be released, wouldn't you flood the market with related product, and cash in your cash cow? Don't bullshit, you would. Jason Aaron won me over with his work on Wolverine in the Manifest Destiny miniseries for the way he made Logan fully interact with the city of San Fransisco, (this was extra vital to me, given that I lived there for a time). He collabo'd with artist Ron Garney on a short run of the main ongoing series a while back, and the powers-that-be decided it would make sense for the two of them to launch their own book. This is well and good, except that Garney just launched a book with Greg Pak, Skaar: Son of Hulk, and I don't think his work was done there. It isn't a personal thing, I just think that if the care is taken to invest the time in launching a book with a writer and artist, it is a disservice to the process to pull part of that creative team after a mere few months. Weapon X is a bit more high profile, I suppose, so this pairing may be better fated for a longer run. Although that's really only warrented if they prove to be the best there is at what they do, and lord knows there's plenty of competition.

Secret Six #8 (DC Comics): Gail Simone makes me laugh. She made me laugh on Agent X, and she's been making me laugh with this assemblage of villains ever since she corralled them in the Villains United miniseries. When Deadshot goes on a date with three women in this issue, two of whom could likely kill him, I can't help but think how very much that is like my own life. True, two of these women are on a date with one another, but even that social incongruity echoes familiarly in my own life. You think I'm joking, but really, it happens to me all the time. Okay, fine, the only thing that happens all the time is I hang out with women who can kick my ass. What can I say? I probably learned to like that sort of thing from comics.

Dark Reign: Hawkeye #1 of 5 (Marvel): This is just the simple tale of a sociopathic muderer who has assumed the identity of a longstanding hero who was once a villain and the hilarious, bloody mixups that ensue. Andy Diggle seems to be a bit more freewheeling in his enjoyment of villainy here than he does in his recent Thunderbolts work, I would guess because the scale is much more focused here. This issue is just nonstop classic “Bullseye being Hawkeye,” rendered masterfully by one of my favs, Tom Raney. With diligent beat reporter Ben Urich hot on the case, I full expect to enjoy this entire mini.

Timestorm 2009-2099 #1 of 4 (Marvel): I can't escape my past; I loved Marvel's 2099 books when they came out. I didn't know how not to. I'm not defending this. Now that it's 2009, it seems appropriate that we celebrate this bygone era of comics, even if no one particularly misses it. With a beautiful cover that I'm going to guess is by Skottie Young (no credit is listed), and with interiors by the kinetic Eric Battle, I'm just enough of a sucker to want to see where this series goes.

What I buy Wednesdays April 1, 2009

Welcome to Week 2 of the internet's most popular selection of subjective sequential greatness. Let's get to the goodies;

The Flash: Rebirth #1 (DC): Sometimes you have to go with the known commodity. Johns and Van Sciver know their shit. They know how to jam together, and they know how to successfully revamp characters in such a way that they maintain their classical identities, while updating them to the extent that they can operate within the modern context of comics. They don't disappoint here, setting up the Silver Age iconoclast Barry Allen for his uneasy reentry to the modern DCU. While I think the new, CSI detective angle on the character will be a strong one, I'm more interested to see what Johns will cook up for the other parts of the Flash family, like sometimes Kid Flash Bart Allen. The thing that Green Lantern: Rebirth did best was not only bring Hal Jordan into the limelight, but also better define the other Green Lanterns in contrast to him. If this title can do that, we can expect the Flash franchise to sparkle as brightly as GL. Plus, my first exposure to this creative team came on the hard-to-find Flash: Iron Heights one-shot, and all the nods to that story here shows how committed to this story and character these guys are. Despite Final Crisis, this is probably DC's most important book of this year.




Amazing Spider-Man #590 (Marvel): I'm not quite sure why I don't buy every issue of this series. I think it's because I can. That's actually a compliment to the creative and editorial team of this book, because while I enjoy each and every issue I read, and while I know there are plotlines and stories I miss, I never feel like the title has gone so far that I'm out of the loop. Also, due to their really unparalleled patience with regards to long-term story threads, there are still a bunch of questions set up from the first issue of OMD to be answered. This Fantastic Four team up issue finally begins to address the mystery surrounding Spidey's once public, but now once again secret identity, and how that affects people who consider themselves his friends, like the Human Torch. Plus it's a classic team up of mighty Marvel proportions from Dan Slott and Barry Kitson, so there's really no good reason to miss it.Unless you hate fun, that is.





Haunted Tank #5 of 5 (Vertigo): Again, this is a title I've seen gestate and evolve from its early stages. It's a really cool story with subjects spanning race, America history, foreign policy, Confederacy etiquette. Frank Marraffino delivers aggressive scripts, and Henry Flint portrays an unflinching Iraq. Sometimes to be successful, a Vertigo book need only be different enough from its peers on the shelves to deliver on the brand's promise, and I think this book does that.











Killer of Demons #2 of 3 (Image): I bought the first issue of this series because of Atomic Robo pencil-man Scott Wegener. I bought the second issue because writer Christopher Yost delivered a strong enough concept with the first issue to warrant the follow up. The teeny-bopper Satanist vixen sociopath was, ahem, an interesting inclusion. You don't usually get that many panty-shots in an adventure comic. Oh, plus, foul mouthed angels kick ass.










Destroyer #1 (Marvel MAX): Any time Robert Kirkman and Cory Walker make a comicbook together, I buy it. I don't care if it's Invincible or Mille the Model Spends Too Long in the Ladies' Room. I'm there. Never mind the fact that in this issue a guy impales an opponent with a rifle while screaming "Guns are for pussies!" Yeah. Sold.













Seaguy: Slaves of Mickey Eye #1 of 3 (Vertigo): I don't think one needs to have seen an original to enjoy the sequel, and that was the thinking with this pickup. Grant Morrison and Cameron Stewart have made their bones enough in this industry for me to want to see what this book's all about. If anything, this new book is more likely to make me check out the old stuff. Which is, y'know, exactly what Vertigo editorial and collected editions is hoping for. Happy to oblige.










Jersey Gods #3 (Image): I'm trying with this book. They've had no shortage of Hall of Fame cover talent, (with Paul Pope bringing it here), and the Kirby- infused artwork by Dan McDaid belongs on the highest top shelf you've got, but I've really struggled to get invested in this story. No slight to writer Glen Brunswick, because I don't think he'd be able to wrangle all this talent if he didn't have one helluva hook, but I'm still waiting for it. I've found the dialogue stilted, and the characters flat, but I'm trying. My hope is that once all the world-building is complete, and the premise fleshed out, the voices and characters will breathe a little more, and ring more true. Great covers and art can keep my mighty dollar coming for a while, but eventually I'm going to need more substance.






Marvel Assistant-Sized Spectacular #1 of 2 (Marvel): Marvel's at its best when being free-flowing and letting creativity guide content. Today's assistants are tomorrow's hiring editors, so checking what they get up to when left to their own devices is a vital exercise. This special was in line with Marvel's fun-loving image, and gave various talents a chance to work on less-known properties. I was surprised, actually, that there weren't more unknown creators working on these books, but I suppose that was left to-










Astonishing Tales #3 (Marvel): I don't know why this book is succeeding for me everywhere Marvel Presents failed, but man am I digging it. Each of the ongoing plotlines have been just strong enough to sustain my interest issue to issue, and the talent is just off-beat enough to warrant their own platform. Jonathan Hickman and Nick Pitarra are the breakout stars of this book, with their hilarious buddy story set in the Mojoverse. This story is just a distinct enough flavor that it couldn't exist without the platform Astonishing offers, which is exactly how it earned my $4.









The Freedom Collective: Communism's Mightiest Super-heroes (Rough Cut Comics):Looking at the cover, and peeping the first page, I saw that the whole pitch for this book was “What if the Avengers were communists.” So, yeah, I was sold.














Justice Society of America #25 (DC): Johns really integrates artists' talents into his stories as well as anyone in comics. All of his collaborations with Jerry Ordway have either hearkened to the classical stylings of Earth-2, or channeled Ordway's earlier success, as in this arc's Marvel family focus. Black Adam is the single most compelling character in the DCU to my mind, and I never tire of seeing his rise, or fall. Johns puts his prized toy on the shelf here, but there's not a doubt in my mind that he's just being saved for the right story, in the future. Also, I am super bummed that Johns will be leaving this book, but all good things, I guess. I also hear really good word on upcoming writer Matthew Sturges, so maybe hope is on the horizon. After seeing the train-wrecks that were the follow-ups to Johns' runs on Teen Titans and The Flash, I can only hope.






Deadpool #9 (Marvel): This Thunderbolts crossover has been a fun celebration of the Marvel U's more morally challenged corner, and this issue keeps pace. The only thing more hilarious than mass-murderers in love is trite sitcom-style hijinx of body doubles and girl-fiending. I don't know why Marvel bothered teaming up 'Pool with Cable for a series when Wade and Taskmaster so obviously make the best blade-wielding duo since Starsky met Hutch... and they found swords.











Secret Warriors (Marvel): Jonathan Hickman has made Nick Fury the badass he needs to be. It says a lot that I empathize more him than his punk squadron of young operatives. Caselli is doing the work of his life with the pencil, selling the quiet drama as effectively as the loud action sequences. The story is as layered and complex as one would want a spy book about secret worldwide organizations to be, and it features a cast that has been tempered in the greatest battle of recent MU memory. I think this book has rode the wave of Secret Invasion as well as anyone could have hoped.




War of Kings (Marvel): Sci-fi (or Sy-Fy if you're a fucking dumbass network) is always best served as parable. The more outlandish the situation, the more vital the grounding. Jim Starlin got this, which is why even the most ridiculous Infinity saga had, at its heart, very real, basic, philosophical debates. After years of positioning, Marvel editorial finally has the pieces in place for a massive, intergalactic 'world' war of each and every fleshed out alien race in the Mighty Marvel stable. The story is regal and grand, and Paul Pelletier is as strong a penciler as there is in the game. I don't want to care about the far corners of the Marvel U, but there I am anyway.