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.
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