Archives for August 2013

Review – Zoe: Out Of Time #1 and #2

Zoe_1.0_RC.pdf__page_11_of_31_One of the highlights of running this tiny ship called the Comics Herald, is getting to review comics that I would never have potentially stumbled across otherwise. One such example is Zoe: Out Of Time. 

Written by J. Michalski and Alexander Lagos, with Derlis Santacruz on art duties and Oren Kramek on colours, on the face of it this is a boy meets girl time-travel story. And that’s exactly what it is, but it’s done in a fresh enough way to make it a fun read. Zoe is living in the year 2050 and is obsessed with a band from the 1990s and thanks to having a scientist dad who happens to have worked out how to travel in time, she heads back to 1990. It takes all of Issue #1 to set that up but it’s done in an entertaining enough way that it doesn’t make the story feel like it is waiting to start. In fact, I probably enjoyed Issue #1 more than #2 as once Zoe arrives in 1990, things get a little bit formulaic there for a while but the pace picks up toward the end.

The art is engaging and actually reminded me quite a bit of The Second Life of Dr Mirage, though on checking back on my issues of that the comparison isn’t totally valid. If I had to make a criticism of the colouring, it’s the heavy reliance of one-colour backgrounds that dominate a page or series of panels. Sometimes that’s exactly what you need for particular settings, but to me it seemed to dominate the whole book.

Overall I’ve really enjoyed the first two issues and I’ll be keeping an eye on the series. If you’re after another good independent digital comic to jump on, then give this one a go.


Find out more about Zoe: Out of Time over at their website.

Grant Morrison on The Killing Joke – “Batman kills The Joker”.

Yes. You read that title correctly. Grant Morrison – who has just wrapped up his many-year run on Batman with Batman Inc. – claimed over on Kevin Smith’s podcast Fat Man on Batman that during the final pages of Alan Moore and Brian Bollard’s The Killing Joke, Batman kills the Joker. You can hear his thoughts in the video below:

And for reference here is the image of the final panel:

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Now I have seen this pop up and debated for days since Morrison first dropped this bombshell, but if this is as Morrison claims, it paints the entire comic in a completely new light – as Kevin Smith puts it “the last Batman story ever told”. It elevates, what I think is, one of the greatest Batman stories to something more. This is the Joker’s last joke – and victory.

Chances are that Alan Moore being who he is, we will never get an official word on this, but it still is brilliant when people are still discovering new things in material that is so many years old.

What do you guys think? Does Batman really kill the Joker? Or is this just people reading too much into the fiction? Let me know below!

Thanks toBleeding Cool for the story.

Film and Comic Comparisons – An Exercise in Futility and Frustration

I-Have-An-Issue-Banner‘I Have An Issue’ is a regular opinion column from Kimberley Griffiths, with no fear or favour shown. If you’d like to suggest something for a future column, drop us a line. Also, check out Kimberley’s blog!

Let’s make one thing abundantly clear if it wasn’t already. I am a huge fan of the Marvel Cinematic Universe. It’s not exactly a secret – I blather on about the movies all the time, I started MediAvengers, and I participate an awful lot in the fan community on Tumblr. I love the idea of a new, fresh outlook on these incredible stories that have been a part of so many people’s lives. I also – rather stupidly to be honest – follow the MCU fan page on Facebook.

While the page is useful for catching up on things I miss on my Tumblr dash, sometimes it’s really hard to subscribe to the old never read the comments adage. Many are reasonably well thought out and articulate, but there’s also a large quantity of replies like Screw Black Widow n Hawkeye, YO! Black Widow wants the D from Captain A! lol, and How survive that stab from the back by lokie [sic]. Sadly, it’s often difficult to look away from the complete and utter tripe you see posted by the various idiots, misogynists, bigots, and generally misguided individuals.

Comments like the above are easy to pass over without the desire to respond, though. It’s not until you come across thoughts like the below that your brain slowly begins to leak out of your ears…

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Here’s the thing.

It’s called the Marvel Multiverse for a reason. We have two main universe continuities in Marvel comics, and don’t have any trouble distinguishing these from one another, so why do so many insist on directly comparing story arcs and plot points when it comes to the MCU? Why do fans get up on their high horses and complain about differences between 616 and the MCU when they aren’t even remotely in the same universe?

There’s always been resistance to the interpretation of these characters, events, and plot lines. I’m not just talking about the current crop of Marvel Studios produced films, but I am going to focus this post on the debate I see raging on various MCU specific forums, websites, and pages. While the lines are certainly being blurred between these universes – an observation I’ve expressed discomfort with in the past – the fact still remains that the comics are the comics, and the movies are the movies.

The distinction we as fans should perhaps be more aware of, is  that what we’ve seen in print is merely a starting off point for what will eventually be presented on screen. The argument that X won’t happen in the films because of Y is old, invalid, and continuing to use it makes a fan appear to lack a fundamental understanding of the Marvel Multiverse.

Apart from the obvious reality that creating shot for panel recreations of comics is unrealistic and possibly unfilmable in most cases, do we really want these stories interpreted in such a way that offers nothing new?

You know what, that’s a stupid question, because yes, that is what some fans want. The same unenlightened readers whose comments are mentioned above. These fans are the ones who get on their high horses and say I’ve been reading the comics since I was a kid and [insert vitriol here], immediately attempting to invalidate anyone else’s argument because they’re the genuine fan. A real fan. A fan who’s been reading the comics since before they could actually read and my opinion is better than yours goddamnit!

But no, the Real Fan’s, opinion isn’t better than anyone else’s. As people who are asserting their knowledge, isn’t it rather ironic that they fail to understand the concept of different planes of existence? An idea that Marvel has reinforced in its readers over decades of printing these stories they claim to know so much better than everyone else.

What all this boils down to, is that the Marvel Cinematic Universe is not Earth-616 (primary continuity). Nor is it 1610 (Ultimates). The Marvel Cinematic Universe is its own little corner of the Marvel Multiverse – unofficial designation 199999 – and this is an important distinction to be aware of when conversing on pages and sites where the focus is the MCU.

Let’s take a look at comics for a moment. Considering the length of time Marvel has been spinning these tales, you can’t ignore the racism, homophobia, misogyny, generalisations and stereotyping that have been displayed on the pages. This is just the reality of the world we live in, and a part of humanity’s history. These are issues society has learned and still is learning from. It’s important for Marvel to adapt and change to remain contemporary.

Perhaps we need to not think of the movies as an interpretation of the comics, but as a version of events that is relevant to our modern society – the real world. A world where an environment of fear is just as powerful as a physical threat, where characters don’t need prosthetics, as we’re cool with them looking like human beings, not a Rob Liefeld drawing, and social awareness and conscience is at an all time high. Movies are made for the general public, not for a small selection of cranky, territorial fans.

Fans of the films don’t have to be fans of the comics, and vice versa. Just because a person has never read a comic book, doesn’t mean they have less of a right to enjoy and discuss the material that has been presented on screen. I’ve been witness to many interactions where a comics fan has suggested that someone who exclusively enjoys the films has less right to an opinion, but this is like saying you can’t be a real fan of cheese unless you like Stilton as well as cheddar.

Fraction knows what's what.

Fraction knows what’s what.

Marvel is doing a great job of bringing more people into the fan community. The films have been the catalyst for many new people to pick up comics, often for the first time ever. We should be celebrating the newer members of the community, not deriding them. Welcome these people with open arms, shove books at them and tell them to read all the things go forth and experience joy and wonderfulness and oh god this storyline is just the best you need to read it first before anything else oh em gee.

On a more personal note, I really don’t feel the desire to see word for word remakes of material I’ve already read. Nothing is more exciting to me than going along to a movie unspoiled, and thrilled at the idea that what I think is going to happen might not. That I’ll get to see something completely new, or a really clever mash-up of Ultimates and the primary continuity. Hey, we might even see an entirely new character that turns out to be so awesome, that the fans start a campaign that causes Marvel to resurrect him and give him his own TV show called Agents of S.H.I.E.L.D.

Criticising films for not adhering to comics canon is an inherently pointless exercise, that wastes the time of everyone involved.  Criticising the films for their own problems, is not. Viewers may disagree with the handling of certain changes because they turn something that was well handled in the comics, into something problematic in the films. They may feel that the interpretation of the basic concept creates needless plotholes, badly handled characters, or marginalise areas that were important to focus on. Comparing in this way is perfectly valid, and it would be silly to say otherwise. but saying The movie sucked because in the comics Y happened, not X is redundant.

Then we have the very extreme end of the spectrum. The fans who take every adaptation’s changes to comics canon as a personal affront. Flying spittle in the face of their years of loyal fan servitude. A rude kick in the balls to someone who thinks their status as a Real Fan gives them some sort of ownership over these characters. Fans who have the gall to presume they speak for everyone. Fans who write comments like this:

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I don’t know about you, but these fans certainly don’t speak for me.

These people have no more of a right to these characters than the next person. These characters belong to Marvel, who may do with them what they choose. Self proclaimed Real Fans can bitch and moan and groan until they’re blue in the face, but that’s not going to change the fact that their self-entitled, idiotic remarks are serving to contribute precisely nothing even remotely worthwhile to the discussion.

So what conclusion is there to draw from this? Is this simply just a post where I go on a rant because my views are different to others, or is there a serious underlying issue that I’m getting at?

There is a very real issue that’s the crux of this whole subject: inclusiveness, tolerance, and the importance of stamping out elitism. While a majority of the comments you see that fail to recognise the significance of the difference between Marvel universes are reasonably trivial, the fact remains that many use discussions on the MCU as a place to demonstrate their supposed encyclopaedic knowledge of the comics. If anyone wants to talk about these, and – the vastly varying and continually retconned, I might say – comics canon then might I suggest they go discuss it somewhere relevant.

Fans who wade in to a discussion about the MCU with a purist, elitist attitude are doing nothing but drive new fans away, frustrating people who recognise the difference between universes, and making themselves look like rude, judgemental imbeciles, who just happen to know how to use the Marvel Wiki. Let new fans discover the multiverse in their own way, and let old fans experience a new version of their favourite characters and story arcs.

Being a fan is about enjoying something, criticising it for its flaws, lauding it for its successes, not comparing it to something it’s not trying to be.

 

Review: Avengers Assemble #17 and Captain Marvel #14

avengers-assemble-17And so we reach the conclusion of The Enemy Within, the Avengers Assemble and Captain Marvel crossover event that’s really put Carol Danvers through the ringer.

Avengers Assemble #17, the penultimate issue of this event, is a beautiful looking book. The art, colours, and page design are all truly stunning, but in particular Buffagni’s art is exceptional here. The faces are all expressive, poses are filled with movement and action, and body types are more realistically represented than in many comics, which for me, is something I really look for in a book.

As usual, Kelly Sue handles the large cast of characters excellently, without it ever feeling like the focus has been taken off Carol. Along with Spider-Woman, Wolverine, The Hulk, Black Widow, Cap, Wasp, Hawkeye, and Abigail Brand, DeConnick somehow manages to squeeze Sersi in there as well. I honestly don’t know how she does it, the issue never feels cluttered or rushed, and I’m in complete awe of Kelly Sue’s writing abilities.

The biggest strength in this book however, is the emotional response it generates in the reader. You really get a sense of hopelessness, so that while you know the Avengers will prevail, things aren’t going to turn out well for Carol.  There’s always been a certain amount of dramatic irony in this storyline, but it comes to a head at the end, where anyone who’s been reading closely, or actually taken notice of the title of the event, finally gets that ‘AHA! I knew it!’ moment.  Right after the big plot twist reveal, we’re confronted with an entire page of Carol lying prone and bleeding on the ground, eyes blank and unseeing, and it’s then you realise there might not be a happy ending here.

Despite her rather dire circumstances, she gets up. The determination and strength shown in this issue is actually quite inspiring. That sense of hopelessness is still there, but there’s an underlying feeling of dogged persistence, that’s cemented by Carol’s final words in the in the book – “I will make it if I have to crawl.”

Captain-Marvel_14Moving on to Captain Marvel #14, featuring Scott Hepburn and Gerardo Sandoval as artists. Hepburn’s pencils are more consistent here than in #13, and it makes for a much more enjoyable issue than his previous one. The difference between the two artists isn’t as obvious as I though it may have been, but I certainly still have issues with Sandoval’s way of drawing body shapes – his version of Abigail Brand is particularly displeasing.

Like AA #17, Captain Marvel #14 is action packed. There’s plenty of great action sequences, but also a more human element with Carol’s friends hiding in the basement as Yon-Rogg attempts to crush New York with New Kree-Lar, and some personal interaction between Yon-Rogg and Carol in the central part of the issue.

Carol is broken. She’s weak, damaged, and at the mercy of her enemy, yet this issue has one of the best lines I’ve ever seen in a comic. As Carol stands over Yon-Rogg after summoning one last energy blast to knock him to the ground, we see her anger, strength, and a certain amount of resignation (and kudos to Hepburn for this panel, it’s excellent). What’s the line? Well you’ll have to read the book to find out!

The final issue in this event isn’t anything less than brilliant in it’s hearbreak. DeConnick has crafted an incredible conclusion to an immensely satisfying mini-event, and I can’t wait to see which direction she takes Carol’s character in future Captain Marvel issues.

Well done, Kelly Sue. The tears were worth it.

 

Review: Trillium #1 – Jeff Lemire

trilliumcover-195x300I’m just going to come right out and say it. Jeff Lemire is one of the best writers/artists on the comic market today. Each of his creator-owned works – Sweet Tooth, The Underwater Welder – have been some of my favourite stories in the past few years, so I know that when a new series comes around, you pay attention.Thankfully, my want for the next big Lemire-story has paid off, because not only does his new sci-fi epic Trillium hit a home-run, it hits it right out of the park.

Trillium – billed as the “last love story ever told” – tells the story of two different people, from two different places in both time and space. In fact, this first issue is told in two parts – one set in the year 3797, following scientist Nika Temsmith, and the other set in 1921, following William Pike, as he searches for the Lost Temple of the Incas. How these two meet is the crux of this tale, so I won’t spoil it here, but it is safe to say the mystery behind the why/how/who of this event is going to be a great one.

Lemire does more work in 14 pages than most writers do in 23, as he splits the issue right down the middle and they meet in the centre. Each story and world is well fleshed out, and Lemrie never seems to waste any space, proving that this is a man who most definitely knows his craft. Pike’s half of the issue is easier to digest, because of his more earthly origins, but it doesn’t make it any worse. In fact, it is a smart move to have half the tale grounded in a closer reality to our own, as it becomes easier to identify with Pike, as he battles his own war-time demons.

That’s not to say Nika’s part of the tale is too hard to digest – a mysterious virus is slowly wiping out the human race and they find themselves more and more on the run. There is a true sense of the end of the world in her half of the story, that is both poignant and interesting, and it extends further than a lot of similar fiction does.

As always, I am a huge fan of Lemire’s art style, and combined with his old collaborator of colouring Jose Villarrubia from Sweet Tooth, it really nails it here. The people are wonderfully expressive and the watercolours make for a beautiful read. While, again, Lemire’s surreal art style isn’t for everyone, it really helps set the mood, and Lemire knows how to tailor a story to his own work.

Trillium is, to no surprise to anyone, brilliant. I don’t feel I have to say anymore than Jeff Lemire’s name these days to pique anyone’s interest, but if you’re looking for a story that feels unique and from a man who knows his craft, look no further than this book.

Webcomic Wednesday – Moth City Part 4

You can never have too much of a good thing. That’s why this week, for Webcomic Wednesday, I return through the digital space to look at Tim Gibson’s Moth City, as it releases the second half of season two on Comixology. And like an old friend, it feels good.

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Moth City is still great. A unique mix of zombie horror, period drama, and film noir, it continues to impress on a level that rises above most webcomic fare. In fact I am glad that this series has found its way onto Comixology because it deserves to be up there with some of the bigger digital efforts. Coming from its fourth issue (or its second half of season two) on the market place, while finding itself on its third season on its own site, it still maintains its quality while bringing in something new.

This something new is really just a confirmation of the genre ties – the film-noir elements come to  a head as character motivations become less and less clear, and the story  takes a decidedly more zombie approach, with a fairly impressively drawn and animated scene involving a man with half his face off. Coupled with a cliffhanger I honestly wasn’t expecting, this series is good stuff.

If you want a great mish-mash of genre and a strong case for the digital comic, check it out here. Or pick it up on Comixology on the cheap (it looks really nice on the iPad).

Got a digital based comic you want me to take a look at? Hit me up on twitter @Prudent_Pipes, or drop us a line on our via our contact form.

Review: FF #10 – Matt Fraction & Mike Allred

FF10I’m not entirely sure what I think about this issue. On the one hand it dares to go places most creative teams don’t – breaking down the barriers between the creator and the creation, by placing Fraction, Allred and editor Tom Brevoot into their own comic; for the most part making it an enjoyable and silly tale. On the other hand, this story can feel a little too much like one big inside joke, and does require a working knowledge of each of these characters to fully appreciate. To be fair, a lesser day in the issues of FF is still nothing to sneeze at, and the team manage to create a book that still stands out, if for sometimes the wrong reasons.

The issue is split between two stories, one with the more outcast members of the FF engaged in twenty questions with a madman as one of their own is forced to kill the old man who may-or-may-not be Johnny Storm, and another as the rest of the members take a microscopic field trip with the Marvel creative team. The aforementioned game is great and still manages to live up to the standard seen in previous issues, but the field trip does seem to feel a bit out of place. Full of inside jokes and references to the team’s social media presence, like Tom Breevot’s Formspring, this issue isn’t really aimed at anyone who hasn’t got anything more than a cursory knowledge of these people.

Thankfully, the accompanying FF members remain fun, with Scott Lang’s dialogue reminiscent of an actual parent – remaining empathetic and dismissive, especially regarding the children’s love of the tiger. It speaks volumes of the character – a man who has lost his child and is beginning to let these few take her place, and Fraction really hits the nail on the head here.

The other half of the issue is great, letting the other characters shine. Tong in particular is a character that continues to grow, following her change earlier in the series, and is becoming a larger and more fun part of the team. Alex is still battling between saving his parents, and betraying the FF.

What else can I say about the Allreds that hasn’t been said already? They are great, plain and simple, and this issue continues to be a large selling point. I really cannot speak any more highly about those two, and I love coming back to them each week.

Despite a very risky choice taking place in the issue, it still manages to be a great read. I’m glad that this team is making choices like this, and while FF #10 doesn’t hit all the right notes, it still manages to sing strongly. 

Webcomic Wednesday – The Bunker

Hello and welcome to Webcomic Wednesday! Each week I take a look at a comic that inhabits the digital space, and let you know whether it is worth reading. This week I’m checking out a big one, its The Bunker, a new series courtesy of Joshua Hale Fialkov and Joe Infurnari. And it’s great.

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One issue in and I am sold. That doesn’t happen much – usually I wait until a few issues have dropped, and then I determine whether I will continue to pick it up regularly. But I don’t need to with The Bunker, a unique blend of post apocalyptic fiction, with a healthy amount of time travel thrown in, has got me sold at the premise. But it is what ends up inside that is truly great.

The story follows a small group of teenagers as they stumble onto a bunker with their names written on the outside – when they head inside they find documents, each with their names on them, and written by one of them. Without spoiling any more, there are a few twists in the first issue that will have even the most astute readers (read: Lost fans) surprised.

That Lost reference is no mistake – this issue is soaked in mystery and intrigue, with a healthy dose of sci-fi. This series will be a talking point for fans as it moves along. It also helps with it’s incredible cliffhanger that made me more surprised than I thought I would be.

Infurnari’s art is also great, a decent monochrome palate across a hand drawn landscape. It looks superb and despite the style, never feels too much or cluttered. It suits the story well, and that’s what matters the most.

One issue. That’s all that it took for me to be hooked, and I’m sure you will be too. You can find the first issue here on their website, or over on Comixology. Don’t miss this, it’s going to be great.

Got a digital based comic you want me to take a look at? Hit me up on twitter @Prudent_Pipes, or drop us a line on our via our contact form.

Review: Justice League Dark #22 – Jeff Lemire & Mikel Janin

Justice-league-darkAnother day, another large crossover. Actually, that’s a bit unfair, because DC’s latest event Trinity War, is shaping up to be something pretty darn cool. A three-way war between the three big superhero teams: Justice League, Justice League of America and Justice League Dark, with characters switching allegiances? Sign me up. The third part of this event, following from Justice League #22, then Justice League of America #6, focuses predominantly on the third team, and while it doesn’t seem clear what the overall point of pitching these teams against each other is right now, its a darn fun time.

This issue picks up right where JLA#6 left off. Superman, still reeling from his actions in the first part of the event, remains in captivity. Each character is finding themselves unsure of who to trust, and when Wonder Woman seeks the help from the begrudgingly named Justice League Dark, they find themselves part of a war they didn’t entirely want, as they seek (or prevent the others from finding) Pandora, and ultimately Pandora’s Box.

Why this is something important, I’m not entirely sure. It seems that each of the characters are running around trying to figure out what is the problem with the box, leaving it frustratingly unclear why we should care that the heroes don’t have it. There is some vague “it’ll spell the end of the world” spiels, but it never culminates into anything. While this isn’t necessarily the fault of this issue’s writer Jeff Lemire (the other issues were penned by Geoff Johns), it does leave it a bit open.

But you know what? Currently I’m okay with that. Superhero-on-superhero-on-superhero action is what we want, and while this issue seems like it’s trying to set something bigger up, even having one of the characters saying himself they are moving around like pieces on a chessboard. There is one cool face-off between Wonder Woman and Batman’s teams – it doesn’t end up being much, but they keep teasing a big showdown, and I really can’t wait.

Mikel Janin is arguably the best artist of the bunch in this arc. While Ivan Reis and Doug Mahnke are awesome in their own right, Janin’s clean pencils, and his lack of clutter suit the issue well. Amazingly, no panel feels too packed, despite having what appears to be the entire current roster of New52 heroes throughout the issue. Janin is an artist I love to see, and is one of the main reasons I return to this series month after month.

As a quick aside, since I haven’t had a chance to do so, I’d love to commend DC in their approach to their universe lately. It seems they are doing a massive push in the magic side of the universe, and it has produced some of the most interesting titles out there. I’m really happy that a title like Justice League Dark exists, and is such a large part of the greater DC universe.

All in all, Justice League Dark #22 does appear to be mostly filler, putting everyone in place for the next three issues, but the mere hint of something greater is tantalising. I just hope that whatever Pandora’s Box turns out to be, as well as the lead up to the Forever Evil event later in the year, makes this all worth it.