Rapid Reviews Round Three

More rapid reviewing from another week of reading more comics than I really ought to be able to. Not because I'm time poor, more because the comics are content poor. Or at least some are.

So to our first contender. Surrounded by much hype this year, bearer of a reset button, and with a premise as sturdy as a paper dove...
Flashpoint

DO NOT PRESS BUTTON

As George Takei would say, "Oh Myyyy!" This story was unnecessary in the biggest possible way. Sure I'm lite-on with my DC history, (particularly modern DC), but this was the core of a company wide crossover that had (wait for it) no real impact on continuity. Oh sure it allowed the reboot/reset/relaunch/whatever that was the New 52, but it didn't add anything to continuity. In fact, I'm pretty sure that it contradicts the effects of time travel as depicted in other areas of the DCU. Booster Gold can't really change time, but Barry Allen can? How? Why? It's not really explained. I can only assume that what Geoff Johns and Andy Kubert dished up in this 176 page offering was the Crisis that Grant Morrison ought to have delivered with Final Crisis. Now I realise that thus far I've spent the entire review complaining about this being little more than a reset button, but honestly there's not much else to it.

No body retcons Morrison. Nobody.

The art is nice to look at, and the dialog is fine, but the story itself is so short. And it's made shorter with the cameos needed to tie in the tie-ins. Plus it doesn't matter what people look like, they are (in many cases) fundamentally not the characters we care about. From Thomas Wayne as Batman to out of character Wonder Woman. Those this book is likely aimed at (long term fans) should be struggling to connect with the characters the "know".
The biggest slap in the face is that at the end f it all, the story retcons itself out of existence. That's right, the story you spend $12 USD (if you get it now from Amazon) on purchasing, and about 30 minutes reading, wraps up so well that it never happened. Almost. A lot of comparisons were made between this and the Age of Apocalypse from Marvel back in the 1990s and it's an obvious comparison. The difference is that this is really more like House of M in terms of impact, depth, and time to read. If that's so, we'll be getting new Flashpoint stories for another 2-3 years yet.

Recommendation: Pass. Or read it in the 5 minutes it takes someone else to get the shrink-wrap off your copy of the New 52 omnibus without damaging it.

Clearly didn't like that one... so how about something that I really shouldn't like. Something like...
The Complete Ben Reilly Epic Book 2

If this doesn't trigger 1990s flashbacks,
go ahead and pick it up.

Yep, I panned the last volume of this when I reviewed it, but in for a penny, or something like that. Now while the last instalment sucked terribly due to lack of plot advancement or character development (combined with some truly reprehensible "art"), this one is actually enjoyable and readable. Which is high praise, comparatively. I'd love to tell you a page count, or an Amazon cost, but Amazon seem intent on pretending this didn't exist, which funnily enough, up until a couple years ago, is exactly the position Marvel had taken. We get the conclusion to the terrible VR Scarlet Spider in the real world story, some more New Warriors stuff, A sensible Spider-man and Human Torch story, Spider-man and Punisher teaming up against Tombstone, a couple of Venom plots, and Spidey vs Mysterio. As before, there's a swathe of writers and artists (Tom DeFalco, Evan Skolnick, Dan Jurgens, Todd Dezago, Howard Mackie, Tom Lyle, Glenn Greenburg, Sholly Fisch, Larry Hama, Mark Bagely, Patrick Zircher, Sal Buscema, John Romita Jr, Tom Morgan, Dick Giordano, Mike Harris, Mike Manley, Shawn McManus, Joe Bennet, Paris Karounos, Kevin Maguire, Bob Brown, Josh Hood, Tom Grindberg, and Joe St. Pierre) working on the range of Spider-man titles from the time. As before some of the art is better than others (Joe Bennet seems to think that Spidey and Punisher are about the same size as Colossus), and some of the stories are laughable. The good thing is that the amount of "woe is me I thought I was a clone" stuff drops off, and the development of Ben as a character really kicks off. If you were interested in reading about Ben Reilly as Spider-man I'd pick up the first couple of Clone Saga books, then skip to this point. It should be enough to get you up to speed for the new Scarlett Spider series (the less I say about that, the better).

Recommendation: Good read for Spidey fans, Reilly fans, and 1990s fans,. If you want great work, it's not here, but there's a least some solid work.

So maybe the 1990s is your favourite era. And maybe you like The Avengers. And cosmic stuff involving the Kree, Skrulls, or Shiar. You do? Great. Try reading...
Operation Galactic Storm (Volumes 1 and 2)

They're Avengers? Okay then.

It's so nice to have something good to say about a book, and it's also very nice to read something that's not finished in a couple of hours.
Operation Galactic Storm is a tale from the other time there were multiple Avengers teams (East and West), and deals with The Avengers (first the West Coast team, then both) getting caught up in an intergalactic war involving the Kree and the Shiar (mainly - there's a little bit of Skrullishness) by way of a Rick Jones abduction./ At its core, this is a story about the horrible things people rationalise as acceptable in times of war, and how people from different backgrounds, and at different points in their lives act when faced with the atrocities of war. For example Thor (Eric Masterson, not Donald Blake) is a relative novice and his lack of prior experience leads him to vacillate wildly from outraged violence to subdued humanitarian, while Captain America resolutely claims the need to stop the war without casualties. Interestingly, there's some very familiar riffs throughout this story: Cap vs Iron Man on a a moral battlefield, Hawkeye not feeling he's been afforded enough respect, Wonder Man and Vision as two sides of the same coin, and Cap doubting his ability to lead The Avengers. These are things we've seen repeatedly over time, and that they're all brought to the fore during what was a showcase cross-over event is evidence that a cross-over can be done properly.
There's really only two things to complain about here: that the story was split over two volumes, and that the What If stories in the second volume are so appalling. The split makes sense in that the editions I have are paperback. Going to a single volume would have resulted in a book where the spine breaks after one reading. The other alternative is to go to a hardcover/omnibus which raises costs, and reduces the likelihood of  reprint. The What If stories... are a demonstration of all that was wrong with the concept. The concept (What If The Avengers Los Operation Galactic Storm?) is not that compelling unless you really have a lot of time (see Flashpoint review above), the art is not that great, and at times it's completely unclear what the hell is happening.

Again, they're Avengers?

The art in the actual story is excellent, clear, and reminds me why I rate the art from the 1980s and 1990s so far above the art from the modern era: splash pages that do nothing to advance plot are at a minimum, dialog is consistently applied, rather than a page or two of people looking at each other menacingly, etc, and most importantly for me panels are separated from each other by a border at minimum, if not with whitespace.
The list of contributors (writers and artists) is extensive, but not over the top (Bob Harras, Tom DeFalco, Mark Gruenwald, Gerard Jones, Len Kaminski, Roy Thomas, Dann Thomas, Greg Capullo, Steve Epting, JEff Johnson, Stephen B. Jones, Rik Levins, Dave Ross, Paul Ryan, Rurik Tyler, Paul Olliffe, Craig Brasfield, John Czop, Darren Auck, and Dave Simmons).

Recommendation: Pick it up. Both volumes. Read it. Then read a modern "event" book (either of the big two will have something for you). Then sit back and wonder why "events" are so awful these days. You don't need to be an Avengers fan, and you don't need to be too worried about continuity (this is so far back it really isn't referenced).

Whew, big lot of books out of the way. Next week I'll do another batch review, but we'll focus on the one title.

Whaddya mean your girlfriend won't read The Boys?

Rapid Reviews Round One

In order to allow me to cover a lot of things I've read in the past few months in a few short posts, I've initiated a Round of Rapid Reviews. I won't go into a lot of detail but will give highlights, (dis) honourable mentions, and the usual details of who's to blame for what, and how much money to spend. Without further ado, let's discuss...

The Death of Jean DeWolff

Should be titled "Exploits of the Sin Eater"

This was one I grabbed while in Melbourne earlier this year. Amazon will ask about $18.5 USD for this 168 page book. It's written by Peter David (a good sign), and pencilled by Rich Buckler and Sal Buscema. Briefly put, Jean DeWolff (Spider-man's female cop buddy) has been killed, and Pete wants to catch the killer. Turns out the killer is an old geezer friend of Aunt May's. Peter near cripples the guy, and then has to deal with his guilt causing him to hold back in a fight with Electro. The art is good (not spectacular), and easy to read. Thankfully it hasn't been recoloured, s I doubt it'd look as nice.
The story is very much of the time, with Spider-man needing to deal with how his all consuming responsibilities as a hero clash with his underlying humanity. I'd like to say it's done better than most, but really the story is nothing overly special. How Eddie Brock could ever be plausibly retconned into being involved in (let alone caring about) these events is beyond me.

Recommendation: Spider-fans (be they casual or committed) will enjoy it. Everyone else will probably pass, as there's not much here that's not been done better elsewhere.

The Complete Ben Reilly Epic Book 1

I'd call it a turd-burger, but really you
wouldn't consider serving this to anyone.

Seriously awful. Amazon want to charge you $27 USD for this 120 page waste of time and space. The culprits for this train-wreck are Tom Defalco, Mike Lackey, Howard Mackie, Todd Dezago, Glenn Herdling, Evan Skolnick, Dan Jurgens, Mark Bagley, Sal Buscema, Gil Kane, Paris Karounos, Scott McDaniel, Tom Morgan, John Romita JR, Tod Smith, Joe St. Pierre, and Patrick Zircher.

If you must know what it's about, this is the sixth instalment of that "wonderful" period in the 1990s when Peter Parker was revealed to be a clone (not the real Spider-man) and Ben Reilly was revealed as the true Spider-man. If you'd read the fifth and figured that as the low point of the saga, think again. By the time this volume starts, Peter knows he's the clone, and has agreed to stop being Spider-man so he and a pregnant MJ can go and have a family life sans excitement. Thing is, from that point it takes until the last issue of the book for Ben to start out as Spider-man. There is not one single story in here that makes it worth my time to discuss the details of. The plots, logic, and dialog are terrible.
The art (excusing Mark Bagley and Sal Buscema) is full of woeful representations of human anatomy, and (in at least the case of an issue of Green Goblin) somehow makes it harder to read the stories (as if you'd want to). Every time I read something mildly objectionable in this era of spider-man, I think back to this Life of Reilly series of articles (now a blog) and wonder just how far they got it wrong.

Recommendation: If you happen upon this in a store, burn it. Otherwise, avoid all interaction with this book. Even if you want to read the Ben Reilly as Spider-man saga, this book doesn't advance the plot except for the last issue, and you'd pick up the plot advancement by reading the next volume.

The Walking Dead Volume Seven

You know what it's about. You know.

It's The Walking Dead. Zombies. Bleak. People Dying. Robert Kirkman and Charlie Adlard deliver another 304 pages of the most wrist slitting cmic book entertainment known to man, all for about $22 USD from Amazon. Reading this volume a couple thing struck me:
1. This series seriously needs a recap at the start of each volume; and
2. It's become so excessively repetitive that it's really only something to continue reading if you're committed to the series.

While there's not anything really wrong with the book per se (the art's good as ever, the characterisation , plot and dialog are all good), I think it's fair to say that the series as a whole is starting to lack clear direction. I get that it's the ongoing story of what would happen in a zombocalypse, but I'm tired of seeing the same repetition of "Rick's group find some place vaguely inhabitable, and begin to settle down. Human nature and zombies combine to screw things up, and lots of people die. Rinse, repeat." It's time to either focus on a different group of survivors (no reason they can't eventually team up with Rick's group), or wrap the series up with what I see as the inevitable conclusion: Rick and Carl are both dead.

Recommendation: If you've read this far, you probably need to decide if you're interested in more of the same. If so, keep going, else drop it like it's hot. If you aren't already reading, there's six volumes before this one that you need to read to be properly informed at each step along the way.


Well, that's a wrap for Rapid Review Round One. Next week, I'll be back with Round Two.

Coming Home to "Coming Home"

As promised, the first review. Up front: it's actually a great read. "Coming Home" collects the first 6 issues (Volume 2 #30 - 35) of J. Michael Straczynski's run on Amazing Spider-man, with pencils by John Romita Jr, inks by Scott Hanna, and J. Scott Campbell covers. On Amazon you'd be looking at anywhere from a few dollars to $30 US for 152 pages. Or you could get the Ultimate Collection which is essentially the first three trades from JMS and Co. They released those after I started in on this run, so I won't go into what they all give you there.

In brief, Peter moves into a new apartment, meets a 57 year old multi-millionaire named Ezekiel who (wait for it) has spider-powers (possibly from being stabbed in the heart in some Incan spider temple), goes to teach at the highschool he attended as a kid, tells May he loves her, fights a supernatural creature that feeds off his totemic powers, irradiates his blood, wins the fight, passes out in his bed after goofing off a bit, and is found there by Aunt May. Roll Credits.

The money question: is it any good? At the time, it was spectacular. Spider-man was coming out of the horrors of the 90's where he'd dealt with imposter parents, symbiotes galore, clones galore, a nervous break down, the return of Norman Osborn (the Green Goblin), a period of homelessness, and some horrible writing and editorial mandates from people that should have known better. I think most everyone was very glad to see Peter Parker getting back on his feet and taken back to his roots. The sole complaint that can be thrown at this book plot-wise and really stick is that our main villain, Morlun, is not the standard "science freak" Spidey faces off against. Instead he's a creature that feeds off of those with totemic powers (two guesses what Peter's totem animal is). Now I'll pay that as a criticism, but really, it doesn't bother me any more than the idea that Aunt May had a change in hair style. Think about it this way, without unleashing scientific concepts that can't be simply explained in a panel or two on the readership, there's no greater mental challenge for Peter Parker in defeating a villain than asking him to reject (if only momentarily) the idea that everything can be explained by science (though in the end "science" wins the day).

In other words, the plot is solid, it's not great the whole time, but it's a solid story, The snappy banter is well written, and JMS even pokes fun at Babylon 5 (hint, he created Bab 5). There are two let downs in the writing. One is the occasional "woe is me" mentality of Pete, but at least we are spared the "power and responsibility" line being thrown out every other page. The other is a minor plot hole occurs in issue 31 (the second of the volume) where Peter is at school and working to take out an armed kid. He goes out to take the kid on (shrouded in smoke) and changes into Spidey. Now people saw him leave, people know the guy got taken out, and people seem to acknowledge he had a hand in it. The kid (if questioned) would say it was Spidey that took him down. Hmm. Peter could reasonably have stayed in civvies and taken the kid down himself, given people's reactions. It's a small thing but it somehow irritated me. I know that some people have whinged about some of the more throw away lines about how this is the first villain that's really pissed Peter off. Sure hat wouldn't be true, but come on, get over it at least we weren't treated to a brand new period in Spidey's life packed full of Green Goblin and Doc Ock.

The Good and the Bad. The Ugly comes later in the run.

So the writing is good, the story is good, what about the art? I'll admit that if offered to see JRJr's art or not, I'd opt for "not". I generally find his ability to draw faces to be disconcertingly cubist, and that his use of lines to add shading was a bit tired in the 90's. That said, this volume has some great examples of good JRJr art (along with some howlers).

What leaves me guessing then, is why JRJr shines so brilliantly during this volume (and others of this run), when I can give examples from earlier and later in his career where I truly shudder at the thought of reading the books again. As best I can tell credit has to go to at least some of:

• JRJr's ability to draw a great Spidey in all manner of ridiculously impossible poses;
• Scott Hana's inks; or
• The colouring used in this run.

In all honesty the things that leave me cold about JRJr are the faces, particularly on supposedly attractive women (I'll have much more to say in later installments of this run). You cut back on those and he works. While I might generally prefer someone like, say, Mike Deodato Jr, the simplicity of JRJr's work is bright and bold and, I suspect, able to be done to schedule.

If you want a good read for a spare hour or so, give this a go. If you read it before and hated it, I'd love to hear what you think on re-reading, because I suspect you'll consider changing your mind. If you don't have a copy, you probably ant to consider the cost of this volume vs the cost of an ultimate collection before deciding which path you go down, especially if you don't want to over commit.

And with that, it's time to tease the next review, and what I was always told is, when you're on to a good thing, stick with it.

Spidey's Crotchless uniform was more than May could handle.