Umbrella Academy: Dallas #3

Writer: Gerard Way
Artist: Gabriel Bá
Colorist: Dave Stewart
Publisher: Dark Horse

Umbrella Academy: Dallas is a great series. There - I said it. Another issue of Umbrella Academy has arrived, and Gerard Way is leaving little doubt that this is a series with some serious staying power. As much as I and other fans enjoyed the first series, it was unrealistic to expect subsequent storylines to match the peculiar charm and eclectic energy of Apocalypse Suite. At the half-way point of the second series, I am ready to proclaim that Dallas may very well be better than its predecessor.

If anything, Gerard Way's writing is becoming more focused with each issue he completes. These characters have been around for nine issues now (along with a few short episodes in other books), and they still have that haze of mystery about them. There is something both engaging and off-putting about the stars of this series - an aura that both attracts and repels the reader. It is as if they keep all of us at arm's length, allowing us to peek at the inner workings of their lives but never letting us delve too deeply into the inner workings of their souls. In that, Way has managed to make us feel as though we are members of this dysfunctional "family", for our skin-deep relationship with each character mirrors the relationships they have with one another.

The artwork is what we have come to expect from Gabriel Ba, and Stewart's coloring accents it perfectly. The characters and scenery leap from the page as the book moves effortlessly through scene after scene of madness and mayhem. And there is just something about Hazel and Cha-Cha that sends a chill up your spine. It is disturbing that a pair of killers could be that creepily cute and yet so efficient at their bloody profession. Like the members of the Umbrella Academy, these two assassins are perfectly cast for their roles in the series. And wait until you see Heaven...

All in all, this was another fantastic issue that has me eagerly anticipating Way and Ba's next outing.

Thunderbolts #128

I was going to talk about the new issue of Marvel's Thunderbolts as a work of comic book fiction - you know, that combination of words and pictures that we fans devour for entertainment sustenance? Alas, the best laid plans of mice and men...

Thunderbolts #128 has been on the stands less than a week now, and I have been bombarded by friends, associates, and others with more opinions on this book than on any single comic in recent memory. And around what subject, pray tell, do you imagine the comments are centered ? Could it be the current state of the Marvel Universe? The advent of Norman Osborn's Dark Reign? Whether or not the Thunderbolts hold any relevance in this brave new world where any villain can be given legitimacy just because Normie says so? While any of those might have been interesting topics for conversation (and indeed, I have had discussions with a number of folks about each and every one of those questions), most of the questions directed toward me over the last week have involved an element of this month's issue of which I had barely taken note: the appearance of President Barack Obama.

Don't get me wrong, I had noticed his appearance. I had even noticed that this appearance, unlike his much-publicized appearance in Spider-Man, was actually relevant to the story. His meeting with Norman Osborn aboard Air Force One, and the verbal sparring the two had over the recent consolidation of power in Osborn's hands, came off as an inherently natural and necessary element of the story. However, no one who contacted me had any interest in Obama's cameo as a story element. Rather, they all took issue with the fact that the new President did not immediately see through Norman's facade and order his dismissal. In the words of one reader,

"Marvel painted the leader of the Free World as naive and overly-trusting. Barack Obama is far too wise to fall for Norman's tricks!"

And that reader was not alone. I was amazed at the sheer volume of people who were offended by Marvel's depiction of a fictional version of the President of the United States of the Marvel Universe. Did anyone get that last part? Any president who appears in the Marvel Universe is a fictional representation of an American leader. It is not a biography. It is not an advertisement for the real entity. It is a work of fictional characterization.

Then again, what is so negative about the Obama who was portrayed in this comic? What exactly did the fictional president say or do that the real President's ardent admirer's find so insulting? In my opinion, having read the issue several times in an attempt to understand this supposed slight, there is absolutely nothing positive or negative about the portrayal of the President in Thunderbolts #128. He has a meeting with Norman Osborn. So what? During last fall's presidential campaign, Barack Obama repeatedly vowed to meet with anyone, anywhere - even those who have been avowed foes of the United States for decades. If the real Obama is willing to meet with this nation's longstanding adversaries, is it not perfectly reasonable to assume that
even the real President Obama would meet with an official who answers only to the highest office in the land? Of course he would.

Alas, as perfectly as this cameo of the new President was executed, I do hope that Marvel refrains from excessive appearances by Mr. Obama in the pages of their comics. It's not that they are poorly done (like the Spider-Man cameo), or that they are well done (like this one). It is just that I don't think I can stand four years of the new President's supporters parsing every fictional word and gesture that Marvel's writers and artists attribute to the fictional President. Those supporters, thus far, have proven far too sensitive.

Guardians of the Galaxy #9

Writer: Dan Abnett & Andy Lanning
Artist: Brad Walker & Carlos Magno
Publisher: Marvel

Abnett and Lanning continue the cosmic joyride that has made Guardians of the Galaxy one of the most enjoyable reads each and every month. The current issue contains all of the elements that we have all come to expect from this comic: tight plotting, snappy dialogue, and great characterizations.

The issue opens with an extended scene depicting the seige of 42. For those who are not familiar with 42, it is an extradimensional prison in the Negative Zone, where Earth houses its super-criminals. It was the brainchild of Tony Stark, Reed Richards, and Hank Pym, and was designed to have portals linking it to every state in the Fifty-State Initiative. Of course, portals designed to allow access into the Negative Zone prison can be used to exit the Negative Zone as well - a fact that has not escaped the attention of Blastaar. Thus, the law of unintended consequences hangs like the Sword of Damocles over all of the Earth, as Blastaar's armies lay siege to the prison as the first step of his invasion off our world. Thanks, Tony. Thanks, Reed. Thanks, Hank. Do us all a favor and keep the rest of your "100 Ideas" for utopia to yourselves, okay?

One word of caution is necessary, and that concerns the artwork. The credits list Brad Walker (who did a great job last issue) and Carlos Magno as pencillers - but does not give us any indication as to who drew which pages. I had initially thought that fans who would mourn Pelletier's absence from these pages would have found some comfort in Brad Walker's pencils, and his first outing proved promising. I can only assume that the addition of Magno's pencils in this issue resulted in the lackluster quality of the art. In any event, while there are some genuinely beautiful scenes in this story, the artwork as a whole is far from the quality that Guardians fans have come to expect - and that this wonderful comic deserves.

I continue to enjoy this comic tremendously, and recommend it to anyone who loves good comic book writing.

Green Lantern #37

Writer: Geoff Johns
Artist: Ivan Reis
Publisher: DC

Okay, I have been a little remiss in my posting these last couple of days. I would like to tell you that I have had some major undetaking occupying my time, but... I'd be lying. The truth of the matter is that this week has seen the release of a number of really great titles, as well as a batch of not-necessarily-great but certainly-readable books as well. My vote for the top release of the week goes to (drumroll please) ...

Seriously, you already knew I was going to name this issue of Green Lantern the best read of the week, didn't you? I have said it before, and I will say it again: Geoff Johns has revitalized the Green Lantern universe and made it a place of wonderment again - and Ivan Reis' pencils have restored the magic. This issue proves to be no exception. I'm not even going to rave about the plotting, pacing, dialogue, or any other aspect of the writing. Geoff Johns is running on all cylinders at this point; this book is his vehicle, and he is the engine that never seems to misfire. Perfectly tuned ... purring like a kitten ... the series just keeps rolling along.

And the art? Ivan Reis. He has made these characters his own. Just look at this issue alone. Bask in the blissful hope of the Blue Lanterns. Feel the thundering torrent of emotion that is Atrocitus. Wonder at the nearly mindless, almost pathetic rage of Laira. Delve deep into the twisted, tragic relationship between Hal Jordan and Sinestro, and mark every layer of its depth as you note each subtle glance and gesture. This is comic art that melds seamlessly with the narration and dialogue to form a creation that carries you in the story's wake.

Once again, the duo of Johns and Reis have knocked the ball out of the park. And with Blackest Night still months away, this comic will only get better and better with each passing issue - mark my words.

Mighty Avengers #21

Writer: Dan Slott
Artist: Khoi Pham
Publisher: Marvel

The words "how the mighty have fallen" were the last dialogue spoken in the pages of the previous issue of Mighty Avengers. With the advent of Norman Osborn's Dark Reign, and the formation of his Dark Avengers, it would appear that those words would be a perfect epitaph for the Avengers. Dan Slott uses his first issue as the new writer of Mighty Avengers to prove that appearances can be deceiving.

It is clear from the outset that Slott's Mighty Avengers is going to be an obvious departure from Brian Bendis' take on the team. Bendis, the man responsible for Disassembling the Avengers several years ago (an event from which the franchise has yet to recover) had left readers with two teams of Avengers (Mighty and New). Neither team or book has seemed to have much direction or constancy - and neither team really seemed worthy to carry the name "Avengers". Slott's initial offering breaks cleanly with the recent wilderness-wandering that had plagued the Avengers titles, and takes the Team back to its roots. I won't reveal the final roster of the new team, but suffice it to say that this team will be extremely recognizable to long-time fans.

The writing is good, but not great. There are times when the dialogue seems to lose focus, and the story is a little bit contrived. However, after his great work on the Initiative, I am more than eager to give Slott a few issues to find his voice on this title. Of course, part of the problem may be that there are so many things going on in this issue, and the story is so ambitious, that it just feels a little cramped.

The artwork by Pham is very good, though the detail in the book is a little spotty at times. Still, I loved his run on Incredible Hercules, and I expect huge things out of him on this title. His work has just the right blend of beauty and power needed to maintain the high standards fans of any Avengers title have come to demand.

This issue reminded me a lot of older, vintage Avengers tales - but part of that may be the roster. Regardless, I think this team is precisely what the Avengers franchise needs at this moment in time, and I am anxiously awaiting Slott's next outing.

Jan 21 2008 Comics: Marvel

Amazing Spider-Man #584 As I've said before, this title has gotten better and better since becoming a weekly - last issue notwithstanding. The best part of this issue may be what will NOT be in it: no Barack Obama cover, and no horribly done backup story involving the new President. I understand why Marvel did it, and I guess I can understand why people rushed their local comic book stores to get a copy, but that doesn't change the fact that the entire issue was one of the worst in recent memory...


Dark Avengers #1 Maybe we'll finally get some clues about the identity of the mysterious Iron Patriot. A lot of folks have asked me over the last few weeks who I think the Iron Patriot might be, and I have hesitated to answer (mainly because I haven't a clue). The Dark Reign is just beginning, and we will all find out together. For a preview, click here

Mighty Avengers #21 I can't wait to read this book, as it promises to unveil a new roster and a new direction for Earth's Mightiest Heroes. I've always been an Avengers fan, but in my opinion the franchise has suffered since the team was split into two opposing factions. I will be watching and hoping that the Dark Reign is just the impetus needed to bring about some new cooperation between the two teams.

Guardians Of Galaxy #9 Abnett and Lanning's Guardians of the Galaxy is a series I always look forward to each month. This is a series that will soon become a must-read for anyone who intends to follow the looming War of Kings event, as that insterstellar war is sure to be played out in the pages of this title as well. This issue is slated to have King Blastaar's foces attacking 42 - the Negative Zone prison.

X-Men Legacy #220 X-Men Legacy is another title that has really kept my interest lately. The new focus on Professor Xavier has been an interesting and long-overdue utilization of one of Marvel's oldest and most powerful characters. Rogue makes her return in this issue as well.

Also on tap this week are Wolverine Origins #32, War Machine #2 (and boy, does Rhodey have a brand new attitude), Thunderbolts #128 (what direction will Norman Osborn take the team in now?), X-Men Kingbreaker #2 (more War of Kings), and X-Men Manifest Destiny #5 (which is a couple weeks late due to a printer error), and many others...

Jan 21 2008 Comics: DC

Faces Of Evil Deathstroke #1 These Faces of Evil one-shots aren't really designed to resolve anything for the villains they spotlight, but they are definitely an interesting concept. Basically, each FoE issue attempts to view the DC Universe through the eyes of the villain. This issue focuses on Deathstroke, who is returning from his recent encounter with Geo-Force in the pages of DCU: Last Will and Testament.

Final Crisis Superman Beyond #2 This is a title that seems to be appearing out of order, as Superman made his return from this adventure in the pages of Final Crisis #6 last week. The publishing schedule has been one of the most irritating elements of this event. DC is not noted for company-wide story continuity (how does the JLA manage to appear in every issue of every comic every month?) Again, it's from Grant "the Bat-slayer" Morrison.

Green Lantern #37 If I had one comic book wish in all the world, it would be that Green Lantern were published weekly - with Geoff Johns and Ivan Reis somehow handling all of the scripting and art duties. I realize that that is completely unreasonable, but I can still dream. This issues continues the prelude to the Blackest Night...

Supergirl #37 The "Who is Superwoman?" arc gets under way with this issue. It was obvious from the end of the New Krypton storyline that that was only the beginning of the changes in store for the heroes from Krypton. I certainly hope the fallout from that tale provides some much needed energy for the Supergirl title - it certainly needs it.

Other titles of note include Justice League Of America #29 (another Faces of Evil tie-in), Superman Batman Annual #3 (featuring the return of the Composite Superman and a cover by Bernie Wrightson!), X-Files #3 (this limited series has made me revisit my classic X-Files episodes on DVD), as well as the new Mysterius The Unfathomable #1. If you haven't seen the preview of Mysterius yet, check it out here.

Booster Gold #16

Writer: Dan Jurgens
Artist: Norm Rapmund
Publisher: DC

This month Dan Jurgens favors us with a tidy tale that takes us back to those fun-filled days of World War I, as Booster Gold chases an ancient Egyptian knife through time. Upon arriving in this time period and seeing the barren landscape, Booster at first believes that he has arrived in some post-apocalyptic landscape. The dead bodies littering the field, and the primitive aircraft flying overhead soon alert him to his real whereabouts, as does the presence of Germany's deadly pilot Hans von Hammer - also known as Enemy Ace.

This issue is as much a tale of nobility and honor as it is a superhero yarn. Von Hammer (who graces the cover of this "Faces of Evil" issue) is presented in a very human light, and Jurgens does an admirable job demonstrating the man's intrinsic sense of honor and duty. Younger readers who are not as familiar with the World War One propoganda that saw both sides painting their foes as less than human may not truly appreciate the spotlight on an enemy's honor and sense of duty. Our civilization's opponents in recent wars have too often been idealogues or religious zealots who do not fight for national honor or love of country, but are instead fueled by hatred of our civilization. It is refreshing to see that, as DC's main competitor begins its War of Kings, Jergens ably takes us back to history's last true war of kings.

Rapmund's artwork for this issue perfectly captures the feel and tenor of war, with a special emphasis on the perfectly portrayed quiet dignity of Hans von Hammer. The battlefield scenes are stark and gloomy as a graveyard, befitting any depiction of the No-Man's Land that the Great War left in its wake. All in all, it was a very nice outing for the art team.

Admittedly, Booster Gold is not a comic book that I avidly follow; I buy it every month and read each issue, but that's about as far as my commitment to the series goes. I rarely talk with other fans about this character or this book, and cannot remember ever having recommended that anyone else read it. However, I really liked this issue, and would recommend it to anyone who has room in their budget this week for another book, but has not yet decided upon a particular title to purchase.

Deadpool #6

Writer: Daniel Way
Artist: Paco Medina
Inks: Juan Vlasco
Colors: Marte Gracia
Letters: VC's Cory Petit
Cover: Jason Pearson
Publisher: Marvel

A number of people have contacted me in the last few days to ask me what it is about this title that I find so appealing. Comments like "I just don't get it," "it's pointless," and "why is this comic even being made?" were common among the messages I received. One even told me that the current series of Deadpool comics might just be the most blatantly childish piece of comic fiction to hit the stands in years. I doubt that Deadpool #6 will do anything to assuage any of those opinions.

Then again, this is not a comic that appears to be aiming for the hallowed ranks of classic literature. Under Daniel Way, Deadpool is not so much a psychopath as he is an outright loon. A dangerous loon, mind you, but a loon nonetheless. The constant internal dialogue Deadpool engages in almost qualifies this as a team book. And not one of those team books where the characters get along. Deadpool's relationship with his inner voice provides some of the snappiest dialogue in the comic, particularly when that dialogue involves him arguing with himself. His inability to focus, and his unusual decision-making process (At one point, he quotes Robert De Niro's character from the 1976 classic Taxi Driver: "Listen, you screwheads, here is a man who would not take it anymore! A man who stood up against the ---" as part of an impromptu getaway plan) only add to Deadpool's already established status as one of the weirdest characters in the Marvel Universe. But that is what works about this series, at least for me. Deadpool is not Wuthering Heights. It is not Shakespeare. It isn't even Tom Sawyer. It's One Flew Over the Cuckoo's Nest. It's A Clockwork Orange. It's every character study in psychosis that you've ever seen, stripped of the avant garde pretentiousness of such dramas, and devoid of the tortured introspection that this type of main character would usually be made to suffer.

After last issue's ending page, I expected this book to open with a battle between Deadpool and Tiger Shark. That is, after all, the established progression for superhero comics: if a villain makes his appearance in the last page or two of one issue, the next issue will begin with the villain engaged in a slugfest with the protagonist. Daniel Way takes a different approach in this issue. Rather than choosing the road more traveled, Way opens this issue with A Deadpool-imagined press conference. Welcome to the world as Deadpool sees it, otherwise known as pool-o-vision - a wonderful technique that allows the creative team to reinforce Deadpool's zaniness while at the same time offering free license to artists like Paco Medina to illustrate Tinkerbell, Mister Spock, and the Pillsbury Dough Boy within the pages of a Marvel comic book.

This opening sequence is indicative of what I like best about the series. Rather than showing us a battle between Deadpool and Tiger Shark, and showing the title character's defeat, Way skips all of that and jumps straight to the looniness. We don't find out what actually happened until we see Tiger Shark on the phone with his employer some time later. And since Deadpool and Tiger Shark were scheduled for round two of their battle later in this issue, it turns out that we didn't need to see round one anyway.

This is not a book that will appeal to the tastes of every reader. If you're looking for high-brow, epic storytelling that affects you on a deeper level ... go buy something else, because this is not that kind of book. But if you want to jump into a series that seeks only to entertain - and that will sink to any level to do so - Deadpool might just be your cup of tea.

Wonderful Wizard of Oz #2

Writer: Eric Shanower
Artist: Skottie young
Colorist: Jean-Francois Beaulieu
Letterer: Jeff Eckleberry
Publisher: Marvel

I had only one reason for picking up the first issue of Marvel's The Wonderful Wizard of Oz adaptation: Skottie Young. I have been a fan of his Marvel work for some time, and was intrigued at the thought of his involvement in the re-telling of this piece of classic Americana. Granted, I have never been a fan of the Wizard of Oz movie, and it had been so long since I last read L. Frank Baum's classic book that I had forgotten how loose of an adaptation the movie was. Shanower and Young's adaptation is clearly not inspired by the 1939 film.

Comic book adaptations of books and movies are a diffficult thing to pull off successfully. Finding the right blend of words and pictures is always a challenge; and that challenge can be further complicated when adapting a story that is as well-known as this one. Over the course of these first two issues, Shanower has found that blend. His choice of narrative and dialogue help to advance the story from panel to panel, while creating an ambiance that fills the reader with a nostalgic sense of longing for the more straightforward storytelling of olden days.

Even more impressive is the artwork. Skottie Young has rendered each and every panel in this book with a frenzied style that is intoxicating in its whimsy. The character designs, from Dorothy and Toto to the Munchkins, witches, and Dorothy's travelling companions. are innovative, energetic, and perfectly cast. Every gesture, nod, twist, turn, and pivot of these characters is filled with an energy that fuels the reader's journey through the pages. And it is all wonderfully lettered and colored in what is an obvious labor of love for all involved.

While you will not find munchkins singing "Ding dong, the witch is dead", you will be treated to the origins of the Scarecrow, Tin Man, and Cowardly Lion - all presented in nearly monochrome vignettes that provide added depth to our understanding of these characters and heighten the story's overall charm. You will see this tale presented in a manner that, I suspect, would have pleased Baum immensely. The Wonderful Wizard of Oz is, quite simply, one of the finest book to comics adaptations that I have seen in quite some time - and I highly recommend it.

Captain Britain and MI-13 #9

Writer: Paul Cornell
Artist: Leonard Kirk, Mike Collins
Inks: Jay Leisten, Cam Smith
Colors: Brian Reber, Rain Beredo
Letters: Joe Caramagna
Cover: Stuart Immonen
Publisher: Marvel

I have referred to this comic as a "great title that not enough people are seeing", and the ninth issue of Captain Britain and MI-13 does nothing to alter my opinion. The good news is that Cornell and Kirk continue to better their performance with each passing issue; the bad news is that - if my local comic store's sales are any indication - this series may not be around long enough to build a sustainable audience.

The ingredients that have made MI-13 great since the series was launched in the midst of the Skrull invasion have not changed. Paul Cornell, who wrote the Wisdom limited series in 2006, along with a ton of British television and other fine work, has the tone and tenor of these characters down pat. From its inception, MI-13 has played upon the mythic mysticism of the British isles, drawing upon the spirit and energies of ancient Excalibur and Avalon to weave together a vision of the magically delicious England of our hopes and dreams. Even more, he manages to infuse all of these elements into a superhero yarn that reminds us just how good comics can still be when the stories are written with the reader in mind. As a fan of Pete Wisdom, I would have picked this title up if he had been the only character of note - getting Spitfire, Captain Britain, and the rest of the cast is just icing on the cake to me. The recent addition of Blade the vampire hunter is a nice surprise as well. And if the last page of this issue is any indication, future issues of the series are going to have some real bite to them.

The artwork by Kirk and Collins is phenomenal, and are beautifully complemented by the coloring job of Reber and Beredo. The Dream Corridor scenes are depicted in clear lines and vibrant colors reminiscent of the early Marvel works in the 1960s, and of one artist in particular (I will let you see if you can guess). It is another fine presentation from a visuals squad that just keeps setting their bar higher each month.

The tight plotting, clever dialogue, beautiful art and perfect colors all add up to one thing: a hit.

Seriously, go buy this book.

Final Crisis #6

Writer: Grant Morrison
Artist: Carlos Pacheco, Marco Rudy, & others
Colors: Alex Sinclair, Pete Pantazis
Publisher: DC

SPOILER ALERT

Let me start by warning you that this review contains a few spoilers. I ordinarily would refrain from going into any great detail about the storyline of a comic I am reviewing, but there are some things I feel I need to say about this book that just cannot be said without revealing certain key events. If you have yet to read Final Crisis #6, you may want to skip this review until you have done so. With that said, what follows is my take on the latest installment of DC's "Final" Crisis event.

The title of the issue is "How to Murder the Earth", but it might as well be "How to Murder a Mega-Event." I am not generally a harsh critic of any comic - I tend to read things that I am at least marginally sure I will like, and I avoid or skim over the rest. I want to like Final Crisis. I mean I REALLY want to like Final Crisis. The DC Universe deperately needs to get its continuity act together, and I expected Grant Morrison would somehow do that while telling another epic tale. Maybe he will manage to do that with the final issue, but it certainly doesn't look like events are moving in that direction.

So what have we got this issue? Well, let's look at some of the highlights. Darkseid kills the goshdarn Batman. Wait? Darkseid kills the goshdarn Batm---? Huh? So this is what I have been waiting for since the end of Batman R.I.P.? This is the final fate of the Dark Knight? The Omega Sanction (which, as far as I can remember, is a specific Omega Beam that places the target in a sentient subspace trap - am I wrong?) hardly seems a fitting end for the Caped Crusader, who had previously held the title of Only Super-hero to Ever Dodge Darkseid's Omega Effect. Maybe I was expecting too much, but I am more than a little disappointed to see that Batman only appeared in five pages (twelve panels total), which included a double-page shot of his demise and a full page splash at the end. He deserves better...

The rest of the book is interesting, but not enough to actually make me feel good about the overall product. There is a two-page sequence of Superman arriving and letting loose on everything in sight with his heat vision that felt as though it deserved more attention, given that it was a "hey, the Big Gun has arrived" kind of moment. There's more of Metron's cryptic dialogue, Checkmate's ultimate backup plan is revealed, and the Flashes are off and running. Supergirl fought Mary Marvel for a few panels - an event that in and of itself should have been more epic than it proved to be. Still, it all seemed to fall flat.

Maybe the problem was that it is too epic. There are enough cosmic-level battles and events in this issue to fill a year's worth of comics, and the fact that they are all compressed into one comic book just seems to diminish the events and the characters. Some of the one-on-one battles in this comic would be headline events in any other format. Within the pages of the Mega-Event, however, the clash of titans has no more impact than a fender-bender. As much as I admire Grant Morrison's work, this event has thus far failed to ignite the grandeur that these characters and this storyline should convey. We still have an issue to go, so maybe Morrison will surprise me. We'll see...

Jan14 2008 Comics: Marvel

Deadpool #6 Puh-lease! Does it even matter what this issue is about? It's Deadpool, the Merc with a Mouth! Of course it's going to be good. You can surely expect the series' standard offbeat humor blending with the USDA's recommended daily serving of gratuitous violence. How can you possibly go wrong with this title?

Adam Legend Of Blue Marvel #3 (of 6) The Greatest Marvel superhero you've never heard of. Hmmm... I thought that was the Sentry's claim to fame? In any event, this is a limited series that manages to blend issues of race and heroism without being condescending or preachy. I'm not sure that Marvel really needed another "unknown hero from the past", but I do like this series and will definitely buy the third issue.

Nova: Origin of Richard Rider (One Shot) Reprinting material from Nova volume one #1 and 4 - written by Marv Wolfman and illustrated by the incomparable John and Sal Buscema - with a new framing sequence by Dan Abnett and Andy Lanning. If you don't have the originals, this may be worth picking up (and read the ongoing Nova series while you're at it - more fine work from DnA.)

Just a few of the other Marvel titles coming tomorrow: Amazing Spider-Man #583 (this series has really gotten good since Marvel decided to publish an issue an hour - or whatever the current pocket-emptying pace is), Captain Britain And MI 13 #9 (another great title that not enough people are seeing), Wonderful Wizard Of Oz #2 (we'll discuss this comic in a future post - heck, I may review it), and X-Infernus #2.

Jan 14 2008 Comics: DC

Action Comics #873 At last, the final chapter of the New Krypton arc will be in my eager hands, as Action Comics #873 hits the stands tomorrow. Having already sneaked a peak at the preview posted on DC's website, I can only say "bring it on!" Anyone who has any interest in the Man of Steel will want to grab a copy of this comic, as the status quo for Supes is slated to change dramatically as this story arc reaches its conclusion.

Final Crisis #6 Or so the rumor goes. I won't believe that this comic has actually been released until I'm halfway done reading it. It seems like an eternity since the "conclusion" of Batman R.I.P., Grant Morrison's masterpiece designed to alter the Bat-Universe forever. I loved R.I.P. so much that I have been moodily awaiting the real conclusion to the story for weeks now. Seriously, what was DC thinking with this kind of scheduling? After getting used to a chapter a week in the different Bat comics, they make us wait a month for the finale - which isn't even in a Batman comic? Sigh... let's hope it's worth the wait.

Green Lantern Corps #32 If you read my review of the latest issue of Green Lantern, you can probably guess that this is another title I will grab up faster than AIG executives taking taxpayer bailout money. The entire Green Lantern universe is just so very compelling these days. A great crossover event like the 2007-08 Sinestro Corps War can do that to a franchise. And with this summer's Blackest Night event looming on the horizon, how can any of us bear to miss even a single issue of GL or the Corps?

Other DC titles of note include Faces Of Evil: Prometheus #1 (For a villain, you have to love this guy...he once took a whip to the groin from Catwoman, but still comes back for more), Manhunter #38 (the last issue, unfortunately, of a series that never really got the attention it deserved), Nightwing #152 (Ra's al Ghul ... need I say more?), Push #4 (the prequel to the upcoming motion picture involving psychic warfare), and Simon Dark #16 (this may be the best book you're not reading) just to name a few.

Umbrella Academy Dallas #2

Writer: Gerard Way
Artist: Gabriel Ba
Letters: Blambot's Nate Piekos
Colors: Dave Stewart
Publisher: Dark Horse

This is the second issue of the second series of Umbrella Academy, so right away you know what kind of expectations you should have for this comic. After all, the first six-issue limited series, Umbrella Academy: the Apocalypse Suite, took the comic world by storm in 2007 and finished its run by winning the 2008 Eisner Award for Best Limited Series. When a series has that kind of meteoric debut, there are only two things that can happen with the sequel. It either matches or exceeds its predecessor's success - or it fails miserably. It is already clear which way this series is heading ...

For those who missed the first series, a brief review is in order (along with my strong recommendation that you run out and grab Apocalypse Suite today). The members of the Umbrella Academy are a dysfunctional collection of characters who were brought together as babies by Sir Reginald Hargreeves, an alien inventor and entrepeneur. Hargreeves, otherwise known as the Monacle, raised them and trained them to "save the world" from some future menace - as yet unknown. After Hargreeves death thirty years later, the team reunites to do just that.

Umbrella Academy Dallas picks up where Apocalypse Suite left off, and begins by dealing with some of the repercussions of the last series' climactic battle. As with the first series, much of what is happening is revealed in very small portions, with the underlying mystery of the tale only seeming to deepen with each passing page. In my opinion, that's one of the subtleties that makes this series so entertaining. There are far too many series these days that are so predictable that you feel you've seen it all before - not so with Umbrella Academy. In this current series, for example, Gerard Way has unleashed Number 5 (the thirty-year old who was once stuck in time but is now stuck in his 10-year old body), and introduced a couple of zany assassins to deal with him. The rest of the "siblings" are still dealing with the fallout of the White
Violin's rampage, as well as their own ongoing rivalries and estrangements, while Kraken (and the police) search for Number 5.

Gerard Way's plotlines have a very free-flowing feel. That is not to say that the comics are not well-ordered - they are. Rather, it is that there is an almost liquid feel to it all, as though you are floating on an often violent river whose current is taking you to a destination only the river knows. The author has cited Grant Morrison's work on Doom Patrol as one of his major influences, but in many ways his writing is even more interesting than any of Morrison's recent work. There is a quirkiness in these characters and events that both attracts and repels the reader. One of the more memorable scenes in the current issue involves Number 5 in a motel room with an intelligent monkey dressed as Marilyn Monroe singing "Happy Birthday, Mister President." Let's face it: that is just not normal behavior for either of our species. Yet it remains compelling for just that reason. Way has found a voice that hearkens back to the comics of our youth, and made that voice echo into our modern times in a natural synthesis of the simple and the complex. His work manages to be edgy and boundary-pushing without reeking of the pretentiousness that mars many of the most popular mainstream comic writers' works these days.

The artwork by Gabriel Ba is a perfect fit for this comic and these characters. From character design and acting to panel layout, Ba demonstrates a mastery of the medium that would make Will Eisner proud. This is not the almost photorealistic sequential art that many comic artists strive for these days. This is the rock-solid visual storytelling of my youth, turned loose on modern themes. In fact, I have yet to read a panel or series of panels in Ba's work where I needed to look twice to decipher what was being conveyed. No matter his chosen camera angle, Ba manages to make every panel of every page count, and it all adds up to a visual presentation that blends seamlessly with the eclectic writing of Way.

If I had only five stars to give this comic, I would have to steal a sixth. It's just that good, and a must-read for all true fans of the medium.

What do you want to see?

The title of the post says it all. What do you want to see? Is there a particular comic series you'd like to see reviewed, or maybe just a particular issue? Maybe you've just read a new release comic, and you're not sure how you feel about it. Or maybe there's a series or issue out there that you haven't yet purchased because you would like to get some more insight on it before you lay down your hard-earned cash.

Let me know. Shoot me a quick (or lengthy - I'm not picky) email, and tell me what you'd like me to talk about. It can be any comic book, comic writer, artist, etc. I'd love to know what you think, and will respond either in person, or in a post, to each and every request or idea.

Now let's all put our thinking caps on...

Green Lantern #36

Writer: Geoff Johns
Artist: Ivan Reis
Ink: Oclair Albert
Colors: Nei Ruffino
Publisher: DC

After the entertaining and revealing 7-part "Green Lantern Secret Origin" tale, Geoff Johns is off and running again with yet another promising epic for our embattled ring-slinger and his comrades in the Green Lantern Corps. In this, the second chapter of "Rage of the Red Lanterns", Johns continues to spin the web that will draw Lantern fans into the coming Blackest Night event this summer - although one has to wonder how much blacker the night can get...

Let's just face facts: Johns is good. I mean, really good. It has been a long time since I have had much, if any, interest in Hal Jordan - or any of the Lanterns for that matter. For me, the entire interstellar police force idea had worn out its welcome long ago, and Green Lantern had pretty much become a background character of little or no importance. Geoff Johns has reignited my interest in the character and the title. His brilliant characterizations, crisp dialogue, and truly epic plotting have drawn me back into the universe - spanning affairs of the Corps once again; Green Lantern is now near the top of my must-buy comics each month, and the first comic I read whenever a new issue is released.

After reading Final Crisis: Rage of the Red Lanterns - the opening chapter in this present saga (and one that could've done without the Final Crisis tagline) - I was eagerly anticipating the current issue. The rise of Atrocitus, and the creation of the new Red Lantern Corps should send a chill or two down the spine of any Green Lantern fan; this is a Corps whose inherent threat far surpasses that of the the Sinestros. One exchange between Sinestro and Atrocitus sums up the scope of this threat perfectly. After Sinesto defiantly reminds Atrocitus that "Nothing frightens me. I am fear", the Red Lantern declares:

"And I am RAGE! You believe fear to be the most powerful force in the universe? Fear is inaction. Fear is hiding away. Fear is cowering and begging. Rage is ACTION. Rage is spilling blood."

Get the picture? This is not the Sinestro Corps waging a balanced war against the Guardians and their Green Lantern Corps. This is not some random galactic threat that needs to be dealt with. This is a Red Lantern Corps fueled by rage and dedicated to bloodshed and destruction. Atrocitus is determined to make the Guardians pay for the sins of their past, and plans to destroy the Green Lantern and Sinestro Corps alike. What I love about Johns' writing is that you can feel the rage of Atrocitus; there's nothing contrived or forced about it. His rage is real and, to those who have been following the series lately, understandable.

The artwork is simply gorgeous. Reis has turned in another fantastic feast for the eyes that ranges from the bloody horrors of the Red Lantern planet Ysmault to the lush greenery of Odym. Along the way we are treated to Green Lanterns, Red Lanterns, Sinestros, Blue Lanterns and Star Sapphires, all brilliantly rendered.

If you're not already a regular reader of this title, I recommend that you give it a look. It is consistently one of the best comics to hit the stands each month.

Secret Invasion: War of Kings

Writer: Dan Abnett & Andy Lanning (DnA)
Artist: Paul Pelletier, Bong Dazo, Brandon Peterson (cover)
Ink: Rick Maygar, Joe Pimentel
Letters: Joe Caramagna
Colors: Wil Quintana, Mike Kelleher
Publisher: Marvel

Secret Invasion: War of Kings has arrived! Following hard on the heels of the Secret Invasion event - particularly the Secret Invasion: Inhumans limited series - this storyline may just be the Marvel Comics event of 2009. We'll have to see how the ongoing Dark Reign storyline unfolds, of course, but it is hard to imagine it having the kind of universe- shaking impact that War of Kings is already foreshadowing.

This one-shot is a lead-in to this March's War of Kings #1, and is written by the same duo responsible for penning that event: Dan Abnett and Andy Lanning (also known as DnA by their fans). Anyone who has read the 2007-2008 Annihilation Conquest event or the current Nova series knows what to expect from this writing team: crisp dialogue, spot-on characterizations, and storylines that span galaxies. SI: War of Kings proves to be no exception.

The plot is fairly straightforward. After Black Bolt's imprisonment and torture at the hands of the Skrulls during Secret Invasion, he returns to his people with a new outlook on the Inhuman's security needs and their future on Earth. In short, he is mad as hell and is not going to take it anymore. To keep his people safe, and to secure their future, Black Bolt makes the momentous decision that his people can no longer hide from outside threats. With that one decision, the Inhumans take their leave of Earth and its moon, and embark on the next stage of the journey toward their communal destiny. The Inhumans' initial steps into this brave new future are far from the careful, measured responses we are accustomed to seeing from King Black Bolt - this is Black Bolt unleashed in all his royal splendor.

The artwork by Pelletier and Dazo is solid. They do a wonderful job of portraying Black Bolt's emotions (a necessity for any Inhumans tale, given that he rarely utters a sound), and the action is well-rendered and easy to follow. The book opens with a beautifully-rendered scene of a fleeing Skrull fleet, and there are other flashes of artistic brilliance scattered throughout the book's pages. The visuals consistently capture the grandeur one would expect from a tale of this magnitude, and do a more than competent job of conveying the momentous events that unfold throughout the story.

For those who pick up this book expecting or hoping to see a typical portrayal of the Inhumans, you will be surprised. DnA are breaking new ground for these characters - taking them from their sheltered existence in their hidden city of Attilan, and thrusting them firmly into the heart of interstellar power-politics. Anyone with more than a passing familiarity with the Inhumans will recognize that this is a natural evolution of the characters, given that the Kree had designed the Inhuman race to be warriors. Some will cry foul, arguing that the charm of the Inhumans lies in their seclusion from the rest of the Marvel Universe, that Black Bolt's voice must never be heard in strong measure. Others will applaud the new use of these characters, and feel their hearts stir with excitement and anticipation as Black Bolt and his fellow Inhumans finally step out of the shadows and take their first thunderous steps toward their Kree-intended destiny. Count me among the latter group.