11 Apr, 2008
Picks & Pans, April 09, 2008
By: PCSbot
Criminal gets four reviews this week and three out of four dig it! Our team this week: David Uzumeri of Funnybook Babylon, Ernie Estrella, Samantha of Neither Doormat Nor Prostitute, AHR of Geekanerd and Jason Michelitch of Jason Michelitch.
|
|
|
David U.:Again, nothing groundbreaking, but much like last week it’s still the best arc of Brand New Day yet. Bachalo’s art is utterly gorgeous, using sparse linework to communicate Peter’s sense of isolation and frustration in the snowstorm. It still remains to be seen how compelling the overarching storylines in this book will be, but this particular arc is plenty of fun. |
|
|
|
Gavin: Our friends Blue and Gold continue their adventure in the apocalyptic alternate present, this time as members of Green Arrow and Hawkman’s resistance. And wow, what a resistance. If you thought Booster Gold’s pallbearers were laughable, wait until you see the bottom of the barrel scraped here. Johns has always done a good job of making the whole Max Lord/OMAC threat seem as dangerous as it should be. The OMAC situation from Infinite Crisis wasn’t something the readers could hang onto for too long, but going back to it every now and again like this shows what kind of giant bullet the DC Universe dodged without overfeeding it to us. If you’re expecting much from what the cover suggests, you will likely be disappointed. That said, there’s a very interesting Superman moment in the middle of the issue that makes you wonder who that is off-panel. There are two different people that come to my mind and both make Max Lord seem like a seriously evil bastard. The Rip Hunter subplot continues to move very, very slowly, as for three issues all he’s done is repeat to Daniel Carter that they really have to go into action. |
|
Samantha: I suppose someone might be upset at the portrayal of Green Arrow and Hawkman as bickering incompetents, but as I’ve always hated Hawkman and Winick has me wishing Ollie would die again, I didn’t mind it. Besides, it’s an alternate timeline. There’s no telling how dealing with the stress may have affected them for the worse. On the other hand, Booster and Blue Beetle surviving and coming up with a plan to reunite their Justice League was great. This book manages to be what Countdown should have been. It shows us an alternative possibilities than the current mainstream DCU and does so with snappy, fun banter between the characters. It makes me both love this book and hate Countdown further. |
|
|
|
Ernie: There’s a shortlist of modern day comics that could be a complete package, and Criminal sits firmly near the top. Each issue stuffs you in the trunk of a heist or a score. Some gone good, others gone bad. But like being stuck in the trunk, you won’t know where the twists and turns are coming, you’re just taken for a ride that will inevitably rattle you. Take Teeg for example, straight up guy, served his country but got in a bit of bind. Everyone can relate to that, but what a desperate man will do to get out of a bad situation is unimaginable. Brubaker and Phillips pull off score after score, and like the legendary good guys, they out do themselves time again. Everyone who’s not reading Criminal should re-evaluate their monthly harvest and toss out the bad apples because this is the type of entertainment that feeds you again and again. You don’t have to have the books that preceded it, because it’s redesigned for the new and casual reader. All you need is $3.50 and guts to pick this up once. Trust me, you won’t be a casual reader for long, you’ll be hooked.
|
|
AHR: Technically this book is great- the art is masterful and the writing is smooth. But where’s the kick? "A Wolf Among Wolves" is a self-contained story that ties into past storylines as well. Set in the 1970s, the issue follows a Viet Nam vet going through tough times, and at the start Brubaker seems to be angling the story as a look at Post Traumatic Stress Syndrome. Despite this promise of thematic goodness, the story that follows is strictly by the numbers; a debt to the mob, a treacherous woman, a heist gone wrong, and murders aplenty. Whether these elements feel like cliches or classics probably depends on how much you enjoy the crime genre, because nothing happens that you wouldn’t expect, and there’s a lack of energy moving the story forward. Sean Phillips’ sharp art keeps this book’s stoicism from feeling completely tired, but it’s disappointing that that’s even a risk when you have two talented people working in a genre they obviously love.
|
|
Jason: There are no more kind words for Criminal. They’ve been used up. If you haven’t yet gotten the word and started reading this book, I simply cannot help you. If you have not yet been convinced by the veritable tonnage of praise heaped on this book from all corners, nothing I say will get you to go pick up the best mainstream comic book on the shelves. Truly, if this is the case, I pity you. All around you, people are standing, smiling knowing smiles to one another and recounting favorite scenes, lines of dialogue, plot twists, debating who the best characters are. Your co-workers have Frank Kafka strips taped up to their cubicles, while you just have Dilbert, and you just don’t understand why they don’t want to sit with you in the building’s cafeteria. You probably dress poorly, and have bad breath. Are you getting enough of the right food? You look malnourished. Here’s the card for my therapist - he probably can’t help you, but you should give it a try. You never know. Maybe you can turn it all around - pull yourself out of this pit of despair, put a shine on your shoes. Don’t like pamphlets? Go pick up the book collections Coward or Lawless. What’s that? You go to the comic book store every week and buy the 22-page magazines? Well, then, sitting right there on the shelf is a perfect stand-alone jumping on point. It’s called Criminal #2. See it there? With the blond guy with the broken nose, smoking a cigarette? No, I know, it’s a little scary. No, I don’t think he has a special costume that he puts on. But that’s ok. Give it a try anyway. Come on. It’s never too late to try to get help.
|
|
David U: This book is almost reviewproof at this point, because it’s always really, really fucking good. What can I say about Criminal that hasn’t been said everywhere else? If you’re on the fence and have even a passing interest in really well-executed crime comics, grab this issue. It’s a one-off, it’s a good starting point. If you like it, go back and grab the Coward TPB. Everything about this issue works - although I miss the hand lettering from the first volume, Brubaker’s script is authentic and involving as usual, fully establishing Teeg Lawless as a truly terrifying motherfucker, on a physical and psychological level. Sean Phillips is on top of his game with some downright masterful layouts and design work (and a really, really good visual representation of your friend and mine, the bender blackout). Val Staples’s colors are moody and complementary, focused purely on storytelling. Great comics, but really, you didn’t need me to tell you this.
|
|
PICK! Dock Walloper #3 |
|
Ernie: The cover is misleading as I was hoping to see Ring-A-Ling kick some more ass, instead this was a lot of seeds planted that are sure to bloom come the following issues. "The Hand" is settling into his role as Mad Dog Madden’s big right hand man by asserting himself the boss man with a major opium deal. And while Madden contemplates the opportunity, someone tries to put a hit out on the Dock Walloper. DW balances a palette of the chess game between John Smith and Madden and his mistress, Cora with action sequences filled with Ford Town Cars edging on two wheels and Tommy guns blazing out the windows. There’s a definite cinematic vibe from Dock Walloper, more so than any other Virgin Comics release. Character details like Bootsy not liking to swim, to the little bell on Ring-A-Ling’s ankle make this a straightforward pleasure to read. In its careful and vivid recreation of prohibition New York City, Burns, Palmiotti, and Thomas manage to bundle a smart, savvy, and sexy little tale that’s suitable for readers seeking a sharp period piece or those looking to broaden the scope of their weekly pull. |
|
|
|
Ernie: For those who have never read or seen Terry Moore’s work should know that he knows how to write people. Full, three-dimesional, emotional, real people. Now while most people have never had a goopy super suit of armor stuck to their body, readers will empathize with Julie Martin because Moore snaps his finger loud enough to turn your head and notice this woman and her problem. It’s simple, really, as part of a secret government weapon has permanently attached itself to Julie and in the middle of trying to figure out what it is, she’s dealing with a pending divorce and paying her bills. Moore gives you enough visually to fill in the blanks and let your imagination go in what seems like a basic story that slowly reveals to be much more. There’s plenty of good black and white comics but Moore’s in a class in his own. |
|
|
|
David U.: Now, this is getting a little ridiculous. I understand you want to establish your new villain as a badass - as someone who can take on all comers. I thought everything else about this issue was very enjoyable (although the standard Mark Millar disclaimer applies - if he’s annoyed you before you won’t be won over now), but the method of villain badassery establishment bugged me a lot, as did the fact that the science doesn’t even seem to conform to its own internal rules - Reed just, you know, does shit. Which is cool, but it doesn’t do much to kill his reputation as a deus ex machina (the role he certainly fulfills here). |
|
|
|
David U.: Mike Norton jumps on as regular artist while Winick turns out one of his more lighthearted issues of this book. He’s talented at this family dynamic, and it’s one that works well; Ollie, Dinah and Mia are a fun trio in a fun adventure book. To be honest, despite flagging sales, this book is turning out to be a lot better than I expected and kind of the shot in the arm the Green Arrow character needed. |
|
|
|
David U.: First of all, DC? Stop it. Stop doing this with cover text. Lord of the Rings jokes on a Green Lantern cover with a bunch of rings isn’t funny or clever, it just looks hideously dorky. That said, this finally picks up the "RingQuest" arc Tomasi was doing before he was interrupted by I guess Patrick Gleason’s drawing schedule and that quick Sterling/Nelson Boodikka two-parter. It’s nice to get back to the main characters and see things develop, there’s some good Guy and Kyle stuff, but it’s still mostly setup for the longterm stuff Tomasi’s clearly planning for his run. It’s a good Green Lantern comic, but nothing truly special. Yet. |
|
PICK! The Goon #23 |
|
Gavin:The current storyline keeps escalating more and more to the point that I can’t help but wonder where Powell can go with the comic once this arc is done. It’s that huge. While the last issue was more Goon-centric, this one plays on more of the supporting cast, giving Norton, the Little Unholy Bastards and Willy times to shine. There’s another supporting character who makes a return, but all I can say about it is that you really need to have read the <i>Goon: Chinatown</i> graphic novel to understand the gravity of the situation. Things continue to go to shit, storywise, including one three-page sequence involving a cauldron that is without a doubt one of the creepiest moments I can recall in recent comics. Still, there’s a semblance of hope shown towards the end and even without a real cliffhanger, you still can’t wait for the next month’s issue to see where things are going.
|
|
|
|
David U.:This issue converges the two plotlines that have been going on this arc, namely "Who the fuck is Gog?" and "Wow, this team is too goddamn big." These plotlines are, as people who are paying attention (and who read Kingdom Come) probably already figured out, more related than they seem at first due to Earth-22 Superman’s role as doomsaying prophet. I keep hearing the complaint that this book is a "Kingdom Come circlejerk"; it’s not altogether inaccurate, but that seems kind of unavoidable considering the book is, uh, a sequel to Kingdom Come. It’s nothing revolutionary, but it’s fun. . |
|
Samantha: On one hand, the characterizations are great, and the interactions make me love the characters more. The fight scenes were particularly well done, and watching Amazing Man grab Gog’s staff and transform was gorgeous. On the other hand…I really, really don’t care about this third/fourth world nonsense. I don’t care about the New Gods, and their deaths do not affect me even remotely. So while all the pieces for a great comic were there…I just don’t care about the reason for the action taking place on the page. Also, on the plus side, we got to see Alan Scott and Obsidian both in action. But on the negative side, the team’s so big that it amounted to approximately two panels. So I enjoyed the comic, but it’s not one I’d honesty recommend anyone else read.
|
|
|
|
Ernie.: Every now and then there’s an indie title within a specific genre that can crossover to mass appeal. If horror or dark fantasy, or in this case, some hybrid of it is comic you would typically look for or you just want something to touch that nerve that tickles every spot in your mind, this title does it. There’s the horror of murder, there’s the dark fantasy of leaving your body and traveling everywhere you go, there’s the hunt of a sick maniac, and the drama of growing up in a town that knows the worst thing you ever experienced. Books that excel not only propel you into the mind, but the body of the focal characters. Issue three walks along when you stack it up to the first two issues, but those two issues were nearly flawless, so every now and then you need to rest. There’s still a bit of shock and awe here but it’s better left to your own personal experience with it. Issue 3 shifts to Kinsey, the fifteen-year-old sister of Bode who clutched her younger brother while hiding on their roof as her father was brutally murdered below. It’s been a year later since that day and she has her own issues coping with the past year. Readers will discover she may be carrying a key to something as well… Joe Hill does an incredible job greatly advancing one character in each issue while keeping others moving forward, or making you aware of what’s going on in every corner. |
|
|
|
David U.: I’m kind of surprised this didn’t carry an Annihilation: Conquest banner, and readers of that series might want to pick this issue up else they’re likely to be a bit confused next week in that book’s conclusion. Nova’s been an underdog book since its announcement, spinning out of an underdog event, starring a character that’s always been an underdog. So twelve issues with a bunch of momentum still behind it is pretty damn good. Nova is filling a seriously empty niche in the Marvel Universe right now (although he’ll soon be joined by the upcoming <i>Guardians of the Galaxy</i> by the same writing team), so hopefully with a bit more time and possibly promotion this book can continue on its groove. |
|
|
|
Gavin: Much better than last month’s. While much of it centers around guys who aren’t Frank, at least we’re shown the point of view of enemies who aren’t simply evil villains we know for sure will be slaughtered by the end of this storyline. One of the main characters heading the attempt to bring Frank in is shown to be a good guy, but at the same time shows us his own reasoning as to why he believes Frank Castle needs to be stopped. Now that the storyline is beginning to get momentum, you do get the feeling that Ennis is writing something fresh with the character. That’s incredibly hard to do, especially with the down-to-earth MAX Punisher. Even having Frank mass murder a bunch of criminals is portrayed in a way that shows both how much of a calculating psycho he is and lets us into the head of his military predators. |
|
|
|
David U.: This is basically Judd Winick’s Outsiders, minus the "espionage" stuff, so it’s full-on soap opera about characters who’ve thrived in that setting forever. It’s not bad. It’s certainly confectionary, but it succeeds at the goals it sets for itself - I laughed, I was entertained, I want to read the next issue. It’s by-the-numbers soap opera superheroes, but it’s done well enough. |
|
Samantha: I wanted to love this, I really did, and I tried. The Titans have always been my favorite characters in comics, above the Justice League and beyond the Avengers. But between the sleazy cheesecake art and the dreadful characterizations, I just can’t do anything but feel completely disappointed that of all the people DC could and should have chosen to bring back this iconic group of characters - a group that could stand to make DC a very good profit - they chose Judd Winick. The Nightwing here shows none of his post-OYL character growth, and is the same incompetent little boy that needs Daddy Bats’ help that he was in Judd’s Outsiders. I don’t want Batman in my Titans, thank you very much. Beyond Nightwing, Starfire has no purpose other than to be naked and fondling herself and Raven has had yet another personality switch so that everyone is a “bitch” that she doesn’t like. Donna, Wally, and Gar’s introductions simply bored me. Winick tries hard, in the same old way that he always tries, with lots of “contemporary,” references (complete with social commentary, of course, about sexuality) that I’m sure are supposed to be very “adult,” but come across as mature as a seventh grader trying to curse when he’s angry - awkward, pathetic, and almost deserving of pity. As for the “plot” itself, by the end of the book, I’m standing knee-deep in metaphorical glue as I watch the characters and Winick beat their ground-chopped-and severely beaten dead horse into the ground. |
|
|
|
David U.: I’d say it’s borderline imperative Marvel bring Aaron back to this book when Mark Millar’s run is over, because he really gets how to do a fun, straightforward Wolverine story in 2008. No extended conspiracies, no fucking invincible swords or furry family reunions, it’s Logan on a revenge kick that coincides with a neat story from his past. Just play him straight, folks, stop trying to reveal more layers. It’s time to move Wolverine forward, and these are the kinds of stories that do it. He needs to take an active role in the current Marvel Universe; I’m tired of hearing about how important he was seventy five years ago or what fucking ever. |
|
Ernie: This flashback tale of Wolverine and Mystique has been a great diversion from what is going on with the major Marvel storylines. It’s just a great classic revenge story done in the way of classic martial arts films of the 1970’s. But I love the set designs Garney’s throwing together showing this odd couple in the wild west in one issue, and as dapper flappers and small time crooks in another. Aaron gets creative with Wolverine’s mutant healing factor. I do believe he enjoys torturing the little guy because we see there hasn’t been one issue of any Wolverine story Aaron’s written that doesn’t involve a major healing period. In each issue, Logan gets more pissed and is steamrolling into next issue’s bloody conclusion to both why he’s got it in for Mystique from the past and whether or not she’s going to get her comeuppance in the present. Bring it on, already! |
|
|
|
Samantha: This month was a large improvement over last month. Whereas Wonder Woman 18 was ruined with Diana’s out of character attempts to court a man undeserving of her, this issue focused on Diana the warrior, and Diana the friend, through her interactions with the Green Lantern and Etta Candy. Simone is at her best as she shows Diana defeating a Green Lantern not through physical combat - though she does hold her own there - but through mental warfare. This is the woman who at one time was the champion of the goddess of wisdom, and at one time was the goddess of truth, herself. That she should be able to best a Green Lantern in a mental battle makes perfect sense. |
|
|
|
Jason: Now THAT’S what I’m talking about. Lapham comes back from what was (for me) a slightly disappointing first issue and delivers a solid, enthralling, and properly skewed story, making much better use of page layout, story pacing, captions, dialogue - everything in this second issue worked like gangbusters for me, usually in exact opposition to the ways the first issue didn’t work for me. I dunno, maybe I was just in a bad mood last time around. But not having the story delivered to me in blatant narrative captions was a real plus in this issue, and replacing those captions with lyrics to a song the main character is writing, (has written?) slowly paced-out over an alternately frustrating and thrilling and horrifying episode of his life, was a pitch-perfect mood choice. I’m a little confused as to how this series is going to be organized - this second issue does not flow directly from the first issue at all, but rather jumps to a completely different point in time. Is this going to be akin to Stray Bullets, where each issue is a discrete episode, with all of episodes weaving together into an oblique narrative tapestry? Or are we going back to what seemed to be a specific set-up for a larger story from last issue (the scheming trust fund kid and the "buried treasure")? At this point, I don’t care, so long as Lapham keeps serving up more atmospheric experiences like this one. |
