[REVIEWS] Borderline's Marvel reviews from #5
Phil Hall
comic that you all love, it was suggested that those of you who don't get a
chance to see BORDERLINE, the FREE downloadable comics magazine, you might
like to see the calibre and depth of reviews we have in the magazine...
So possibly for this month only... but possibly not...
Here's BORDERLINE #5 MARVEL reviews...
If you think you can do better, contact our Reviews editor - Andy Winter
(andyw...@yahoo.com) or (rev...@borderline.mediahall.co.uk)
The Amazing Spider-Man #36
Marvel
By J. Michael Straczynski
& John Romita Jr.
Less than a month after I complained in my The Blank Page column that Marvel
's Max Comics imprint was tackling a mature readers' version of superheroes
in the real world with incompetence and poor taste, and Straczynski shows us
all how it can be done, and done well, and done with a purpose.
In this issue, Spidey - blurring the fictive line between his world and
ours - witnesses the fall of the World Trade Centre and helps out in the
aftermath. While Straczynski's main purpose here is to send a message out to
the world, both at home and abroad, he does it in such a clever way that he
also explains why no Marvel heroes were available to prevent the attack, and
also why they weren't visible on television helping to rescue the few
survivors from the rubble. It's a small point - and perhaps a negligible
one, in the scheme of things - but it ties the Marvel Universe with our own
in a fascinating and emotive fashion.
As a human being, one cannot fail to be touched by the grim reality of this
issue, by its quiet dignity and noble determination, by its message of
revenge and tolerance together, one tempered in the flames of the other.
As a reader, whether of comics or books or any sort of fiction, one can
again wonder at how words on a page and characters made only of those words
and readers' imagination, can live and breathe and inform you about your own
life and the world you inhabit in ways you might not normally consider.
If it stumbles - and it is more a misstep than a stumble, in truth - it
would be in the use of Doctor Doom as the bad guy to shed a tear at the
tragedy. When, on the same page, one has Magneto and the Kingpin, who can
more realistically sympathise with the loss of innocent life, it is perhaps
erroneous to consider Doom to be so moved. This is not in the way of a
fanboy niggle, but, as soon as you realise that Doom has such compassion, he
is reduced as a dictator, a tyrant, a megalomaniac, and becomes a simple
villain. It is the one moment of broken continuity when I remembered that
this was a comic book, and it works against the complete mastery of the rest
of the issue.
This is what Marvel should be striving for when they aim to target a mature
reader base; comics bereft of explicit sex and profanity and over-the-top
violence - in every sense, comics for the mature reader. If only it could
have been born of better circumstances.
The Verdict: There's little one can say when presented with a work such as
this. Straczynski is, first and foremost and in the best way, a writer and
we are lucky to have him working in comics. (AC)
Avengers #47
Marvel
By Kurt Busiek, Manuel Garcia,
Bob Layton
This is one of those rare issues in which a team book focuses on one
particular member, to the exclusion of the others. The member in the
spotlight here is Warbird, the former Ms Marvel who was seduced by Immortus'
s son Marcus around issue 200 of the original Avengers series.
Here, she is more or less seduced by Kang's son Marcus while trying to
prevent the Master of the World (he's from Alpha Flight, by the way) from
making his own play for global domination. Meanwhile, we're all still
waiting for the big fight with Kang. It can't be long now - Busiek's leaving
after issue 50!
It's laudable that Marvel feels comfortable with publishing stories which
attempt to expand on characters' personalities. Hopefully, Busiek will prove
a big enough writer not to let history repeat itself in a predictable way.
Tasty cover by incoming penciller Kieron Dwyer, too.
The Verdict: Some might see this as padding to make the whole big Kang saga
last a bit longer. We won't know the truth until the story's payoff. (MS)
Elektra #4
Marvel Knights
By Brian Michael Bendis
and Chuck Austen
Bendis continues his storytelling experiments here, contributing a script
that makes many demands on the artist. It's a shame, then, that the artist
is Chuck Austen.
His art is ugly, in the most offensive and intrinsically awful way that
only comics seem to get away with. That Bendis overwrites the entire issue
is here a blessing since his over-inflated word balloons cover up as much
artwork as possible. The script has Austen's art divided into two areas; two
different TV broadcasts play across the top and bottom of each page, whilst
the main story - largely a fight between Elektra and the Silver Samurai -
takes up the middle section of the page. If you think that many static shots
of talking heads sounds boring and repetitious then you plainly haven't seen
what passes for an action scene according to Austen. Sheer storytelling
incompetence bleaches each panel of any movement, any correlation between
one panel and the next is simply absent and the flat, heavily-shadowed
artwork means that as soon as more than two people appear in one panel you
cannot tell one from the other.
Note to Marvel; we are buying this for Bendis's scripting. It is my guess
that less people will buy it for Greg Rucka's scripting, so cut your losses
now and give Rucka a decent artist to work with. Please.
The Verdict: This is quite easily the most unattractive thing to appear on
paper since my Uncle Pete got the runs after a particularly bad curry. But
at least he got better. (AC)
Elektra & Wolverine: The Redeemer #1
Marvel
By Greg Rucka
and Yoshitaka Amano
The idea - the very idea - of publishing a comic that consisted of a prose
story accompanied by painted illustrations by a Japanese videogame designer
would have been laughable; not to you and me, but to the suits and moneymen
who haunted Marvel's corridors and held the purse strings in their cold and
bony grasp. It is a testament to Marvel's new outlook that such a project
can nowadays be published and, if it fails on any count, they cannot be
blamed for trying.
Rucka is a modern pulp writer, unconcerned with anything but communicating
through words as efficiently as possible, and punctuating his tale with very
occasional images of poetic beauty and insight. In this respect, he is in
the classic tradition of the pulp writer. The story herein concerns a
bungled assassination by Elektra that leads her into a confrontation with
Logan; a tale sparingly told in words that fly by in short staccato bursts
and longer, more breathless sentences. You could take a breath at every
comma and still run short of wind.
Amano forgoes the lush and painted vision he brought to the Sandman: The
Dream Hunters novel, contributing sketchier, frantic illustrations that suit
the pace of the story. In the week that Lucy Liu was reported to be up for
the role of Elektra in the Daredevil movie, it is interesting to see Amano's
portrayal of her as a slim, black leather-clad Asian woman. It is a shame,
though, that many of the paintings differ from the story in certain respects
and that the continuity between text and illustration couldn't have been
better maintained.
The Verdict: A simple, pared down piece of pulp fiction and some quite
beautiful paintings make this an experiment for Marvel, and a largely
successful one. (AC)
Fantastic Four #49
Marvel
By Carlos Pacheco
and various artists
Over the last two years Carlos Pacheco has systematically restored the
Fantastic Four to a mid 70s/early 80s status quo while making the book seem
fresher and more vibrant than it has in years. By this, his final issue, the
FF are back in (a souped-up modern version of) their traditional Baxter
Building HQ and (souped-up modern versions of) their mid-70s costumes,
Franklin is back from space and Valeria, the Claremont-induced daughter from
an alternate future is - well, that would be telling. Where do you think
Valeria came from? Unless you've read this issue already, I'll bet you're
wrong.
Pacheco finishes his run on a real tearjerker, reminding us that what makes
the FF so special will always be the sense of family and family love that
prevails. Oh, and the fact that Franklin Richards can tear the universe
apart and rebuild it according to his wishes anytime he damned well pleases.
Make sure you never forget that one.
The Verdict: Pacheco leaves a hard act to follow but some lovely plot
developments for his successor to build on. (JC)
Fantastic Four 1234 #4
Marvel Knights
By Grant Morrison and Jae Lee
There was a palpable thrill to reading the opening of this issue, the finale
of one of the most intriguing adventures of the FF I've ever read. In
flashback, Reed Richards stands over the body of a woman vaporised for
witnessing his weaker, more violent, side, before opening the door to a dark
universe that allows this personality to manifest itself within Reed, a sort
of dark mirror. Travelling the world, Reed trains with priests who enable
him to extract this entity from himself, solidifying it into a living,
man-like creature called a tulpa.
Reed names this being Victor (after the protagonist of Frankenstein) and,
because it looks like Reed, it has an iron mask nailed to its face. Yeah.
that's exactly what I thought.
But this new Marvel is still Marvel, where there is no change, only the
illusion of change, and the more things change, the more they stay the same.
This is a crying shame; the sheer audacious logic of Morrison's origin of
Doom is too good to only last three pages before being revealed as a story
that never happened. There have been too many insipid and feeble stories
based around these characters over the years. The notion that a group of
scientific adventurers can form a family and live and play in the Marvel
universe is ripe with possibilities, many of them untapped since the days of
Stan and Jack and, to be fair, Byrne.
And to come to the end of this amazingly thought-out and presented series,
only to be suckered with a false ending to such potential and power, is
galling, to say the least.
The Verdict: This series has pushed at the boundaries of the concept, all
within a Marvel PG rating and without FF fans creating a stink. A shame it
couldn't go that little bit further. (AC)
Heroes
Marvel
By various writers and artists
It seems churlish to review a charity project, especially one produced in
response to a decimating act of man not God, but this is the first of a
number of charity comics due in aid of the Twin Towers Fund, so is worthy of
interest.
This is, essentially, a gallery of images depicting, or in response to, the
events of September 11 and, by and large, it is very successful. The
inclusion of superheroes almost trivializes the true heroism of that day (J.
Scott Campbell's grinning heroes being perhaps the most dubious image)
although the frequent use of Captain America is to be expected and is often
quite effective. Text is rare but usually quite affecting, and the majority
of images are powerful and moving, with those by Joe Quesada being among the
best.
The Verdict: A charity product that for once rises to expectations, and a
fine tribute to those who fell and those who stood on that day. (NL)
The Incredible Hulk #34
Marvel
By Bruce Jones & John Romita Jr.
Now, I gave up on this title a few issues before Paul Jenkins did. Prior to
that, I dropped it like a stone when Marvel dumped Peter David from the
writing duties. I'm not interested in buying comics blindly - month in,
month out - just because I like a particular character. There is a whole
bunch of characters I like, but I want them well written.
So, the appointment of Bruce Jones as new Hulk writer intrigues me. I know
Jones as a writer of short, snappy, twist-in-the-tail comics, many in
collaboration with Bernie Wrightson, throughout the Seventies and Eighties
and I don't remember ever buying a continuing monthly series by the man.
All of which makes this issue a good, fresh beginning.
Adopting the T.V. series' format of having Banner stop in a town and
fighting evil as the Hulk before moving on may deter some writers. It
certainly has connotations of unoriginality and an adherence to the
formulaic. But it works very well here, in a simple enough story that is
nevertheless loaded with little character touches that raise it nicely above
the norm.
Romita Jr. is as reliable as ever. It's infuriating not to be able to say
much that is new about such a reliable and gifted artist. But he is so good
that he's drawing two monthly comics, and of how many other contemporary
artists can you say that?
The Verdict: You know those greeting cards that play a little tune when you
open them? If Marvel rigged this so that the end theme of The Incredible
Hulk T.V. show played on the last two pages, it would be near perfect. (AC)
New X-Men #118
Marvel
By Grant Morrison and Ethan Van Sciver
Presumably if you're reading this, you're a comic reader. If you read this
comic, don't try telling me you haven't fantasized about the situation on
page one. "So... anybody else want to sneer at my comic book collection?"
indeed.
This issue forms part one of Germ Free Generation, in which the X-Men,
minus their mentor, must face increasing unpleasantness from anti-mutant
mobs, confusion over why the Beast's been so badly beaten, and outright
aggression from the U-Men organisation introduced in this year's New X-Men
Annual.
It's rare to see intolerance so vividly depicted - which is a good thing -
but the end result is that this comic leaves a bad aftertaste. You'll feel
good about having read it; but you might not want to read it again.
The Verdict: An uncomfortable subject handled in a disquieting way to leave
readers squirming. (MS)
Peter Parker: Spider-Man 2001
Marvel
Fiona Avery & Juan Roman Cano
Fans of J. Michael Straczynski's current run on Amazing Spider-Man may
believe they have reason to get excited about this annual. The attractive
Michael Golden cover depicts Spidey in a temple reminiscent of the one in
Ezekiel's origin; the story itself is written by Fiona Avery, who is, by all
accounts, Straczynski's protégée; and for those sufficiently impressed by
hyperbole, this comic was solicited in Diamond's Previews with the blurb,
"Could this somehow be tied to Ezekiel's revelations in Amazing Spider-Man?"
Well.no. Not a bit of it, actually. Cobblers, porkies and what the
forgiving might describe as an economy with the truth. There is nothing in
this story that impacts upon Straczynski's in the slightest. If you would
buy this for that reason, you may safely replace it upon the shelf. If you'
ve already bought this then you have my apologies and, more importantly, my
sympathies.
For those who would like to know about this issue free of my, perhaps
naïve, preconceptions, could I tell you of Avery's mastery of pace and
invention, and use of snappy dialogue and witty banter in a ground-breaking
tale of adventure and human insight?
Well. no. Not too much of that, either, I'm afraid. Pedestrian and
forgettable about sums it up. If I wasn't so pissed off about being misled
into buying this I'd quite probably have forgotten about it by now. Her
previous miniseries, for Top Cow - No Honor - went on for four issues and
was barely as memorable. If I sound unimpressed, then that's because I am.
The art by Cano is actually very attractive, giving the script a pace and
verve it probably didn't have and certainly doesn't deserve. His pencils are
a bit Sam Kieth and a bit Richard Corben, and his inking is very solid and
clean. He's a bit of a find, all things considered. But Avery is so utterly
unremarkable as a writer that Straczynski should be ashamed at the
association. A 'protégée' is one thing; riding on someone else's coat tails
is another thing entirely.
The Verdict: In terms of promise, publicity and execution, this is dire and
little more than a swindle. As a great man once said: "Ever get the feeling
you've been cheated?" (AC)
The Punisher #6
Marvel Knights
By Garth Ennis and Steve Dillon
There was a time - just before he started on the long and winding road to
self-parody that began with Preacher - when Garth Ennis could twist your
heart with words, when he could show you sickness and violence and make you
hate it, and suffer through it and, ultimately, understand it.
Somehow the jokes took over; the wonderfully underhand and ill sense of
humour that would make you laugh as you looked at something in a new light
warped into snide and unfeeling jibes at the defenceless and the weak. The
violence became cartoonish and bereft of any meaning, as the perpetrators of
it became simple and one-dimensional.
If you're out there reading this and nodding, get yourself out to a comic
shop and buy Punisher # 9 before all those who praise Garth Ennis but haven'
t read anything of his before Preacher snap them all up. Get into fights
over the last copy, if you must. Break some teeth. You deserve it.
This is the guy who wrote True Faith and the Sorrows books as well as the
single best run on Hellblazer. It may just be for this one issue, we may
never see him again, but here he is. Garth Ennis Classic.
It's been a damn long time, boy. Welcome back.
The Verdict: All of the strengths of the Ennis/Dillon partnership with none
of the weaknesses combine to form their best work since Heartland and simply
the best Punisher tale ever. (AC)
Startling Stories: Banner #4
Marvel Comics
By Brian Azzarello and Richard Corben
This has been either very brave or very stupid storytelling and, given the
patience of comics fans, I'm tending to favour the latter. Issue four - the
final issue - and finally Azzarello gives us the story we were promised. It'
s a shame that most of the readers will have wandered off by now, though.
General Ross and Doc Samson have finally captured the Hulk and are keeping
him subdued as Banner by sealing him in an airtight tank filled with
laughing gas. It's such a wonderfully elegant solution that I'm surprised
Peter David didn't use it. However, Ross and Samson differ on the final
solution to their Hulk problem.
The finale to this miniseries is almost worth the wait, featuring one of
the best final pages to grace a Marvel comic in a long while. It's a shame
that the whole thing has been needlessly padded out beyond its length; at
two issues this would have been something worth reading, but the middle two
issues particularly have been a lamentable waste of time and resources.
The Verdict: A badly paced and over-inflated miniseries culminates in a very
effective and chilling finale. A bad case of "too little, too late", and in
comics that's just commercial suicide. (AC)
Tangled Web #7
Marvel
By Bruce Jones & Lee Weeks
This - the first part of Gentlemen's Agreement - has marked similarities to
the current storyline over in Peter Parker: Spider-Man, but where that is
handled with a distinctly humorous touch, this is a far more realistic and
sombre affair.
Charlie, a cab driver with an ex-wife needing alimony and child support,
has a brain tumour that will leave him blind within a month and dead within
a year, unless he can find the funds for a life-saving operation. What
Charlie needs is money and plenty of it. The one thing in his favour is that
Charlie has something people would pay very good money for - he knows that
Peter Parker is Spider-Man.
Veteran writer Bruce Jones hits all the right notes here, portraying
Charlie as a man in dire need, but constrained by his moral and religious
character. The agreement he has made to keep Spider-Man's secret informs the
whole issue, immersing the reader in the dilemma without resorting to black
and white moralising. Charlie is tangled in the web of Spider-Man and also
within his own web, where each move he makes results in another
entanglement.
Lee Weeks has a beautifully old-fashioned look to his art, with a Steve
Rude style of pencilling, though Weeks inks in a rougher fashion. Jones
leaves a lot of the panels unscripted, relying on the quality of the art;
though there are still a couple of panels that are needlessly dialogued, so
strong is Weeks' ability to convey emotion.
The Verdict: Tangled Web, so obviously the moody younger brother of the
Spider-Man line, shows more signs of maturing into something quite
wonderful. (AC)
Thor: Godstorm #2
Marvel
By Kurt Busiek and Steve Rude
Incredible as it may seem, some readers can't see the point in this
exercise. "It's just a chance for Steve Rude to go retro", they say. "There'
s nothing new in it at all."
Silly, silly people.
Yes, the plots are very simple. Here, Loki plays the cunning deceiver,
wrapping Thor in a double-bind - defeat the mortal who has adopted the power
of the Godstorm on Earth, yet still get back to Asgard in time for a battle
with Geirrodur and his troll army - in order to make Odin disown Thor and to
win the throne of Asgard for himself. Thor outsmarts him, of course.
It's a fable, if you like; a short story with a moral, that teaches people
how they should behave. Evil is always defeated, the deceiver is sent
packing with something nasty chasing him, while the wise and resourceful
reap the rewards.
The artistic side of the storytelling style also stands up to
investigation - if only by showing how watered down our comics have become.
The images are simple yet powerful. Each panel progresses the story - in the
way the characters hold themselves, in the way they move (or at least in the
illusion of movement provided by speed lines and so forth - a skill that
seems to be dying out, or which many modern artists seem to lack), and in
their facial expressions.
"Ah, but comics are more sophisticated these days," the critics might say.
Alas, yes. More sophisticated, less powerful. Less interesting too, in many
cases.
The Verdict: It's a trip back to basics. And we find that this kind of basic
storytelling still works just fine. (MS)
Ultimate Marvel Team-Up #9
Marvel
By Brian Michael Bendis and Jim Mahfood
Realism takes a back seat this issue, as Bendis writes an anarchic comedy
tale that would not be out of place in The Beano. The premise of this wacky
story is that Peter Parker is sent by his school to a work experience
placement with the Fantastic Four. This is a pleasing twist on the way that
the Marvel Universe versions of Spider-Man and the Fantastic Four first met.
The humour is self-referential and irreverent with digs at not only the
Marvel Universe, but also at a number of Marvel staff members. This may be
too much for the continuity-obsessed reader, but the jokes are actually
quite good, so it would be churlish to criticise the comic for this. Bendis
shows a knack for comedy, and Mahfood's art brilliantly augments the writing
by adding in all kinds of amusing little details, like tiny copyright
symbols accompanying each instance of the Fantastic Four logo. His loose
linework is ideal for the madcap tone of the writing, and his Spider-Man and
Thing are particularly good.
This is the kind of fun book the Big Two publishers should put out more
often. Plus, the comic features H.E.R.B.I.E., which should be reason alone
to purchase it!
The Verdict: Not to be taken at all seriously, but very well put together
nonetheless. A very worthwhile purchase indeed. (KG)
--
Phil Hall
Editor
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