#410 - Green Arrow: The Rebirth Deluxe Edition - Book 1

I have to confess, I wasn't entirely sure I'd get this post out on time after cobbling together my last one earlier in the week.

However, I have somehow managed to get it done, confirming that it has been (I guess) a productive week.

This week (well, the latter half of it) saw me read through Green Arrow: The Rebirth Deluxe Edition- Book 1. This omnibus, which contained the first twelve issues of Benjamin Percy's new run as well as the Rebirth special, saw the Emerald Archer continue his crusade to clean up the streets of Seattle, utilizing the vast resources of Queen Industries to not only fight crime but to better society. However, both his mission and his life come crashing down when he discovers a sinister people trafficking operation, with people close to him utilizing his fortune to make it a success. Now, believed dead, without his money or his gadgets, Oliver Queen must work with his allies; sister Emiko, frenemy Diggle and new love and partner Black Canary to not only reclaim what was his but protect the innocent from a sinister organisation bent on causing chaos from the shadows.

I'll be honest, the art and covers for this series had made me tempted on this series back when Rebirth first kicked in. However, it was the praise it got that cemented my interest and after reading the 80th Anniversary and the Lemire/Sorrentino run in recent weeks, I knew I had to make it a priority.

And in the end, I'm glad I did. I really enjoyed this opening omnibus under the Rebirth banner. I found it to be fun and full of excitement as we followed Oliver Queen seek justice for the betrayals against him. I have to confess it wasn't the best start for, while it was a gorgeous title to look at, the arc seemed to take time to warm up. Fortunately, I certainly thought it did as I found myself increasingly invested in what was going to happen Team Arrow as the story progressed.

To be honest, it was Team Arrow which turned out to be the main draw for me from this tome. I really loved the characters and their dynamics that Percy brought to the table, as every single member of the cast was truly engrossing. From the very beginning I absolutely adored the Green Arrow/ Black Canary dynamic, which felt light hearted and refreshing and exactly how two people who were destined to be together (until Flashpoint) would act. Meanwhile, the characters of Emiko Queen really felt improved from her introduction I the Lemire/Sorrentino run, as she felt more three dimensional and less like a Damien Wayne knock off (thank God). Also, the two issue focus midway through really helped flesh her out to me and reinforced what I liked about the character. The there was the (reintroduction) of 'Clock King's William Tochman, whose personality i found to be incredibly interesting, especially, when rendered in Stephen Byrne's art.

Speaking of the art, the 13 issues in this book came from three very different artists with very different styles. However, while I usually like consistency regarding a series' artwork, the differing styles of Otto Schmidt, Juan Ferreya and Stephen Byrne were all exceptionally gorgeous and worked really well together. I absolutely loved each style for differing reasons; Schmidt's almost angelic rendering of the characters (particularly Black Canary), Byrne's vibrancy of his pages and Ferreya ... well, something about his art I can't put my finger on, but it is beautiful on a dreamlike level. As a result, I really felt like all three fed into and enhanced the optimistic, light-hearted adventure that Percy's story was telling.

However, while I enjoyed this volume, I did find myself with a lot of questions. These included; Whatever happened to Naomi? Was she who Ollie and Diggle seemed to be beefing over? Didn't Ollie already lose everything? How did he get it all back Where did this Broderick fellow come from? Where was he prior to now (the Lemire/Sorrentino run)? In fact when it came to questions, pretty much all of them connected to that run.

In fact, that is probably my only criticism of this read as despite how much I enjoyed it, the entire story felt incredibly similar to what Jeff Lemire and Andrea Sorrentino did during their run. From secret organisations to a hero operating with nothing, so much of this reminded me of that run and while I may not have noticed otherwise, my recent re-read made it very noticeable (although that may have been just me).

Of course, that quibble aside, I can't let it detract from the fact that Messrs Percy et al. have created a good read, on that was fun and gorgeous and that had an ending which had me needing more.

Hopefully I can rectify that last point very soon.

Oh, and before I forget ...

In my earlier post in the week I mentioned that I'd reviewed two comics. Well, after Midnight Highway I also reviewed Vault Comics' The Last Book You'll Ever Read #1 and this was another good read.

I felt that Cullen Bunn kept his cards close to his chest as he wrote the story here because it felt like so much of this issue was still a mystery be the end. However, this was what really grabbed me about it because it had all sorts of questions and theories going through my mind (like has the book in the story had its ink mixed with blood like the old KISS legend?).

Meanwhile, the art was also solid. I thought it looked a bit sloppy to begin with but felt it got in the right groove as it progressed. As a result, the issue was drawn in a style which made for a very disconcerting aesthetic, perfect for the story we were treated to.

Now, I don't think this is Resonant, Barbaric or I Walk with Monsters (my current top three of Vault) good but TLBYER is certainly upper level, although I'm not sure how accurate I am given that I think that even Vault's weakest comics are gold.

So that's another week (well, half week) in the can and it certainly been one of my busier ones, with two blog posts, two reviews and a record breaking (for me) six (and a half) pages of script written for my 'other' project. I have to admit, I'm proud of myself for the amount I've written, although I think itcmay have been a little too much for my brain to cope with.

But I'm planning on a smaller read next week, so maybe the week in general I can tone it down a little to find my creative sweet spot.

#409 - Off the Racks: Blue and Gold #1

It's a rare occasion that I just pick something up off the shelves at my LCS on a whim (although, granted, it does seem to be becoming a more common occurance). This is mainly due to how I plan for everything to ensure I never go over budget (yet consistently fail).

This week, I read Blue & Gold #1 by Dan Jurgens and Ryan Sook, having picked it up last Wednesday. This issue saw the titular duo of Booster Gold and Blue Beetle come (back) together to rescue the Justice league from a spaceship of alien abductors. However, neither man is operating at the top of their game as Beetle struggles with his self esteem, while Booster (never short of self esteem) struggles to find an audience for his superheroing video website. But maybe coming back together can find them solutions to both of their problems, and even get them spots on the Justice League team.

As soon as I saw this at my LCS (well, their Facebook page detailing all their new releases for last week), I was absolutely excited and needing to buy this. I've always been a fan of the Blue Beetle/Booster Gold team, despite never actually seeing it in action (I only discovered them AFTER Ted's murder by Maxwell Lord). I guess you could say I'm a fan of the idea or legacy this pairing bring and, as such, this comic by one of their original influences in Dan Jurgens was kind of a foregone conclusion.

Unfortunately, Blue and Gold #1 turned out not to be my thing. I think the problem I had with it was that Booster was just too obnoxious for my liking. In fairness, this is entirely my problem because my only interactions with the character have been 52 (which I don't really remember) and the stellar Justice League Generation Lost where he came across as so much more driven. Blue Beetle, on the other hand, was much more enjoyable character to me as the positive, loyal to a fault persona I remember him displaying felt here, even as he attempted to deal with his own issues behind the scenes.

Ryan Sook's art looks pretty solid to me, like early 2000's house style (e.g. 52, Infinite Crisis, things like that) and I had no problem with it. However, I struggled to get past the story enough and so the art didn't really impact me as much as maybe it could've/would've.

I really wanted to like this comic and, prior to reading it, had already justified going over my budget (again) to get the whole series. However, it didn't have what I was wanting from this comic (through no fault of its own) and just didn't grab me.

Oh, and before I forget ...

I got a couple of reviews done in the early part of this week as well, although only one has been posted. This one was for Midnight Highway #1, which I was told looked really good. Sure enough, it was and I I absolutely loved this issue. I thought is was an extremely engrossing issue which hooked me almost immediately. The story had this real 80's vibe to it that just made think of a whole slew of 80's made and set horror films/shows (including, the eventually discovered, Lake Placcid). When it reached the end, I found myself with so many questions that I was eager to have answered.

As for the artwork, I thought it was absolutely gorgeous. I really felt that the work in this book was of the highest quality (like big 2 level) and just perfectly vibed as a horror style. The thing which got it for me was how it looked near identical to Black Science, which in itself is a sell for me (although it seemed so much more outlandishly colourful).

In all, this was a fantastic comic to read and I'm glad I got the honour to read it. This one I'm gonna go and get as a printed trade once the whole series is out and that should tell you all you need to know about how good I think it is!

I hadn't planned to release this post as is because more was going to be read. However, I guess I had more to say about Blue and Gold than I realised. It's just shame that it was more on the negative side. The sad truth is that even a good book can't be for everyone and this one wasn't for me.

Anyway, I've still got the rest of the week left to get through and I'm already onto reading another comic. Therefore, hopefully, I can get a second post out before the week ends.

Because, I really don't want to mess up my schedule again.

#408 - Black Panther and the Agents of Wakanda

I've been having a bit of a run through the summer months so far, with me consuming great read after great read. Since June began I've read Black Hammer, Resonant, the New Fantastic Four, Green Arrow's 80th Anniversary, FF #13, Bigger Fish and Redfork, all of which have been good reads or better (in my opinion).

Therefore, I've really been on a roll and found myself chomping at the bit to check out something else. The question was what? With hundreds of comics still yet to eread, decision making is a difficult endeavour, but I let my heart lead the way on this one to get me reading an eight issue series I've been putting off for far too long.

Black Panther and the Agents of Wakanda sees the titular King of Wakanda form a new international defence organisation in the wake of the fall of S.H.I.E.L.D. and the events of Avengers: No Surrender and War of the Realms. This unit, under the command of head of the Dora Milaje Okoye, sees the Wakanda bring together some of the most unique superpowered people from all corners of the Marvel Universe. From Man-Wolf John Jameson and Ka-Zar, King of the Savage Land, to the Original Wasp, Janet Van Dyne, and the Agents of Atlas' Gorrilla Man, these eclectic heroes are brought together to investigate and combat the unusual threats that the Avengers do not.

Now, I must confess that I'm unsure as to why these are not stories and events which occur in the Avengers book proper. Is it because they are busy elsewhere? Are these activities considered 'below their paygrade'? But anyway, I found this series one which I was incredibly intrigued and excited to read because of both the cast of characters involved as well as the amazingly gorgeous covers from all eight issues.

Unfortunately, this series was, for me, a case of 'judging a book by it's cover' because, while the covers were phenomenal, the adventures of Black Panther's spy unit was, overall, only an ok read. Of course, the Agents of Wakanda started strongly, with the first and last issues being good reads which hinted at me of their potential. However, I found myself struggling to get invested in the middle issues as the seemingly Silver age concept of self contained stories set in the modern world just didn't hook me.

I must confess at this point that I found my lack of interest strange because I always have been a big proponent of self contained stories. I guess it is just a case that over the years my preference has moved towards more long form storytelling.

That said, it isn't all doom, (Foom) and gloom as this run did have some good points to it for me. The chief among these, as I said, was the awesome cast of characters which appeared in these eight issues. I'm a big fan of both Gorilla-Man and Fat Cobra, having been introduced to them in Agents of Atlas and the Immortal Iron Fist respectively, and so getting the chance to see them again and in a greater capacity is always a thrill. Also, after his appearance in the Prodigal Son mini series, I'm more intrigued about Ka-Zar and enjoyed his (albeit) brief appearance here. Then, of course we cannot forget the titular Black Panther who, as I read this, always sounded in my head like the late Chadwick Boseman (and that can only ever be a plus).

And, finally, we can never forget the greatness that is FIN FANG FOOM!!!

Meanwhile, I thought the art was absolutely gorgeous. Looking vibrant and distinctly eye popping, the style reminded me of Joe Mad's work, although, admittedly, I thought Lan Medina work was far sharper and gave AoW less of a dreamlike hue. I also loved some of the character designs in this series, particularly Mockingbird, whose new costume (complete with wings) was just beautiful, and Man-wolf, who I've never actually read a comic that he's starred in and so seeing his beastial form was quite a treat. Also, any chance I get to see the Warriors Three is always a win (although I do find myself now wondering; can you be promoted into/out of the Warriors Three?) and did I mention FIN FANG FOOM (Yes, I have a problem)!!

In the end though, cool characters and gorgeous art isn't enough to get me to leaving happy (although, I know, it should). I truly did go into Agents of Wakanda expecting to be blown away but, sadly, it wasn't to be.

Still, I'm glad I read it and maybe my tastes will change again one day. For now though, I guess that winning streak is over.

Oh, and before I forget ...

As per usual, Agents of Wakanda was not the only selection of comics I read during the week. First up, I did a review of the week was for Magma Comix/Heavy Metal's Never Never #1. Now, I'll be honest, while the concept did intrigue me as soon as I read it, I was unsure which way I would go on this. However, by the end, I really thought that this first issue was an immensely riveting read and one which I really liked.

I think what I enjoyed most about it was probably two things. First, I liked how it married up the concepts of Peter Pan and Lord of the Flies practically faultlessly (in my opinion). Second was the seriously chilling depiction of the Peter Pan-esque character, who gave me the impression of some Victorian street thug/gang member. That said, I still found it a fun story which ended with a few questions in my head.

The art, meanwhile, was solid. It reminded me a little of Breaks in its pencils while its colours had a very restrained vibe to them (makes me think that maybe Magma are trying to find their own house style). I also felt a bit of a horror vibe going as many of the Never Never inhabitants had this very emaciated look to them.

Overall, this was a truly great read that has really hooked me a lot. I will now be paying attention to the rest of the run as I'm intrigued as to where it will go.

After that, I reviewed Access Denied, a sci-fi love story from the creators of Milford Green. Unfortunately, this was one of those books where I just couldn't find anything specific to write about (although I did eventually get there). However, this lack of notable points didn't change the fact that this was an absolutely brilliant comic and I loved it immensely.

The main draw of it for me had to be its unbridled positivity. I honestly think that this is Sam's niche and a reason that S Factor didn't work on me like this and Milford Green did. The fact is that S Factor was too cynical, while Access Denied and Milford Green are infectiously positive. It was this reason, along with just how charming and likable Athena and Robert are, that got me so invested.

The art was also solid work. I wish I could big up Mikael's work in this issue but, quite simply, it feels like he's at the top of his game the work is so spectacular (just like in Milford). The one thing I can note is how incredible the android designs are, as he's made them look both human and not human simultaneously.

If I had one complaint, I wonder if the end should have been more bittersweet, but that is just my opinion. The truth is that this was an incredible read and I sure hope we get to see more.

Finally, while not for review purposes, I also read Marvel Action Spider-Man #1-3 with my son, which saw the Spider-people Peter Parker, Miles Morales and Gwen Stacy come together at a Daily Bugle internship before changing into their masked personas to defeat a barrage of mutant giant monster animals.

Sadly, this series just wasn't my thing. Unfortunately, there wasn't any particular reason why this is the case as the story was ... fine (if a little boring) and the art was equally as serviceable. However, it was just a case that these issues just didn't grab my attention enough. Of course, where it went with the eventual villain didn't help matters as it didn't strike me as in keeping with the character I know.

That said, that minor quibble aside, this Marvel Action series just wasn't my thing and I'd probably give it a wide berth going forward ... if my son didn't think it was awesome and want more.

What are the odds, huh?

So a pretty full week to be fair. But that's not all! I also managed to hammer out a whole four pages of script for my current project. I'm particularly proud of myself on this point because I've been finding a struggle to make the time to write. However, given that my schedule is becoming a little more consistent now, I'm hoping I can get back to this part of my life and catch up to get all 12 pages I'd planned for this month.

For now though, I do have a more immediate concern; what do I read for next week?

#407: Redfork

So, this post has turned out to be one of those 'victim of my own success' type deals.

Not being one particularly known for my patience (no matter how much I preach it to my kids), my decision not to wait until the end of the week to put up my post on Bigger Fish completely threw my week out of whack, causing me to muck up my schedule. As a result, this usual Friday post barely managed to make this Friday, if only thanks to my youngest unwillingness to sleep. It also meant that my planned read for the week wasn't replaced with something shorter and, boy, am I glad that wasn't the case.

I read TKO's Redfork, which told the story of Noah McGlade, who after 6 years in the slammer for robbing and attacking the local dentist, returns to his hometown which is struggling with unemployment and drug abuse. However, this isn't Noah's most pressing concern as he comes back to a family where his mother hates him, his father circles the drain and the daughter he's never met struggles with health issues as her mother fights addiction. But when an explosion erupts in the local coal mine, with Noah's brother trapped within, it releases an ancient evil which rises up with its eyes set on the town and its people.

Now I'm a big fan of TKO both in terms of their output and their sales strategy (for want of a better description). Having read the first issues of each of TKO's first and second wave titles (and having reviewed those issues of Sentient, the Banks, Pound for Pound and Eve of Extinction) as well as a review for the short story Hand Me Down, it's fair to say that I'm a big admirer of a large portion of their titles.

However, beyond Hand Me Down, I have yet to read a single story in its entirety. Redfork was my first full TKO Graphic Novel and I really, Really liked this. I found myself absolutely hooked from the get go as I got drawn into this story about a man making mistakes in order to take care of his family and his facing insurmountable odds to save them despite their ambivalence towards him. On the surface, the story came across as very Lovecraftian in it's horror (it certainly rung bells of a more mature Locke and Key) and made me think of a more supernatural version of the James Gunn film Slither (right down to the once human figurehead and the gluttonous acolytes).

The thing I really like about this series was most probably the characters and their interactions, particularly the lead character of Noah. Despite his slew of poor choices and decisions throughout this story, I really considered Noah as an intriguing character, one who seemed to value his family above all else and worked hard to protect them (albeit in the wrong way). As a result, I found it rather heartbreaking (if not deserved) of his treatment throughout the early chapters as he struggled to make right for all that his jail time had wrought. Of course, that isn't to say that Noah was the hero of the piece as, far from it, I considered him merely the protagonist or master of ceremony. No, in Redfork, I really thought that D-Ray was the hero and it was his story told through the eyes of Noah.

Like I said though, the characters, plural, were what made this story for me and this is definitely the case. I don't think there were any bad characters, especially with GallowGlass, who I found oddly compelling given his own grey area-esque raison d'etre. I was curious though about a couple of things like why did he not use his real name and was he really the prisoner of the entity who had been converted or was he simply a human embodiment of the big bad. Anyway, the McGlade clan, while not wholly fleshed out, were also intriguing for their dynamics with Noah, particularly Cody whose 'debt' with his big brother seemed to transcend his later 'obligations' to GallowGlass. In fact, I think the only weak character throughout the story was that of Jane Paisley, who seemed to me like she was little more than a source of exposition, there to bring Noah, D-Ray and the readers up to date when the time came.

As for the art, I really liked Nil Vendrell's style which was really solid work. What sold it for me though was the really creepy and unsettling place it went to, more and more as the story progressed. Chief among these were the layout of the cave system (particularly the latter rendition), the appearance of Unity as she woke her daughter and, most definitely, the scene showing the priest, Father Rawls, succumbing to Gallowglass's 'influence'. There was one scene though which I found a little confusing and that was Noah's conversation around a sinkhole which, being laid out differently than normal comic reading, really had me struggle to follow what was going on for a moment. However, I suspect that was more my inability to adapt rather than any other reason.

I've rambled on (just for a change) maybe a little longer than I had planned but I guess this helps confirm my feelings that Redfork was an utterly enthralling comic series. By the end I do have questions still in my head such as was the dentist from the beginning amongst the 'workers' in the caves (because that might have been a cool scene for Noah to have to face) and were all of the 'workers' implied to be in those caves at the end or is it just one? But, regardless, I'm more than happy with how it started, how it ended and everything in between and am certainly glad I didn't wait too long after having picked it up (compared to other comics) before I read it.

I guess it now gives me more incentive to invest in some of TKO series.

Oh, and Before I Forget ...

I wrote a review for Pipedream Comics about Vault Comics' Barbaric #1 this week and, I'll be honest, I don't know what I was expecting with this comic, but it was not for it to be as incredible read as it was. I absolutely loved this first issue from Michael Moreci, Nathan Gooden and Co. Though, I did think that the story was pretty light (given it was all about the set up and the story proper didn't really occur until the end) but this was more than made up by the Awesome buddy comedy angle of Owen and Axe, whom I thought were a hilarious pair.

Meanwhile, I equally loved the art in this, which I thought was just so gorgeous. Gooden's pencils along with Addison Duke's colours made me think a little of Conan and John Carter (mainly the films) just for the dry, desert vibe it gave me, but it vibed as such a visceral look and I really dug it as a result. In short though, I thought that this opening instalment was a phenomenal issue and, as a result, is probably going to end up convincing me to pick up the trade for my shelf. It's THAT good!!

I also spent some time this week reading Marvel Action Avengers #1-3, which I picked up during a recent Comixology Buy 1 Get 1 Free deal so I could read them with my son. The plot of this three issue arc saw AIM brainwash a captured Iron Man to work for them as the rest of the Avengers battle both AIM and their comrade in order to save him.

Much like with Marvel Action Black Panther and Thor & Loki, I found that I really enjoyed these issues. To be honest, I expected the plot to be too kiddish for my tastes but it actually seemed a lot darker than that (although not terribly dark, because it is an little ages comic). I really need to stop getting into that mindset for all-ages Comics like these, but it's still nice to be surprised like i was here.

However, the art didn't do it for me, sadly. It was OK, but it just wasn't my thing as it just seemed rough and a little haphazard. That said, my oldest had no complaints, so I guess it's just an age/experience thing. Overall though, these issues were still a good read and a fun use of time, although I suspect I'll be reading them more than once as my son considered them 5 star material.

So, there is another week (well, half week) done. Of course, that wasn't all that went down because I also managed to get another page of my current script project hammered out. Of course, I had hoped to get more out of the way too but it brings the grand total up to two pages in total and so the only way is up (or forward?)!

Hopefully, next week will be more productive on the scripting front, although planning to write only one blog post might help with that.

Although, I still have so much to read ...

#406: Bigger Fish

This week has already been a full week and I feel like it has barely started.

After getting back into my groove last week, this week has already seen me burn through a serious number of comics (or certainly the single issue equivalent). Of course, most of these have been comics I have read before but one of them is something I'd intended to review for Pipedream Comics. However, upon realising that this comic had already been reviewed, I figured I'd use my notes and talk about it anyway.

So, this week a read Bigger Fish, an oversized crime one-shot (at least I think it was a one-shot) by Ed Whiting, Hakan Aydin, J. Francis Totti and Robin Jones, where some different players within the drugs trade work in Nixon-era America against the backdrop of the War on Drugs announcement in 1971. However, while loyal soldier Mike, having recently served both time and his country is brought into a drug deal by friend Danny that is behind the back of 'Uncle Joe', dirty cop Dolan and his partner are informed of this deal and begin making plans to turn it to their advantage.

I found this to be a rather enjoyable comic, with Ed Whiting seemingly written something which genuinely imbues a classic feel of the gangster's/organised crime world, making it feel like a cross between Goodfellas and Miami Vice. I really enjoyed how dense it felt and the vast array of characters it contained who come across as very compelling, all of whom seemed to inhabit a real gray area between right and wrong. That said, while the characters are interesting, I did think there were too many of them as some players who could be interesting, like 'Uncle Joe', got very little chance to impress while others, like Dolan's unnamed partner, barely got a name. It's this which I think also causes a sense of sluggishness in the pacing as it simply too dense to flow consistently.

Meanwhile, I liked Hakan Aydin art work as it felt like a style which looked gorgeous but also grimy in equal measure. I did think that the pencils were rather rough but this helped sell the comic to me, giving me the impression that we were looking at the seedy underbelly of regular life, something that J. Francis Totti's colours, which seemed a tad garish with the bright skylines contrasted against dull foregrounds) seemed to help sell. As a result, I really felt that the look of this book had been influenced by GTA Vice City, though with a grittier take.

By the end, I really thought that Bigger Fish was a captivating one shot and, overall a good read, one that wasn't perfect and had it's flaws but still intrigued me with a final cliffhanger/revelation making me wish there was a follow up issue. That said, the finality in the last panel makes me skeptical thare'll be any follow up, although I can help because if there isn't then I think it'll be just criminal!

Oh, and Before I Forget ...

Now, when I said that this week had definitely been a reading heavy one, the predominant reason for this was mainly thanks to re-reading Jeff Lemire and Andrea Sorrentino's Green Arrow run, which I had first checked out nearly two years back. The reason for the desire to return was simply that the 80th anniversary issue had me pining to read more and I really wanted to make sure I had 'filled the gap' and got the necessary info for my eventual Rebirth read.

Funnily enough. I've now realised how weird it is that, while I remembered that this series was good, I had forgotten just how good it was as well as, specifically, what had happened during it. However, reading it again during this past weekend reminded me that Lemire and Sorrentino had created a truly phenomenal journey for the Emerald Archer, one with seriously unforgettable characters (though how I did is beyond me) and truly gorgeous visuals. Reading this (re-)explained why both of these creators are so highly lauded.

Now, whether I picked up on it the first time or not, I did realise that the run wasn't perfect, as the Futures End tie in didn't grab me like the rest of the series. However, that one blip didn't change the fact that this Green Arrow is an absolutely phenomenal read and it has me pumped to get around to Green Arrow Rebirth, Year One and Hard Travelling Heroes (which all sit in my 'to read' pile).

I also re-read Batman/Elmer Fudd #1, which had also been (more than) two years since I had last read. Like Green Arrow, this issue turned out to be a far better issue than my memory apparently rated it.

I really loved the story, which was so quintessentially noir in it's execution and look thanks to Messrs King and Weeks. Of course, Lee Weeks work outshone the writing in my opinion as it was so gorgeously rendered, it made me think of Nicola Scott's work in Black Magick or that recent Green Arrow 80th.

Of course, King did wonderfully here too, making the whole stable of Looney Toons characters feel so incredible real while still maintaining their ... 'idiosyncrasies'. That, along with the back up which read so much better than I remember first time round just solidifies how much I really like this title. It does make tempted to pick up others, although my fear they won't live up to this one makes me think I'll just stick with this issue only.

And that's my long weekend in a nutshell (or a very long piece of text). Unfortunately, very little else got done, although given the amount I've read in four days, this is not really surprising.

However, I'm going to try my luck at getting another blog post this week (as I have a comic I mind), so with a bit more reading, I'll try to take a crack at getting some more pages done for my current project,  as well as an actual review.

I just hope I don't burn myself put with all this writing.

#405 - where does the Artist end and the Letterer begin?

So, at the moment of writing this, it's 2.30 in the morning, I'm struggling to get my youngest child back to sleep and my tablet with my Comixology comics and my glasses are upstairs by my bed.

Suffice to say, I'm bored.

Therefore, I thought I'd write this quick little thing. A query that recently came up in my head as I was re-reading Green Arrow; when it comes to lettering, where does the artist's job end and the letterer's job begin?

Allow me to explain. In truth, i know exactly what both the artist and the letterer do. The artist is responsible for the art, I.e. every person, event and action which occurs within sequential art. It is the artist's job to tell the story by a visual means. Kinda like a cinematographer (although this simplifies the artist's role). The Letterer, meanwhile, is responsible for all the written words within a comic. Every piece of dialogue, every word balloon, box and written thought is their domain. Similar to the subtitle (although, again this massively simplifies their role).

However, what about the words in the background, the dialogue which is embedded within a scene?

Here's my example; During Jeff Lemire and Andrea Sorrentino's Green Arrow run (in issue 18), Ollie Queen finds himself on the run, accused of murder of his father's best friend (and CEO of his company). As he wanders the streets to ponder his next move, he stops in front of a newsstand to see the headline on the front page of the newspaper read in big font 'Oliver Queen accused of Murder.'

Now, this is where my confusion lies. As a part of the scene, this is surely the domain of the artist, right? However, given that the letterer is responsible for the words contained within a comic, is it not the responsibility of the letterer?

Anyway, this is just what I think about at bordering 3am (has it really been a half hour?). If anyone reads this, feel free to let me know the actual answer because I am truly curious.

#404: Off my Pull List - Fantastic Four #33

After a week for doing writing less than I normally do followed by a week of writing more. I feel like I'm back on balance this week.

Of course, that isn't to say that I've read more this week because that is certainly not the case. However, with most of what I did read being mid-issues for limited series I'm going to (probably) talk about later or reviewed comics, the bulk of this post was going to be about the only ongoing comic I read.

Fantastic Four #33 picks up on #32's revelations, as the first family take a trip to Latveria to witness the Wedding of Dr Doom to his super-powered champion, Victorious. However, with his recent tryst with Latveria's heroine still fresh in his mind, Johnny Storm decides to sneak over to the bride-to-be chambers to make sure that this is really what she wants. Of course, in the time honoured tradition of ALL fictional weddings, hilarity ensures.

Now, my relationship with the Dan Slott run has been tumultuous and say the least. However, this series has really started to pick up in my opinion over the last 6-12 issues and this newest instalment is no exception.

I really liked this issue as I felt like Slott was really building today his 'Unthinkable' level Doom story with this arc (although I unsure it will meet that level). This was very much a Doom story and Doom really felt like a true Doom. I also felt like we had finally discovered Victorious' true reason f for being in the overall story (although it was sad that she was reduced to merely 'catalyst'). As this issue progressed, I did find myself wondering about Doom's feelings towards Victorious for, while he made a big speech about how it was a purely political move, any of his actions in the issue implied an almost softening of his viewpoints. Of course, Doom was still Doom and talked and sounded exactly like the man should, but many of the actions he takes prior to the wedding, not to mention his reaction when it arrives, says that he was more invested than he admitted and it resulted in a 'softening' of his persona.

Meanwhile though, the four felt a bit underused, although given this was Doom's issue that makes some sense. That said, out of the FF's roster, this felt very much like Johnny's issue as he went about doing the almost run standard of juggling his love life. I've softened on my thoughts of events from last issue. Sure, it was a crappy move by the Human Torch but given that he is a man fueled to self-sabotage it does make some sense. Johnny's whole arc during this run has been to find 'the one's but while that works in theory, I do think his crippling over compensation of his self-esteem makes him self destruct and his actions here would support that in my opinion. As such, I'm interested to see how this story ends and where Johnny goes from here, although I have a sneaking suspicion that the fan-favourite theory of being outed as part of the LGBTQIA+ community (which I'd be totally on board for) will not be the direction which Marvel goes, which is a frustrating realisation.

Otherwise, the rest of the cast felt like they were equally underused (which given this was more of a Doom-centric episode makes sense), although I realised as I read this what many have said about how the Invisible Woman was utilised. I realised how, in this issue, just how cardboard cut out she came across, with a very generic, blank persona. Hopefully, it is just the way this issue was written and not over the run as a whole, but I might have to pay more attention to that going forward. The same could be said of the (presumably) departing Sky, whose moment in this issue seemed like much of her total appearance in that it's totally forgettable. I do feel like it was a waste of a character and that she's essentially been a mcguffin to further Johnny's. I realise now that it sounds like I being negative on the issue and that's not it, but it's just how I realise these points as I read through the issue. I also had one more, possibly unimportant question on this issue; is one of the Dora Milaje meant to be Okoye?

Anyway, once again I'm absolutely on love with R.B. Silva's artwork in this issue. I remember having concerns when Silva took over the art duties from Paco Medina and Sean Isaakze, simply due to how much I liked their work. However, this issue (much like his past ones) continue to show me that Silva's work is real chef's kiss work. I absolutely love his rendition of Doom here and the scene of the big reveal with Namor laughing his head off was hilarious (although I'm not as much of a fan of the Sub-Mariner's current look). Then there is that that final full page scene which looks ... well, Fantastic as it teases what will come next month.

For me, this was another great instalment of the World's Greatest Comic Magazine, and certainly has me excited as it heads towards the 60th anniversary special. That said, I am fearful of the BIG change that is around the corner and that it'll stupid/superficial and will amount to nothing more than quick, sloppy and easily retconned (by a later creative team).

But until it comes out, I'll try and err on the side of optimism.

Oh, and before I forget...

I did read a couple of other comics (as I pointed out at the start). First of those was Fantastic Four: Life Story #2. Now, this was a good read and I enjoyed reading the whole series of events from Sue's perspective and how Reed can be a bit of a dick when he is too wrapped up (we already knew this but so rarely do we see it so blatantly. That said I did, again, struggle with the changes compared to the 'prime' timeline, with the Doom and Namor's changes being particularly hard to grasp.  Speaking of the latter, I also found it a little annoying that Sue left Reed to be with namor. Why couldn't she just leave? I wonder if it is to fit the Spider-Man chronology.

Anyway, I Loved Sean Isaakze's art here (glad he was able to stick around in the FF corner in some way) as it had this period authentic kind of look which was very agreeable to me. Also, there was a panel of Doom holding a welding mask to imply what he'd become was just so iconic in my opinion. I'll most likely talk at length about the series when all issues are out but, for now, this is holding steady as a good read and am intrigued about where the rest of the series goes.

I also submitted a review to Pipedream Comics for Markosia's Rammur #1. Now, I enjoyed this comic and found it to be an entertaining read. I'm not really sure what I can say to build on what I've put in the review, as both the story and the art are solid throughout and the concept, while maybe not themost original thing (although I can't think of an example) was intriguing and well executed.

Of course, I wont lie that i had a concern that the character came off as slightly Chauvinistic as I read it but I do wonder if that's simply a case that I read too much into it and that future instalments will amend my thinking there. Overall though, i really liked this and would be more than happy to check out the future issues (if only I could have read it prior to the end of their indiegogo campaign).

Finally, I was able to read Thor & Loki: Double Trouble #4 with my son, finishing off that series as it saw the brothers join up with their female counterparts in order to locate the sphere they need to go home. I have to confess, much like what I thought of the first three issues, I really enjoyed this finale, finding it an adorable and fun cap to an adorable and fun series.

The art from Gurihiri continues to look gorgeous in it's cutesy way and the voices in my head were once again mirroring the MCU's finest. All in all, I thought this was a good issue and a good series, a view that I think was agreed upon by my eldest. However, unlike him, I'm not sure that I'll feel the need to read it again (at least anytime soon). That said, I think it was a good little series that will certainly change my view on all ages comics and (hopefully) work to cement my kids conversion to their old man's hobby.

Anyway, that's been my week in a nutshell. Unfortunately, as the week has progressed, I've found I've struggled to make time to do more. The plans for the week had been to start scripting a new idea (at least the first two or three pages) as well as to start re-reading Lemire and Sorrentino's Green Arrow (simply because I wanted to see if the their entry into the 80th Anniversary really was an epilogue for this series). Unfortunately, real life has gotten in the way, reducing the former to only one page and dropping the latter to the cutting room floor entirely.

Hopefully, next week will fare a little better for both these as well as some other reading.

#403: Off my Pull List - Green Arrow 80th Anniversary #1 a.k.a Happy Birthday Mr Queen!!

I'll be honest, after posting my last post blog earlier this week, I hadn't planned to write another so soon afterwards. when I stated in that post that it found was either going to be a 'few days late or a few days early', my intention had been for it to be the latter in order to give myself a bit of a breather after the events of the week which had preceded it.

However, I appear to have had my feelings on this matter changed thanks to the birthday celebrations of a certain Emerald Archer.

This past Wednesday, I picked up a copy of Green Arrow 80th Anniversary 100 Page Super-Spectacular #1 from my local comic shop. This jam-packed issue contained 12 stories all about Oliver Queen and his eponymous alter ego, his evolving mission within the borders of Star City/Seattle (depending on the decade) and his extended family from a host of tremendous talent, many of whom have made their own impact on the life of Ollie Queen in his 80 years of superheroing.

Now, based on the subtext that I think came through as I explained what this comic was, the truth is that I absolutely loved this comic. I thought that this 80th Anniversary special was filled to the brim with phenomenal stories which exemplified perfectly what makes Green Arrow such a perfect character.

In fact, I've actually noticed that pretty much all of the stories which resonated with most related to three fundamental concepts: hope, family and stubbornness.

 

For instance, Punching Evil by the Awesome creative powerhouse team of Tom Taylor and Nicola Scott is far and away my favourite. This is because not only does it look incredible thanks to the art (the style of which I recognise from Black Magick) but I think it is a great story that shows off all three of these things: family because of what Ollie is willing to do for those he loves and hope and stubbornness through his belief that he can stop the bad guy (who looks amazing. How have I never heard of the Yellow Wasp) regardless that it might be too late.

The same, I think, can be said about Star City Star, which is drawn by the modern master that is Phil Hester which sees Ollie attacked on all sides by end and friend alike as he rescues a little girl. With this one though, it feels like it's his intricate understanding of those he loves which makes him see the situation for what it really is and hope that he can resolve the issue without needing to kill.

I could probably go on and on about these stories but, suffice to say, I loved so many of them. I loved Who Watches the Watchtower by Stephanie Phillips and ... for its 80's inspired look and story which saw Ollie beat an army with next to nothing. I loved Green Man and Autumn Son and One for the differing relationships Ollie has with his sons Roy and Connor respectively (and yay Lian!!!). I loved Happy Anniversary for showing off the dynamic of Ollie and his 'Pretty Bird' Dinah and I loved Sympathy of the Woods for the sense of family and (especially) Oyto Schmidt's gorgeous art.

Of course, not every story was a winner for me as the Disappearing Bandit, which looked so much like it should be in the Batman 66 universe, was a quiant tale but struggled to fully grab me. Meanwhile, the Arrow and the Song wasn't really my thing as I struggled to follow it (although the art looks fantastic).

That said, I really thought there was vastly more winners than lovers here, capped off by the final story which was a dedication to Denny O'Neil, the legend which gave us the Ollie Queen that we know today. This story, written by Denny's son, gives us an insight into the life of this master and I think beautifully wraps up the issue with a beautiful final scene is meshes perfectly to the theme I saw peppered throughout this special of family.

Suffice to say, I'm really glad that I put aside the extra coin to buy this comic. I think it was truly a terrific read and sold the Green Arrow as a remarkably underrated character, who I now realise is often unfairly compared as the poor man's Batman (when I think a good argument could be made that he is, in fact, better).

After reading this issue, leaving find myself more tempted than I already was to read more Green Arrow, whether it be a re-read of the Lemire/Sorrentino run or something new.

Oh, and before I forget ...

I had a new review go up on the Pipedream Comics site this week for TKO's Scales and Scoundrels Vol. 1. Unfortunately, I had planned to write one for volume 2 as well but the file we were sent just wouldn't download.

However, this didn't affect how much I really enjoyed the first volume, as I thought it was a lot of fun. In fact, almost everything about it had this fun, light hearted feel to it throughout, even when the story took dark turns. I thought this was helped by the intriguing dynamic of the main characters as well the mystery surrounding the main character, Luvander,'s true nature.

The art, meanwhile I've stated as looking like 7String and, while that isn't inaccurate, it vibes a look that I've seen before but just can't place. Still, I honestly think it has this all ages look which just screams fun and upbeat to match the writing.

In the end, I really liked this and truly regret not being able to access the second volume. But at least that gives me something to look forward to.

Then I also got to review the Disasters #1, which is a superhero comic whose second issue is on kickstarter presently. I really liked this read. It was fun, witty, well written and never once lost my interest. The notion of a Restaurant for supervillains that was included also tickled me a lot.

The same is said about the art. I thought It perfectly matched the tone of the writing and I really think its vibrant colours gave it this levity that made it so enjoyable.

In short, the Disasters was another read which I really liked and really want to see more. Sadly, with no money presently, I'll have to do a catch up for the (hopefully) the issue.

And finally ...

While it isn't exactly a new read, I took a bit of time to re-read DC Universe Rebirth #1, which I can't believe is now five years old. Now, I have to admit, I'm impressed by how much of a good read it still holds up to be after all of this time. As I read through it I really felt that it just exuded this real optimism, much like it did when it first came put.

However, I don't think time has allowed it to hold up as well as it was when it was first released. This, I think, is down to the promise that it hinted at not having been delivered in some aspects (Doomsday Clock, from what I understand), although this may be down to higher up course changes presently than anything. Also, it does feel like a bit of a poisoned chalice in light of some creators beliefs and actions since its release.

That said, it is still a good read, although I do wonder if if will ever come back to it again.

Anyway, that's this past week done. In hindsight it certainly feels like a lot, although, in truth it isn't all that much. On the plus side though, I've put a new idea together and have managed to get it both plotted and outlined to a nice 12 page concept. This is very handy given that I've recently decided to give myself the goal of getting 12 pages of story ideas written each month. Hopefully, this good start will allow me to follow through with this goal for July.

In the meantime though, I need to find some new comics to read next week. For a change I don't really have many ideas although I'm thinking I might catch up on my pull list.

Or, after this week, I might read something Green Arrowy.