Ultimate Comics Spider-Man #1 — Writer: Brian Michael Bendis; Art: David Lafuente
Ultimate Comics Avengers #1 — Writer: Mark Millar; Penciler: Carlos Pacheco; Inker: Danny Miki
First, a complaint about the trade dress/logos: the “Ultimate” part of each title is so pale that it’s almost invisible. Maybe that’s Marvel acknowledging that the Ultimate brand isn’t a big attraction any more, but it also meant that I was actively looking for “Ultimate Spider-Man,” and “Ultimate Avengers,” and almost didn’t get these because, at first glance, they looked like some regular Spidey or Avengers mini-series.
So, how are the books? USM is more of the same, story-wise; it’s still Bendis, and still Peter Parker. We’re six months later, though, so the reader is plopped into the new situation, with changed relationships, etc., and presumable will get caught up on the various twists later. I kind of like Lafuentes’s more-cartoony art, although in places it’s too exaggerated — in one panel, Spidey in costume looks about three and a half feet tall — and, overall, if you like the previous incarnation of the title, you should like this, too.
Avengers is a little more problematic, because Jeph Loebs has been leaving his big muddy footprints over it for the last year; it has to navigate past all the changes of Ultimatum, which shook up the cast considerably, and there’s also the… thing that was Ultimates III. Given all that, Millar and company have to charge in, establish the new status quo, set up their characters and create new, intriguing problems for them to battle. Thankfully, they’re able to accomplish all of that — if a bit sketchily — and so by the end of the first issue most of the mess has been cleaned up, and the title’s back on track.
The Marvels Project #1 ( of 8 ) — Writer: Ed Brubaker; Art: Steve Epting
Lots of publicity push for this by Marvel, but it’s not the flashy, shiny ornament that readers might expect. Instead, it’s another Brubaker/Epting story, shadowy and noirish and well-written and drawn, but quiet and brainy, too. Fine, and I’m not criticizing it for that, except that readers expecting a big gooey sundae are getting roast beef and mashed potatoes instead: still good (and maybe better for them), but it might require an adjestment of expectations.
Frankenstein’s Womb #1 — Writer: Warren Ellis; Art: Marek Oleksicki
Not the kind of steampunk romp that the title and cover might suggest: instead, it’s more of a semi-imagined historical documentary, as Mary Wollestonecraft Godwin, on her way to Switzerland with her stepsister and Percy Shelley, stops by an old castle in Germany and receives a vision of her, and speculative fiction’s, future. Lots of research, presented entertainingly, and if you’re an English major it’s wonderful, almost as good as Ellis’s Crecy — and with art that’s just right for the Gothic, serious tone. Non-English majors might regret spending the $7 on this, even though Ellis does everything he can to make the subject matter accessible (he’s got a great potential career as a graphic-novel textbook writer, if his regular writing jobs ever peter out…).
Grimjack: The Manx Cat #1 (of 6) — Writer: John Ostrander; Art: Timothy Truman
If you remember this title fondly from the ’80s, here it is again, with the original creative team and a story set at about the same time as the early issues of the First title. It’s cleverly positioned to ignore later continuity, concentrate on the elements that made Jon Gaunt an attractive character in the first place, and be welcoming to new readers, too. For me, it was like visiting an old friend after many years, and being relieved that he was still as charming, clever and fun as always — a rare, and welcome, exception to the “You can’t go back again” rule.
Blackest Night #2 — Writer: Geoff Johns; Penciller: Ivan Reis; Inks: Oclair Albert and Julio Ferreira
Not much to say about this, really, except that I continue to admire its ability to give fans exactly what they want, and still not appear cynical or slapdash about it; there’s the feeling that we’re in good hands, and that there will be unexpected twists, jawdropping moments (some literally, given the zombies…) and a story that actually makes sense. If you think that’s easy for a big-company tentpole event… well, look at the last few years’ worth of them; it’ll only take one hand to count the number who’ve been able to pull that off
Chronicles of Wormwood: The Last Battle Preview — Writer: Garth Ennis; Art: Oscar Jimenez
Nice to see another installment of this series — it’s Ennis in cosmoreligious satire mode, less serious than in Hellblazer and Preacher, but covering some of the same ground. Most of the themes are old hat by now, but they’re still fun to watch played out, and the talking rabbit (with an affinity for cosplay porn websites) helps considerably.
Stuff I read and liked enough to buy, but don’t have much to say about, so read previous reviews in the archives if you’re interested:
Amazing Spider-Man #602 — Writer: Fred Van Lente; Penciler: Barry Kitson; Inkers: Rick Ketcham and Barry Kitson
Hellboy: The Wild Hunt #5 ( of 8 ) — Writer: Mike Mignola; Art: Duncan Fegredo
Uncanny X-Men #514 — Writer: Matt Fraction; Penciler: Terry Dodson; Inker: Rachel Dodson
Knights of the Dinner Table #153 — Creators: Jolly Blackburn, Steve Johansson, David Kenzer and Brian Jelke
Echo #14 — Writer/Artist: Terry Moore
The Boys #33 — Writer: Garth Ennis; Pencils: John McRea with Keith Burns; Inks: Keith Burns with John McRea
Fables #87 — Writer: Bill Willingham; Penciller: Mark Buckingham; Inker: Andrew Pepoy
DMZ #44 — Writer: Brian Wood; Art: Ryan Kelly
Phil Mateer
