Archive for the ‘Comic Book Reviews’ Category

Massive Awesome #1 Comic Book Review

Wednesday, August 25th, 2010 by Carl Doherty under Comic Book Reviews

$2.99, 215 Ink
Story: Stephen Lindsay
Art: Rolf Lejdegård, Daniel Thollin

I went into Massive Awesome with no clue as to what it was about. 215 Ink should be commended on this first issue’s standard edition cover, which depicts a group of monstrous ninjas, for not revealing the series’ two, er, unique protagonists. You see, Massive Awesome stars a zombie pickle and a Commando bacon rasher in a bandana.

Well… technically, Pickle isn’t actually a zombie but merely thinks he’s one, and Bacon has been retired from service, after breaking the depraved Pickle out of jail in the issue’s opening. The silly concept wouldn’t be quite so darn weird were it not for the fact that every other character in Massive Awesome is human. While they all recognise that Pickle and Bacon are 6 foot tall talking edibles, not one person questions it.

Massive Awesome #1

Massive Awesome #1

According to legend (or the inner sleeve), Stephen Lindsay doodled the characters one day to entertain his kids; they found them so hilarious that he decided to work the incompatible duo into a regular series. There’s something to be said for having the backbone to venture on with an idea that nobody else in their right mind would even consider, and I’m truly glad he did.

As with any concept this “out there,” there’s going to be a point where Massive Awesome’s novelty wears off, and the series has to prove that it’s not a one note joke. Lindsay hasn’t quite done that yet, but as it stands this debut was a lot of fun. It helps that artist Rolf Lejdegård is clearly in on the joke; the book’s kinetic visuals and snappy pace (it takes less than 10 minutes to read) evoke the stern machismo of 90s Image, but in a self-derivative enough manner to get away with it.

Massive Awesome: Pickle and Bacon

Massive Awesome: Pickle and Bacon

The issue also contains a brief episode from Linday’s other series, Jesus Hates Zombies, in which the son of Christ has returned to kick undead ass. It’s a similarly wacky affair, but if anything it made me appreciate Massive Awesome’s tastetacular twosome even more.

Silly nonsense Massive Awesome may be – if you were expecting anything less, you probably picked up the wrong book – but its undeniably well-executed nonsense. Stephen Lindsay’s script raises more than enough chuckles, and by the end of this issue part of my brain had almost bypassed quite how absurd the premise was. Which is in itself both a pretty awesome feat, and really quite terrifying.

6/10

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New Indie Releases: Deadly Seconds, Fuddle, Everybody Dies in the End and Omnitarium

Monday, August 9th, 2010 by Carl Doherty under Comic Book Reviews

Well, it’s finally happened…

When I first set up shelfabuse.com, I vowed to extensively review every new indie comic or book sent my way; it didn’t then occur to me that there’d actually be a point where I’d have to start turning books down. Well, that time is now, and with the site presently receiving around 2-3 submissions a day, I’ve now become that which I hate the most – the sort of bastard who doesn’t dignify all his emails with a reply.

So, the in the first of what looks to be a regular feature, here’s a few new indie comics – actually, two of them are by definition illustrated books – that might be worth a look. If you’ve read them yourself, please leave a comment.


Alan Cooke’s debut Deadly Seconds: Child of the Spirit Demon sees hapless everyman Marcus Bailey dragged into a world of cyborgs, time travel and demons. Cooke’s visuals use 3D models rather than illustrations, which seems to be an increasingly popular way of getting a one-man project out there.

For more details on Deadly Seconds, including character bios, visit www.deadlyseconds.co.uk. For those in the London area, Foyles of Charing Cross Road are currently stocking the book. 320 pages, full colour, £14.99.

Deadly Seconds: Child of the Spirit Demon

Deadly Seconds: Child of the Spirit Demon

Andi Green’s The Monster Who Couldn’t Decide is not a comic but the fourth in her series of WorryWoo Monsters illustrated children’s books. This one stars Fuddle, a boggle-eyed beastie who finds herself more than a little overwhelmed by life’s many options. The eye-catching pencil and watercolour illustrations will definitely appeal to little human monsters, and the book’s overall message is likely to hit home with a few indecisive adults, too.

Each book comes with its own soft toy, and a special Limited Edition of The Monster Who Couldn’t Decide (1000 copies only) is currently available at www.worrywoos.com.

Fuddle: The Monster Who Couldn’t Decide

Fuddle: The Monster Who Couldn’t Decide

‘All of the characters in this book are dead’ begins Gregory Pastore’s Everybody Dies in the End, a decidedly more macabre picture book. There’s a lot of variety in this collection of darkly humorous poems and short stories, all of which explore… you guessed it, death.

A 28 page preview is available at www.everybodydiesintheend.com, while the book itself will be available from August 11th 2010.

Everybody Dies in the End

Everybody Dies in the End

Last but most definitely not least, the third issue of Jamie Gambell’s 4-part supernatural horror miniseries Omnitarium is available up at IndyPlanet (print editions) and DriveThru Comics (digital editions).

This Victorian-set prison horror is a great little series, and J.C. Grande’s immensely atmospheric art seems to get better with each page. Digital copies of Issues 2 and 3 are currently available for just $0.99 each, and the first issue of Omnitarium can be downloaded for absolutely nothing from Jamie’s new website at www.omnitarium.net.

Omnitarium #3

Omnitarium #3

My reviews of the previous 2 issues are up at Omnitarium #1 Comic Review and Omnitarium #2 Comic Review.

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Scarlet #1 Comic Book Review

Friday, August 6th, 2010 by Carl Doherty under Comic Book Reviews

Icon, $3.95
Story: Brian Michael Bendis
Art:
Alex Maleev

With the Bendis brand slapped across so many Marvel titles these days, most readers have probably become accustomed to his schizophrenic output. For every Secret Invasion there’s an Alias, for every reader who balked at the very idea of an Ultimate Spider-man there’s a Powers. You may not like all of his work, but you generally know which Brian Michael Bendis you’re getting before you’ve paid your entrance fee. Scarlet, the latest creator-owned series from Bendis and co-creator Alex Maleev (Spider-woman, Daredevil), isn’t so easily categorised.

The series introduces a more grounded vigilante than we’re used to, the titular Scarlet, a once passive student turned cop killer after her boyfriend is shot in the head by a corrupt officer. Scarlet, beautifully brought to life by Alex Maleev’s art, frequently breaks the fourth wall, recounting to us humble flies on her wall everything from her birth to the tragedy that changed her life forever.

Scarlet #1 - Brian Michael Bendis, Alex Maleev

Scarlet #1 - Brian Michael Bendis, Alex Maleev

Issue 1 is an odd book; nigh-on impossible to categorise, and quite unlike anything Bendis has written before. Is that a good thing? I really don’t know. This is either the pretentious babble of a writer who’s got too clever for his own damn good, or a unique and refreshing take on vigilantism. Unlike Powers, which grabbed us from the first few pages with its genre-mashing and snappy dialogue, Scarlet’s debut is a meandering origin story that doesn’t really give us any indication as to where the series is heading.

Scarlet herself isn’t particularly inspired, or indeed as sympathetic as she needs to be, and there’s something quite nauseating about the nonchalance with which Bendis justifies the murder of a police officer. Garth Ennis writes the Punisher so well because he realises that Frank Castle is not someone you’d ever want to be. As entertaining as Castle’s bloody rampages are, he’s always portrayed as a soulless killing machine, and warped far beyond redemption. Here, we’re expected to sympathise with Scarlet and, I suspect, get a kick out of voyeuristically peering in on the fiery redhead’s revenge.

Or at least that’s how I interpreted it. Scarlet occasionally addresses the reader, at one point telling us how we too will become tangled up in her onslaught against Portland’s scum. Which could lead to a cop-out in issue 2, when it transpires that she was just talking to someone off panel, or to something generally original. But then that’s always the thing with Bendis’s writing; it could go either way.

6/10

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The Royal Historian of Oz #1 Review

Monday, July 19th, 2010 by Carl Doherty under Comic Book Reviews

Slave Labor Graphics, $1.00
Story: Tommy Kovac
Art: Andy Hirsch

The perpetual regurgitation of public domain properties is something you either reluctantly enjoy or thoroughly despise. For every Wicked or League of Extraordinary Gentlemen there’s a dozen Pride and Prejudice and Zombies. With SLG’s The Royal Historian of Oz, Tommy Kovac and Andy Hirsch take a jab at the mining of beloved literary creations while slyly indulging in the act themselves, and the result is a funny, touching and surprisingly original debut.

The Royal Historian of Oz #1

The Royal Historian of Oz #1

The series follows angsty teenager Frank Fizzle and his relationship with his deadbeat father Jasper, who, much to the chagrin of Frank (and the Official Oz Society) has dedicated his life to continuing the world of Oz through his own lacklustre works. But when Jasper discovers a serendipitously placed pair of magical silver slippers, he uses them to travel to Oz and, with the best of intentions, pilfer its many wonders. In retaliation, Princes Ozma of the Emerald City sends Dorothy’s former companions (Lion, Scarecrow and the Tin Man) to Earth to kidnap Frank.

The title of the series refers to the role L. Frank Baum gave himself. Baum saw the 14 Oz books he wrote as historical documents, and the “Royal Historian” designation was later adopted by the numerous writers throughout the past century who have produced stories set within his world. Needless to say, few if any of these writers succeeded in capturing the magic of Baum’s earliest Oz works.

What differentiates The Royal Historian of Oz from many other such “expansions” is that while Kovac clearly loves and understands the source material, he isn’t beyond treating it with a level of cynicism or irreverence. There’s a dose of tragedy behind the comedy here, such as when Frank walks in on Jasper trying on the silver slippers, and jumps to the conclusion that his desperate dad has taken to cross-dressing. Jasper is a well-meaning but talentless dreamer, whose adoration for the Land of Oz doesn’t quite compensate for his storytelling deficiencies; something countless aspiring authors can relate to.

Andy Hirsch’s art is as funny and charming as the script. The character designs are brilliant, and his meticulous backgrounds showcase them even further. Jasper’s physical transformation from vanquished writer to a sort of carnival ringleader is simply flawless, and while the garish Oz landscapes would have benefited from colour, Hirsch’s illustrations are such a joy to traverse that I found myself retreating to earlier pages and scanning the backdrops for the tiny details I’d missed the first time round; something I rarely, if ever, do.

This first issue also hits the shelves at just $1.00, which really gives you no excuse to not pick up a copy. DC has been releasing many of its new Vertigo series at a similar price, which I always interpret as a publisher showing confidence in the quality of their product. The folk at Slave Labor Graphics clearly have enough faith in The Royal Historian of Oz to hook those willing to risk a dollar, and so they should.

8/10

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Batman Beyond #1 Comic Book Review

Monday, July 19th, 2010 by Carl Doherty under Comic Book Reviews

DC, $2.99
Writer: Adam Beechen
Pencils: Ryan Benjamin
Inks: John Stanisci
Colours: David Baron

From the first page of ‘Hush Beyond,’ the comic revival of the futuristic Timm/Dini take on Batman, it’s clear that this ain’t your daddy’s/younger self’s Batman Beyond. Kicking off with the aftermath of an inmate escape from Cadmus Labs and the bodies of several butchered security guards, this is a darker take on the Terry McGinnis Batman, and is aimed at an older audience than the original animated series.

Batman Beyond #1

Batman Beyond #1

This more explicit take on Batman Beyond leaves me somewhat torn. On the one hand, it’s nice to see DC catering to fans of the series, who have presumably aged since the show first aired, and without resorting to the sort of generic cash-in titles that have accompanied each major Warner Bros superhero cartoon since Batman: TAS (though some of those efforts were actually pretty solid). On the other hand, ‘Hush Beyond’ feels tonally conflicted. The colourful goons and Wayne’s hyper-intelligent dog are still present, yet we have the “return” of a villain entirely new to the animated universe (the clue is in the miniseries’ title), sadistically carving up numerous innocents. Imagine if the costumed cretin-of-the-week pursuing Scooby-Doo and Shaggy caught up with them and stabbed Shaggy’s eyes out with a rusty screwdriver. It’d certainly be entertaining, but it wouldn’t quite be Scooby-Doo.

Likewise, Ryan Benjamin’s art straddles the look of the animated series and something more “mature,” but the art pretty much holds the book together. John Stanisci’s inks and David Baron’s colours bring out the best in Beyond’s striking character designs, and together they’ve provided something far more interesting than the simple mimicry of Bruce Timm’s minimalist style.

I’ve yet to discuss the plot in any detail. This issue doesn’t really warrant one, but here it is anyway: a killer is on the loose, McGinnis and Wayne have an argument, Batman beats up Spellbinder and turns down an offer from the Justice League… and that’s about it. Yet Adam Beechen does a decent job of juggling the old with the new, while establishing the relationship between Wayne and McGinnis for newcomers, and it’s easy to forget that, bar a cameo in Superman/Batman, this is the first chance we’ve had to visit Neo-Gotham in almost a decade.

The worst criticism that can be thrown at ‘Hush Beyond’ is that it’s as conventional a spin-off as you could possibly find – and that’s taking the violence into account – but I wouldn’t say that’s necessarily a bad thing. The fans wanted to see the Batman of the Future return, and Beechen and company have delivered it with aplomb.

7/10

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After Dark #0: Radical Premiere Review

Saturday, July 10th, 2010 by Carl Doherty under Comic Book Reviews

Radical Comics, $1.00
Story: Antoine Fuqua, Wesley Snipes
Script: Peter Milligan
Art: Jeff Nentrup, Sara Biddle

Radical Comics is a relatively new publisher that prints thicker, 52-page books with high production values and movie adaptations in mind. The company has also been beset with plagiarism accusations (Nick Simmon’s Incarnate) and a lawsuit concerning unpaid wages, but I spotted this preview issue in my local comic store and decided to review it on its own merits. Similar to the one dollar previews that DC has released with many of its recent major events, this premiere is essentially a reasonable taster of its upcoming sci-fi title After Dark, as well as a peek at the Hotwire sequel Deep Cut.

After Dark #0

After Dark #0

After Dark follows the trend set by Virgin Comics; of hiring a seasoned comic scribe to develop an idea from a more bankable name, in this case both Antoine Training Day Fuqua and Wesley Snipes (whose involvement probably doesn’t pack the same punch it once did). I’ve never quite understood why publishers assume that a book by a moviemaker such as Fuqua is going to sell more than a series developed by a proven comic book writer. It’s not as if these titles are likely to extend beyond the usual audience – surely the average comic geek would be more inclined to buy a book written by Peter Milligan, who gave us such series as Shade the Changing Man, X-Statix and Geek Street.

Anyway, rant over…

After Dark is set in your common-or-garden post-apocalyptic future, in this particular instance a future without sunlight. The remnants of mankind have been contained in the densely populated Solar City, where the entire population is drugged to prevent them from revolting against the city’s oppressive rulers. Enter drifter Omar, who is captured by government agents and sent on a mission into the wastelands to find a mystical women known only as Angel, who has appeared in visions to many of Solar City’s inhabitants.

Those who buy After Dark for some impressive digital painting won’t be disappointed by Jeff Nentrup’s futuristic landscapes. Nentrup is a high profile concept artist who has worked on numerous big budget movies and video games, and his double spread that closes this sample is a genuine work of art. He’s clearly an artist more interested in creating worlds than drawing people, however, and often the human characters have a waxy, uncanny valley eeriness about them. But this is nevertheless a beautiful book.

Peter Milligan is an excellent writer, but his usual flair is missing here. While I came away from this peek with a basic idea of what the series was about, and a good sense of the tone, I didn’t care one iota about any of the characters. Time and time again, writers seem to spend months/years plotting out these impressive universes only to fill them with bland stereotypes (protagonist Omar’s most distinguishing trait is his beard and long hair). It’s a shame, because the presentation on this title is as good as it gets.

As previously mentioned, this issue also features a glimpse at the upcoming Hotwire: Deep Cut. But again, beyond marvelling at Steve Pugh’s wonderful artwork, I honestly couldn’t synopsise what the series is about.

It feels petty to review a preview, but hey, if Radical Comics are charging a dollar for this issue, then arguably this premiere warrants a review. As a teaser of Radical’s new hot property, After Dark #0 fails in its sole purpose: to gather interest in the approaching miniseries.

5/10

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The Thanos Imperative #1 Comic Review

Monday, June 28th, 2010 by Carl Doherty under Comic Book Reviews

Marvel, $3.99
Story: Dan Abnett, Andy Lanning
Art:
Miguel Sepulveda
Colours:
Jay David Ramos

Ever since he casually wiped out Marvel’s finest in Infinite Gauntlet, Thanos has sat amongst the top tier of super villains. Though unlike Doctor Doom or Magneto, Thanos has not been so overused that he’s lost his impact, and this latest cosmic event, which sees the crinkle-chinned one as the universe’s last hope, is consequently a lot more interesting than certain other crossovers that have recently dominated the shelves.

The Thanos Imperative #1

The Thanos Imperative #1

To encapsulate the event’s premise as concisely as possible, the Marvel Universe is being invaded by the inhabitants of the ridiculously named Cancerverse.  In this alternate reality, Lady Death has long been vanquished, which, as you might imagine, has resulted in a rather excessive population surge. In fact, the entire universe is so full of life that Cancerverse Captain Mar-vell and his legion of doppelgangers have decided to move in on regular MU territory and free everybody from the inconvenience of mortality.

This isn’t by any means the first time we’ve encountered alternate incarnations of the usual superheroes, but Dan Abnett and Andy Lanning have somehow managed to keep it fresh. They’ve so far maintained the perfect balance between the epic space battles we’ve come to expect from these events and some decent character moments. Not particularly deep character moments, mind, but if you were expecting existential angst or intergalactic introspection you’re probably reading the wrong book. Thanos Imperative is cheesy, high concept nonsense, but it’s also fun and unpredictable; something Marvel’s recent earthbound sagas unfortunately haven’t been.

The cosmic titles currently fill a self-contained corner of the Marvel Universe, and Abnett and Lanning are currently playing The Thanos Imperative like the finely crafted piece of fan service that it is. Not only has the event absorbed the Nova and Guardians of the Galaxy titles, but these first two issues have comprised a current who’s who of Marvel’s cosmic quasi-imprint. There’s also a one-panel cameo by the Silver Surfer, suggesting that he’ll play a greater role in Thanos’ return very soon.

Big comics need big art, and while Miguel Sepulveda’s art isn’t as crisp as the space opera stylings we’ve come to expect from Marvel’s cosmic titles, Jay David Ramos’s intense colours make Thanos Imperative read like a sci-fi blockbuster on an unlimited budget. A storyline where planets are exploding, laser beams are fired on every other page and half the cast are green/purple/blue/talking animals doesn’t exactly call for subtlety.

One final word of warning, though. This issue follows on precisely from the previous Thanos Imperative special, Ignition, ended, making it more of a second issue than a first. I’ve never quite understood the numbering logic behind these preludes, and in this case you’ll definitely need to read Ignition before starting the main 6-part series.

8/10

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Indie Comic Spotlight: The Minions of the Happy Aisles, Book One

Thursday, June 24th, 2010 by Carl Doherty under Comic Book Reviews

2010, Five String Press
Story:
Zach Hudson
Art: Mike Murphy

Oh how times have changed. Several decades ago all we had to worry about was Galactus devouring the planet or a late night encounter with an escaped Arkham inmate. Now, it would appear that comic book villains are getting just that little bit too recognisable for comfort. Take the titular Happy Aisles from Zach Hudson and Mike Murphy’s The Minions of the Happy Aisles. They’re a shady, unethical corporation that’s essentially Walmart, McDonalds, Asda, Tesco and every other all-powerful, all-consuming conglomerate you love to hate (but probably use regularly regardless) rolled into one.

The Minions of the Happy Aisles

The Minions of the Happy Aisles

Book One of Minions begins in Peru, with a group of archaeologists and anthropologists studying a tribal region that will soon be flattened into a cattle ranch by United Beef. But when anthropologist Tasia Morgenstern and Dr. Ralph Westerburg discover a highly advanced relic that appears to contain some form of circuitry (Hudson does reference Erich Von Daniken’s Chariots of the Gods) the camp is ambushed by both Chinese Special Forces and American agents in smiley-face masks, and the relic stolen.

The second part of this volume takes place in Seattle, and concerns the abduction of ‘Igloo City’ teenie rocker Dana Peterson, again by men in smiley masks. Detective Jack Knudson, a kind-hearted cop with an eye for detail that would make Sherlock Holmes proud, is called onto the scene and, with Dana’s inept boyfriend Kevin in tow, traces the abductors back to a branch of the ubiquitous Happy Aisles.

Zack Hudson’s script in driven throughout by a very dry sense of humour. Even the narrator isn’t beyond impartially criticising the characters, who are often defined by their neuroses. The comic definitely works best during its sillier moments, particularly the end of the first act, when we are ricocheted about from Peru to China to Seattle in just a few pages, and Knudson’s banter with Kevin. The unlikely duo later team up with katana wielding bounty hunter Jacques, an action-orientated stereotype who feels like exactly the sort of comic character Hudson has so far been trying to avoid, though the final page suggests that he could take on the straight guy role – not unlike Casey from Chuck.

The art by Mike Murphy is a bit inconsistent at times, and given the self-published nature that’s entirely understandable, though a few fluctuating designs (sometimes Kevin has stubble, sometimes he doesn’t) occasionally threw me out of the story. I didn’t feel that his facial expressions fully exploited Hudson’s humorous script, either.

I definitely feel that the further Part One leant into utter quirkiness, the more enjoyable it was. This is the first book from Five String Press, and it’s an interesting and surprisingly original debut that perhaps suffers from trying to stuff too much into one issue. A few more hints as to just how the Peru and Seattle plotlines are intertwined would have given the first instalment that much needed hook. But nevertheless, there’s plenty to enjoy in The Minions of the Happy Aisles, and the combination of archaeology, sleuthing, Seattle rock, martial arts and a comically evil superstore worked really well.

For more on The Minions of the Happy Aisles, Book One, visit  www.fivestringpress.com (under construction at time of writing).

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The Heroic Age: Atlas #1 Comic Review

Wednesday, June 16th, 2010 by Carl Doherty under Comic Book Reviews

Marvel, $3.99
Story: Jeff Parker
Art: Gabriel Hardman, Ramon Rosanas
Colours: Elizabeth Breitweiser

Atlas #1 - Marvel Comics

Atlas #1 - Marvel Comics

Back in the 90s it was compulsory at Marvel for every new series to guest star either Spider-man or Wolverine, in the hope that kids would grab these comics up just because of a familiar face, only to get hooked on new properties like Darkhawk and Sleepwalker as though they were crack cocaine. Things haven’t changed drastically, and when Jeff Parker’s last Agents of Atlas series failed to garner the audience it deserved, someone at Marvel figured the only way to sell the rebooted series was to make the title just that little bit leaner, and feature a guest appearance by one of their more commercial characters, 3-D Man.

I’m jesting, of course. The modern-day iteration of 3-D Man, Delroy Garrett (formerly Triathlon) is presumably going to soon be joining Jimmy Woo, Ken Hale and company. Interestingly, the preposterous red/green crime fighter was part of the “50s Avengers” line-up that constituted the team’s first appearance in an old issue of What If?

Despite having played a crucial role in Secret Invasion (his powers allowed him to see Skrulls in their true form) Garrett is now a washed up has-been, and is being pressurised by his superficial girlfriend into taking a spot on a Big Brother style reality TV show. But when several possessed bystanders attempt to kill him, Garrett suspects that the recently vilified Agents of Atlas, who he’s been having unaccountable visions of, must be behind it.

This wasn’t the most gripping or dynamic of first issues. For one, it didn’t even feature the central team but for a few panels. But I respect Jeff Parker’s approach here; by introducing us to the world of Atlas through Garrett’s eyes, he both laid the premise out for new readers, while insuring that this introduction wasn’t in any way a retread of the last one.

There’s also a secondary tale, ‘Department Zero,’ which sees the Agents in the 1950s, battling the undead. Intriguingly, these events are briefly depicted in 3-D Man’s dreams. Don’t be surprised if Parker ties the two plotlines together at a later point, as he did previously with the Wolverine flashback supplement.

Gabriel Hardman also returns to bring a familiar touch to the characters, with Ramon Rosanas offering a completely different take on the crew for the precedent story. In every way possible ‘The Return of the Three Dimensional Man’ is Agents of Atlas continuing as normal, which is by no means a bad thing. Other than to drag the struggling title under the Heroic Age banner, I can’t see any reason why Marvel cancelled the last series.

8/10

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The Heroic Age: Secret Avengers #1 Review

Monday, June 14th, 2010 by Carl Doherty under Comic Book Reviews

Marvel, $3.99
Story: Ed Brubaker
Art: Mike Deodato
Colours: Rain Beredo

If you’ve been in a coma for the past five years and are wondering what the ugly Heroic Age banner is all about, it’s simply Marvel’s way of saying “here we go all over again!” with another batch of new titles and super-team configurations that will hopefully appeal to true believers and newcomers alike. Alongside a return to the classic Avengers line-up and a New Avengers reboot we have Ed Brubaker’s Secret Avengers, an espionage-flavoured title promising a return to Steranko-styled spy shenanigans.

Secret Avengers #1

Secret Avengers #1

Headed up by Steve “I thought you were dead” Rogers, and featuring such series-sellers as Moon Knight and Nova, the Secret Avengers are essentially a knee-jerk reaction to Norman Osborn’s time in power; a coverts ops unit that will thwart evildoers and prevent cosmic disasters before they become… well, another Dark Reign. The rest of the team is comprised of fan favourites who’ve generally been unable to sustain their own series: Black Widow, War Machine, Valkyrie of the Defenders, a newly redeemable Ant-Man and former Avenger Beast.

With Secret Avengers Brubaker appears to be aiming for a faster pace and cheesier tone than he displayed in his celebrated runs on Captain America, Daredevil and Iron Fist. This series clearly aims to offer imaginative sci-fi pulp, and Brubaker successfully evokes Marvel’s cosmic storylines of the 70s and 80s. Bar a scenes detailing each members recruitment, there’s little time spent assembling the familiar roster. Instead, the plot, which sees the team for head for Mars after acquiring a counterfeit (but presumably no less powerful) Serpent Crown, fundamentally acts as a role call.

As for the team itself, the standout member so far has to be Eric O’Grady’s now official Ant-Man. His stint in the Thunderbolts was clearly an eye-opener, and Steve Rogers’ “you have a chance to be a man” speech worked so well.  There’s the sense that Rogers has given many of these antiheroes positions in the team out of some altruistic duty, and while Moon Knight and War Machine aren’t given much to do this issue, they should offer an interesting contrast to the likes of Sharon Carter and Beast. The only questionable member has to be Nova, who really doesn’t need to be working for Cap after defending the universe in the recent galactic events.

Mike Deodato’s art has a suitably gritty tone to it, and is far more consistent than his work on Dark Avengers. But his heavy inking does prove a distraction at times, and jars with the Heroic Age’s simpler, brighter outlook. And the costume designs could really have done with a series-specific redesign. Steve Roger’s new take on the stars ‘n’ stripes isn’t exactly cut out for espionage, and the concept of the team working from the shadows kind of falls apart when he’s just hired Moon Knight and War Machine. Ant-Man’s new costume is perhaps a little too Jacky Kirby for its own good, and Beast’s new A-emblem leotard is frankly ridiculous.

Starting a new series with a new roster is never easy, but while ‘Secret Histories part 1’ was an enjoyable enough romp the Mars-based antics and an absence of Brubaker’s softer character-driven moments prevented this debut from truly grabbing my interest. Right now the series doesn’t seem to know what it wants to be about; a clandestine assembly of super spies or the Cosmic Defenders? Once Brubaker makes up his mind Secret Avengers has the potential to be a lot of fun.

6/10

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