Spring Break Reading, Part 2 - Dark Horse, Vertigo, & Wildstorm

by Brandon

The saga continues! But I'm afraid there won't be any foil-embossed, polybagged, or variant editions. I'm so sorry. What you are likely to find here is a ton of comic reviews. I continue my quest to catch up on the piles and piles of reading I have neglected the past few months. Enter all that are brave!


Conan the Cimmerian #'s 8-9
There are only a few individuals I would trust writing Conan these days and Tim Truman is one of them. I'm convinced he was born to write this title. With these two issues, the Cimmeria arc has ended and readers find Conan entering a pivotal part in his adventuring experience. Conan becomes are mercenary in only the way Conan can. The writing is crisp and appropriately "pulpy" while never entering farcical territory. The art provided by Tomas Giorello is just superb. With more action and intrigue than you can shake a battle-axe at, Conan remains ones of the better titles on the stand.

Kull #'s 2-5
I was never a huge Kull fan. Of the Robert E. Howard properties, I was always more partial to Conan and Solomon Kane than any of the others. I picked this mini up more out of respect to Robert E. Howard's creations than any desire to read a story about Kull. Imagine my surprise as I simply devoured these issues in rapid succession last Saturday night. The creative team of Arvid Nelson and Will Conrad have sculpted a fine story in this mini. Kull has been crowned King, but an ancient order of serpents has infiltrated Kull's kingdom with the desire to crumble it before any foundation is built. twists and turns abound in this mini. If you skipped this mini, shame on you! It''s probably the best story from a Howard property to see print from Dark Horse thus far. What are you waiting for? Get it now!

Solomon Kane #5
There's just something immensely appealing to me about stories crafted around a Puritan with a sword and gun. This mini comes to an end with this issue, and it's a shame. This was also a superior miniseries. The setting of Germany's Black Forest is creepy enough, but couple that with Mario Guevara's haunting art and Scott Allie's writing, and you have one chilling story. I want to see more Solomon Kane in the future. I have the old Marvel mini which adapted several of the old stories, but there is almost limitless potential here for future stories. He's a puritan with a gun. Come on, give us more already.


Indiana Jones and the Tomb of the Gods #'s 3-4
It's been almost a year since Kingdom of the Crystal Skull was released, and we finally have the last issue of a miniseries that was intended to capitalize on the buzz of said film. Way to go Dark Horse! This miniseries dredges up several familiar items to the Indiana Jones mythos (Nazis, hidden temples, Marcus Brody, beautiful girls) but never catches a single spark of that previous glory. There were many things going against this title right from the outset. There wasn't too much that was special or memorable about this miniseries to set it apart from that previously mentioned mythos. It was a lot of "been there, done that" moments for both Indy and the reader. I would love to read a new Indiana Jones ongoing series. There are so many great stories to be told where you don't have to be restricted to Harrison Ford's aging acting abilities.

Star Wars: Knights of the Old Republic #'s 38-39
Now that Zayne Carrick, inept Jedi Padawan and titular hero of this book, has been cleared of all his wrongdoings, John Jackson Miller & Crew have a little fun with the book. Sith serial murderers and swoop-racing take center stage here in these issues. Each issue is just fun to read. And guess what kids? We get to see some more fisticuffs between Zayne and a Sith! Too bad Zayne fails miserably as usual to take on the Sith. For once, this reader would like to see some competency out of Zayne. Instead, it appears that Miller wants to make Zayne the Potsie Weber of the Star Wars universe. To each his own, I suppose. Regardless, these were some fun issues to read. They won't be winning Eisner Awards, but they were entertaining!

Star Wars: The Clone Wars #4
I loved the first season of the cartoon series from Cartoon Network. Don't believe me? Read here. The comic series has been okay thus far, but it hasn't been stellar. It's hard to translate the fluid nature of the animated cartoon series to a comic book page. The cartoon has its own style and it just dones't work as well when the comic books try to ape it. The story of trying to save slaves from the clutches of the Confederacy is decent, but not exactly original. Woohoo, Anakin wants to save the slaves. Woohoo.

Star Wars: Legacy #'s 33-34
Issue number 33 wraps up the Mon Calamari story, and not a moment too soon. Who. freaking. Cares. Nuff said. The next issue takes the reader back to what is actually important, dealing with the aftermath of the Vector storyline and the death of a certain main villain that has been plaguing Cade Skywalker since the first issue. The new status quo set up by Vector will be interesting to watch over the next few months, so long as they can avoid Mon Calamari stories in the process. This still remains the best Star Wars book on the stands.

Grendel: The Devil Inside #'s 1-3
This is an oldie, but goody. The second Grendel is dead, but her boyfriend's slow decent into madness leads to the arrival, albeit short, of the third Grendel. Matt Wagner's exploration of violence is frantic and dark, drawing the reader in one maddening journal entry at time. The journey Brian Li Sung takes to the bottom is fascinating. If somehow you missed any of the old Grendel tales, please do yourself a favor by seeking them out. You will not be disappointed!

The End League #7
This series continues to shine with each successive issue that hits the shelves. First designed as a monthly title before delays forced it into a bimonthly schedule, this title has now been placed on an indefinite hiatus. This issue only serves to highlight what the comic world will be missing. What's not to love about a world where the heroes are on the ropes struggling for survival? The Smiling Man (think Joker) has shot Thor's hammer, the magical key to all the heroes problems, into space. Or has he? I won't spoil the ending, but it sets up an interesting dynamic for the next issue. Only two more issues to go before Remender's self-imposed hiatus for this title. Damn.

The X-Files #5
Oh, this was great. Thus far, the new Wildstorm mini featuring everyone's favorite FBI agents has been serviceable, but nothing special. The fifth issue, however, was the first issue to really capture that eerie quality the series managed to maintain for much of its run. You could just feel the ambiance of the series bleeding through the pages. It's too bad the mini didn't catch on because I think the further adventures of Agents Mulder and Scully could be fun to read in this format.

Top 10: Season Two #3 & Special #1
You get the feeling that this series could be better if Moore were still on the creative team, but the premise of this series is just so wacky and strange that it is impossible not to find some joy in the series. While the special was pretty much useless, the main miniseries has been fun. In the third issue, readers are treated to a self-help Origin Weekend put on by the Premise Keepers for heroes who are having a costumed identity crisis. The results are hilarious. Peregrine's husband apparently no longer wants to be the costumed hero he is. Despite having reservations a deep-seeded feelings of shame over her husband's identity problems, she supports his going on a Origin Weekend. This story is so clever and unique that it seems like something that Moore really would come up with. I hope there are future seasons of this title around the corner. I'm a sucker for a good cop drama and the art always provides the keen reader with some unusual and fun treats.

Top 10: Beyond the Farthest Precinct #'s 1-5
I found these issues swirling around some dollar bin recently and I had to pick them up. This was a great miniseries about a drug epidemic amongst robots. There were subplots galore and plenty of zany action in this miniseries that takes place five years after the Smax miniseries of a few years ago. This really should be considered a "season" of the series. As I mentioned above, look carefully at the art for some nice Easter Eggs.

Fables #'s 81-82
This is another one of those books that always delivers in terms of quality, and these two issues are not exceptions! These issues deal with a major death from the Fables crew. Longtime readers will be crestfallen by the death, but the knowledge that a fable may return from the dead does keep some alive, though Willingham goes to great lengths in issue #82 to point out that this character only appears in one short nursery rhyme and may be dead for good. On the villainous end of things, Mr. Dark is being established as the new bad guy in Fabletown and he's turning out to be a worthy replacement for the Adversary. Many comic books claim to change the status quo nearly on a monthly basis, but Fables is the real deal. The new setup will service a wide range of new stories that should continue to maintain the quality of this book for quite some time to come.

That's it for today... and for the remainder of the week! I'll be back next Sunday or Monday with the third and final installment of Spring break Reading. Why? Because I'm actually going to do something with my Spring Break; I'm going camping! But fear not, I'm bringing a whole stack of comic books for my reading pleasure. Be back next week for some reviews of some golden oldies including The Spirit, Elementals, Justice League International, Savage Dragon, Suicide Squad, and much, much more.
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Panelology - Who Do We Read? (Part 1)

by Brandon

Panelology triumphantly returns this week after a long, but necessary, mental health hiatus! Continuing on with my look at the essentials of collecting comic books, I'm taking up the issue of comic book companies. Who do we read? Why do we slavishly follow companies? Is there hope for mankind? Read on!

Comic book fans are pretty unusual. Our purchasing habits tend to follow one company or line with great regularity. Sure, we all venture out, but we tend to follow a company's titles as a general rule of thumb. This isn't necessarily a bad thing, but it is a curious phenomenon that happens within our hobby. I'm a huge music buff, but I don't tend to follow record labels around. I, like any proud fanboy, also love movies. Yet, I don't find myself lining up at the the local yokel movie theater every time something from Paramount or Warner Brothers comes out. Even gamers tend to sample across the spectrum.

This isn't a rule for everybody, but many in our community tend to stay with one company for a majority of their purchases. I'm no different. I freely admit that I am Marvel fan. I do tend to dip out into other books and companies, but I would say a full two-thirds of all of my purchases come from the House of Ideas. Just this past weekend at HeroCon, I heard a young man exclaim as he was rifling through the 50% off TPB boxes, "Man, all of this shit is Marvel! Why would anybody read this stuff?"

Well, let's see...

Marvel
I love Marvel. I think Marvel tends to do a great job of mixing the fantastic with reality. I think in terms of character development in the superhero realm, Marvel does a better job than anybody out there. For super-heroics, Marvel offers a wide variety of titles, both solo and team books. Marvel doesn't seem to be afraid to take risks with their properties. Just look at Brand New Day and the Death of Captain America arcs if you don't buy this argument. For better or for worse, Marvel likes risks. I don't think they are as risky as they were back about eight years ago or so, but that was more of a function of survival than anything. Plus, they have a quasi-impressive line of labels now. Max, Ultimate, and Icon have solid potential. I believe the Ultimate line may be the only one that has at least lived up to its potential, but if rumors are true about this line, it could be going the way of Valiant pretty soon.


DC
Ah, the "old" guard. If someone wants superhero titles, DC is where it is at. Marvel has them too, but DC seems to be focused so much on the superhero that they seem to lose the characterization Marvel tends to focus on. That could be my own bias of DC coming in, but I don't think that focusing on superheroes is a bad thing. I think DC appeals to those fans who want heavy continuity and stability. I don't see them as risk takers, but more as stability-setters. They really have bought into the event trend, which is great for their readers because they tend to demand a more cohesive, connected universe of titles. Their Vertigo line is also one of the best lines out there for mature readers. It mixes fantasy, crime, science fiction, and mystery so well. Unlike the Ultimate line, Vertigo has far exceeded its potential. Vertigo acts almost like an indie label being hawked off by a major company. I really enjoy many titles from this line. Except for Jack of Fables.

Dark Horse
DH is an interesting company right now. They have tons of opportunities going for them. They have a good mix of licensed properties and original titles. On the licensed properties front, they have some big licenses with Star Wars, Conan, Indiana Jones, Buffy, Aliens, and Predator to name just a few. I bet DC and Marvel would cream themselves to snap up those properties! These properties bring in a locked-in fanbase that tend to follow the titles out of love for the characters. This is good money for DH. Chances are that at least one of those properties interests you, my fine readers. DH also has some really good original titles. Hellboy, Fear Agents and The End League immediately come to mind. All three of these titles are exceedingly well done. DH seems to be more willing to take a dip in the original title pool lately, which seems to be working for them. Also, their collected editions

Image
Image has a lot going for it these days. They have a stable of some really excellent titles that are very diverse. To use a terrible word, Image has cornered the market on "funky" titles. That's right, funky. That's probably not the right word, but it works for the time being. They have a zombie book, outlandish and grounded superhero titles, spy books, and action/adventure titles. Image seems to do a bit of everything and they are able to filter it through their funky lens to make it unique. Fell, Casanova, The Walking Dead, and Savage Dragon are all strong books in my mind from this company. Image has tons of potential, and I think Erik Larsen is doing a fine job tapping that potential.

Those are just four of the "big" companies. Just between those four, there is enough diversity in comic books for anybody to find a title they love. But what about the other comic publishers? Great question! Next week, I'll take us on a journey through some of the indie publishers.

I'll definitely be getting back on a regular weekly schedule too. Between taking two grad classes, teaching a creative writing class, and wrapping up the school year, things have been a little hectic around here for me. But never fear! I'll be back next week with Part 2!
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INDIANA JONES AND THE OFFICIAL BAD GENIOUS REVIEW

by Jon Quixote

It turns out that it is the mileage and not the years. Given the pop culture throne upon which Indy sits, it feels as though there have been more than 3 Indiana Jones movies (especially considering that Last Crusade is practically a remake of Raiders). Indy’s place in movie history is up there with Bond's, and Bond installments left double-digits (no pun intended) behind long ago. But given the current age of the principals, the fact that the series went out on a high-note back in 1989, and some of the rumored ideas George Lucas had for the 4th installment, The Kingdom of the Crystal Skull had bad idea stink-lines radiating from it and across the internet since it was officially announced.

As familiar and aged as Indy feels, this is only the 4th big screen adventure for Dr. Jones in his 27 years as the reigning king of Summer movies. And Crystal Skull proves that even if the leather is a little stiffer than it use to be, there's still a lot of crack left in the old bullwhip.

That's partially because the transplant to the 50’s is largely successful in giving this installment a fresh pallor. But it’s also because number 4, for better or for worse, has enough familiar beats in key places that the only Indy movie that doesn’t feel as part of the pattern remains Temple of Doom. Crystal Skull feels different without actually being different - it's Indiana Jones for a new decade, but it's still Indiana Jones.

Still, I think people are going to dislike Crystal Skull because of that feel. I accepted it as a welcome change. If Raiders was based on 30’s adventure movies like Gunga Din, then giving the 50’s Indiana Jones a plot with a hint of Invaders From Mars is both imaginative and natural. It comes across as a logical extension of that time-period vibe, and less like crazy George Lucas throwing his poo at the walls and interpreting the patterns. McCarthyism, overzealous FBI agents, Area 51 & little green men, Nuclear Bombs, and a Soviet plot to brainwash the entire West. To me, these were the best things about Crystal Skull. Those who see a world of difference between alien visitors and a cup full of immortality might have some difficulty getting on board.

I had a harder time with the movie when they tried to wedge conventional Indy moments into the framework. Many felt awkward, not to mention exhausted. For example, you only have to have seen one of Raiders or Last Crusade to guess how this one ends, although the climax here makes far less sense than either of the previous two. The supernatural powers turn on the bad guys here not because they chose the wrong cup, but because they’re villains in an Indiana Jones movie, and that’s what happens to villains in an Indiana Jones movie. I’m not even putting a spoiler tag here. You know it’s coming before you even sit down, and the movie even goes out of its way to confirm it for you at a point where the closing credits are still in the far-off distance.

Maybe there’s an Indiana Jones movie in our future where the villain actually makes good on the bedtime story and Indy has to deal with the threat that’s loomed over the entire movie, instead of it turning out that he could have stayed home while the bad guys destroyed themselves. It’s not this one though.

My thumb still points skyward though. I had a good time and it did feel like I was watching an Indiana Jones adventure. Harrison Ford still carries the day in a Fedora and bullwhip, Shia Labeouf was very “young Indy” in his sidekick role (and I can see why Spielberg cast him – he looks mini-Ford throughout), and Cate Blanchett is in full-on Natasha Fatale mode. The real selling point is the highly-choreographed chaos that runs rampant through the set-pieces, and too much of the movie is marked by a fluid, high-octane manic energy that I just couldn’t resist. There are a couple real groaner moments, true, but most of it is an absolute joy to behold in the best summer-movie fashion. Stuntwork, CGI, imagination and a master's touch all conspiring to make sure I got my money's worth.

Crystal Skull can’t stand proudly shoulder to shoulder with either Raiders or Crusade, and it doesn’t have the “let’s try something really different” feel of the hit-and-miss Temple of Doom. But it does still feel like a worthy addition to Indy’s adventures, and the combination of action, humor and historical ambiance still make a powerful entertainment cocktail. It’s considerably smarter and grander than any of the Jones-clones we’ve seen try to step up and fill the slot in the near-20 years since Last Crusade hit theatres. It’s still got it, and even if it creaks and sags in a way that it didn’t used to, Crystal Skull should have most moviegoers thinking about downloading the theme as their ringtone when they leave the theater.

Grade: For an Indiana Jones movie, B-. For a typical summer movie, A.
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