The (Really Short) Shortbox 4/15/06

(*** I actually wrote this a couple of months ago, but never finished the rest of article due to life getting in the way, but you can chalk it up mostly to laziness. Hopefully, this will not become a regular message. - 7-21-06)

The New Avengers: Illuminati (one shot)
writer: Brian Michael Bendis
artist: Alex Maleev
Marvel Entertainment, 5/06
As part of the upcoming super-event Civil War, we've been introduced to the Illuminati -- a collection of leaders from the most important Marvel U teams made up of Iron Man, Namor, Prof. X, Mr. Fantastic, Black Bolt, and Dr. Strange. While this group has existed for years consulting eachother on many of the greatest threats to occur in Marvel's past, this is the first glimpse we've ever gotten of them. Illustrated wonderfully by Alex Maleev, I can't help but wonder if his talents are wasted on a relatively actionless tale of Bendis going into his talking heads mode. The issue is meant to give us background on this group that I assume we'll be hearing more about in the pages of Civil War, but as a stand-alone story it leaves me uninterested in the group. That's really a shame considering the members involved. I may feel differently about this issue after Civil War gets underway, but until then it may be wise to hold off from picking this one up. There's just not enough here.
6 out of 10

The Longbox: Sin City - Family Values

Frank Miller's Sin City Vol. 5: Family Values
writer and artist: Frank Miller
Dark Horse Comics, 2005
When I began reading comics a few years ago, one of the first collections I got a hold of was the original Sin City trade, now available as Sin City Vol. 1: The Hard Goodbye. That story makes up one third of the Sin City film, if you're more familiar with that aspect of Frank Miller's creation. At the time, I loved the artwork -- particularly his use of shadows -- but overall I was less than impressed with it, partly because it had come so highly recommended, but it probably had more to do with my tastes being attuned to the prose of the likes of William Faulkner and Irvine Welsh instead of the blunt, noir dialogue Miller employs. If I reread it today, maybe I'd feel the same way, but I doubt it, based on my feelings after finishing this volume.
Family Values is a Dwight story, the character Clive Owen played in the movie adaptation. This is an entirely different story, however, and I hope that it's included in the future Sin City film sequels that we'll get in the next few years. You see, Dwight is on another mission of revenge -- not the type of revenge we expect from the outset of the book, but revenge nonetheless (have no fear; spoilers will be kept to a minimum). A woman has been murdered Sonny Corleone style and Dwight's going to figure out who did it and then make sure they get theirs. He's joined silently on his quest by Miho, the pint-sized Asian assassin from Old Town, the section of Sin City ruthlessly run by the hookers who walk its streets.
Dwight goes about solving this murder mystery by visiting all the places you'd expect -- bullet-ridden diners, seedy bars, backseats of mob cars -- all the while extracting the info he needs from everyone who's had a hard-knock life (as if there were any other kind in Sin City). He goes about all of this by any means necessary, whether it be by flirting with a woman past her prime or calmly degrading the man pointing a .45 at his temple. And every line is an utter joy to read. Miller's dialogue in Vol. 5 is running on all cylinders. The excellent dialogue carries over to the overall plot of the book as well. Family Values truly has a satisfying conclusion, all questions answered and all loose ends tied. I don't think I've ever enjoyed anything he's written in the first person more, and that includes all his Daredevil work -- books I'm an unabashed fanatic of.
Then, of course, there's the art. I mentioned earlier how much I was impressed with his use of shadow in The Hard Goodbye, and he is still uses it in a consistent manner. Drawn completely in black and white, as opposed to the splashes of red and yellow in other volumes and I never felt that it needed those highlights. Another aspect of Miller's artwork that is impossible not to admire are the gloriously violent killings. Never conventional, you can't help but gasp at what's happening, just as if you were watching it play out on a screen.
I haven't read any of the other volumes of Sin City, with exception to Vol. 1 and this one, but that's going to change very soon. Now that the movie has been out for awhile, I'd expect that some deals could be found on eBay or other online retailers since interest will have died down by now (I love my comic book stores, but let's be honest -- they rarely have good deals on anything you really want to buy). But even if you can't find a good deal on the Sin City books, I doubt you'll be sorry if you get them at full price. They really are classics in every sense of the word.
10 out of 10

*** Now that LBM has expanded beyond comics, I've retooled some of the columns for the sake of simplicity. This was originally part of a feature I did called "Graphic Novel Grab Bag." I only ever wrote five, so I've re-tagged them as Longbox entries. Enjoy the early days of LBM that I've somehow resisted the urge to purge. -- JA, 1/20/10 ***

The Longbox 3/25/06

Star Wars: Republic #83
writer: John Ostrander
artist: Jan Duursema
Dark Horse Comics, 2/06
Now that Episode III has been released, supposedly ending the Star Wars film franchise, Republic, which was effectively born when Episode I hit theaters, has now come to an end as well. The series has been very inconsistent, ranging from the incredibly dull to some of the most intriguing storylines to unfold in the Star Wars universe. For my money, the best of the series (which I've read almost every issue) came when John Ostrander was doing the scripting. While not all of the other writers were awful, none were memorable. One of the most impressive aspects of the series once Ostrander took over was his use of seemingly forgettable characters and giving them enough background and personality to become integral elements of Republic. Take Villie, the swindling rouge who appeared early in the series but who's broken English (a Star Wars staple) became annoying upon his introduction. However, in the hands of Ostrander, he became a character who you always wanted not to trust, but due to the various precarious situations our hero was placed in, always had to despite better judgment. Along with the do-I-trust-him-or-not scenario that always seemed to present itself while he was included in Republic, he often supplied the much-needed comic relief, which in the movies is usually regulated to Chewy or the droids. Previous storylines never touched on such important aspects of what makes Star Wars one of the most-loved franchises in history.
That said, the greatest improvement that Ostrander made was the inclusion of a Jedi hero who was engaging and mysterious, but clearly not just another Skywalker clone to go on adventures that were essentially rehashes of the film plotlines. He gave us Quinlan Vos, a Jedi who walked a dark path eclipsed only by Anakin Skywalker. Introduced to the series with a case of amnesia, Vos was never even himself sure if he was a dark Jedi or not. He was constantly put in positions to be a double and triple agent for the light and dark sides of the Force. Over the course of Republic, he came in contact with Obi-Wan, Count Dooku, and Yoda among other favorites from the movies. With all of these elements, Republic became one of my most anticipated books each month.
All of this culminates in #83, the final issue of the series. Quinlan and Villie are on the Wookie planet Kashyyyk along with Yoda during the battle depicted in Episode III. The clones turned against the Jedi forces a few issues back and Vos is stranded alone in the jungle preparing himself for certain death, as he has been feeling the deaths of the other Jedi knights through the Force. After focusing himself, he goes on an absolute tear against small groupings of clone soldiers. These scenes are magnificently depicted by Jan Duursema, whose art has been another strongpoint of Republic. Drawing both accurate renditions of characters from the movies and repeatedly exciting lightsaber battles cannot be an easy thing, and Duursema is in prime form with this issue again -- heads were flying all over the place, literally.
I'll leave you the read the details, but we did get the obligatory happy ending with this series, which to a degree went a little overboard, but understandably so. In the end, this was one of the great finds I've come across in comics, and I haven't found much written about it on the web, which is a shame.
I'm sorry to see it go, but Ostrander and Duursema will be teaming up again in the Star Wars universe for the upcoming series Star Wars: Legacy. Although it will apparently be focused on yet another Skywalker, it will be 100 years after the events of Episode VI, and hopefully that will allow Ostrander to create another unique Jedi, different from Quinlan Vos and the Skywalkers.
8 out of 10

The Shortbox 3/24/06

Runaways #13
writer: Brian K. Vaughan
artist: Adrian Alphona
Marvel Entertainment, 4/06
This stand-alone issue focus' on Molly, the youngest member of the teen superhero group, and as usual with Runaways, it's a fine story. Essentially a modern, sci-fi take on Oliver Twist, Molly wakes up and is forced to steal along with some other, similarly kidnapped runaways, only these kids have no special abilities. It was nice to get a little focus on Molly, the least interesting of the team due to her being significantly younger than the rest, and to see all that she really wants is what the other kids she rescued in this issue wanted -- to go home to Mom and Dad; to stop being a runaway. But Molly can't go back home like they did.
It's an entertaining issue despite not contributing to the grand arc of the Runaways lore. Pick it up if you haven't been reading the series; it's a good jumping on point.
8 out of 10

Giant-Size Ms. Marvel #1
"Moment of Clarity" (2006)
writers: Brian Reed & Roberto de la Torre
artist: Jimmy Palmiotti
reprints of Captain Marvel #18 (1969), Ms. Marvel #1-2, #20 (1977-78)
writers: Roy Thomas, Gerry Conway, & Chris Claremont
artists: Gil Kane, John Buscema, Joe Sinnott, & Dave Cockrum
Marvel Entertainment, 4/06
While I find reprints of old comic stories tedious to read, even such classics as the "Kree-Skrull War," I understand why we're presented with them. The history of a character is essential to understanding how they've become who they are today, and Ms. Marvel has come a long way from the pages of Captain Marvel where she first appeared. The other stories included here explain the early, duplicitous nature of Carol Danvers when she changed into her alter-ego, as well as her costume changes and how she befriended Mary Jane Watson. But the reason why I'm recommending this title this month is the new story included. I've been a fan of Ms. Marvel ever since she showed up in Bendis' Alias a few years ago. Reed immediately dives into what the new series will focus on, which is Carol becoming one of the greatest superheroes on the planet, a mantle she held in the alternate universe of the "House of M." Now that she knows she has it in her to be that kind of hero, she's going to do her best to realize that potential.
Meanwhile, Palmiotti's art is absolutely fantastic. He has a great battle sequence between her and the Traveler (who seems to be a really awesome bad guy that I hope returns at some point in the new series) that nicely contrasts Carol's quiet moments of reflection on her terrace.
If the level of production on the art and scripts continues at this level, I have some very high hopes for this new on-going.
"Moment of Clarity" - 9 out of 10
reprints - 5 out of 10

Hellboy: Makoma (1 of 2)
writer: Mike Mignola
artists: Mike Mignola & Richard Corben
Dark Horse Comics, 2/06
If you're not buying this, you're a fool.
10 out of 10






The Amazing Spider-Man #529
writer: J. Michael Straczynski
artist: Ron Garney
Marvel Entertainment, 4/06
As of right now, I am not getting any title focusing on any of the big three -- Superman, Batman, and Spider-Man. When I've posed the question as to which title to pick up to people who get titles with one of the big three featured, I never get an enthusiastic, "Oh, man, you have to get Action Comics! I can't believe you aren't already!" or something along those lines. These numerous titles clearly don't excite people anymore, and they sell on tradition more than anything else. So I've never gotten any of them.
However, due to a shipping error by my comic supplier, I got a copy of this issue. According to Mike, this issue is selling out all over the place, and I can see why -- Spidey's got himself a new costume. Compliments of Tony Stark, Peter is given a new high-tech suit, similar to the Iron Man suit of armor, right down to the color scheme. On a test run, he gets himself caught up in a New York City car chase and takes out the low-level criminals with great ease.
And you know what? I liked it. It was simple, but fun, and the allusions to the upcoming "Civil War" mini has me really intrigued. So, now I'll be finishing this arc, and maybe even add it to my pull list if it maintains being enjoyable.
But we all know that suit isn't going to stick around for long. It looks amazing though, and I bet Marvel finds a way to give it to another character, a la Venom.
8 out of 10

The Longbox: Fray

Fray
writer: Joss Whedon
artists: Karl Moline and Andy Owens
Dark Horse Comics, November 2003
Few franchises have been created over the last two decades that rival the popularity of the TV shows Buffy the Vampire Slayer and Angel. Many of the characters have crossed over into the realm of comics, sharing other adventures not seen on the small screen. Judging from the Buffyverse comics I've gotten my hands on that came out while the shows were on the air, most of those stories were put out there for nothing more than the almighty dollar. I'm sure some of the hardest of hardcore fans love these comics -- after all, if you were craving a couple of new Spike retorts in the middle of July 2001, these would have held you over until the real thing hit in the fall -- but they're weak at best, usually written by people who have watched the show as opposed to having sat on set or in the writer's room.
Since the shows have ended, new comics from IDW focusing on Spike and Angel have surfaced, and while they are improvements over the Dark Horse issues I've read, they are still not quite up to the standard I'd come accustomed to as a fan.
That is until I came across Fray.
Fray is different than all other Buffyverse comics for one reason -- it was scripted by Joss Whedon, the mastermind of all things slayer. Unlike the other comic adaptations, Whedon's book has not only the distinctive tone that allows me to immerse myself in that universe so completely, but also a story that feels fresh, not merely a rehash of other ideas already expressed on television.
Fray is the story of a slayer from the future, a future far from the Sunnydale we'd become so familiar with. Fray lives in an urban slum populated by an array of humans, mutants, fish-creatures, and of course vampires -- only they're no longer known as vampires, but rather as "lurks" because they've been obsolete for so many generations. Whedon's play with language in Fray is actually a very natural progression to the setting of the book. It's one of the main aspects which separate it from the TV show.
Another major departure from the show is that Fray doesn't even realize she is the slayer. She just knows she has certain super powers and those powers allow her to live on the wrong side of the law, stealing specific objects to sell on the black market. In fact, no one knows what a slayer is -- save for Urkonn, a demon sent to instruct her on the ancient ways of the slayer in order to save her world from the inevitable doom that waits. In other words, he's her Watcher. Fray's also got a past that would make Faith's life seem sheltered, especially in her relationships with her brother and sister (I won't spoil those in this review, but they're a couple of doozies).
In addition to the riveting, action-packed script, there is some really fine artwork. I'm not familiar with Karl Moline, but he is definitely a talented man. His monsters are creepy when they need to be, the movement between panels is fluid, and his futuristic backgrounds are reminiscent enough of our own world to not seem completely foreign. But his most favorable attribute as an artist is how he approached Fray. She is very far from the typical big breasted, toothpick waistline that is an epidemic amongst comic book artists. Moline draws Fray as if she were a real girl. Sure, she would be beautiful if she was an actual woman, but it's captured in a natural, athletic form of beauty. Plus, Fray may be a slayer, but I was never imagining Buffy, Faith, or even Kendra as she jumped, kicked, and staked her way through the book. Of course, a lot of that was due to Whedon's characterization of her, but Moline's talent is undeniable.
As much as I enjoyed the majority of this story, it is not without its flaws. The mutant humans seem a bit unnecessary as they're not developed enough to warrant inclusion in the book. Also, a few of the standard Whedon twists occurred too quickly and without enough explanation, particularly concerning one of the major characters at the end of the story. But these are minor gripes and I suspect Whedon had to cut scenes in order to fit the meat of Fray into the original run of eight issues.
Now, I've used a ton of names and terms that are common knowledge amongst fans of the Buffyverse, but this book is not only for those people. Joss clearly wrote this for anyone to pick up and have an enjoyable read. So have no worries if you're unfamiliar with all things slayer related; you'll be able to grasp everything of importance. Pick this one up regardless if you're a fan or not. It's unlikely you'll be disappointed.
9 out of 10

*** Now that LBM has expanded beyond comics, I've retooled some of the columns for the sake of simplicity. This was originally part of a feature I did called "Graphic Novel Grab Bag." I only ever wrote five, so I've re-tagged them as Longbox entries. Enjoy the early days of LBM that I've somehow resisted the urge to purge. -- JA, 1/20/10 ***

The Longbox 2/22/06

Daredevil #81
writer: Brian Michael Bendis
artist: Alex Maleev
Marvel Entertainment, 3/06
** Note: Since DD #82 was released this week, I've written a spoiler-heavy review. Continue at your own risk. **
Foggy Nelson. The Black Widow. Bullseye. Elektra. The Kingpin. The Owl.
The majority of the important characters in the Daredevil canon make an appearance in this final issue of Bendis' fantastic run on the title. It's an issue that wraps up so many of the themes and arcs that were introduced, yet opens so many new possibilities for the future of Mathew Murdock, that I'm beyond satisfied after finishing it.
Matt's gone through a lot over the last few years -- had a few torrid romances fail miserably, almost died a few times, put the smack down on a bunch of baddies, and has had some ups and downs in the courtroom. All of this is repeating your standard, ho-hum Daredevil stories that have persisted since the days when Frank Miller began writing the character almost 25 years ago. But there was something more in a Bendis script that compelled me to continue reading on. The primary reason is he has an incredibly realistic stranglehold on the English language -- not the grammatically correct version of it, mind you, but the sensibilities that allow you to feel as though you are in the room with these characters. He mixes the beats of everyday conversation with fast-paced action that episodic storytelling requires. He does this better on no title than Daredevil.
Now I know that Bendis has been routinely criticized for not including enough action sequences during this run, but I wholeheartedly disagree. Those slower points in the story allowed for the revelations made over the course of his run to be that much more of a bombshell than they otherwise would have been. Could he have mixed in more action? Sure, but that's not how Bendis writes. We, as readers, are at the mercy of the talent, and as long as the goods are delivered, I see no reason to gripe about how slow a memorable story started out. The best of these delivered goods on this run which separates it from so many that have come before it is the identity of Daredevil being revealed as Matt Murdock. Plenty of you hate that this has happened. Frankly, I'm surprised no one had done the identity-of-the-hero-revealed-to-the-world story before in comics. It just seems so obvious. Take away the people who actually knew he was Murdock and you would have to find someone who had repeatedly seen DD enter and exit his brownstone or swinging around the offices of Nelson and Murdock in costume and put two and two together.
Anyway, in this issue, Matt finally has to answer whether or not he is guilty of the "crimes" attributed to Daredevil. After the beginning of his trial, Matt escapes from custody with the help of the Widow and lives overseas with new wife, Milla. Then, evoking his traumatic past, Milla is killed by Bullseye's ace of spades, and Matt snaps Bullseye's neck in the middle of the street. (If you're a DD fan and didn't immediately put down the book after reading that scene to pause in order to soak up the enormity of what had just happened, I seriously question your level of DD fandom.) Matt then goes into hiding with Elektra, ending up where most of us want him to but realize that settling down with Elektra completely defeats the purpose of why he fell in love with her in the first place.
Alas, we then learn that this has all been occurring in his mind, and Matt is still debating whether he should plead guilty or not guilty to the charges. He chooses not guilty and goes to prison, now sharing a cell block with many of the psychopaths he helped to put in there, including the Kingpin and the Owl. The prior laziness of Matt Murdock with his secret identity has finally bit him in the ass. So many people in his life had known about his life as Daredevil -- numerous girlfriends, enemies, superhero colleagues -- that finally he has to pay for it.
And this is where my anticipation for issue #82 begins -- how is Matt going to co-exist on Ryker's Island with so many who will be out to get him? How long will he be locked up? What kind of people will he have to rely on inside in order to survive? Can Foggy find a precedent during the appeal so he can be released? Will he break out, disregarding the system of law that he believes in so dearly and yet openly defied in his red suit? Will some other Marvel hero attempt to break him out? Will he go with them if they do?
As you can see, I have way too much time on my hands to be able to think about what's to come next in the pages of Daredevil, but I do know they're being given over to the very capable hands of Ed Brubaker. If anyone can one-up Brian Michael Bendis, it's going to be him.
So long, Bendis. It was a great run.
10 out of 10

The Shortbox 2/8/06

Spider-Man and the Black Cat #6 (of 6)
writer: Kevin Smith
artists: Terry Dodson & Rachel Dodson
Marvel Entertainment, 3/06
So this mini finally ended after about 3 years of waiting. Was it worth it? Unless you like to have the final chapter of what started out as a great, action-packed story told in flashback, yes. I don't. Just like Smith's Daredevil and Green Arrow runs, this mini started out strong and then fizzled in the last two issues. It's a shame because I think the Black Cat has a plethora of interesting stories that can be told about her, but before those happen, she's got to get over Peter Parker. They've been beating that horse for close to two decades now. Hopefully someone else will make Felicia Hardy worth reading again and I hope they bring the Dodson's back with them.
And what's with Smith's hard-on for Mysterio? Stick with writing movies not titled Jersey Girl, Kev.
4 out of 10

Ultimate Extinction #1 (of 5)
writer: Warren Ellis
artist: Brandon Peterson
Marvel Entertainment, 3/06
Hopefully the pieces in the Ultimate Galactus saga will come together soon. As with the first two chapters, this one is pacing itself and hitting a lot of good notes along the way. I've looked forward to each issue and Extinction is no different thus far. Peterson's art is sleek and polished in the Ultimate tradition. Still, I'm waiting to see how the X-Men and Ultimates fit into the big picture of the series.
8 out of 10


Star Wars: Purge #1 (one shot)
writer: John Ostrander
artist: Doug Wheatley
Dark Horse Comics, 12/05
This issue takes place one month after the events in Episode III, and we meet a small band of surviving jedi knights, none of whom I remember from earlier pages of Star Wars: Republic (but doesn't mean some of them weren't introduced), and then subsequently watch them get butchered by Darth Vader. As great as it was to see Vader kicking ass since we didn't get to see it in the movie, I'm left flat without Ostrander's conflicted jedi, Quinlan Vos, from Republic. Look for more of my thoughts on Republic in "The Longbox," and you'll see why I feel this way.
Now I'm suddenly a little less enthused for the new Ostrander Star Wars title coming out soon.
6 out of 10

The Outsiders #32
writer: Jen Van Meter
artists: Matthew Clark & Dietrich Smith
D.C. Comics, 3/06
This group of Outsiders were initially supposed to be a strike-first group -- attack the baddies before they could actually do something bad, much like the current U.S. administration's stance on terrorism they began a few years back. Unfortunately, art is now imitating life as, like President Bush, the team doesn't have much of a focus on who it's enemy is anymore. In this issue we get half the team having a tedious flying-through-space trip and the other half hitching a ride on a cruise ship because they were stranded at the end of their last mission by the airborne members of the team. Regular writer Judd Winick probably would have made the cruise ship subplot enjoyable, but Van Meter writes the team so flatly, I'm amazed they even bothered putting out the issue. If it hadn't been for the Infinite Crisis crossover, maybe we would have been spared. This title really needs to be re-focused after Infinite Crisis, otherwise it won't be worth getting any longer.
3 out of 10

Low Blows 01.18.06

"Secret War" #5 (of 5)
Marvel Comics
Writer: Brian Michael Bendis
Artist: Gabriele Dell'otto






"New Avengers" #14
Marvel Comics
Writer: Brian Michael Bendis
Artist: Frank Cho





I'm of a mind that I'd honestly rather have a late comic, even an extremely late comic, than a half-assed and sloppy catch-up job. Look no further than Grant Morrison's "New X-Men" run, and you'll see the disappointing result of great writing too often paired with rushed and inconsistent artwork. Rumor has it that Igor Kordey, a more-than-capable artist when given the proper opportunity to be, was tasked by Marvel editorial to crank out an entire 22-page issue of "NXM" in a week!

Which brings us to "Secret War," the quarterly miniseries that... wasn't. Marvel, probably in deference to Bendis and in recognition of past failures, didn't replace Gabrielle Dell'otto, but instead gave him the space he needed -- nearly two years! -- to complete his work.

And what a work it is. There are plenty of people upset at Bendis for the plot content of this issue (which I don't really understand, and which I'll get to in a moment), but now that I have all five issues in my hands, it's hard to fault Dell'otto for his effort in getting a great-looking comic book onto the shelves.

Now, unfortunately, due to its lateness, the lasting effects of this final issue are well-known, and have been a part of the "New Avengers" storylines for over a year now: Nick Fury has disappeared, and there is a new head of SHIELD.

I don't hold this against Bendis. I applaud his decision to carry on with the story in books like "The Pulse" and "New Avengers" without revealing exactly what had happened, which, at the very least, kept "Secret War" #5 from being a boring read.

[What's that you're whining about? You don't remember what happened in the other four issues, or you don't care anymore? Well, pull them out of the long box and re-read them, and maybe you'll be reminded of why you originally cared in the first place! Seriously, what's the point of holding on to back issues of your comics if you're not going to go back and read them again at some point?]

Anyway, some might argue with me on this, but perhaps the strongest aspect of the plot of "Secret War" lies in how it ties in with current events in the Marvel Universe. It's debatable, I guess, but I really think that this was a satisfying miniseries all by its lonesome, but even more than that, I'm thrilled by its potential aftereffects. I've heard that this character arc for Nick Fury is not an original one. Perhaps not, but it's a direction I'm interested to see him going, with "Civil War" on the horizon, and SHIELD having been revealed as diseased and crooked, if not altogether evil. I'm betting that there's at least some connection between all of these storylines.

Along the same lines, I'd also like to mention the fantastic "New Avengers" #14, in which Spider-Woman's duplicitous nature is finally revealed, and she comes clean to Steve Rogers about exactly why she's simultaneously an Avenger, a SHIELD agent, and a Hydra spy. I won't get into the details, but suffice it to say that Nick Fury's involved, it’s partly Cap’s fault, and Jessica's just doing the best job she possibly can at this point. It’s pure speculation on my part, but I don't think that she's very long for the "New Avengers" team.

Which is perfectly fine, if you ask me, because this storyline is nothing less than a well-thought-out and fascinating setup for the upcoming Bendis/Maleev "Spider-Woman" book, and I absolutely can't wait to see what Bendis has up his sleeves for these characters.

The art by Frank Cho in this issue is just as good as his guest spots in Mark Millar's "Marvel Knights Spider-Man" run were last year, if not better. There isn't anyone more skilled at writing a comic full of talking heads than Bendis, and Cho does a fine job of making them interesting to look at. I'd love to see him work on this book on a regular basis -– perhaps even more so than the incoming Mike Deodato Jr., whose work I enjoy, but isn’t exactly my favorite.

I also really enjoyed the reference to the current "Incredible Hulk" storyline in this issue (did you catch it?), as well as the gathering storm around the media's increasing awareness of the new Avengers team. What a great issue! Suffice it to say, I'm committed to these stories for the long haul, and the Avengers family and their satellite titles remain my constant favorites, month after month.

“Secret War” #5: 8 out of a possible 10.
“New Avengers” #14: 10 out of a possible 10.

Low Blows 01.10.06

"Generation M" #2 (of 5)
Marvel Comics
Writer: Paul Jenkins
Artist: Ramon Bachs





I thought that Paul Jenkins' first "Sentry" miniseries was a little overrated, and couldn't have been more disappointed by his "Wolverine: The End" mini. That said, I absolutely loved his "Inhumans" maxiseries, and I'm real happy with what's going on in the second, more recent "Sentry" miniseries, now in progress.

Taking into consideration how I tend to run hot and cold on this writer, then, it was no surprise to me that I decided to skip the "Generation M" mini.

What not many people, including myself, knew about "Generation M" when it was solicited was that it serves as the prelude to a wholesale creative changeover for Marvel's longsuffering "The Pulse" series, which has seemed like Brian Michael Bendis' wholly enjoyable but sporadically-published afterthought for so long. And as its main character Jessica Jones packs her bags and heads off to "New Avengers," (or wherever,) "Generation M"'s Sally Floyd will be moving in, along with the new creative team of Jenkins and Bachs.

Once I learned the above, I decided to give the mini a shot after all, and I'm glad I did. It seems as if Jenkins (and perhaps his editor as well) has been able to intuit where his strengths are -- that is, in one-off stories that feed towards a larger plot -- and it shows in his recent work.

Sally Floyd is a journalist, an alcoholic, an abandoned wife and a bereaved mother. She works for "The Alternative," a New York street paper, and over the course of the miniseries so far, she's stumbled into telling the stories of mutants who have lost their powers through the aftereffects of the "House of M" miniseries. The story is as much about her as it is the mutants, and meanwhile, everything seems to be heading towards the culmination of the larger plot of a serial killer preying on the ex-mutants, who has apparently chosen Sally as his unwilling media outlet.

"Generation M" also seems to be checking in with at least one well-known depowered mutant per issue. Last month, it was Chamber, in a particularly shocking scene which also served to more or less sell me on the book. The current issue features Wolverine's ex-sidekick Jubilee in her new life as a left-wing political lobbyist, which doesn't necessarily jive with some other recent interpretations, but definitely makes sense in the long run towards the purpose of character growth. Up until now, she's been more or less the eternal teenager. It's nice to see her in a little bit of a grown-up role.

Ramon Bachs' rumpled, expressive art is well-suited for this kind of story. I hear he did a great job illustrating David Lapham's "Detective Comics" arc over the last year or so, and he has demonstrated in the two issues of this mini so far that he can handle anything from a two-page spread of a dragon-like mutant destroying an entire New York City block to a grieving mother dwelling over a picture of the child she has lost.

I'm interested in the murder mystery of "Generation M," but even more so, I'd like to find out more about Sally Floyd, and I'm even thinking of her future in "The Pulse" now -- will she come to work at the "Daily Bugle," just like her predecessor? I'd love to see how she interacts with Kat, Ben, and especially Jonah. It's hard to say, with only two issues of story under her belt, but I'm definitely along for the ride.

8 out of a possible 10.

Graphic Novel Grab Bag

*** Now that LBM has expanded beyond comics, I've retooled some of the columns for the sake of simplicity. This was originally part of a feature I did called "Graphic Novel Grab Bag." I only ever wrote five, so I've re-tagged them as Longbox entries. This was the first GNGB post, as you'll see if you venture into the early days of the site which I've somehow resisted the urge to purge. -- JA, 1/20/10 ***

What's a "Graphic Novel Grab Bag," you ask? Well, I'm using the term graphic novel liberally here, but hopefully once a month, I'm going to review a graphic novel or trade paperback (such as our inaugural edition today). Basically something thicker than your typical 32-page issue. Usually these are going to be something I've borrowed from a friend or my local library since I don't buy many of them for my own collection anymore.
By the way, libraries are a fantastic way to get good stuff on the cheap (it's free after all). If you live near an urban or college library, they probably have a sizable collection to peruse over. Smaller libraries may not have a great selection, but getting a copy of something well-known, such as "The Watchmen," shouldn't be difficult in most towns. Of course, it'll probably be listed in the Young Adult section, and those of us familiar with "The Watchmen" realize not every young adult is ready for radioactive blue testes mixed in with their superheroes, but that's for their parents to worry about, I suppose.
Anyway, on to the review...

Smallville Volume 1
various writers and artists
DC Comics, 2004
I've seen every episode of "Smallville" that's aired over it's 5 seasons thus far, and while I've enjoyed them on the whole immensely, individual episodes have begun to run together in my mind a bit. Part of this is due to watching all of them for the first time in the last year or so (TV on DVD and DVR is amazing, no?), but it has more to do with so many of arcs still, after five years, having only minimal progression and, in some cases, not being resolved what-so-ever.
Part of the reason why I've been able to enjoy the show despite it's maddening pacing is because I've hedged my expectations of it. I don't expect it to be on the same level as "The Sopranos." I just want to see some cool action scenes and laugh at a couple of jokes over the course of an hour. And "Smallville" usually gives that to me (and these days it also gives me Lois Lane in about as little of clothing as the writers can dream up each week, and I thank them for having those dreams).
So my expectations for the "Smallville" comic were even more diluted than those I have for the show. Despite these low expectations, I'm still left under-whelmed by the eight stories in this collection. I recognized all the authors of the stories from the writing, producing and directing credits from watching the show so often. Because of this, I'm left with the feeling that many, if not all, of the stories were rejects from the writer's room, either due to their lack of intrigue ("Vows") or the immense difficulty in bringing the story to the screen due to special effects ("Raptor," and "Paterfamilias"). But because they are all derived from the pens and keyboards of people involved with the show, the tone of the characters is dead on, Lex in particular. It's just a shame that very little of what was given to them to say was worth reading.
On the other hand, the art is strong for these stories for the most part. Each artist is burdened by having to create portraits of the actors who portray the characters on screen. They can't veer too far from what they actually look like, otherwise it would be too difficult to label the stories as occurring in the "Smallville" universe. Fortunately, this is pulled off.
In the end, this comic was made for rabid fans of "Smallville" the TV show. If you have never seen the show, or don't like the show, stay clear of this title. Even as a fan of the show, I found myself rolling my eyes at some of these stories. Nothing that happens in these stories adds any considerable weight to the "Smallville" mythos. In the end, it's just a decent way to spend an hour of your time.
5 out of 10