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Justice League: Better than Batman V Superman!

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Damned if you do, damned if you don’t.

DC’s movie-verse has always been between a rock and a hard place. When Marvel Studios began releasing their films nearly 10 years ago, DC was on a clock. As Marvel built their movies into “phases” culminating with a team-up Avengers movie, DC had no way to build a universe of their own without copying what Marvel did.

If they released movies to build up to something, surely the comparison would be made that “DC is just copying Marvel.” If they did something different, they took a gamble on losing the valuable build up that slowly introducing your characters over multiple movies provides.

Justice League is the latter of the two. As the newest entry in the DC Extended Universe, Justice League continues the storyline started in Man of Steel and continued through Batman V Superman: Dawn of Justice and the fantastic Wonder Woman. The film features an alien threat against the world and can only be stopped by a united team of super people, but lacks the true emotional punch that another superhero ensemble movie had.

The biggest challenge the film faces is a general inconsistency. WB is trying to do right and listen to audience feedback and adjust the movie, but you go from more grounded or heavy movies like Man of Steel and BvS to Justice League and the tone takes a shift. While not a bad thing, it comes across a bit jarring. However, the film’s saved by its cast of characters, which help to overcome the poor pacing and plot.

Ezra Miller’s Barry Allen/The Flash is far and away the highlight of the movie. Barry is a lone wolf who isn’t fighting criminals so much as “pushing them and running away.” His wide-eyed innocence as he is more immersed into the events of the movie and realize the gravitas of what they’re up against is played wonderfully by Miller, who is a nice contrast to Grant Guston’s Barry Allen of the Arrowverse.

Gal Gadot returns as Wonder Woman, whose focus in this movie is the struggle of her coming out of the shadows as Wonder Woman and her role as a leader. The leadership bit feels a bit forced through a reshoot, as she definitely took charge in her own movie.  Gadot is a delight, as always, and it’s just great seeing her on film.

Though I was never really a fan of Ben Affleck in the Bruce Wayne/Batman role, the bulky imposing build of Affleck has grown on me. This time around, Affleck seems a bit more lighthearted as Batman, which only strengthens my problem of having a Batman who’s been around for 20 years – you can’t go from a despondent Batman who is trying to kill Superman to a lighthearted joking Batman overnight (is it overnight? It’s hard to tell how much time has passed between movies.) And while I know the point is Batman’s newfound hope and redemption arc for his guilt over Superman’s death, it’s a hard sell to me, as we spent the entire last movie watching Batman trying to kill him.

Superman is just “there.” The first half of the movie is focused on reactions of people who miss him (Lois, MARTHAAA, Bruce, Diana), while once he gets resurrected he has a weird arc where you can’t tell if he remembers anything, to attacking the Justice League, to remembering who is is and finally showing up to stop Steppenwolf. Superman has hardly been my favorite, and as this film series moves on he feels more and more like a prop than an actual developed character.

However, once Reborn Superman returns he seems to be more in line with a light hopeful Superman, even present in a fun mid-credits scene. While I think that the “Death of Superman” was done way too soon in the DCEU to have any weight or stakes moving forward, it does help to give a nice soft reboot to him.

Our other new heroes include Jason Momoa’s Aquaman and Ray Fisher’s Cyborg. Along with the Flash, they were all introduced on Batman V Superman via quick snippets of security footage. Both have minor arcs that set up future movies, though based on the way this movie went, I’m not too excited to see either of those movies.

Aquaman is struggling between living on land or water, and Cyborg struggles with being more machine or man. As Cyborg was born of the Motherboxers (this movie’s MacGuffin), he is the one who can overcome and separate them, though a large missed opportunity to focus on his creation and having to fight against its control was missed in this movie.

As somebody who grew up on Batman, but not much else DC, it’s exciting to be able to go into a movie and see new villains you don’t know much about. While the movie explains a lot about Steppenwolf, and how and why he is trying to conquer Earth, at the end of it he seems just a teaser for Darkseid, a mystery baddie who will probably show up in the sequel. Important to note, that his appearance and voice are both fantastic and he looks and sounds imposing.

Overall, Justice League isn’t terrible, or even that bad, and I think ranks pretty high above most of the DCEU Movies (for me personally it comes behind the fantastic Wonder Woman). It’s definitely more fun than the rest of the movies that have been put out so far. Is Justice League the fantastic saving grace that the DCEU needs to help push it forward? Sadly not. Is it a more enjoyable entry and a step in the right direction? Yes it is.

The movie is fun, which is what the DCEU needs right now. Comics mean different things to different people, and while some people love the DCEU for it’s weight which the usually more lighthearted Marvel Universe come under fire for, Justice League is the fun adventure that the DCEU (and the fandom) needs.

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The Pull List, 11/23/17

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Hello everybody, and welcome back to the Pull List, the apartment down the street from the House of Ideas. It’s Thanksgiving week here in America, which means we’re a little bit light on comics — but if you need an escape from cleaning dishes, your racist relative, or another tryptophan-stained game of Monopoly, the Pull List is here for you.

Justice League of America #19

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Publisher: DC

This issue hits basically every story beat perfectly, but it falters on the visuals. I just am not taken with the art in this issue; it feels simultaneously too photorealistic and a little bit off in places, giving the whole thing a weird feel that doesn’t quite click with the writing. Which is a shame, because the writing is superb. The major bones of the narrative are exactly what you’d expect given the events of the first part of surgical strike, but the meat Orlando puts onto them is impressive. Yes, the Justice League is starting to band together under the pressure exerted on them by Prometheus and Afterthought; but the way the issue portrays that unity starting to sprout, the way that both the cracks and the ways they can heal them are laid out, help bring depth to individual characters and their relationships with each other, rather than just being a unilateral team power-up. Orlando is even careful to make sure that there are parts of the team’s flaws that don’t feel surmountable — that there are going to be more hurdles to clear as time goes on, and I don’t just mean the cliffhanger the issue ends on. This book takes the tropes of superheroes to another level, and this issue is no exception.

Power Level: 8/10

Royals #11

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Publisher: Marvel

This issue is a standard Al Ewing one-two punch: give us a couple stimulating, exciting moments of creative superhero fights to transition into a sequence where he then socks us right in the feels-parts. As usual, Ewing pulls it off with aplomb: the fight between the Inhumans and the Progenitors is visually striking and narratively interesting, providing a character beat for Swain while also helping to elevate her power level via her own clever thinking; the emotional moment at the story’s end is tense, touching, and striking, launching off of hints and suggestions from as far back as Issue #1 while still leaving unanswered whether or not this scenario is the one the flash forwards and dramatic irony are referring to. And yet, it rings just a tiny bit hollow here. Part of it is the art — the color in this issue feels really bland, just shy of monochromatic, and it dampers the emotion a tad. It’s also the reuse of the same narrative crutch as Ewing pulled out during the Snarkwar story, though at least that came with consequences that we can worry about happening to another character. The issue handles the final scene pretty well, but I can’t help but think that with a more varied palette and a tiny bit more room to breathe, it could have been even more amazing.

Power Level: 7/10

Quote of the Week:

 

And now, I am off to prepare some yams and my speech for the One Minute Pilgrim Hate. Have a great weekend, and keep loving comics!

The post The Pull List, 11/23/17 appeared first on Ace of Geeks.

The Pull List, 11/30/17

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Hello everybody, and welcome back to the Pull List, the apartment down the street from the House of Ideas. It’s another light week for us, but with the holidays looming we can all use a break, right?

America #9

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Publisher: Marvel

Writer: Gabby Rivera; Artist: Flaviano; Color Artist: Jordan Gibson; Letterer & Production: VC’s Travis Lanham; Cover Artist: Joe Quinones

This issue came with a dose of personal comeuppance that made it all the sweeter. The Exterminatrix storyline takes a slightly different tack here than it did in the previous issue, and one that I actually enjoyed more; where Issue #8 was about the ways that fascism insinuates itself into an otherwise reasonable, justice-leaning society under the guise of safety and security, this issue is about that society recognizing fascism for what it is, and both sides deciding it’s time to take action. I like that the inciting event for the good guys revolves around America — it really helps drive home how important America is to the people around her, how she exists as a symbol as well as an actor in her own right (a theme I love seeing in my superhero stories); as for my comeuppance, I will only say that my doubts about X’andria’s storyline were unfounded, and the way she’s handled in this issue is perfect. I did feel the resistance against Exterminatrix winds up having things a little too easy here, and that loses the issue a couple of power points — but since the idea of unity among left-leaning friends bringing down fascism has some personal narrative resonance right now, I am willing to restrict that loss to just the two. Throw in a fun raising of stakes on the final page, and that smirking, self-aware, affectionate narrative tone, and you have a solid issue. I’m not sure yet that I’m sold on Flaviano’s art, but it’s at worst inoffensive, and everything else is so great that they definitely have a chance for it to grow on me.

Power Level: 8/10

Justice League of America Annual #1

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Publisher: DC

Writer: Steve Orlando; Artist: Kelley Jones; Colors: Michelle Madsen; Letters: Josh Reed; Cover: Jones & Madsen

I am a big believer in annuals being both a break from the overall storyline and a breather to allow us to have a minute before things get intense, and with the last regular issue of JLA having ended on a literal ticking time-bomb and the Might Beyond the Mirror story starting to go from slow burn to rolling boil, it could not have come at a better time; fortunately, it absolutely delivers. The three points lost here are for the art; Jones’s style has impressed me in other places, but here it really felt out of place and weird, especially the renditions of Lobo’s face, and while I could at least always tell what was supposed to be happening I felt like so many other artists could have done this story greater justice. Meanwhile, the story is a hilarious kind of perfect. We finally learn what it was Batman promised Lobo to get him to join this incarnation of the Justice League, and the answer both adds depth to the Main Man and serves as a wonderful inciting event for this deeply bizarre little side story. Everything about the story is perfect, carrying what I think of as classic Lobo flair while also maintaining a sense of connection to the JLA book; it really does feel like Orlando is being allowed to just have fun with the series, and that joy comes out in every high and low of every story, but nowhere is it more obvious than the sheer straight-faced hilarity of Lobo and Black Canary fighting someone whose reason for hating Lobo is that Lobo turned their name into a swear word. Where America up above tackles a relatively serious subtext in a fun, dynamic, humorous way, this issue of JLA takes an utterly hilarious conceit and manages to find a couple unexpected depths; it’s like America is a toll-house cookie and JLA is…okay, I got lost in that metaphor, but the point is, this annual is great.

Power Level: 7/10

Quote of the Week:

“When you’re part of the .001 percent multiverse domination is the only thing worth dreaming about, you know?”

– Exterminatrix, America #9

And with that snack-sized column, I depart. Have a great weekend, and keep loving comics!

The post The Pull List, 11/30/17 appeared first on Ace of Geeks.

The Pull List, 12/7/17

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Hello everybody, and welcome back to the Pull List, the apartment down the street from the House of Ideas. This week has not been the easiest for me personally (everyone is healthy and alive, I promise), but in weeks like these, sharing some comics with you is often just the thing for what ails me, so let’s go.

Black Bolt #8

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Publisher: Marvel

Writer: Saladin Ahmed; Artist & Cover Artist: Christian Ward; Letterer: VC’s Clayton Cowles; Variant Cover Artists: Christian Ward (based on the original cover of Uncanny X-Men #141 by John Byrne & Terry Austin); Nick Derington; Mike McKone & Rachelle Rosenberg; Design: Nicholas Russell; Logo Design: Jay Bowen

This issue manages to do the thing I thought could never be done: forge a believable, (In)human emotional moment out of the aftermath of Secret Empire. We begin with Black Bolt’s return to Earth, and while the issue does that thing that annoys me most of all in comics and immediately negates the previous issue’s final-panel cliffhanger, it launches from that capitalism-soaked moment into a genuine bout of emotion between Black Bolt and his subjects, and in this Ahmed really shows his writing chops — the Inhumans of New Attilan act very believably like people who a. only know Black Bolt was in space, not in prison, b. have suspicions that Maximus took Black Bolt’s place (spoilers: he did), and c. just had to live through the horror of Nick Spencer getting to make canonical plot decisions. The relationship between Black Bolt and Blinky is explored in a more thoughtful, slow-paced way than the Robert E. Howard-esque stuff of the last issue, and through them the relationship between Black Bolt and Medusa. And finally — because that isn’t enough — the issue also has an emotional moment between Black Bolt and another major Inhuman character that manages to, without a single word, convey oceans of emotion and turn the proceedings very, very touching. It’s a very emotional, slow, cerebral issue, which is something we haven’t gotten from Ahmed yet, and I am happy to report that he passes the test with flying colors, while also laying in some nice stores of character arc advancement in the process. The use of silence in the issue also has me really optimistic — Black Bolt, after all, is a character who has “no dialogue” as a defining trait, and so seeing Ahmed and Ward working together so harmoniously is a very good omen for the future of this series. Not only is this the start of a new arc, this is the start of a new tone, and proof that this creative team has not yet begun to show us the depths of their ability. Keep it coming, everybody; I’m excited to be here.

Power Level: 9/10

Black Cloud #6

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Publisher: Image

Story: Jason Latour and Ivan Brandon; Script: Ivan Brandon; Art: Paul Reinwand; Color: Matt Wilson; Color Flats: Dee Cunniffe; Lettering: Aditya Bidikar; Logo and Design: Tom Muller; Cover: Greg Hinkle and Matt Wilson

This issue is excellent at advancing the core themes of the series while also introducing some totally unexpected elements to the story — both in terms of the cast and in terms of their motivations — that promise to take us in very different directions than the Zelda-centric earlier issues seemed to telegraph, and wraps it all in some sequences that are among the best-illustrated to come out of Black Cloud to date. After this issue, I see everything we’ve seen so far in a slightly different light, which is one of the best things you can say about a slow-burn, metaphor-laden story like this one. The issue was at times more obtuse than I think totally benefits the story being told — it fails my patented Flip-Back Test (The test: “Did I ever feel like I had to flip back to make sure I understood what was happening?”), and while I am pretty sure I figured it out, in a series where reality can be subjective at the best of times that can be a recipe for disaster. Still, this was such a strong issue, and it takes us in such a different direction than I thought we were going, that I am willing to chalk a misstep up to “this will make more sense in the trade.”

Power Level: 7/10

Spirits of Vengeance #3

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Publisher: Marvel

Writer: Victor Gischler; Artist: David Baldeon; Color Artist: Andres Mossa; Letterer: VC’s Cory Petit; Cover Artists: Dan Mora & Juan Fernandez; Variant Cover Artist: Francesco Mattina; Designer: Jay Bowen

It’s official: Spirits of Vengeance has found its voice, and its voice is shouting metal lyrics to the sky while driving at breakneck speed. The issue strikes an excellent balance between action and investigation, giving us some high-octane violence between half the team and the forces of Necrodamus while the other half of the team strongarms their way into further data. We get a little bit of background behind the thirty pieces of silver and how the forces of evil managed to get their hands on them. And we get a whole lot of Ghost Rider driving a flaming motorcycle off a skyscraper and a showdown between Blade and the worst decision-makers in the history of vampirism. The book is working out to be bushels full of supernatural and neo-noir elements with action-movie sensibilities, allowing itself to have that sense of beautiful weirdness that permeates good, honest superhero comics while also lending the appropriate darkness to things like demons and a possible War in Heaven. My main complaint is that while style is definitely here in spades, there is not actually much substance: not a lot happens to advance the narrative in this issue, and we get a flashback that appears to exist in large part to explain one of the sequences later in the issue (it’s not quite as blatant as that, but I definitely felt like the revelations of the issue were less revelatory when delivered in the manner they were). Baldeon’s art is growing on me, but it is definitely an acquired taste, and not one I am always sure is perfectly suited to the story being told. Spirits of Vengeance is a wonderful thing, and if you like B-horror, the Blade movies, or Supernatural (the earlier, Eric Kripke seasons), this will likely be right up your alley, and it seems like it’s only getting better from here.

Power Level: 7/10

Superman #36

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Publisher: DC

Writers: Patrick Gleason & Peter J. Tomasi; Penciler: Doug Mahnke; Inkers: Jaime Mendoza & Doug Mahnke; Colorist: Wil Quintana; Letterer: Rob Leigh; Cover: Patrick Gleason & Dean White; Variant Cover: Jonboy Meyers

I am almost incapable of finding anything wrong with this Superman run, and that’s a hard thing for me to admit. This issue shows, even more effectively than the last one, that Gleason and Tomasi get the Man of Steel and his supporting cast, down to the molecular level, and they understand what is great about Superman stories: not the incredible superpowers (though those are fun!), but the incredible virtue, the willingness to love us and believe the best of us. The Kent/Lane family dynamic on display here is touching and totally believable to me; the civil war on Apokolips resolves in both the only way it could with Superman involved; and things with Lex go where things with Lex were always going to go, but all of it feels so right that none of it feels predictable, and more importantly it definitely feels like Superman being Superman — not his powers, but his personality — is necessary for things to progress in the way they do. I have some issues with the way the Lex character arc is resolved here — it feels like they had an end-point in mind but not a clear idea of how exactly to get to that point, and so there is a certain amount of Lex holding the Bad Decisions Ball involved — but at least the decisions feel like Lex decisions even if some of the stimulus feels forced. I also feel like maybe this issue plays softball with its take on Superman’s ideas about America (their presence here makes sense in context, I swear) at a time when it makes sense for him to be a little more critical of his adopted country. That said, this issue made me tear up a little bit and also pump my fist, and if that isn’t what a Superman comic should do, I don’t want to read a Superman comic.

Power Level: 9/10

Quote of the Week:

Lois Lane: “Sorry you feel that way, sister…but my love is not my weakness…and caring for others never makes us small! And you, of all people, do not get to lecture me…on who I am!”

Superman: “Have I told you how glad I am to see you, hon?”

Lois Lane: “Tell me again, babe.”

– Superman #36

And now, I am off for some self-care. Have a great weekend, and keep loving comics!

The post The Pull List, 12/7/17 appeared first on Ace of Geeks.

The Pull List, 12/14/17

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Hello everybody, and welcome back to the Pull List, the apartment down the street from the House of Ideas. Christmas is just around the corner, and we’re celebrating with another bumper-crop of comics this week!

Justice League of America #20

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Publisher: DC

Writer: Steve Orlando; Artist: Hugo Petrus; Colors: Hi-Fi; Letters: Clayton Cowles; Cover: Carlos D’Anda; Variant Cover: Doug Mahnke & Wil Quintana

Nothing makes me happier than taking a superhero trope your story is obviously careening toward, and doing it with absolute aplomb and a few little tweaks to add your stamp to it; therefore, nothing makes me happier than this issue of Justice League of America. It was obvious from the end of Issue #19 that two things were going to happen: the Justice League were going to use their superpowers to defuse or otherwise weather the bombs planted in Mount Justice by Afterthought and Prometheus; and the Justice League were going to have a moment of improved unity to allow them to deal with the Prometheus threat directly. But it is the way Orlando and team handle those two points that makes this issue touching and fun, and it is the way they handle the aftermath that proves this book is worth hanging onto. The ways the team members and the team overall change in this issue really affected me: I felt for those who were being called on the carpet, and my heart swelled along with those who were expressing pride in their team and the strength of everyday humans. (If you want to know more, see the quote of the week below, from Vixen.) There is darkness in this Justice League, but it’s appropriate and respectful to the superhero genre. It’s hard for me to call an issue “perfect” when it telegraphs its punches the way this one does, but it’s at least damn good, and if you’re only reading one team book right now, I think JLA is the one it should be.

Power Level: 8/10

Royals #12

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Publisher: Marvel

Writer: Al Ewing; Pencilers: Kevin Libranda with Javier Rodriguez; Inkers: Libranda with Alvaro Lopez; Colorists: Jose Villarrubia with Jordie Bellaire; Letterer: VC’s Clayton Cowles; Cover Artists: Javier Rodriguez & Alvaro Lopez

Insert string of expletives here. This issue is the last issue of Royals, and it is absolutely fantastic. It wraps up the story of the quest for a Terrigen substitute in a weird way (as only an issue of freaking Royals could, right?), finally giving us the answer to the mystery of what is going on in the flash-forwards to the last Inhuman, and in the process leaves us with some ominous hanging plot threads for the Inhumans as a group — yes, we appear to have a replacement for Terrigen, but it comes with a greater price than just the life of Gorgon. The implications are so big, Ewing is ending Royals here and moving on to Inhumans: Judgment Day, which will apparently focus on the, er…spoilers? Focusing only on this issue, it is not just the writing that’s good: the art team is also coming out swinging here, giving us epic visuals to go with our epic revelations, with high weirdness that I suspect would make the King proud, all of it invested with a real sense of weight and emotion that made this feel like a finale. I’ll miss this series as much as I miss Ewing’s Ultimates, but I am excited to see what Ewing does with the Inhumans in Judgment Day, given how superbly he portrayed them all here; when my only worry is “but how will it affect Marvel’s other totally awesome series about the Inhumans?” I know that comics are in good hands.

Power Level: 9/10

Runaways #4

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Publisher: Marvel

Writer: Rainbow Rowell; Artist: Kris Anka; Color Artist: Matthew Wilson; Letterer: VC’s Joe Caramagna; Cover Artist: Kris Anka; Graphic Designer: Carlos Lao

Do not get me wrong: everything about this Runaways series is an absolute delight. I love the exploration of the impact of time travel on Gert; I love Rowell showing how the different team members have changed and matured over time, reminding us that this relatively protean state of being is the other side of the main characters’ youth; I love Anka’s art and Wilson’s colors giving the series a vibrant, poppy feel that fits well with the original; and I am especially in love with this issue’s portrayal of Molly, and the continued exploration of the idea that trying to bring the gang back together is not going to be a smooth or flawless or even attainable process, not in the way Nico and Chase really seem to mean it. But at the same time, the comic feels like it’s not moving with any great speed toward any kind of plot beyond “Runaways don’t quite get back together,” and I’d like to see more evidence of a bigger plan for the series (like we got a glimpse of in Issue #3) so I can be sure that this is going to be more than just a sort of meditation on growing up. I am standing by it for now because its emotional core and humanity are so very good and true, but I really hope it does something larger by way of a premise soon.

Power Level: 6/10

She-Hulk #160

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Publisher: Marvel

Writer: Mariko Tamaki; Artist: Jahnoy Lindsay; Color Artist: Federico Blee; Letterer: VC’s Travis Lanham; Main Cover Art: Rahzzah; Phoenix Variant Cover Art: Ben Caldwell; Recap Page Art: John Tyler Christopher

(For those who wondered — no, (She-)Hulk did not disappear from my list on purpose — something went pear-shaped with the subscriptions and I just finally got it back into the fold!)

Jen’s initial post-Civil War II story was compelling reading, but I wasn’t sure how “superhero with anxiety” was going to play out past that initial transformation into the Hulk. The answer is now apparent: Tamaki will have Jen’s mental health and the way it affects her interactions with the world vary from story to story, growing and changing as she learns to deal with it, and that is the best answer I could ask for. This issue, we slow down for a second and get some insight into what is going on with the Leader’s pawn, and the way Tamaki brings that story across is compelling and really shows off what she’s capable of as a comic-book storyteller — the way she and Lindsay show us the life experiences that led up to the decision to enact this super-villainous scheme is clear, but also trusts in the intelligence of the reader to fill in the blanks. The Leader’s plan is, unfortunately, a tiny bit hackneyed, and borders on evil-for-evil’s sake; but his monologue (yay, Leader villain monologues!) at least gives it some amount of refreshing spin, and it feels very true to the character. I saw the twist at the end coming from last issue, but it’s not really meant to be a huge shocker, and the way it’s framed leaves an interesting (and terrifying) question to be answered next month. She-Hulk is one of the better down-to-earth superhero books I have read, and while I wouldn’t come onboard during this storyline, it’s proof the series is worth the back issues.

Power Level: 7/10

Titans #18

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Publisher: DC

Writer: Dan Abnett; Pencils: Brett Booth; Inks: Norm Rapmund; Colors: Andrew Dalhouse; Letters: Travis Lanham; Variant Cover: Dan Mora

While Royals, above, is leaving my pull because it is over, this is leaving my pull because this issue just wasn’t quite good enough. The ending to the Troia story feels a little bit like Abnett is going through the motions. I emphasize “a little bit” — the characters are treated with respect, and everybody gets a spotlight moment, and the emotional arcs involved in getting to the resolution feel very “Teen Titans” in a way I really enjoy. But the actual way Troia is dealt with feels cheap, falling just shy of the absolute worst way a superhero story can be resolved, by just punching the bad guy harder than they’ve ever been punched. The finale to the arc feels really flat as a result, like not actually all that much was learned or gained, and maybe it’s me coming in in the middle of the arc, or having my expectations set by the truly stellar issue I came in on, but this doesn’t give me faith that the series is going to continue in kind. It was a serviceable, fun, even satisfying story, but not one that ultimately held me as a subscriber; not when comics are so good in general and I have to be careful where I put my entertainment budget. Sorry, Titans; I still love you.

Power Level: 6/10

The Unbeatable Squirrel Girl #27

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Publisher: Marvel

Writer: Ryan North; Artist: Erica Henderson; Color Artist & Trading Card Artist: Rico Renzi; Letterer: Travis Lanham; Cover Artist: Erica Henderson; Variant Covers: Michael & Laura Allred; John Tyler Christopher; Veronica Fish (based off the original cover of Silver Surfer: Parable #1 by Moebius); Mike McKone & Andy Troy; Logo: Michael Allred

So you know how I’ve complained a few times before that it feels like North’s Squirrel Girl is separate from the rest of the Marvel Universe? This issue remedies that, and also pulls some deep cuts in Squirrel Girl continuity, and also weaves what is a totally reasonable (if cosmically weird) superhero story that carries all the same charm and humor that have made this series one of my favorites. As the cover suggests, this one winds up involving space, but the path it takes to get there involves people acting weird around Nancy and Tippy-Toe, a callback all the way back to the very first storyline of the first volume of The Unbeatable Squirrel Girl, a villain that I literally never expected to see in the pages of this particular comic, Loki, and oh yeah, squirrels. It all makes sense in context, or at least is only weird when it’s supposed to be weird, and it all comes wrapped in Ryan North’s signature Squirrel Girl delivery and Erica Henderson’s signature Squirrel Girl art, and all of it is absolutely delightful. I want to quote every page of this issue and tell everybody about what happens in it, except that then they wouldn’t get to read it for themselves. Literally my only complaint is that Beta Ray Bill is on the cover but does not actually make an appearance. This series is pure magic in my pull list every month, and I consistently love where the creative team takes it.

Power Level: 9/10

The Wicked + The Divine Christmas Annual #1

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Publisher: Image

“Sumer Loving”: Inks by Chris Anka & Jen Bartel; Flats by Dee Cunniffe; Colour by Matt Wilson; “If You’re Feline Sinister”: Inks by Rachel Stott, Flats by Ludwig Olimba, Colour by Tamra Bonvillain; “Hitched”: Inks by Chynna Clugston Flores, Flats by Ludwig Olimba & Brandon Daniels, Colour by Tamra Bonvillain; “Decomposition”: Inks by Emma Vieceli, Flats by Dee Cunniffe, Colour by Matt Wilson; “Stolen Moment”: Inks by Rachel Stott, Flats by Dee Cunniffe, Colour by Matt Wilson; “Toxic Community”: Inks by Carla Speed McNeil, Flats by Fernando Arguello, Colour by Tamra Bonvillain; “Uh-Huh-Huh”: Inks by Emma Vieceli, Flats by Dee Cunniffe, Colour by Matt Wilson; Writer: Kieron Gillen; Letterer: Clayton Cowles

As the cargo ship full of credits up there suggests, this annual is a series of short stories, largely focused on the romantic interludes between the various divines — as Gillen himself indicates in the foreword to the issue, this is largely a series of scenes about characters Getting It On, and he does not disappoint in this regard. Nor does he disregard on the promise of the issue being bittersweet; every vignette in this issue — all from before the coming of the Great Darkness, before Ananke’s demise, before anything was any more messed up than the gods’ own inadequacies and egos — both paints one of the gods in a sympathetic light and makes us feel bad for at least one of them. Special mention goes to the work with Tara and Lucifer, who are of course long since dead but who get a chance here to remind us that we should feel their absence. I also want to give some bonus points out for matter-of-fact, unapologetic depiction of same-sex relationships here — there’s some appropriate in-character hesitation from a character who has not had a homosexual encounter prior to the one depicted, but otherwise the book is unabashed about the fact that LGBT+ people freaking exist, and that is always good to see. Also some bonus points for the very clever and surprisingly touching usage of puns. This issue only makes any sense if you’re already reading the comic — otherwise it’ll feel pretty flat and bland for a lot of it, except maybe the Baphomet sequence — and it probably doesn’t work much better if you’re not caught up on the series; but for people already digging on WicDiv, this is a lovely little stocking stuffer.

Power Level: 8/10

Quote of the Week:

“They don’t have special powers, and they still fight, every day. They’re not just like us…they’re better.”

 

– Vixen, Justice League of America #20

Alright — another marathon comics pull down, and with some real gems in there to boot. We’ll see you next week for the second-to-last Pull List of 2017; until then, keep on loving comics!

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The Pull List, 12/21/17

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Hello everybody, and welcome back to the Pull List, the apartment down the street from the House of Ideas. It’s time for our last comics review before the holidays; let’s see if we can pull this off without any Christmas puns.

America #10

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Publisher: Marvel

Writer: Gabby Rivera; Artists: Flaviano with Jen Bartel; Color Artists: Jordan Gibson and Chris O’Halloran; Letterer & Production: VC’s Travis Lanham; Cover Artist: Joe Quinones

This issue distills America down to what it does best and gives it to us in concentrated doses: convictions, punching, and joy, not necessarily in that order. The plot overall is no great shakes when you look only at the narrative bones, but I could feel Rivera’s glee as she wrote this issue, with all its weird, only-in-superhero-comics plot beats and raising stakes; I could also feel the strength of her feelings about fascism, its brother racism, and the power of sisterhood, friendship, and community. I felt everything the characters felt — heard it in their words, saw it in their faces. And speaking of the art, let’s not forget Flaviano and Bartel making the top-notch decision to make the Exterminatrix’s student-body sympathizers look an awful lot like a certain white supremacist who gets punched in the face a lot. They are absolutely going for it in this issue from top to bottom, and it takes what could be a fairly basic storyline and makes it into an issue that is What Superhero Comics Should Be About.

Power Level: 8/10

The Mighty Thor #702

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Publisher: Marvel

Writer: Jason Aaron; Artist: Russell Dauterman; Color Artist: Matthew Wilson; Letterer & Production: VC’s Joe Sabino; Cover Artists: Russell Dauterman & Matthew Wilson; Phoenix Variant Cover Artist: Kris Anka

“How good is The Mighty Thor, Tyler?”

“Well, Hypothetical Reader, The Mighty Thor is so good that it can end issue #701 with the Mangog marching on Asgard to destroy it, and take the entire next issue to focus on the human cost of the war against Malekith and not have it feel weird or disruptive because it’s so on point with its thoughts about the characters.”

Seriously, it’s that good. This entire issue is a spotlight on Jane Foster and her efforts to find a way to stop Malekith and Roxxon and end the War of the Realms, and on Odinson trying to get her to see that heroic sacrifice isn’t the only way to be heroic. The issue is something of a commentary on how much of waging war is about hearts and minds, and how much of the cost of war is paid by the best people, but it’s more than that. It’s about showing us that Odinson is slowly journeying back toward worthiness. It’s about hinting at the possible prices Jane Foster might pay for her time as the Goddess of Thunder and her efforts to win the war, and therefore at what her status will be at the end of all this. It’s about tying up loose ends as we move toward what may be the final showdown in this conflict. And it’s about upping the stakes in a fight that already had breathtakingly massive stakes, bringing us to a place where going back to the Mangog is even scarier than it was at the end of the previous issue. And it is all tied up with Dauterman’s perfect art and Wilson’s gorgeous colors. The Mighty Thor is my Platonic ideal of superhero comics.

Power Level: 9/10

Ms. Marvel #25

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Publisher: Marvel

Writer: G. Willow Wilson; Artist: Nico Leon; Color Artist: Ian Herring; Lettering: VC’s Joe Caramagna; Cover Artists: Valerio Schiti & Rachelle Rosenberg; Variant Cover Artists: Takeshi Miyazawa & Ian Herring; Trading Card Variant Cover: John Tyler Christopher; Lenticular Homage Variant Cover (Based on Captain America (1968) #109 by Jack Kirby & Syd Shores): Jacob Wyatt

When G. Willow Wilson is on her game, she is among the best writers in comics. Ms. Marvel #25 is G. Willow Wilson on her game. The issue is mostly focused on Ms. Marvel-adjacent characters, rather than Kamala herself, but it is in this that Wilson accomplishes her most impressive feat: using other people to tell us about both Ms. Marvel and themselves. Red Dagger, Mike, and all the rest get distinct voices, such that I didn’t need the art to tell who was who, and all of them sound real and well-rounded in ways that you just don’t get from a lot of comics’ supporting casts. The way the characters talk about Kamala and/or Ms. Marvel and the way they behave in her absence speak volumes about who she is to them and what she means to Jersey City, which is a relationship as important for Ms. Marvel as the relationship with New York is for Spider-Man. Wilson delivers all this with perfect comedic timing, a little dash of drama and mystery, and a final splash page that has to be seen to be believed, but is a superhero final splash page from top to bottom. This was the kind of issue that has made me a Ms. Marvel subscriber from the beginning.

Power Level: 9/10

Superman #37

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Publisher: DC

Writers: Peter J. Tomasi and Patrick Gleason; Artist: Jorge Jimenez; Colorist: Alejandro Sanchez; Letterer: Rob Leigh; Cover: Ivan Reis, Julio Ferreira & Marcelo Maiolo; Variant Cover: Jonboy Meyers

I had one problem with this issue, but it’s one that I’m having trouble putting down. Let me first say that overall, this issue exemplifies exactly what I adore about the post-Rebirth DC lineup: these writers are not ashamed of the bizarre fantasy kitchen sink of a multiverse they are writing in, and are instead exploiting the narrative options that surreal setting provides for them, and are writing with real affection for the characters they have been given to work with. The antagonist in this issue is a really fascinating one whose voice and behavior feel well-rounded and understandable without being made to feel justified or too sympathetic. The plot is relatively basic, but it’s been wrapped in a layer of mystery that guarantees I’ll be picking up the next issue of Super Sons to try to figure out what the heck is going on. The art is gorgeous, serving the story well and clearly (well, except for one visual detail — why does Superman’s Kryptonian battle armor change its physical logo when it gets hacked?!). But there is this one panel that I just cannot get over because of what it says about Tomasi/Gleason’s approach to the Man of Steel: when the villain shows up in front of Superman, he says he is going to teach the villain “a lesson in pain.” That’s a super-villain line; why the heck is Clark throwing that around? I am never here for Badass Gritty Superman, and part of why I loved this version of Superman is that the writer seemed to get that, so I am really hoping that the other series the editor’s notes allude to give some reason for Superman to be that angry with this character — and even then, why say it that way? But, that hang-up aside, this is a perfectly good issue; just, be ready for that weird New 52 moment.

Power Level: 7/10

New Series: Marvel Two-in-One #1

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Publisher: Marvel

Writer: Chip Zdarsky; Penciler: Jim Cheung; Inkers: John Dell with Walden Wong; Colorist: Frank Martin; Letterer: VC’s Joe Caramagna; Cover Artists: Jim Cheung & Justin Ponsor; Variant Cover Artists: Alex Ross; John Tyler Christopher; Jack Kirby; Joe Sinnott & Paul Mounts; Jack Kirby & Joe Sinnott; Jon Malin after Rich Buckler & Joe Sinnott; Mike McKone & Rachelle Rosenberg; John Byrne & Paul Mounts; Arthur Adams & Morry Hollowell

Choo choo! Feels train comin’ into the station! The elevator pitch for Marvel Two-in-One is that it’s a team-up book featuring the Human Torch and the Thing, and this issue delivers on that promise with extreme prejudice. Zdarsky’s script delivers extremes of emotion, both laughter and sorrow, but most importantly, showcasing the deep, abiding love the Fantastic Four all felt (feel?) for each other. All throughout the issue, you can feel the absence of Sue and Reed from Ben’s life as sharply as he does; Johnny, likewise, is struggling, but his struggle is complicated by twists that this issue lays down, providing a motive force for the story besides the ghost of Reed Richards that is haunting this issue. If that weren’t enough, Zdarsky also manages to fold in a cameo by the Four’s most famous nemesis (who is dealing with struggles of this own these days) and some callbacks to the FF’s early adventures that were so numerous I am sure I missed a few. This was nostalgia done right — nostalgia with a clear direction it is taking from that starting point — and I am elated that I signed up for it.

Power Level: 9/10

Quote of the Week:

“They don’t have special powers, and they still fight, every day. They’re not just like us…they’re better.”

– Vixen, Justice League of America #20

Alright — another marathon comics pull down, and with some real gems in there to boot. We’ll see you next week for the second-to-last Pull List of 2017; until then, keep on loving comics!

The post The Pull List, 12/21/17 appeared first on Ace of Geeks.

The Pull List, 12/28/17

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Hello everybody, and welcome back to the Pull List, the apartment down the street from the House of Ideas. Here we are — the very last Pull List of 2017. We made it through the fire and flame, and in honor of the break we all deserve, this will be an extra-short column, with just one comic to review — which just so happens to be an issue of Ace of Geekssecond-best comic of the year.

Before we dive into the review, let me just take a second to say: thank you. This has been one of the darker years of my life, for all the obvious reasons, and my mental health this holiday season has been especially bad; but getting to share the joy of comics with our readers has been a highlight of this revolution of the globe.

Now then, let’s get to this year’s last comic standing!

Justice League of America #21

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Publisher: DC

Writer: Steve Orlando; Artist & Cover: Steven Byrne; Letters: Clayton Cowles; Variant Cover: Doug Mahnke & Wil Quintana

Oh, yawn, a story about the Ray fighting Aztec cultist/gang members and corrupt cops and teaching a lesson about proper superheroism to an edgy superhero. How run-of-the-mill for this awesome freaking comic that strikes gold even in its most basic storylines. I don’t want to oversell it — this issue is not perfect. Orlando follows two story threads about two individual Justice Leaguers, and the points where it cuts from one to the other are not always points of maximum coherency. There are more than a few spots where the narrative feels rushed — like the dialogue is meant to deliver more data than it’s actually delivering, to the point where it failed my Flip-Back Test a couple times. But what does hold together holds together very well — three major character arcs are advanced, along with the main thrust of the series plot, and everybody feels very well-represented (well, those who get to speak — a lot of the JLA is absent or appears in the background only). The new character introduced in this issue also contributes to the feeling of a larger, wider DC Universe out there, and keeps the four-color feel clear in an issue that is a bit more gritty and street-level out of necessity. Also a shout-out to Byrne’s art, which is really impressive here — the use of color is amazing, and his faces are expressive without being too over the top. All in all, a nice little second-act issue for this new JLA, and a good setup for the story going into 2018.

Power Level: 7/10

Quote of the Week:

“The thing is…I get your anger. I know it. I’ve even felt it. And it’s easy to just let it take you. But there have to be other ways to use it. Ways that don’t hurt you. I’m here to stop you, yeah. Not for him. For you…think about it. For now, though. This is over.”

– The Ray

 

And that’s all Orlando wrote, and therefore all I wrote. I hope you all get to see 2017 off in whatever manner you prefer, and that you have an auspicious start to your new year. Until 2018: keep loving comics!

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The Pull List, 1/4/18

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Hello everybody, and welcome back to the Pull List, the apartment down the street from the House of Ideas. Happy New Year! I hope your celebrations have been excellent and your returns to your day jobs smooth and painless, or as close to those qualifiers as possible. If it helps, comics have kicked off with a bang this January, and the Pull List is here with four of the best and most promising.

Black Bolt #9

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Publisher: Marvel

Writer: Saladin Ahmed; Artist: Christian Ward; Letterer: VC’s Clayton Cowles; Cover Artist: Christian Ward; Design: Nick Russell; Logo Design: Jay Bowen

I’ll admit, I was dubious when I saw Captain America on the cover (thanks for that, Nick Spencer…), but what is contained within is one of the best single issues of a comic in my recent memory. Far from the Secret Empire aftermath tie-in the cover made me expect, this issue picks up where we left off — with Titania demanding to know what happened to her husband, the late Absorbing Man — and takes the answer to that question in an unexpected, touching, and…actually really human direction. Cap is in this issue, so the cover is not a lie, but the context for his appearance is not only nonviolent, it’s a catalyst for showing off just how good a person Steve Rogers is — as well as how good a person Blackagar Boltagon has become through his time in prison, and how complex the villains of the Marvel Universe can actually be, even the littlest, most B-listiest of them. I did not enter this issue expecting a parade of deep feelings about superheroes, supervillains, and the lives of ex-cons, but it’s what I got, and it is glorious. Ward’s art is still a work in progress for me, but the story the art and the words are telling together is good enough that “okay” is good enough. If you aren’t sold on Ahmed’s Black Bolt yet, this might be the issue that’ll do it for you.

Power Level: 9/10

Superman #38

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Publisher: DC

Writers: Peter J. Tomasi & Patrick Gleason; Penciller: Sergio Davila; Inker: Vicente Cifuentes; Colorist: Gabe Eltaeb; Letterer: Rob Leigh; Cover: Ivan Reis, Oclair Albert & Hi-Fi; Variant Cover: Jonboy Meyers

Oh my God, it’s true: DC has remembered how to write superhero comics. This issue has some grit and some grim flying around, as you might expect from the cover and the overall subject matter of the “Super Sons of Tomorrow” story — I mean, we are discussing the murder of a child — but it is handled in the reconstructive four-color style that I’ve come to expect from the best 2010s superhero books, with a mix of creative power usage and characters being good, moral people, if occasionally led astray by their fears. In other words, it’s exactly how I like my superhero comics. Just as impressive is the fact that this issue is only the second issue of “Super Sons of Tomorrow” I have read (Part One having landed in my inbox with Superman #37), but I had no trouble understanding the situation despite the gap, but also never felt like the characters were engaging in a round of “As you know, Bob” for the purpose of catching me up — in fact, the lacunae Tomasi and Gleason did leave in the story were tantalizing enough that they got me to pick up the back issues of Super Sons and Teen Titans that constituted Part Two and Part Three. Whatever worries I had about Superman’s aggressive behavior in #37 were laid to rest here, and paid back with interest. This storyline was great fun, and proof that DC has remembered that superheroes are at their best when they are heroes.

Power Level: 9/10

New Series: Exit Stage Left: The Snagglepuss Chronicles #1

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Publisher: DC

Writer: Mark Russell; Penciller: Mike Feehan; Colorist: Paul Mounts; Letterer: Dave Sharpe; Cover Artist: Ben Caldwell; Variant Cover Artist: Evan “Doc” Shaner

I wasn’t sure what I was expecting when I opened up an issue of something called The Snagglepuss Chronicles, but what I definitely was not expecting was a harsh, resonant indictment of 1950s American culture that also rips deep into the soft underbelly of 2010s American politics in the process. Not only is this issue never explicitly funny — the connection to Hanna-Barbera cartoons appears to be that there are anthropomorphized animals in among the humans and basically nothing else — but it explicitly brings up some deeply uncomfortable, deeply damning subject matter: Snagglepuss’s furtive homosexuality; the Stonewall Inn; Joseph McCarthy; HUAC hearings; it’s all here, and it’s all unflinching. I cannot undersell how incredible Russell’s writing in this issue is; every page of it is witty, well-paced, pithy, and biting, to the point where I barely had a chance to catch my breath at some points. Feehan’s art is also fantastic, with just the right amount of detail to make Snagglepuss and his fellow ‘toons look totally at home among the humans around them, rather than trying for a juxtaposition that might have actually taken the power out of the statements the story is making. Exit Stage Left has a lot to say about America then, about America now, about the power of art and the risk it poses to those in power, and about the horrible way America has treated the LGBT community — and somehow, because it stars a cartoon cat, it actually cut me more deeply than if it had been a straight-faced comic about McCarthy and his evils. I subscribed to this immediately after finishing the first issue, and honestly, I think you might, too.

Power Level: 9/10

New Series: Koshchei the Deathless #1

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Publisher: Dark Horse

Story by: Mike Mignola; Art by: Ben Stenbeck; Colors by: Dave Stewart; Letters by: Clem Robins; Cover by: Mike Mignola with Dave Stewart

I love Mike Mignola, so this review pains me a little to have to write — I just was not that deeply into this one. I love the folklore around Koshchei the Deathless, and Mignola does an expert job of laying out those tails under the framing of Koshchei telling his story to Hellboy. Likewise, Stenbeck is an adept artist, evoking Mignola’s signature Hellboy style without trying to mimic it exactly; the use of color and negative space here is really very impressive. But in the end, this really does just feel like “Mignola does Russian folklore,” without a whole lot of changes except those directly required to marry it to the ongoing Hellboy story. And that’s a perfectly fine, even laudable thing, but it isn’t quite enough for me to sink my teeth into. If you really, really love Hellboy (and who doesn’t?), or really, really love Russian folklore, this might be right up your alley, but for me, sadly, it’s a pass.

Power Level: 6/10

Quote of the Week:

“Culture is not a harmless giggle. Some mere diversion. Show business matters because, in the end, a nation becomes that which it enjoys.”

– Gigi Allen, Exit Stage Left: The Snagglepuss Chronicles #1

And there you have it — an excellent start to what I hope is an excellent year for all of us. Have a great weekend, and keep on loving comics!

The post The Pull List, 1/4/18 appeared first on Ace of Geeks.


THE PULL LIST – 2/1/18

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Hello, Everyone and welcome to another edition of The Pull List, the apartment down the street of ideas. I’m your host Brian J. Patterson, and I’m very excited to bring you my picks for this week. The theme for this week is bloody carnage. So, I’m going to give you the two books that I thought were interesting even though they had a lot of bloody carnage. As always…Enjoy!

GoWest

GO WEST #1

Publisher: Alterna Comics

Writer: Garrett Gunn, Artist: Saint Yak, Colorist: Sean Forney, Letters: HdE

I have to be honest, I can’t really put my finger on why I was so attracted to picking up this comic, but I’m glad that I did. The story takes place in a post-apocalyptic California, over a hundred years in the future (2136). A great war is the cause of the damage, and the West Coast in particular, has been stripped of it’s ‘fabulousness’ so to speak. A mercenary’s wife and daughter have been killed and he makes it his mission to avenge them. While this whole Frank Castle meets Walking Dead might sound weird to you, I am surprised that I enjoyed this first episode which almost reads like a television show opening: Smooth, simple, and sopping with blood. It’s true, there is blood everywhere! The art direction is not your traditional and focuses mostly on character and emotion. The paper upon which it is printed is a kind of old school newspaper feel, which adds to the feel and telling of the story. A great escape from the superhero inundation from the big two, Go West turned out to be exactly the kind of distraction I needed, and at $1.50 you can’t go wrong!

Power level: 8/10

All-New_Wolverine_Vol_1_30

ALL NEW WOLVERINE #30

Publisher: Marvel

Writers: Tom Taylor, Artist: Juann Cabal, Colorist: Nolan Woodard, Cover Artists: Dan Mora and Romulo Fajardo Jr., Letters: VC & Cory Petit

The cover of this book is what drew me in the most. The angle, the colors used, the expression, the stance, and even them standing in the puddles of water. To me, it’s exactly what Wolverine is all about; The fight. After the movie Logan, we are all expecting blood and gore from anything and everything associated with Wolvie. This comic delivers, but in a new way to me. For all of the fighting, blood, and gore that appeared in the book, I was especially surprised at how well the messages of love, preservation of human life, and respect for each other as a species were conveyed and encouraged. I won’t go into much more, but I will say that regardless of anything else, this book is worth picking up for how the story unfolds. Go get it!

Power level: 8/10

Quote Of The Week: “Every humane and patriotic heart must grieve to see a bloody and causeless rebellion, costing thousands of human lives and millions of treasure. But as it was predetermined and inevitable, it was long delayed. Now is the appropriate time to solve the greatest problem ever submitted to civilized man.” – Thaddeus Stevens

As you go through the rest of your comic week, I hope that you can appreciate and enjoy some of the more bloody side of comics and the evolution and change that it represents. See you next week! -Brian

The post THE PULL LIST – 2/1/18 appeared first on Ace of Geeks.

THE PULL LIST – 2/8/18

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Hello, Everyone and welcome to another edition of The Pull List, the apartment down the street of ideas. I’m your host Brian J. Patterson, and I’m very excited to bring you a few of my picks for this week. The theme for this week is female empowerment. So, I’m going to give you the three books that I thought were interesting and also seemed to focus on women as the centerpiece of the story. As always…Enjoy!

BM_Cv40BATMAN #40

Publisher: DC Comics

Writer: Tom King, Artist: Joelle Jones, Colorist: Jordie Bellaire, Letters: Clayton Cowles

This issue along with the two before it, has really impressed me. Tom King’s writing is nothing but superb. The pacing is near perfect, and his ability to balance the motivations of the on screen characters with the comics based versions of these characters is perfect. I loved watching Bruce’s tough exterior being cracked by Diana. I loved Diana reveal her humanness, and also details about her life which payed homage to the Marston era, and am especially impressed with how he handled the Batman/Catwoman/Wonder Woman love triangle (I won’t ruin it for you, but I will say that King definitely understands Wonder Woman as a character. DC may want to think about putting him on the book for a while. The art on this issue is also magnificent. I love how Jones caught the essence of each character, their personalities, and expressions. In addition, every character seemed to be drawn with care; Catwoman’s swirlish ways, Wonder Woman’s Roman nose and kind yet powerful warrior eyes, Angela’s rounder face and small/compact frame, and Julian’s robustness. The marriage of these two elements (writing and art), along with the brilliant choice of color, and the through line of strong women made this my favorite pick this week.

Power level: 9.5/10

She-Hulk_Vol_1_162SHE-HULK #162

Publisher: Marvel

Writers: Mariko Tamaki, Artist: Jahnoy Linsay, Colorist: Federico Blee, Cover Artist: Rahzzah, Letters: VC’s Travis Lanham

Besides Jessica Drew, Jennifer Walters is one of my favorite, and most underutilized women in Marvel. I’m glad to see that she is getting a more introspective analysis into her character and what makes her tick. Although we didn’t see a lot of fist to cuffs, we did get the beginning of a resolution to what has been ailing her. I believe that this could be the beginning of a new chapter for the sensational She-Hulk. What was great is that another woman was the catalyst for this resolution. I’m hoping that we see more of her and more of her background, along with more about the new direction into which this growth may catapult her.

Power level: 8/10

XMRED2018001_DC11_mockupBlueAltX-MEN: RED #1

Publisher: Marvel

Writer: Tom Taylor, Artist: Mahmud Asrar, Colorist: Ive Svorcina, Letters: VC’s Cory Petit

Jean Grey has returned to life and so begins X-Men Red! First off, it’s nice to see Marvel once again creating a female led X-Men team. Very much like their roster of talents, they prove to be constantly diversifying and living up to the Xavier ideal of inclusion. This book was chalk full of real life parallels which stayed totally on non-discrimination message. Surprisingly, the book already created and identified a female villain. What surprised me is that all of this happened so fast. Additionally, I am missing Jean’s transition period to being alive again. It was almost handled so nonchalantly that I find myself hungry for more of her internal journey. I hope this is developed in the future. In the meantime, I’ll enjoy her new “life” mission and watching it unfold.

Power level: 7.9/10

Quote Of The Week: “Women are the wave of the future, and sisterhood is stronger than anything.” – Wonder Woman (Season One of the 70s TV show via Lynda Carter)

As you go through the rest of your comic week, show some of the women in your life that you appreciate them. See you next week! -Brian

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