Daredevil and Spider-Man leap and swing into action in the latest issue of Waid's run.

Last week I saw something truly heinous, truly unseemly, truly asinine: “Daredevil is Marvel’s best new comic series of 2011.” With Comic Book Resources among them, media outlets and reviewers have praised the book for its content. Here are some examples.

“Best New Comic Series of 2011” – IGN.Com

 

 

“…easily among the best new series to come out in 2011.” – CNN.com

 

 

“Simply a beautiful, beautiful book both thematically and visually” – MTV.com

 

 

“Best relaunch…Mark Waid’s brought him back with a new freshness and Marcos Martin & Paolo Rivera have chipped in exquisite artwork.” – USA Today

Before I continue, let’s analyze the book based on these comments. First, in what regard was Daredevil the best new series of 2011? What has it accomplished as a title? What ground breaking elements has it introduced that has blown away the competition? My answer, quite plainly, is it’s done nothing to warrant such acclaim. Altogether it’s one of the most lazily cobbled messes, continuity wise, and Stephen Wacker should be ashamed of this book for it’s near complete ignorance of Daredevil’s history. I know he’s not, as I’m sure Marvel editorial is quite pleased with the misplaced praise this watered down iteration of one of Marvel’s classic characters has received. What Mark Waid has effectively done is unravel the quality work Miller, Bendis, Brubaker and Diggle completed before him, creating a poor man’s Spider-Man in the process. Secondly, although I’ve come to appreciate Paolo Rivera’s artwork in contrast to Waid’s writing, it still pales in comparison to the work of Marco Checchetto and Matt Hollingsworth during the Diggle run which was dark, atmospheric and beautifully done. Although Rivera’s work is intuitively detailed, his pencils are too cartoonish, while Martin is effectively a poor man’s Rivera, failing to do much of what I appreciate Rivera for. The book, as a whole, is simply mediocre and pedestrian. It has not done a thing to encourage positive review.

Given Waid’s track record, I even doubt whether we’ll ever see Waid’s Murdock deal with the fallout of Shadowland. We’ve been given no indication, as it seems all signs point towards Murdock somehow being unquestionably forgiven for his misdeeds, while the character himself has simply, until now anyway, stuck his head in the sand and is pretending it never happened. We’re to forget he murdered Bullseye in cold blood? That he led The Hand to taking over New York? That many were killed during this period and it’s on his head? No, and those who discount those elements in favour of some false, squeaky clean Matty are flat out wrong in their opinions. Part of what has made Daredevil a successful series since it’s Marvel Knights relaunch (including Miller as well) has been the humanity and resiliency of Murdock, how in the end the man, without fear, shines through and he rebounds. Moreover, what we’ve seen especially in the transition from Bendis to Brubaker, and later Brubaker to Diggle, is a direct continuation of the previous arc. Each writer had to deal with the dangling plot lines from the previous run, and what happens is a fantastic story about a guy who has been through absolutely everything the world could throw at him, and yet here he is, still standing. Shadowland was a story about finally pushing him too far, about finally going over the edge and subsequently, his road back from actions which he can’t ever be completely exonerated from. Marvel editorial has decisively dropped the ball with bringing Waid on to write the book. This run has completely ignored the last year’s worth of stories, not even addressing a shred of its plot, much less that Black Panther is still running around Hell’s Kitchen. The book, as a whole, is lazy.

That’s not even the most concerning part. Although some commentary I’ve read on the new series points towards the character’s obvious denial of the events and his eventually having to deal with the aftermath realistically, I’m not so convinced it’s going to happen, and if it does, much less that Waid can execute it. That is the mark of a great (mainstream) comic book writer, and the fact that Waid can’t seemingly perform, and that Marvel has actually approved this book is a travesty.

I truly look forward to the issue where I have to eat my own words, but I have no reason to believe it’s going to happen, or that Daredevil, while helmed by Mark Waid, is going to turn the corner any time soon. As of issue eight of the relaunched series, it’s still failing to impress.

This rumor turned out to be false but it got me thinking, what crossovers would I like to see? If I could match up characters and licences from other companies and put together mini-series, what would I put together?

First, the rules. No worries about continuity. All participants must be alive and available to work for one or all of companies involved (no Alan Moore).

Batman / Daredevil

This was rumored at one point and I know Bendis wanted to do it and to be honest I think I’d bring Bendis and Alex Maleev on the book. Sure the book would be a little angst-y compared to the current run on either book but it be worth a look.

Snake Eyes / TMNT

Both properties are in place at IDW and maybe it wouldn’t work but I’m picturing a one shot featuring Snake Eyes and the Turtles. If I were writing it, it’d be a play on the silent issue of Gi Joe but with Michelangelo interrupting. Fun book with lots of kick ass action drawn by GI Joe work horse Valentine DeLandro. As for a writer…er… I’m free.

Jonah Hex / Hawken

Now granted, Hawken has a lot in common with Hex but I’d love to see Tim Truman team his creation up with the supernatural version of Hex with Joe R. Lansdale penning the script. A weird western on all sides.

The Rocketeer / The Spirit

I have no idea how you would match these two up other then the time period lines up but I think if you take the fun tone of both characters, maybe a plot involving Nazi’s and The Spirit hitting on The Rocketeer’s girl, you’ve got something. especially if it’s written and drawn by Darwyn Cooke. Cooke has proven himself with both characters, it’s a natural fit.

JLA / Avengers

Well aware that we’ve had this before but I’d shake up the creative team a bit. Grant Morrison writing and Mike Deodato on pencils. It may seem like an odd pairing at first but Grant did a solid run on the JLA and Deodato has done some stellar work with the Avengers in various forms as of late but it could also serve as a bit of redemption for the artist as he drew a lot of the characters involved (the Avengers, Wonder Woman, Thor) in the 90′s during his early years with some very unfortunate costumes.

What about you dear readers? Any team ups you’d like to see? And with what creators?

Writer: Brian Michael Bendis

Artists: Howard Chaykin and Mike Deodato

Colours: Edgar Delgado and Rain Beredo

Cover: Mike Deodato and Rain Beredo

Publisher: Marvel Comics

With an Avenger in the hospital and fighting for her life, issue twelve of New Avengers arrived on the stands last week. Let’s have a look at how this book is shaping up after a year’s worth of issues.

Synopsis

Luke Cage, Iron Fist, Ms. Marvel, Thing, Spider-Man, Wolverine, Dr. Strange, Mockingbird, Jessica Jones, Victoria Hand and Squirrel Girl; apart they are heroes, but together they are Avengers. Given the keys to Avengers mansion, this team of Avengers has been given free rein to protect the world as they see fit, but danger walks hand in hand with their line of duty. One of these heroes may pay the ultimate price…

What’s the Story?

Hawkeye watches on while surgeons work on Mockingbird

Mockingbird lays all but lifeless in a Rhode Island hospital as doctors frantically work away with her life hanging in the balance. An angered Hawkeye watches on alongside his Avengers teammates where he learns they have a lead on Superia’s whereabouts.

In the distant past, Nick Fury’s team confronts a Captain America in the tunnels underneath Red Skull’s hideout. The faux Cap attacks the team, throwing his shield at Fury and later attacking another platoon member as he shoots him. Fury eventually gains the upper hand after smacking “Cap” with a rifle. Later, Fury’s team tracks down Red Skull outside Helsinborg Castle as he tries to make an escape. He is cornered by Victor Creed and to the dismay of Fury who had wanted Red Skull for questioning, Creed kills him.

In the present, The Avengers prepare to interrogate a member of H.A.M.M.E.R. while Iron Fist and Luke Cage exchange pleasantries with an uptight police Captain who doesn’t enjoy the Avengers moving in on his precinct. The woman in the interrogation room calmly asserts her allegiance until Wolverine arrives and begins to intimidate her. Meanwhile in Manhattan, Victoria Hand is attacked by Superia. By the end of the issue we’re left to wonder where Hand’s allegiance truly lays.

Hawkeye learns the Avengers have information leading to Mockingbird's shooter

The Pretty, Pretty Pictures

With two different story lines running in this issue, I suppose two artists were required. I just don’t see the reasoning though, and I feel this book didn’t need a secondary artist to pencil the flashback sequences of Fury’s team. Considering how good Deodato is, I would have preferred him to have done the entire work as opposed to Chaykin’s contributions. I’ve not been overly exposed to Chaykin’s work before outside the Guy Gardner mini-series Collateral Damage and a glancing look at his Punisher War Journal work. Neither really impressed me, and his work in this issue didn’t either concerning his characters. They look too cartoonish compared to Deodato’s work which balances the overall quality of artwork in the issue. Deodato’s work is altogether crisper and more realistic. Although I dislike Chaykin’s characters, I think his style lends itself to more action, notably the entire exchange between “Cap” and Nick Fury’s team. To this end it complements Deodato’s much more atmospheric and moody work and infuses the issue with more energy. I also liked his final contribution of Red Skull’s head floating in the water and it’s honestly one of my favourite pieces of work Chaykin has done from what I’ve seen. I disagree altogether with splitting the art duties and dislike Chaykin’s models, but Chaykin nicely complements Deodato’s work.

Overall Thoughts

A faux Cap fights Nick Fury in the past

Despite not following the series extensively, I was able to step into the ongoing story and understand the summation of what’s gone on so far. At the same time though, the story feels dull. I found myself not caring about the flashback sequences of Nick Fury’s squad in Sweden as they chased down Red Skull. I continually entertained “so what” sentiments while reading these “breaks” in the greater story. For a new reader this was a particularly difficult issue to jump into. Its 50/50 story was not very well outlined in the introductory summary at the beginning of the issue which I feel is standard now if new readers are going to be able jump into a series based whether out of curiosity or through buzz. I was left not caring about half the issue, and that’s never a good sign.

What was interesting though was the other half of the story focusing on the Mockingbird attack and later Victoria Hand’s apparent betrayal of Steve Rogers’ faith in her and his Avengers initiative. When her initial inclusion was revealed at the end of Siege it was peculiar considering her allegiance to Norman Osborn. Presuming her colours haven’t changed, this marks a shift in the evident conflict between the Avengers and H.A.M.M.E.R. With Hand in a position to finally subvert Rogers, this story is setting the former H.A.M.M.E.R. agent into a position where she can take down Rogers’ entire operation if she chooses to, especially now with his trust in her back pocket. Despite being a suspect issue, there is something tangible here that’s worth following if you’re an Avengers fan.

Writer: Brian Michael Bendis

Artists: Alex Maleev

Colours: Matthew Wilson

Letters: Cory Petit

Covers: Bryan Hitch, Paul Mounts, and Paul Neary; Humberto Ramos and Edgar Delgado; Mark Texeira

Published: Marvel Comics

Bendis and Maleev reunite once again to bring us the latest attempt to install Moon Knight as a prominent character in the Marvel Universe. Following the aborted Vengeance of Moon Knight series and the Shadowland tie-in, the jury will be out whether this team can invigorate the series or whether it falls by the wayside once again. Let’s take a look at issue one of Marvel’s latest attempt at a Moon Knight series.

What’s the Story?

After briefly recounting Moon Knight’s history during  a TV pilot, we find the series’ muse Marc Spector has relocated to Los Angeles where he’s about to launch his new action series, “The Legend of Khonshu”, as an executive producer. Spector is pulled away from the party by members of the Avengers who pull him back into the super-heroic fray to scuttle the rise of a new local kingpin of crime. Spector leaps into action, staking out a boating dock while waiting for an arms deal to go down. Mr. Hyde appears from a boat and confronts two henchmen while asking for payment. Hyde attacks them, but is then attacked by Moon Knight. He manages to distract Hyde momentarily, giving himself enough time to board the boat to see what Hyde was offering as merchandise. Moon Knight finds an Ultron laid on a table and strapped down. He eventually escapes the boat with the Ultron, later taking it back to the Avengers where they ultimately decide together that if they’re going to take down this new threat and their potential army of Ultrons, they’ll need to assemble.

Spector is approached by the Avengers at his TV series' launch party

The Pretty, Pretty Pictures

Maleev’s signature pencils, in both their positives and negatives are present in this debut issue. In the first few pages we’re offered a desert sequence loosely highlighting the origins of the man of the moon. I felt like these pages were not Maleev’s strongest in the issue. His strengths have traditionally been panels with darker tones and a grittier atmosphere; these pages clashed with much of the artwork and is negatively contrasted immediately once the Spector character is placed deep within Khonshu’s chambers. I also didn’t like how the Avengers characters used were all the same size and build, which is especially strange since Wolverine is drawn to be the same height as Moon Knight and not nearly as stocky as the character’s other depictions. Also, considering Bendis’ status in the lexicon of recent Avengers stories it’s unforgivable that Steve Rogers is wearing the classic Captain America costume (unless I’ve missed something). My only other concern is Moon Knight’s costume which feels less pronounced or defined than other artists’ portrayals. It looks almost as if Spector were wearing a white Daredevil costume.

Moon Knight stumbles onto an Ultron

The rest of the work was great, especially the dust-up between Moon Knight and Mr. Hyde which was put together well. I liked how he’s drawn using his crescent moons to gain the attention of Hyde, only to immediately follow it on the next page by leaping onto Hyde’s chest from a rooftop. I liked the entire exchange where Maleev draws Hyde grabbing a van by the bumper, Moon Knight’s immediate reaction, followed by his being hit by the van frame by frame until he sinks to the bottom of the waterfront before swimming back to the top. Another cool effect was Wilson’s colouring of any panel where a particularly aggressive action is taken by Moon Knight or Hyde; the tone of the colouring is red and yellow in these panels. It’s minor but breaks up the rest of the page and keeps it from becoming monotone in presentation. It accentuates the fight scenes and adds emphasis to them.

Overall Thoughts

I came into this issue expecting very little concerning the quality of the content, regardless of Bendis’ involvement as writer. Although enjoyable, the tone of the previous two Moon Knight series inevitably fell flat as they wore on because they focused on the main character’s struggles with his own psyche; to kill or not to kill as it were. That became stale. Although it’s too early to say whether the formula Bendis is seemingly putting together after this issue will hold, it was an enjoyable read with an equal amount of intuitive violence and storytelling. It centred around a plot which removes Spector from the primary superhero haunt of New York city and into the oceans and sandy beaches of Los Angeles. It allows the character to have a fresh start while still maintaining the core qualities of what Moon Knight is, while also incorporating his budding ability to work on a team into the story dynamics. Where previous teams have tried to bank in on the character’s cult popularity unsuccessfully, I feel like Bendis and Maleev were able to work their magic on this debut issue.

It’s amazing: sometimes when you re-read something years later, you can truly take in the scope of how important the book actually was.

For those of you who haven’t read it, Born Again begins with Matt Murdock’s ex selling his secret identity for smack. This leads to the Kingpin getting a hold of it and breaks down Matt’s life brick by brick.

Technically, this story is superb. Despite being produced in 1986, the book is incredibly well written. This was during the time period where Frank Miller was really firing on all cylinders; he had just returned to Daredevil, Ronin was done and The Dark Knight Returns was still in the process of being published. While at first glance the book may look a little wordy, Miller made every caption, every piece of dialog count. If there’s any issue with the story at all, the piece with Nuke now seems a little tacked on.

That being said, I’m also amazed at how stand alone Born Again is for 1) being part of regular continuity and 2) being a storyline in a regular book as opposed to a mini series. Miller’s writing in Born Again lets you in on everything you need to know about the world of Daredevil for the storyline; we learn who Karen page is and what she’s become that drives her to sell out Murdock. We get a brief appearance of Daredevil’s origin and we learn why the Kingpin has it out for him. Sure small points are lost a little, I couldn’t remember why Foggy and Matt’s law firm was gone at this point in the series or who the hell Glori was but it didn’t really matter much in terms to the overall story. It’s a brief blip on the radar and then you continue.

Born again is also of some significance because it’s where Miller and artist David Mazzucchelli first started to really gel together. While Mazzucchelli hasn’t hit full creative stride with Born Again (there is a sharp difference in style only a year later in Batman Year One) it’s obvious that the two work incredibly well together.

Kudos have to go to Marvel for the Marvel Premier Classic hardcover of Daredevil: Born Again. The binding and paper stock are a great way to present the story, especially in terms of the art where the colors and pencils can look their best.

But what really got me is how much of Daredevil’s stories since Born Again, use it as a giant springboard.

Kevin Smith’s run on Daredevil (Scott says: Daredevil Guardian Devil) for instance, brings back Karen Page as a character as well as dealing with the consequences of her life as addict and porn star. There’s also more than one or two pages that Joe Quesada used to pay homage to Born Again.

Bendis and Maleev’s work on the book not only plays off of Born Again but a large amount of Miller’s work on Daredevil. Bendis takes the idea of Matt’s identity being outed to its logical extreme for the age of TMZ and has Matt outed to the press as well as the criminal underworld. In fact, numerous writers have outed Daredevil since Born Again with it always seemingly returning to status quo.

Of Miller’s three ‘goes’ on Daredevil (his initial run, Born Again and Man Without Fear), Born Again is probably the most solid and the most original. It’s a great book to introduce new readers to the reasons why Daredevil is a great character and why Frank Miller ranks as one of comics greatest talents. Hell, I fully plan on telling my girlfriend to give it a read. As for Ed, turned out he quite enjoyed the book. He had never been a huge Daredevil reader but you could kind of see the gleam in his eye where he really wants another Daredevil book to follow it up with.

To which I will put it up to you loyal readers in the comment section. Which Daredevil run/graphic novel would you suggest to Ed next? Sure there’s Frank Miller’s entire run to consider but what else would you throw in there?

Okay…and…go!

Today’s Question: “Which comic book property should be adapted to the Small Screen?”

Wade Mckee (Loud Mouthed Comic Store Employee, Booster Gold’s Number One Fan)

Gotham Central could easily be made into a television show. It’s a police procedural – in the vein of NYPD Blue or Homicide – with the added spin of having a few capes tossed in for good measure. Get Michelle Rodriguez as Renee Montoya and Omar Epps as Crispus Allen. Think of this as being The Wire of Superhero TV shows!

Alexa Tomaszewski (reporter for Comic Book Daily and contributor to the Daily Planet.)

Hate to go all girl on you but I say the love triangle.

There’s nothing more compelling than unrequited love. I mean Scott, Jean and Logan kept readers coming back for more issue after issue and Scott and Logan’s remorse over her death, I feel at least, made the impact harder.

The love triangle is often complicated in comics by the hard decisions our hero’s are sometimes forced make for the greater good. Angel left Buffy and after her death Buff, to the delight of Blondie Bear fans everywhere, found something in Spike. Now, both men are back. Which character has Buffy’s best interest at heart? Who is she ultimately going to align herself with, et cetera, et cetera. It’s damn good reading.

The love triangle can be further complicated by the sense of duty our characters have. Great power comes with great responsibility, Peter Parker in love with Mary Jane and finally happy together gave everything up, including M.J. to save Aunt May. That my friends is one messy love triangle.

Now if you wanna talk dangerous liaisons lets talk Emma, Scott and Namor. that’s gonna blow up, and I’ll buy every issue till it does.

Now, if we could translate all this drama onto the small screen and cut all the phony daytime soaps out of the mix, I might never leave the house…..Hey, is that a Buffy re-run on TV?

Scott VanderPloeg (writer of CBD’s Bound Together column; his ramblings can be found blogged at eBabble.)

Powers.  Television audiences seem to love police dramas and Powers delivers: the superhero / super-villian angle gives it enough spin to be a fresh take.

David Diep (News Editor, Part time Comic Shoppe Employee, All Time Sexual Dynamo)

I’m gonna have to say that Fables has the makings of a fantastic tv series. You have a bunch of instantly recognizable characters and there’s so much potential in them that you could be writing episodes for the series forever even if the regular comic series branches off into different directions. I think anyone aren’t familiar with comics would tune in just to see things they don’t expect from their idea of regular fairy tales, like Prince Charming turning a womanizing bastard who bagged all the princesses or Gepetto as a bloodthirsty dictator. Fables contains as much drama as a soap opera, so it’s a perfect fit!

Shelley Smarz (Comic Book Daily’s resident Comic Book Goddess)

I’d like to see Chew on the small screen. It’s got everything: humour, social commentary, intrigue, (and now) romance. It’s TV gold (but only on HBO where they can get away with naughty language).

Chris Howard (From Egesta Comics, one of the masterminds behind the fan favourite webcomic series Dressed For Success)

I could see Runaways being made into an ongoing series. It’s got the ensemble cast, they are teens, they’ve got the demographic spread, and what teen wouldn’t enjoy a show where the heroes kill their parents? But seriously, it’s reality based enough, they don’t wear ‘costumes’ or such and it would fill the gap left by Heroes. Plus you have the ability to test run other Marvel characters like Cloak and Dagger.

Heh, cosplay.

That’s it for this week. Feel free to sound off in the comments below!

Bagley’s a good artist but his DC output was pretty terrible. Did Trinity even happen, or was that just some weird fever dream I had that lasted for 52 issues? If you asked me what it was about, let alone what happened I probably couldn’t tell you. Which is a shame when you think of the talent behind that venture.

Either way I don’t know if DC will be playing Miss U for Bagley. It was always weird seeing him draw DC characters, like seeing your step dad hold your mother’s hand while dressed in your Dad’s housecoat and slippers.

I’ve recently started reading Scott McCloud’s Zot. I’ve owned it for a while, but just never got around to reading it. It’s pretty wonderful stuff. By no means is it the best thing I’ve ever read, but it’s a lot of fun. The influence of Tezuka on it is very apparent. It’s the closest I’ve come to having someone pin down the tone of one of his books on the western market.

So We’re all agreed that Jason Aaron is the best thing going for superhero comics right now, right? Dude takes crap and spins it into a Chocolat. Wolverine has been a stagnant character for as long as I can think of, and Aaron came along and actually made me care about him. Astonishing Spider-Man and Wolverine could have been just a pretty terrible cash-grab of a title. Instead we’re getting a pretty solid super-hero romp with Morrison-type ideas (DOOM the Living Planet, a gun that shoots a bullet of Phoenix Force, etc…) mixed with amazingly good character moments and spot on writing.

This isn’t much a of a surprise, Scalped is one of the best books on the stands right now. It’s also the first book since Brubaker and Phillips’ Sleeper to give me anxiety. The depths of despair that Aaron puts his characters through makes me put down the book to pace before I flip a page. I’ve come to like every character in the book (Spoiler: Even Diesel, but he’s not much of an issue anymore!) and I’ve gone through all the stages of grieving for these characters. It’s not so much when they’re going to die, but how and by who.

I no longer want to read any book with dialogue by Brian Michael Bendis. Everyone has the exact same voice. I loved Goldfish and Jinx and Torso, but dude at this point it’s a horrible crutch for you. You’ve got three issues of plot and six issues of dialogue. Read some Hemingway or Ellroy. They wrote how people talked, but they got to the point. You’re a helluva talented writer – but I feel you haven’t grown at all. Don’t get stagnant. Bendis brought that whole Superheroes They’re Just Like Us type of dialogue and well, frankly… you succeeded, now do something different.

But at least Bendis is doing creator owned work; which is more than I can say for Geoff Johns. Mr. Johns – you of all people should remember that comics are more about maintaining the status quo than they are about anything else. If you want to be remembered as a great writer break-free from mining continuity from your favourite comics you read as a kid and create something new and exciting. With the exception of a few dialogue quirks, I wouldn’t know your writing. It doesn’t stand out whatsoever. I’m not saying everyone needs to be an auteur but don’t you want to make something that’s 100% yours, and not just a great run that will either a. be mined for storylines by future writers or b. be retconned away to the dismay of people who grew up on your run?

If you’re reading 20th Century Boys – please leave a comment below and tell me what you thought of the end of the last issue. (Wol 12? I think?) Man, that book absolutely destroys anything else I’m reading.

Oh hey Jeff Lemire, thanks for giving us some of the best covers of the last year. Sweet Tooth is amazing, well written and your artwork is getting better and better. That said; the highlight of each issue is seeing what you and Jose Villarubia come up with for each new cover. Not since JH Williams III’s Promethea covers has there been someone taking more risks and mining different types of art styles to come up with more and more visually interesting covers.

I’ve whittled down my DC/Marvel comics for this year. DC has Grant Morrison’s Batman Inc and Snyder/Jock/Francavilla’s ‘Tec run. Marvel has Brubaker’s Secret Avengers/Captain America and…… that’s it. (I’m not counting Criminal or Incognito, as they’re creator owned stuff.) Usually I’d put Daredevil on Marvel’s list but frankly I just don’t really care anymore.

Daredevil has been – since it was relaunched – a crossover free zone. (Sure Daredevil makes an appearance in Civil War, but that was actually Iron Fist.*) I read bits and pieces of Shadowland, and frankly it left me cold. Especially when SPOILER WARNING it’s revealed that Murdock is actually just possessed. Seemed like a straight up cop-out. I’ve always looked to Daredevil as being the book that paints itself into a corner. Daredevil has always been a bit off – I mean, he’s had at least three nervous breakdowns – it wouldn’t be much of a stretch to have him actually go to the other side.

Diggle’s run has been okay – I’m still a fan – but I feel like there’s been too much editorial interference. I’ll check out Daredevil: Reborn, especially since I’ve been a fan of Davide Gianfelice since I discovered his work on Northlanders. Though, I’ll be honest when I feel like this storyline will be a rehash of the Miller/Buscema Daredevil #219 – only with more guilt and introspection tossed Murdock’s way.

Just make sure to hand Daredevil over to Jason Aaron and Franco Francavilla when you’re done, okay?

Do you think we’ll ever see Frank Quitely draw the New Gods again? I wonder if Morrison has sort of said everything he’s wanted to say the New Gods. He’s tackled them a few times now and seems to have a really good grasp. I don’t want him to Hunger-Dogs-it-up or anything, but I’d love to see him give us the further adventures of Mister Miracle and his Motherboxxx, Sunny Sumo and the Super Young Team as they travel around the globe/universe being fabulous and dealing with the odd threat of Darkseid. All of this drawn by Quitely ..and maybe Cameron Stewart ..and Ramon Perez

Oh and while we’re at it: Ramon Perez should be on a monthly book. He’s too talented not to be.

*Which makes that whole “I’ve been carrying around a silver dollar under my tongue to give to you Tony Stark” scene incredibly weird. I mean first of all who carries around a silver dollar under their tongue? Second of all that’s a fairly Catholic metaphor for a guy who isn’t actually Catholic, I guess Danny Rand really gets into character.

Today’s Question: “Who is the most influential person in comics today?”

Scott VanderPloeg (writer of CBD’s Bound Together column; his ramblings can be found blogged at eBabble.)

Kim Thompson from Fantagraphics: his influence is everywhere but it’s just under the surface. He’s co-publisher at Fantagraphics plus he translates European works for other publishers. The books being produced are top quality from creators outside the North American mainstream: Love & Rockets, Prison Pit, Jason. As well their line of classic reprints is going full bore with the likes of Prince Valiant, Captain Easy and Peanuts. Take a look at the books in 2010 that garnered attention from outside the comics world and you’ll see Fantagraphics and Kim Thompson shining through.

Anthony Falcone (Writer of Whosoever Holds This Hammer)

As much as I am loathe to admit it, Brian Micheal Bendis and Geoff Johns get the tie for most influential today. Don’t get me wrong, they are great writers, but they have too much gravitas in the biz.

They both have the power of an editor in chief and have crafted the shape of Marvel and DC respectively, essentially by making large maxi-series big event story-telling a mainstay of the industry and the only thing that sells…

I have written about it before and I don’t like it, but they hold way more sway over the industry than whatever “great stuff” is going on over at Fantagraphics. Sorry Scotty but the creative minds that came up with Blackest Night and Secret Invasion trump the guy who reprinted Captain Easy.

Scott VanderPloeg: Come on Anthony, that’s a complete cop-out picking two: make a choice and justify it. And I think you reinforced my statement “under the surface”. Fantagraphics provides diversity in complete contrast to what’s happening at DC and Marvel: yes Bendis and Johns are influential at their respective companies but is that doing anything outside the fan-boy group?

Anthony Falcone:  Now we are getting into it. The choices that Marvel and DC make shape comic books far more than choices made a small press companies. To say otherwise is disingenuous. I support small press, but Marvel and DC have such market share that they dictate where the industry is going. Picking both is completely legitimate. They are the same being. The super-writer that has gained de-facto editorial control.

Scott VanderPloeg: Come on, that’s fanboy tunnel vision looking at the comics world from a superhero comic collecting perspective. The choices Marvel and DC make shape Marvel and DC superhero genre comics. Yes they’re the two largest comic book publishers in terms of comics published but if you look at the sales charts Scott Pilgrim is the best seller this year and Walking Dead is getting close. Small publishers are selling boatloads of books to people who have never been in a comic store: perhaps the most influential person in comics is Brian Lee O’Malley.

Picking both is tepid. Let me reiterate that the question this week asked “the most influential PERSON” not persons or type or personality or generic make up.

Anthony Falcone: No. It isn’t fanboy tunnel vision any more than your choice is artsy-hipster tunnel vision. Superhero comic books are comic books. We can talk about how it is a great medium that can do great things but it is primarily scantily clad men and women punching each other in the face.
My choice stands with both Bendis and Johns. Would it make you feel better if I give them a Hollywood couple name? BeJo? Jodis? I like Bejo. They shape the way that a story is told, piece by piece, arc by arc. Long, long big event books that can be packaged in pristine coffee table hardcovers. They have the most influence in superhero books. Superhero books are the majority of the industry. Therefore they have the most influence in comics today.
Brian Lee O’Malley and Robert Kirkman are influential in that their single property has hit it big, so we will see many copycats, but Bendis and Johns are shaping a super-hero pantheon.
I don’t like it. I wish that it were different, but that is how it is.
This is not a cheer-ocracy. I am the cheer-tator.

Peter DeCourcy (Editor in Chief)
I partially agree with both of you on this. If only because at this point Geoff Johns has transcended from comic book writer to comic book voice of his generation. It’s not often that we see a comic book writer become a quasi-household name, but Geoff Johns is on his way there. Working at the store I have more people come in asking for Geoff Johns stuff than any other creator – including Alan Moore and Frank Miller. If you’re reading DC Comics right now you are reading Geoff Johns’ blueprint for stories that either a. he is writing or b. he wants to read.

However – is he there right now? Not really. Maybe in a few years we’ll see if he transcends DC Comics – but there’s a limited shelf life for superhero comic creators. I mean, I think we all remember a time when John Byrne was the official voice of the spandex crowd and now he’s little more than a footnote.

Paul Levitz did more for comic books in the long run than either of the above mentioned writers. I think the most influential person is someone who is doing something to educate and expose comics as a viable medium than someone who is just writing a big Flash crossover.

I’ll toss off one other name into the ring: Robert Kirkman. I’m not a fan of his writing, and while his mission statement concerning creator owned work kinda, sorta fell flat. He seems to have inspired a whole generation of up and coming artist/writers who are using his template (genre fiction with a twist!) for what types of stories they plan on telling.

Time will tell.

Greg Hyland (Writer/illustrator of the cult classic Lethargic Lad as well as Lego Star Wars)

Kevin Boyd (Director of the illustrious Joe Shuster Awards Committee)

Stan Lee remains our industry’s greatest and most influential name. His characters still dominate the sales charts, they star in major motion pictures, video games, etc. Stan’s name on mediocre books from smaller publishers give the titles a huge boost. Stan’s name at an event brings people in the door.. His presence in a room electrifies the comics people in it. Stan’s company was an asset purchased by Disney to enhance their Marvel purchase. He’s the go to guy when people in other industries come looking for a comics person to work on their project (such as the NHL) as his name on the project gets people to notice. No one currently at Marvel or DC or any other publisher these days has that kind of influence on the public or the community the way that Stan does.

Considering the declining sales the industry is facing these days I’d be hard pressed to consider anyone actively working within it to be that influential. Sure there are many creators and publishers I admire (for example, I think IDW is doing great things) but I’d be more inclined to choose as my backup Steve Jobs, as the Apple iPad is currently revolutionizing a new delivery system for reading (and creating) comics.

That’s it for this week.

Obviously this is a pretty touchy subject and there is no right or wrong answer. Feel free to sound off in the comments below!

Given my love of the tv series and current comic series, my reaction of “Urgh!” is probably pretty predictable at this point.

While Whedon does not own Buffy outright and other people were involved, especially for the film, Whedon is certainly the man who was the driving force behind the phenomenon.

The question to ask is, when does one person become, for lack of a better term, the keeper of the character?

In the world of comics we are faced with endless revisions and reboots and new writers and artists on an almost monthly basis. But where do we draw the line on “Nope, shouldn’t be touched by anyone but that guy”? I think 90% of comic readers would agree that the only people who should ever mess with Watchmen would be Alan Moore and Dave Gibbons; like wise the only writer to do anything solid with the characters from Planetary should be Warren Ellis.

But what if the case is a split? That happens to be the case in terms of this new Buffy film. The producers of the original film have their stake in the franchise, maybe they do have something to say. If John Cassaday wanted to do a Planetary story, doesn’t he have the right to? Even Whedon seems to say something similar in his response to the news, in what is one of the best responses to anything ever to E!.

Kristin, I’m glad you asked for my thoughts on the announcement of Buffy the cinema film. This is a sad, sad reflection on our times, when people must feed off the carcasses of beloved stories from their youths—just because they can’t think of an original idea of their own, like I did with my Avengers idea that I made up myself.

Obviously I have strong, mixed emotions about something like this. My first reaction upon hearing who was writing it was, “Whit Stillman AND Wes Anderson? This is gonna be the most sardonically adorable movie EVER.” Apparently I was misinformed. Then I thought, “I’ll make a mint! This is worth more than all my Toy Story residuals combined!” Apparently I am seldom informed of anything. And possibly a little slow. But seriously, are vampires even popular any more?

I always hoped that Buffy would live on even after my death. But, you know, AFTER. I don’t love the idea of my creation in other hands, but I’m also well aware that many more hands than mine went into making that show what it was. And there is no legal grounds for doing anything other than sighing audibly. I can’t wish people who are passionate about my little myth ill. I can, however, take this time to announce that I’m making a Batman movie. Because there’s a franchise that truly needs updating. So look for The Dark Knight Rises Way Earlier Than That Other One And Also More Cheaply And In Toronto, rebooting into a theater near you.

Leave me to my pain! Sincerely, Joss Whedon.

He makes a lot of interesting points on both sides of the argument. And Buffy isn’t the only example to look at in these kinds of terms.

Take The Kingdom for instance. The Kingdom was a sequel to DC’s mega hit Kingdom Come. Kingdom come was written by Mark Waid, painted by Alex Ross. While in a lot of ways Kingdom Come was Ross’s child (the idea and a lot of the concepts, plot, etc), Waid was most certainly the father of the baby if he wasn’t the mother Ross was. While The Kingdom was nearly as well received or reviewed as Kingdom Come, it did have a couple decent moments, most notably the Offspring one-shot.

Similarly, Neil Gaiman’s Sandman characters have been written by people other than Gaiman. The results have been mixed but Mike Carey’s Lucifer is an example of a spin-off that was very well done. Then again, Carey wasn’t writing Dream or Death. Although, Paul Cornell recently did a decent job of writing Death…

But I guess on a whole, maybe we as comic book fans, are used to the idea of new takes on the same characters. I’m a huge fan of Frank Miller’s Daredevil run but to say that after that run, no one else should write Daredevil would be insane. DD had some lean years but along came Bendis with a run Miller would have never written but was definitely mining the same territory.

Larry Hama will always be the ultimate G.I. Joe writer but if he had been the only one to write the characters I would never have gotten Max Brooks’s wonderful Hearts and Minds series.

So should Buffy continue on film without Whedon? Honestly, no. While the producers may have had the money and connections to make the character “alive”, Josh was the one who breathed life in her.

…wow that was a bit of a ramble wasn’t it?

Writer: Brian Michael Bendis

Artist: Alex Maleev

Letters: Chris Eliopoulis

Covers: Alex Maleev and Michael Avon Oeming

Publisher: Marvel Icon

What’s your breaking point? Really, sit back for a moment. Think about it. What would push you beyond the point where you sit comfortably in your chair? At what point do you simply say, enough? Welcome to the world of Scarlet.

Synopsis

With a snap, ggkk! and a fump we’re introduced to Scarlet’s world. Welcome to a world of birth, shitting, fighting, kissing, disappointments, friendships, jobs, relationships, infidelity, fights, sex, “experimentation”, rejection, drinking, good grades, bad grades, profound realizations, true love, happiness,  heartbreak, murdered boyfriends, and corrupt police officers. Does that sound mostly familiar? This is the story of Scarlet, a young woman finding out the hard way that the world is a messy, conflicted wonder. The only question beyond the “why?”, in her words, is “what am I going to do about it?”

This is the story of someone whose life was destroyed by violence and corruption, and how she chose to fight back.

What’s the Story?

A couple biking in a park; the cutest couple in the world meeting friends. They hopped off their bikes as though they were getting ice cream, suddenly having a marriage ceremony in the middle of a Portland park. They were happy, in love. That’s worth fighting for, that’s what we have to fight for in Scarlet’s eyes. Everyone should have the possibility of that. Everyone. Shouldn’t they?

Scarlet’s observations are interrupted by the cops, who’ve been looking for someone with her description since she killed the corrupt police officer responsible for killing her boyfriend. They all give chase, ensuing throughout the crowded streets. Eventually escaping, she runs to the home of her boyfriend’s best friend. Brandon and Scarlet re-aquaint, and Scarlet shows him what she’s been up to. Ultimately surprised, Brandon is lost for words until Scarlet asks him to help her. He can only reply with, “What comes next?”

That’s answered quickly, as we find officer Dunes dead on the street. He was the one responsible for the murder of her boyfriend. Officers arrive on the scene, quickly followed by the police chief who we find out is the uncle of Dunes. A voice comes onto their communication devices, and speaks directly to the chief. From an unknown location, Scarlet admits to murdering the officer for two reasons: revenge, and because the blatant abuse of power by society’s authorities will no longer be tolerated. She makes it clear though that this message isn’t for him, rather, for everyone else who’s listening. Everyone who’s watching. A gunshot blasts out as another officer falls to the ground, while we leave our heroine for another issue; standing high atop a building, sniper rifle in hand.

The Pretty, Pretty Pictures

I’ve always had this strange fascination with Maleev’s artwork. On one hand, there are times when its abstract colouring throws you off a bit, because it’s unusual. It’s very dark, while the colouring seems almost too grainy. It feels like it shouldn’t work, but it does. His characters are as emotive as ever, and you’re clearly able to distinguish between “sad Scarlet”, “contemplative Scarlet”, and “happy Scarlet”. Simplistic observations aside, the point is Maleev’s art pays very close attention to character detail, and that’s always been a strong point with his work.

What I’ve never really gotten though were his backgrounds. They aren’t spectacular, and they don’t really stand out. They often fade or blur in this issue as the scenes pull away from the characters. They’re almost indistinguishable really, removing most detail from the background and placing emphasis at the fore where the characters are. That’s the genius behind it really. This book is very much character driven, and to place that much emphasis on the highly detailed characters adds to the overall story and really adds to its communication.

My mysterious affinity for Maleev’s art continues.

Final Thoughts

I’ve held off on writing a Scarlet review specifically because I wanted to see how it developed over the first few issues. Initially I was pretty impressed with the first issue, but wasn’t comfortable heaping so much praise onto a new book and a new character so soon. With three solid issues under its belt though, I can honestly say this is one of my favourite books on the stands right now.

Scarlet’s world is brutal and heartbreaking, yet beautiful. What’s interesting about this book is how the story is told. Her story is communicated almost entirely as a soliloquy. She’s telling you, the reader, her story. It doesn’t feel as though Bendis is writing to you, rather than his character is talking to you. That’s all too uncommon, and the level of engagement between the reader and the character is high here.

Only three issues in, the story is methodically paced to establish a contextual gleam into Scarlet’s life. If you’re expecting an action packed story, this will not be the book for you. It’s very character driven, similar to a Joss Whedon creation. It will not blow you away unless you’ve invested yourself in the characters and their story. It’s essential to understand the journey, and for that, the story needs a solid foundational understanding. Without that there’s no context, much less a point.

We learn through Scarlet’s dialogue what brought her to the point where she’s faced with killing a police officer out of desperation. There are layers to this story, in Scarlet’s words. Context is everything both here and in life, so you can’t really jump into someone’s story without understanding what brought them from “point A” to “point q”.

What we do understand are two things. First, life is beautiful and there’s plenty worth smiling about and being content with. Secondly, the world is a colossal mess, and more, we don’t really know or ask “why?”. Perhaps we don’t even answer that question. As the first issue points to, that’s not really even enough; it acts more as easing towards feeling better about the mere attempt to understand “why?”.

The book asks a very simple, universally applicable question in response: What are you going to do about it? What’s more is that this story embraces the repercussions of the decisions we make. It may end poorly, it may end well. In the end, the choice is what matters. Her world is ultimately violent, cruel, and corrupt; her boyfriend was killed by a crooked officer with a drug addiction, who then shot her. He nearly killed her in fact. I suppose the question then is, when faced with those circumstances, what would you do?

I’ve been hard on Bendis lately, being rather discontented with his Avengers work. I’ve felt it lacking and uninteresting for the better part of the last two years. With Scarlet though, we see Bendis return to his Daredevil form. Along with his old partner, together they turn in a great piece of work. Scarlet cuts to the heart of our own psychology and asks what would you do in her situation? How would you react? It’s a deep, engaging story which I would suggest reading the first issue of at the very least.