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Ultimate Spider-Man – Vol. 10-11 (Hardcover) (Review)

This represents the final volume of Ultimate Spider-Man, the relaunch of the popular character created by marvel as a way of introducing the iconic webslinger to the those who might be understandably wary of the backstory and continuity tangles the character has found himself in (did you know the character sold his marriage to the devil?). It’s been a landmark run, and a popular one and – by any measure – a successful one. There’s a reason that this ‘reboot’, to borrow a cinematic term, was famous for outselling the mainstream titles. So, as it winds down, what do we think?

What a Shocker…

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Hulk: Grey (Review)

So far the final book in Jeph Loeb and Tim Sale’s superhero “colour” series (although there was a planned Captain America: White and a rumoured Iron Man: Gold which never got off the ground), Hulk: Grey is perhaps the most fascinating of the three novels. Loeb would go on to writing the on-going Hulk series (to near universal damnation, it should be conceded), suggesting perhaps a closer tie between the author and the character here than in Daredevil: Yellow or Spider-Man: Blue. As opposed to those two novels which covered a relatively large portion of the central character’s life, the flashbacks which provide the core of this particular tale cover a single night – the first night. Perhaps befitting the nature of the Hulk, the narration isn’t provided in monologue here, as it was in the other two titles, instead offering a dialogue between Bruce Banner and Doctor Leonard Sampson, his psycho-therapist. It’s a lovely little story that perhaps isn’t as strong as Daredevil: Yellow, but is still a fascinating read.

It took the Hulk a while to figure out the whole "door" concept...

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Wolverine: Enemy of the State (Review)

Wolverine is a bit of an odd character. He’s a bit of an odd character to have endured the sheer amount of publicity that he has and to remain a big gun at Marvel. He was introduced as an opponent in The Incredible Hulk, before ending up drafted on to Chris Claremont’s revised Uncanny X-Men roster. After that, he was lucky enough to earn his own miniseries (written by Claremont and drawn by Frank Miller), which became his on-going series which led to him featuring as a leading character in multiple team books and a title character in several solo series, all at the same time. Only Spider-Man can compete with that level of exposure, and Spider-Man arguable has a better claim to it as a richly layoured, complex and pseudo-realistic character (in the sense of being “Peter Parker: Schmuck”, rather than “Your Friendly Neighbourhood Spider-Man”… you get the idea). On the other hand, Wolverine’s defining trait is that he is very, very good at killing things.

Even an unstoppable killing machine can stop to pet the dog...

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Inception Prologue Comic On-Line…

I’m avoiding spoilers for Inception like the plague. But I’m also kind of buzzing about it. Anyway, apparently there’s a relatively spoiler-lite (or free) on-line comic book which will introduce you to the world of Inception – it’s called The Cobol Job and introduces you to the two lead characters. I’m weighing back and forth on whether to check it out myself (I’ll probably buckle tonight), but I figured that this was worth a post for everyone who is as psyched as I am. You can check the comic out here.

Such is the stuff from where dreams are stolen...

Spider-Man: Blue (Review)

Writer Jeph Loeb and artist Tim Sale just work well together. They’re the pair behind The Long Halloween, the Batman story which strongly informed Christopher Nolan’s The Dark Knight. Somehow they bring out the best in each other, even though Loeb’s recent output has generally been less than stellar. At Marvel, they’re put together a rough thematic “trilogy” offering a nostalgic look at the early careers of various superheroes. Spider-Man: Blue is the middle part of that trilogy (coming after Daredevil: Yellow and before Hulk: Grey). I’m about to commit a cardinal sin, so brace yourself: I think Spider-Man: Blue is the weakest of the three books.

Welcome to the spider's web...

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Daredevil by Ed Brubaker Omnibus, Vol. II

Still, it must have been nice for you, Murdock.

What?

To win this one. It seems like you really needed it.

– North and Murdock

There goes the whiniest superhero I ever met.

– Mr. Izo

I’ve said it before and I’ll likely say it again: Daredevil has had an amazing ten-year run under the stewardship of Kevin Smith, David Mack, Brian Michael Bendis and Ed Brubaker. It’s just been a really well-put together comic book which really works. one of the finest compliments of the book I’ve read, and one I sadly can’t take credit for, is that Daredevil mostly avoids the deconstruction which has been a fixture of many iconic runs, while also avoiding the pitfalls of nostalgia that typically define the reaction to deconstruction – instead, the book has found a third way: it has found a way to take the conventional tropes of the superhero genre, and use them to offer something relatively new and exciting, exploring the story potential inherent in ideas like a secret identity, or what happens when a vigilante creates a vacuum in crime. Ed Brubaker, who – if you ask me – has offered the most fascinating run on the character and has surpassed his work on Captain America, finishes his run here and closes a chapter in the life of the Marvel Universe’s most tragic superhero.

Stars in your eyes...

Note: This review will contain spoilers for the end of Brubaker’s run, if you aren’t already familiar with it. I’ll flag them beforehand, but consider yourself warned.

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Joker

Joker was released over the summer of 2008, and had the great fortune to closely mirror the Oscar-winning performance of Heath Ledger in The Dark Knight. Author Brian Azzarello claims that the similarities in the character here and on the big screen are a coincidence, but there’s something uncanny in watching this version of the character, with his Glasgow smile and foul teeth, attempt to take control of Gotham’s criminal underworld in a manner that his big screen counterpart would probably approve of. Azzarello paints a grim and gritty version of the Gotham City underworld, avoiding the more obvious superhero clichés and instead offering an exploration of the madness of one of the medium’s enduring antagonists.

This Joker has his own toxins...

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Kick-Ass

Remember how I said during my review of The Ultimates that Mark Millar was a love ‘im or hate ‘im writer, sometimes within the same work? Well, Kick-Ass offers Millar at his best and at his worst. He gets the superhero genre, understands why and how it works the way it does. That’s why he’s so good at deconstructing and reconstructing it. He grasps the escapism element and knows his target audience like the back of his hand. However, he’s a writer who refuses to ever accept that there is such a thing as “too far”. There is no taste, there is no top to go over. But, more than that, there’s no restraint. And there’s the problem with Kick-Ass: for a novel so interested in giving us a relatable protagonist and heroes grounded in “the real world”, it’s too absurdist to really work.

"They should call him ass-kick..."

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The Absolute League of Extraordinary Gentlemen, Vol. II (Review)

I don’t think it’s really fair to split up The League of Extraordinary Gentlemen into two separate volumes. I’d argue that they are instead two halves of the same tale. It’s to the credit of this second storyline that it doesn’t feel like a sequel to the original – it feels like the second half of a circle, closing it out.

Out of this world!

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The Absolute League of Extraordinary Gentlemen, Vol. I (Review)

The League of Extraordinary Gentlemen is, like most works from writer Alan Moore, a strange beast. Essentially a pulp comic book narrative banding together several iconic fictional characters from Victorian fiction (Allan Quartermain, Mina Murray, Captain Nemo, Hawley Griffin and Edward Jekyll form the main cast), the series is much more than that. Cleverly and insidious cross-referencing and weaving its way through a slew of existing fictional and non-fictional elements. I spent as much time googling a rake of obscure and semi-obscure names and events and locations, all tying back to the great authors at the turn of the last century. How ironic that a pulpy Victorian tale would be perhaps the first classic of the internet age.

Nothing to Hyde...

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