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Ultimate Human – Ultimate Hulk vs. Iron Man

Well, I guess the Ultimate line is supposed to be a vehicle for redefining old Marvel stories, so it seems appropriate that the Ultimate Hulk has been getting around knocking seven kinds of crap out of various heroes. He was the first opponent Mark Millar’s superteam faced in The Ultimates, he had this themed face-off with Iron Man last year and this year he squared off with Wolverine in the infamously delayed Ultimate Hulk vs. Wolverine series (in a fitting echo: Wolverine originated as a Hulk opponent). The book is an obvious attempt to cash in on Marvel’s two big summer blockbusters last year: The Incredible Hulk and Iron Man. Still, as cash-ins go, it’s reasonably diverting.

ultimatehulk

I quite like him when he's angry...

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Ultimate Iron Man

The first member of The Ultimates to get spun-off into his own book, the ultimate version of Iron Man is also the only one to get his own miniseries (and he even supported another miniseries, Ultimate Human, last summer and has a new one, Ultimate Armour Wars, this year). Here we have all the ingredients for a great superhero saga – Andy Kubert as artist on the first six issues and Orson Scott Card as a writer – but it just doesn’t come together quite as well as it should. Though Card posits some interesting theries behind the psychology of Marvel’s current poster-boy, he doesn’t really deliver anything of interest on the story front, and really suffers from attempting to write rebellous teenage characters and somehow feeling required to craft his observations into something resembling a cookie-cutter superhero plot.

ultimateironman

Nice Suit...

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The Starman Omnibus, Vol. 2

Now we’re getting into it. It seems that Robinson has got all the setup necessary to move the story forward out of the way (or at least the bulk of it) and that Tony Harris has finally found his feet on the series. This collection moves a lot more fluidly than the last one – partially due to the fact that it closes as many threads as it opens, but also because Robinson is no free of having to establish the series’ premise and can now focus on the stories that he wants to tell (almost, we’ll come to the exceptions). Those stories are – by and large – reflective studies of what is known as “The Golden Age” of comic books: the 1930s and 1940s. What happened to the world between then and now? What happened to the heroes? Was it ever really the kinder gentler place we recall?

christmasknight

And it's our first Chrismas-themed image... Earlier every year...

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The Starman Omnibus, Vol. 1

I’m not quite sure what to make of the collection. I know it’s the first of six volumes which will include the entire 80-issue run of James Robinson’s reimagining the concept (plus extras) and I know that it’s the opening chapter of a much more expansive story. And I know that – as a story – it is structured in a much more dynamic and interesting way than most other superhero adventures. But I’m not feeling it. At least not yet.

jackknight

No hero here(o)...

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Batman: Year One

This is probably on a shortlist for the best Batman story of all time, alongside Frank Miller’s other definitive work on the character, The Dark Knight Returns. Whereas Millar focused on the eventual end of the character’s crusade against crime, here he focuses on the origin of the character. Expanding from the one-page origin which accompanied Batman #1, Miller brings his keen eye to Batman’s psychology, but also the world in which Batman functions. This isn’t the gothic construction of Tim Burton, but a grimy urban cesspool like Christopher Nolan’s. In the world that Miller carves out for the hero, he greatest opponents aren’t the disfigured freaks who would become his adversaries, but the architecture of greed and corruption that defines Gotham.

Imagine if it had been a seagull that crashed through his window that fateful night...

Imagine if it had been a seagull that crashed through his window that fateful night...

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Gotham Central – In The Line of Duty & Jokers And Madmen (Review)

Just when you think there isn’t an original concept left in comic book storytelling, Ed Brubaker and Greg Rucka come up this ingenious concept: what is it like to police a comic book city – and the one populated with the same sorts of loons which give Batman a headache? Brubaker and Rucka construct a truly surprisingly awesome noir police procedure that takes a gutter’s-eye view of one of the darkest cities ever to appear in comic books. It manages to combine the two aspects brilliantly, simultaneously bringing a fresh perspective to both the Batman mythos and the police procedural.

The joke's on Gotham...

The joke's on Gotham...

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Brian Michael Bendis’ Run on Ultimate X-Men – Vol. 4 (Hardcover)

Talk about a change of pace. Apparently it was originally conceived that Bendis would be in charge of both Ultimate Spider-Man and Ultimate X-Men during their run. Instead he’s spent almost a decade at this stage with the web-spinner, but he did migrate over to the sister title for a year at the end of Mark Millar’s run. The run is unfortunately too short to fully develop the potential of Bendis on the title, but it represents a massive upwards swing in the quality of the book from the crazy illogical and teen-angst-filled Millar run. It’s still far from a classic, but – read in the context of the entire series – it is perhaps a better representation of what Ultimate X-Men could have been.

And he still doesn't shave...

And he still doesn't shave...

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Paul Dini’s Run on Detective Comics – Detective & Private Casebook

Paul Dini is, for my money at least, the best writer writing Batman today. Anyone doubting that would do well to check out his run on Detective Comics. In a return to the character’s pulpy roots (where buying an issue would generally give you at least one story), Dini’s run is dominated by done-in-one stories (with the odd two-parter and then the five-issue The Heart of Hush rounding it off). It’s brave and daring experiment, and that he attempted it is almost as surprising as how brilliantly he succeeded.

Do you want to point out he should keep both hands on the wheel?

Do you want to point out he should keep both hands on the wheel?

Note: Unfortunately I can’t find a library-bound copy of Death and the City for review, so I am missing the middle chunk of Dini’s standalone stories, but he does go to great pains not to lockout readers who haven’t read every issue he has written. If I find a copy anywhere, I’ll update the review.

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Thor And Internal Consistency…

I am growing more and more excited about Thor as every little snippet of rumour leaks out about casting. Which is odd, because Thor is one of the movies coming out on the road to The Avengers which I really don’t care that much about. It’s a superhero movie about a guy with a really big hammer – I don’t want to see that version of Thor. On the other hand, my interest was piqued from the moment that Kenneth Branagh was announced as director. Kenneth Branagh’s Thor I am interested in seeing. Particularly if it stars Robert deNiro and Jude Law. Still, my inner nerd remains skeptical about positioning a film based on myths and magic so firmly as a cornerstone of the on-screen Marvel universe.

What's the point of being the God of Thunder if you can't use it to dramatic effect every now and again?

What's the point of being the God of Thunder if you can't use it to dramatic effect every now and again?

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Ultimate Spider-Man – Vol. 4-6 (Hardcover)

It’s probably hard writing the same comic with the same artist for the bones of a decade. Setting things up years in advance only to have them pay off down the line, trying to put a new slant on an existing mythology while updating it for a new audience. This middle section of the Bendis/Bagley run on Ultimate Spider-Man isn’t necessarily bad per se, but it lacks the energy and reckless fun which defined the start of the run and the sense of resolution that approached at the end of the run. It just is.

Not that there’s anything wrong with that.

Your spidey-sense should be tingling...

Your spidey-sense should be tingling...

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