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X-Force Omnibus by Rob Liefeld & Fabian Nicieza, Vol. 1 (Review/Retrospective)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

Rob Liefeld has become something of a polarising force in comic books. The artist was a driving force in the industry in the nineties. Along with creators like Todd McFarlane and Jim Lee, Liefeld really helped turn comic books into an artist-driven medium during that decade. (Rather pointedly, X-Force #1 credits Liefeld as responsible for “everything but…” the specific tasks dolled out to other contributors.) The artist became a celebrity in his own right. He got his own Levi commercial. He famously sketched while speeding inside a car.

Liefeld has arguably become more a symbol than a creator. His heavily involvement in the second year of DC’s “new 52” reboot really solidified the impression that former Marvel head honcho and current DC editor-in-chief Bob Harras was trying to channel the nineties comic book market. (The fact the line has been heavily emphasising contributions by Jim Lee and Greg Capullo, other nineties superstars, really underscores the notion.)

It’s hard to look at X-Force without seeing it as a hugely symbolic work. This is really one of the comics which defined the nineties – arguably even more than Jim Lee’s X-Men or The Death and Return of Superman. If you wanted a glimpse into the mindset of American mainstream comics in the nineties, X-Force is the perfect glimpse.

Welcome to the nineties!

Welcome to the nineties!

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Civil War: X-Men (Review)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

Ugh. There’s nothing like Civil War: X-Men to remind you just how unkind the middle part of the last decade was to Marvel’s merry mutants. It’s a soulless cash-in the worst sense of the word, a four-issue miniseries branded with the title of the gigantic universe-spanning crossover that was going on at the moment. One would imagine that the whole Civil War crossover would provide a multitude of compelling storytelling opportunities for the X-Men as a franchise.

After all, these are superheroes whose entire schtick is based around being hated and feared by the world they try to protect. You’d imagine that they’d have a few choice words for all the superheroes finding themselves suddenly confronted by the idea that the public isn’t too keen on people with superpowers just wandering around. Instead, we get a messy jumble of a plot that doesn’t make sense on its own terms, let alone as an attempt to contextualise the involvement of the X-Men in Marvel’s Civil War crossover.

Back in black...

Back in black…

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Civil War: Wolverine (Review)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

A lot of the recent big Marvel events, stretching from Brian Michael Bendis’ Avengers Disassembled through to at least Avengers vs. X-Men, can be read as commentaries on post-9/11 America. In particular, they focus on questions the relationship between the power and trust held by various authorities, and how those are earned or abused. Perhaps Civil War was the most overt of these, with the conflict in the comic coming down to the clash between the demands of liberty and security.

So, I suppose, at least Marc Guggenheim’s Wolverine tie-in to the event is explicit about what it’s trying to do. It’s any even more explicit 9/11 parable, casting the famous mutant as an investigator looking for his own kind of justice in the wake of a horrifying terror attack.

Talk about seeing eye-to-eye...

Talk about seeing eye-to-eye…

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Spider-Man vs. Wolverine (Review/Retrospective)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

Well, at least it’s honest. Spider-Man vs. Wolverine doesn’t promise a superhero team-up so much as a comic book bust-up. Many comic crossovers open with two characters throwing down, perhaps playing to the geekish fanboy fascination with the idea that “my hero can beat your hero.”

Such brawls are so common that Marvel’s recent span of blockbuster events has been based around the idea of heroes fighting one another. Civil War pitted Captain America against Iron Man. Secret Invasion saw heroes fighting aliens impersonating heroes. Siege was about heroes defeating supervillain imposters. Avengers vs. X-Men… well, exactly what it says on the tin.

So the title of Spider-Man vs. Wolverine is refreshing frank, opening acknowledging this tendency and going so far as to make it the centrepiece of the book.

"So, um, when does the team-up start?"

“So, um, when does the team-up start?”

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The Fantastic Four #108 – The Monstrous Mystery of the Nega-Man (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

Jack Kirby is one of the defining comic book creators of the twentieth century. He started out working in the medium during the Great Depression. He was a major force during the Golden Age of comics, creating the character of Captain America in 1940. However, Kirby displayed an incredible ability to evolve and adapt over time. In the 1970s, for example, Kirby would move towards crafting cosmic odysseys and epic god-like conflicts. However, during the 1960s, he played a huge role in the development of Marvel Comics during the 1960s. With a flair for science-fiction story-telling and a knack for crafting iconic characters, Kirby came to be one of the talents who defined the period known as “the Silver Age.” Working with Stan Lee, Kirby created characters like The Fantastic Four and The X-Men, who defined not just Marvel, but the entire medium.

I think it’s fair to cite Star Trek as a major influence on Jack Kirby’s work in comic books, particularly his later work on The Fantastic Four. I know that his fans can be very protective of their idol, and he certainly deserves a lot of the praise heaped upon him. I know that Kirby’s possible influence on Star Wars remains a massive bone of contention. That said, I suspect that Star Trek made quite an impression on Kirby.

A smashing time...

A smashing time…

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Non-Review Review: Iron Man 3

Where do you go after The Avengers? Marvel brought together four separate superhero franchises to produce one mega-blockbuster last summer, producing the most successful film of 2012 and one of the most lucrative films in the history of the medium. It’s a tough act to follow. If Iron Man 3 is any indication, it seems like Disney and Marvel understand how they want to progress from here. Shrewdly deciding not to compete with The Avengers on scale, Iron Man 3 is instead a character-driven action thriller specifically tailored for the character of Tony Stark, with writer and director Shane Black very clearly having his own idea for the hero who first launched Marvel’s shared universe.

While Iron Man 3 isn’t quite perfect, it’s a solid superhero blockbuster, and perhaps second only to Kenneth Brannagh’s Thor as the best superhero film produced by Marvel Studios.

Who da Iron Man?

Who da Iron Man?

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Earth X (Review/Retrospective)

To get ready for Iron Man 3, we’ll be taking a look at some Iron Man and Avengers stories, both modern and classic. We hope to do two or three a week throughout the month, so check back regularly for the latest update.

“Your kind does love to rewrite history, Richards,” the Watcher observes towards the end of Earth X, after we get an introduction and brief recap of the life of Tony Stark. Almost every issue of the collection opens with a review of an iconic Marvel character’s back story, as writer Jim Krueger and plotter Alex Ross attempt to tie the tapestry of the Marvel universe together in some way. It turns out that everything a character underwent wasn’t just their own personal development, but part of a broader tapestry of history within the Marvel universe. No character evolution, it seems, happens in isolation. Everything is interconnected, even if we (or the writers or the characters) never realised it at the time.

Earth X is really just an attempt to tie most of the Marvel universe up in one gigantic knot, to connect everything to everything else. In a way, published in 1999, it seems to foreshadow the current era of Marvel publishing, where absolutely everything within in the shared universe must somehow be connected to something else. Avengers vs. X-Men, for example, would connect the Phoenix from the X-Men to the Iron Fist mythology. Grant Morrison’s New X-Men connected the Weapon X project to the development of Captain America. The X-Men and the Avengers must be united as part of Uncanny Avengers.

In many ways, Earth X reads more interestingly as a treatise than as a comic story. It’s far stronger as a thought-experiment than an actual narrative. It’s more fun on purely technical level, watching Jim Krueger and Alex Cross connect all those dots, than it is as an adventure in its own right.

Stellar...

Stellar…

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Watch! Thor: The Dark World Trailer!

Look! It’s Great Britain! Isn’t that so fantastical and surreal, arguably as strange as any of the nine worlds?

The first teaser for Thor: The Dark World has arrived. I’d be lying if I wasn’t a little disappointed. I’ve made no secret that I think that Branagh’s Thor is the best of the films Marvel has produced, and I’m wary of trying to use some television directors to offer a large-scale fantasy. Still, while the trailer seems a bit jumpy and jumbled, there are some nice things. I like that Asgard seems to be getting its design tips from S.H.I.E.L.D. and that they seem to have taken some trouble to ensure Loki will feel right at home in a whited-out holding cell. And Anthony Hopkins’ narration is as wonderful as ever.

Anyway, check out the trailer and let me know what you think.

Non-Review Review: Iron Man 3

Where do you go after The Avengers? Marvel brought together four separate superhero franchises to produce one mega-blockbuster last summer, producing the most successful film of 2012 and one of the most lucrative films in the history of the medium. It’s a tough act to follow. If Iron Man 3 is any indication, it seems like Disney and Marvel understand how they want to progress from here. Shrewdly deciding not to compete with The Avengers on scale, Iron Man 3 is instead a character-driven action thriller specifically tailored for the character of Tony Stark, with writer and director Shane Black very clearly having his own idea for the hero who first launched Marvel’s shared universe.

While Iron Man 3 isn’t quite perfect, it’s a solid superhero blockbuster, and perhaps second only to Kenneth Brannagh’s Thor as the best superhero film produced by Marvel Studios.

Who da Iron Man?

Who da Iron Man?

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Jason Aaron’s Run on The Incredible Hulk – Vol. 1-2 (Review/Retrospective)

To get ready for Iron Man 3, we’ll be taking a look at some Iron Man and Avengers stories, both modern and classic. We hope to do two or three a week throughout the month, so check back regularly for the latest update.

Of the major writers currently working at Marvel, Jason Aaron seems the best fit for the Hulk. Aaron has an undeniably charming pulpy style, an approach to mainstream superhero comics that has given the creator enjoyable and engaging runs on characters like Ghost Rider or Wolverine. As such, Aaron would seem to be the perfect fit for a character who likes to smash things. Aaron’s run isn’t perfect. It’s too scattershot to really offer an insight into the character, too short and all over the map to be a “definitive” take on the Hulk.

However, the run consists a fun and amusing set of comic book stories, where thoughtful high-concepts combine with absurd set pieces to create something the feels quite unique. While certainly not the strongest one there is, nor the best run for character or author, there’s a wit and a charming energy to Aaron’s run on The Incredible Hulk.

Green with envy...

Green with envy…

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