Tag: marvel comics

Here we have a somewhat belated entry into the semi-weekly No Context Comics! I’ve been busy outside of Urbane Turtle dot com, lately. You can find my spotlight review for this week’s thrilling new series, ALL AGAINST ALL, over at The Comics Beat. I also had the chance to interview TMNT writer Tom Waltz and editor Charles Beacham about the super fun event series, THE ARMAGEDDON GAME.

I also had a couple days off from the day job, but spent them doing nothing productive whatsoever other than watching a few movies and the Rise of the TMNT series on Netflix. You see, I am teetering on the brink of ~*~ burn out ~*~ and some days of total vegging were paramount.

This week we’ve got a new superhero, fantasy misfits, and a longtime pro hero. So let’s get into it, shall we?

Monkey Prince #9 

DC. Gene Luen Yang, Writer. Bernard Chang, Artist. Marcelo Maiolo, Colors. Janice Chiang. Letters. Jessica Chen. Editor.

Gene Yuen Lang has written some of my favorite superhero stories of the last few years, and DC has seen a dearth of new superhero creations in the last ten years. So I should be excited by the prospect of the Monkey King, which draws from Chinese mythology to introduce a new player into the fold! Yang’s authentic voice deserves to be heard above the din of the corporate cape books. And yet I have been remiss in even looking twice at Monkey Prince, Yang’s latest mainstream series.

Despite Marvel’s reputation as being more “grounded” or “street level,” it has no shortage of characters pulled right out of mythic pantheons. In that way, Monkey Prince as an idea feels more at home in the Marvel U. DC has plenty of godly beings but most of them are DC originals, not pantheons or public domain heroes. Marvel is much more willing to do that kind of thing, historically.

There’s a LOT going on in this issue, and it feels very disorienting as a new reader. There are general ideas that feel familiar–Metropolis, Lexcorp, Bizarro Clones, and even the “Journey to the West” iconography (thanks, Dragonball!), but a lot that took a bit to put together. But everything needed to get caught up is here on the page.

Marcus, the main character’s, parents are two-bit henchpeople, and Marcus has to deal with that while juggling being a normal kid and also learning how to be a hero. His encounter with Supergirl here gives the reader a firm idea of his character, impetuous, petulant, and frankly, kind of unlikable!

There’s a big twist on the last page that gave me a big laugh. The villain of this piece is genuinely creepy and his attack that starts the issue is unsettling.

I get the point of making a young male hero kind of a jerk but it does make it hard to root for him, even if he is trying to learn. I’m certainly willing to give Yang the benefit of the doubt that Marcus is growign and learning, after all, his parents are crooks. It’s not like he’s had a strong role model.

Crossovers can get exhausting but I did get a little bit of a thrill to see this tie-in to the Devil Nezha and Mark Waid’s work over on World’ Finest/Batman vs. Robin/Lazarus Planet. It’s not ridiculously intrusive (yet, anyway; the next issue seems to be a full tie-in) but it makes all of these new elements feel important and tied into the larger DCU. Something a lot of new ideas in superhero universes fail to do authentically.

The art is serviceable if unremarkable all around. There are flashes of inventiveness and humor, particularly toward the end when the hero is transformed, that play into the Monkey Prince’s irreverent personality. I also really liked to see that most of the creative team is of Asian descent and their names credited in script as well as English.

Overall–this felt like a standard issue of a monthly comic book. Neither particularly good nor particularly bad. A perfectly serviceable diversion, with the bonus of introducing new representation.

Least We Can Do #4

Image. Iolanda Zanfardino, Writer.Elisa Romboli, Artist.

A caveat that I think is important here: I have never played Dungeons and Dragons or other tabletop RPGs. I have passing familiarity with some of the concepts, which let me generally understand some of the ideas here. I don’t know that the extreme number of word balloons here are specifically referencing Tabletop games but they certainyl seem to be. And boyoboy are there so many words here. And references to concepts that are not explained. And explaining powers and how powers work like it’s a gosh darn encyclopedia.

I found this book so hard to get through that it was a wonder to me that it exists? There is no compelling character within these pages, or even a plot that I can decipher. These characters seem to exist to talk about going on quests and to research magic we mostly do not see. It’s a real slog. 

The art is mostly okay with a few truly standout moments. There is a page in here where a character stops time and speeds past other characters that displayed the idea of superspeed or time manipulation better than almost anything else I’ve seen in comics. The first panel is a shot of three characters.  That is then cut through by a second panel with another caracter’s face in profile. In the third panel, the one who interrupted is suddenly standing behind the others, far in the distance. The way Romboli depicts the character slicing through the gutter where we usually read the passage of time is shockingly effective. The fight scene on the train toward issue’s end is well-staged and easy to follow (a trait not to be undervalued in comics!) with a dynamic sense of movement.

But beyond that there was nothing much here to draw me in. Romboli does the best she can with some exhausting exposition, giving the characters plenty of emotion as they shout about things I didn’t understand.

By issue’s end I just can’t help but wonder who this is for. I would like to see more of Romboli with something more to work with, though.

Captain Marvel #44 

Marvel. Kelly Thompson, Writer. Sergio Dávila, Artist. Arif Prianto, Colors. Clayton Cowles, Letters.

Kelly Thompson is a writer I have heard a lot of good things about that I always intend to look more into. But there’s always more books to read and I never get to it. She’s maintained an impressive run on this Captain Marvel series, which I am sure speaks to the quality of her work. 

At 44 issues of a character older than me, I don’t expect to know all the ins-and-outs of what is going on. Particularly when it seems to be a spiritual sequel to an old Claremont X-Men story. I am sure X-Men fans are happy to see this (or maybe not, X-Men fans are never happy). Ever since becoming Captain Marvel it has seemed like Marvel has tried to distance her from the mutants, despite her having had significant relationships with them during Claremont’s tenure.

I’m not an X-Men aficionado, but I am familiar enough with the broad strokes to appreciate Carol’s opening monologue here, about enjoying getting to bust on Rogue and the Brood simultaneously, in another life. I’m also able to appreciate how Thompson effectively builds this grand space drama around decades of publishing history to effectively tell a story of growth and empowerment over past trauma.

In many ways, this issue is a stellar example of how to tell superhero comics in a long-running shared universe. Just enough mentions of the past to orient newer readers while spurring interest in the old stories. It doesn’t spend pages explaining those events in detail, boring die-hards. And it moves Carol forward as a character forward and illustrates how she has grown and changed since she was Binary and Ms. Marvel. She’s no longer the B-List side character in a team book. Now she’s a blockbuster headliner, and how does that change how she approaches the things that have harmed her? 

I really enjoyed this, despite being years behind on Captain Marvel. Thompson has a clear vision for who Carol Danvers is and where she has come from. The art from Sergio Dávila is standard superhero fare. I particularly like how he illustrates Carol’s powers and the almost Super Saiyan way it blows her hair around.

Perhaps I need to stop overlooking Captain Marvel, and get down to finally reading more of Thompson’s work in full.