Marvel’s Mythos series is pretty interesting. They’re 32 page one-shots that re-tell, and sometimes re-adjust, the origins of a few Marvel heroes. They don’t fit into any ongoing series, so the collection will likely come in the form of a “Marvel Mythos” premiere hardcover sometime over the next year, hopefully. From the first solicit:

AN ALL-NEW SERIES OF PAINTED ONE-SHOTS FROM MARVEL, RECAPTURING THE EARLIEST DAYS OF OUR GREATEST HEROES! The first of a series of quintessential, stand-alone, done-in-one stories by Paul Jenkins and Paolo Rivera, MYTHOS: X-MEN takes readers back to the formative days of Xavier’s School for Gifted Youngsters, and recounts the first encounter between the nescient, teen-aged X-Men with their ultimate nemesis, Magneto! Filled with new detail and nuance, the MYTHOS books are also the perfect starter set for those readers new to the Marvel cast of characters, or to those who known them only from movies and television cartoons!

The line-up thus far has been pretty much par for the course. X-Men, Hulk, Spider-Man, Ghost Rider, Fantastic Four, and Captain America. The books haven’t really functioned as direct movie tie-ins, save for maybe Ghost Rider or Fantastic Four. Instead, they’re quick primers on the character that also serve as a light continuity patch. Characters are modernized and origins are retooled for the modern day. The FF were given their powers on a space station, instead of fighting Russkies, for example. Come to think, their origin is probably the most changed.

Usually, this is the exact kind of story I’m not interested in. Continuity Comix? Give it a miss. For some reason, though, I’m really digging them. I think it’s because they feel like a throwback. They’re like the backups that used to show up in Marvel comics, like “Here’s the secret of Spider-Man’s webshooters!” or “Here’s the layout of the X-Mansion!” Paul Jenkins and Paolo Rivera make it work, though.

Rivera’s art is fully painted, but still manages to come with enough of a retro flair to make it reminiscent of old comics. He uses a color palette that isn’t garishly dayglo, nor is it Alex Ross-y. It’s not subdued either. It feels just right. His facial expressions come through clearly, in part due to the large size of the panels giving him room to work. Johnny Storm’s casual embarrassment, the Congressman’s bemusement, and Sue Storm’s complete and utter lack of surprise at her little brother’s antics all are true to life. You can recognize them on sight. I also love that they included the schematic of the old school Baxter. I love seeing that stuff.

Paul Jenkins caught a lot of flack post-Civil War: Frontline. You’d think the man hadn’t written a good comic in his entire life, the way some people talk. However, looking back, he’s got The Sentry, Inhumans, and he had a killer run on Spider-Man. His last issue of Spectacular Spidey, with art by Mark Buckingham? That was one of the best issues of Spider-Man in years. It was pitch perfect.

The core of all of those stories that Jenkins did so well on lies in the relationships he puts on display. Ben and Peter, Norman and Peter, Black Bolt and his subjects, Black Bolt and Medusa, Sentry and his wife/friends, and so on. He’s putting in similar work on the Mythos books. They are about the origins, yeah, but more about the choices, or lack thereof, that led to the origins and the choices that followed. Reed desperately trying to talk Ben down, or Captain America thinking about the men he served with and the things he missed, are what makes these books so good. Johnny Blaze making the decision to sell his soul and Peter Parker’s rage and shame at realizing he caused the death of his uncle are more crucial scenes that succeed.

I started this post with the intention of talking about the Captain America book, but got way off track. The Cap book is a good one because it focuses on Steve Rogers, not Cap. It’s about his life, his dreams, and his regrets. I’d challenge anyone who thinks that Jenkins doesn’t “get” Captain America to read it. I’m willing to bet that you won’t come away with that feeling. This page alone is dead on. I love the dual Nick Fury appearances… and is that milk Cap is drinking?

The Jenkins/Rivera team is a great one. They’re telling tales that you’d think were inessential, but are actually really good. I’m hoping Marvel does the series justice when it collects it. I’m hoping for an oversized HC, myself, but that’s because I’m addicted. I also kind of want Jenkins to get a crack at the Fantastic Four for a while, too.

Also, this cover is basically the definition of awesome. I didn’t even catch the detail on the shield when I first picked up the book.

Ka-pow.

Over the past few years, with all the various comic mega-events shoved down our gullets, the idea of the tie-in comic has been make-or-break to the main series. House of M seemed to do it the best, where all the tie-ins were completely unnecessary to the main series, but were mostly well-written and made for a good expansion to what was going on. Annihilation dodged the bullet by having seemingly no real tie-ins at all. Infinite Crisis became a huge mess where you had to know a lot about what was going on in the smaller books to truly get the story. Civil War, as far as I’m concerned, is the worst offender. The main series was competently-written, if a little convoluted, and Millar wrote very fair versions of Captain America and Iron Man. Then you look at all the tie-ins where Captain America is the perfect god of morality and Iron Man is the king of all assholes. The only truly good tie-ins were the two Captain America/Iron Man one-shots.

With Secret Invasion, the issues of New Avengers and Mighty Avengers, whether good or bad, are in a class of their own. After all, Secret Invasion is Bendis’ big cumulative storyline tying together a lot of loose ends from those series. They’re more like extended scenes and extra issues to the miniseries than anything else. Discarding those, I honestly haven’t read too many of the Invasion tie-ins. Yes, Captain Marvel was completely amazing and Hercules is a blast regardless of what story it’s linked to, but I’m not a regular reader of Ms. Marvel and I haven’t picked up Captain Britain yet, so I can’t comment on them.

That brings us to Secret Invasion: Who Do You Trust? This one-shot, based on five different stories, gives us more details on certain characters and their roles in the series. The five writers, Brian Reed, Mike Carey, Christos N. Gage, Zeb Wells and Jeff Parker keep things extremely competent and diverse in topic, while staying true to the series.

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I’ve talked about the differences between Marvel’s What If comics and DC’s Elseworlds comics before, but another major contrast has made itself apparent to me. They are both about taking a cool out-of-continuity concept and running with it as a full story. The problem with Elseworlds is that a lot of the time they get bogged down by either the need for familiarity (how many times has Kal-El become Superman when the entire idea of the story is that Kal-El is not Superman?) or the over-complication of the storyline.

Take JLA: Destiny for instance. The four-issue miniseries is based on a concept that is so full of promise that it could have carried the story itself. They could have just plugged it into the DC Universe and let loose a great story. Writer John Arcudi decided not to, seemingly going for more of an epic clusterfuck of a story. So this big twist in DC history is made into part of a bigger theme. It also becomes merely a subplot to the whole miniseries and this big shocker that should have been the selling point for the comic isn’t fully revealed to the reader until the third issue.

A couple years back, when I first read Destiny, I scoured online for reviews. I’m too lazy to check now, but all the reviews I found were for the first two issues only. Some didn’t make it past the first. Nobody knew what the point of the story was yet and had no indication that they were going to discover it in the final two issues, so everyone dropped it like a rock.

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The Incredible Hulk, part two of the “Avengers Saga” of Marvel films (there go my nipples again), is on its way in a few weeks. Naturally, Peter David wrote a novelization based on the upcoming movie. Since I did the same for Spider-Man 3 and Iron Man, I went up for round three by picking it up and seeing what it had to offer.

Incredible Hulk is like Ang Lee’s Hulk mixed with Superman Returns, only better than each of them. Granted, I did enjoy the older Hulk movie for the most part. I thought most of the stuff involving David Banner was fantastic and found him so sympathetic that I can’t even bring myself to call him a villain. But let’s be honest, the pacing had problems and there was a huge unbalance in the story where they try to tell the tale of a man’s tragic relationship with his father one minute and HOLY SHIT DID YOU SEE WHAT HE DID TO THAT TANK the next.

This new movie is most definitely not a sequel to the Ang Lee production, but like with Batman Begins and the Tim Burton Batman, stupid people will believe they’re connected no matter how many changes in continuity they spy. Still, the movie knows what we saw in Hulk and doesn’t give us a story based purely on origin. Though the Hulk’s origin is different this time around, it’s only delved into through explanations and brief flashbacks.

David’s book is based on the screenplay treatments of Edward Norton and Zak Penn. That means that it’ll be harder to tell how accurate it is to the final product than usual, based on the stories I’ve heard about the movie’s production. For one, Norton had been rewriting scenes on the set just about every day. For two, they decided to make some edits that have pissed him off. Even the little footage I’ve seen of the movie is different from what the book goes with. Such as that scene where Hulk tears a cop car in half and uses it as boxing gloves. Not only is that not mentioned at all here, but that scene involves Abomination talking. Abomination has no dialogue in the book after his transformation.

This could be a good thing or a bad thing. Truth is, there are a couple minor bits I wouldn’t mind changed.

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Remember a little while back when I made a big deal out of a comic so bizarre that merely describing it caused Peter David to go cross-eyed? Well, here’s my review of it.

For some reason (*cough*hermanos*cough*) it’s still titled “Kountdown to Final Kombat” and I seem to have misspelled Gorbachev, but go read it anyway. As long as comics like this exist, I will walk the surface of this planet.

Gavok note: longtime reader and internet buddy A.o.D. sent a couple threatening emails to me and hermanos, wondering why we haven’t gotten around to reviewing the totally awesome Iron Man movie. I decided to ask him to write the review for us, since I thought he was the most qualified. After all, this guy knows more about Iron Man than I will likely ever know and has been a well of information for years. Not only has he read just about every good Iron Man story, but he’s willingly worked through the horrors of that whole Evil Tony Stark vs. Teenage Tony Stark fiasco and read every issue of Force Works. Poor guy. Point is, the guy knows his Iron Man, so it’s only fair that he gets to write this.

You’ve probably seen the movie by now. Every entertainment, comic (except 4th letter *ahem*), movie, and newspaper website has had a review up by now. Iron Man has raked in over one hundred million dollars domestically. It has in every essential sense proven itself to be a success. I am in no means going to contradict any of that. I am also not going to discuss the various plot points. All of this has been done ad nauseum. I will, however, sing some of the movie’s many praises.

Iron Man was a wonderful movie. When I first heard of the project, and the possibility of Nick Cage being involved, I was filled with a mixture of fear and excitement. Fear because I knew that Cage would have been absolutely terrible in the role, but excited because a long neglected Marvel character that I had a huge man crush for was going to be recognized. Bear in mind that this was before Civil War, Extremis, or even Tony Stark: Secretary of Defense. Iron Man was a small run book that had for decades been eclipsed by the likes of X-Books and Spider Man. To most comic fans, despite the fact that Iron Man was something of a big deal in Marvel continuity, he was just ‘that guy in the avengers’.

So yeah, I’m a big ol’ Iron Man fanboy. There’s a lot about the character that speaks to me. The fact that he doesn’t always get it right, the fact that he is a deeply flawed, but moral human being. Or that he doesn’t see things in black or white and understands that the world is tinted in shades of grey. Then there’s also the fact that he looks like he enjoys what he does. Sure, there’s a sense of purpose and duty involved, but the metal pajamas he wears look like a hell of a lot of fun.

So I had a lot of expectation for the movie. Expectations that rose once I learned that Marvel was taking over the project and that Robert Downey, Jr. was going to play the lead. Not only did he look the part, but if anyone knew what it meant to be a hard living, self abusive playboy, surely it would be Downey. In that, Downey exceeded every expectation. He owned the part as thoroughly as Christopher Reeve owned his role in Superman. Simply put, I never want to see him replaced. He expertly captures the juxtaposition of Stark’s self destructive hedonism and genius fueled intense drive. Everything he does rings true.

Pepper Potts, played by Gwyneth Paltrow, interestingly enough, had a far larger role than she traditionally has in the Iron Man comics. For most of her existence she was window dressing or a plot point. The movie does her far more justice. Although I wouldn’t characterize her as a strong female, she is clearly characterized as one of the three people who makes Tony’s life work.

Jim Rhodes played by Terrence Howard is blah blah blah blah blah.

Look, you’ve read this all before. If you’re reading this, you’re a comics fan and probably have already seen the movie. If not, what are you waiting for? Are you still pissed about Civil War? What the hell is wrong with you?! This movie is worth twice the price of admission, so go see it two times! It’s a freakin’ bargain! Just be thankful that at the very least we’re getting an encore performance in a couple of years with the promise of an Avengers movie down the road. Iron Man is what superhero movies should all aspire to be. Go freakin’ see it already.

One of the Women in Comics panels at NYCC seemed kind of off to a lot of people. (Shot of Jenna Jameson in that one that may or may not be sfw?)

How do the ladies creating comics do it? They’re constantly blowing us away with the most outrageous and provocative titles. Jenna Jameson (Shadow Hunter), Colleen Doran (Distant Soil, Reign of the Zodiac), Amanda Connor (Birds of Prey, Painkiller Jane, Lois Lane ), Louise Simonson (New Mutants, X-Factor, Superman) and special guests reveal why they know what Fan-Boys want.

Yeah, Jenna Jameson is the odd man out there, so to speak. She’s got one comic under her belt, which she is credited with creating, rather than writing, so I can totally understand the consternation. If anything, I’d pay cash money just to see Louise Simonson talk. I’d pay extra if we could get a “Walt’n’Weezy Hour” where they just tell stories.

But, I kind of feel like the fan-based hostility toward writers or creators from outside the medium has run its course. It’s gotten stupid in its fervor. Case in point– Steve Bunche wrote a panel report on the Women Who Kick-Ass panel, which was subsequently reposted on The Beat.
Here’s a bit of it:

Billed as a sounding board for women in the funny books biz, the panel garnered a bit of controversy for its placement of former adult film star Jenna Jameson among the likes of Colleen Doran, Louise Simonson, and Amanda Conner. Jameson, a funny and intelligent speaker, is quite lively in her own right, but her presence was guaranteed to detract from the other panelists and attract a legion of devotees of “one-handed” cinema, many of whom couldn’t have cared less about the creative process of comics and paid their admission fee in hopes of worshipping at Jameson’s tenderloin flick altar. I have absolutely no problem with Jameson’s porn past, in fact I’m a staunch advocate of such fare, but the inherent sensationalism that comes with her simply doesn’t jibe with a panel aimed at women being taken seriously in the medium. No matter how sincere her intentions may be, the vast majority will most likely not be able to embrace Jameson in any real capacity as a creator and see her as anything other than a “tainted” woman who splayed her naughty bits on camera for the, er, amusement of folks living in a hypocritically anti-sexuality culture. Just ask Traci Lords.

Here is what I learned from the panel report:
-Jenna Jameson used to do porn.
-Colleen Doran and Louise Simonson didn’t show.
-There were more moderators than there were panelists.
-Jenna ain’t that interested in comics, no way, and probably didn’t even come up with the story for her book.

I can’t find any info on the Women Who Kick Ass panel online. All I’ve got is this report to go on, and it’s got no quality information in it. It’s got a lot of unsourced and specious conjecture, to be sure. Most of the crowd were Jenna fans, rather than comics fans? Really? It cost forty-odd dollars to get in the con for a day pass. You mean to tell me that you seriously think “about twenty or so comics enthusiasts” were the only comics fans in the audience? For really real?

Jenna was there to shill the comic “she supposedly created” is a huge claim to make– particularly when you aren’t privy to the inner-workings of Virgin Comics. A lot of their comics follow the format of (Celebrity Name)’s (Two Word Title). That’s their thing and it’s a formula they’ve worked to some success. Why throw in that jab about “supposedly created?” What’s the point? What does that have to do with the panel?

Conner’s efforts were valiant, but, for all intents and purposes, for what may have been the first time in her life, Amanda was the smart, talented, and funny wallflower in the eyes of a room full of wolves sniffing around the dance’s popular “hot” girl in a futile omega mating display.

This is the bit where I realized the post wasn’t a panel report at all. It’s a hit piece. The first paragraph is about how we don’t need a Women In Comics panel ’cause gender has nothing to do with nothing, the second paragraph is dissing Jenna’s fans and saying how she’ll be distracting, third paragraph disses the fans and moderators, fourth is dissing Jameson, fifth disses Jameson again and calls her comics illiterate, sixth mocks her movie, seventh is reproduced above and is basically a White Knight in action, eighth is dissing the audience, and then the ninth is a wrap-up that says the panel sucks.

The only paragraph I remotely agree with is the ninth one. I agree that the panel line-up was a bad idea and unbalanced. I disagree that Jenna Jameson being on the panel deserves an entire hit piece devoted to how she sucks, doesn’t know crap about comics, her fans are slavering fanboys who just want to touch the goddess’s hem (or i guess thong, whatever), and Amanda Conner got done dirty.

Conner did get done dirty, but that isn’t a good reason for the rest of that. I don’t even like Jenna Jameson and her comic is not my thing– so don’t even think that I’m just sitting here defending her. I don’t like the trend of “X person is coming from outside comics” with the subtext of “stealing jobs from worthy comics creators.” It’s crass.

I do agree with Johanna in her comment here, though.

I don’t think it’s her so much as cynicism towards famous names on comics. Remember Tekno’s Neil Gaiman’s whatever and how he had nothing to do with it besides the original concept? If someone licenses a name just to get PR value off of it, then I think readers are justifiably skeptical about that.

I just feel like the reaction is out of proportion. I’m sure that there was something funny or interesting or clever or new said on the panel. Bunche makes a big deal out of Conner’s quick wit and sense of humor (which considering her art, must be pretty awesome), but never actually gives us any anecdotes. It’s like what David Uzumeri said a while back.

What’s starting to disturb me more is the reaction to this that I see on a lot of the more moderated/respectable blogs – this conscious attempt to cut ties with the tastes of the hoi polloi and instead turn the topic to how cleverly you can savage a certain creator or book. Mike Choi is right – the switch is defaulted to “snark” all across the blogging community and everyone’s tripping over themselves to be the funniest guy to say something’s going to suck.

I’m tired of empty snark. You’re clever, you’re mean, you’re smart, you’re witty, you’re awesome, I get it– now tell me what you saw.

edit: Ragnell pointed me to Girl-Wonder’s Four Color Heroines podcast, which discusses the issue at around 12:00 in or so. I may not 100% agree, but they do make good points! Which, really, makes for a great post. Also, they just posted this new post which is all about the panel. I haven’t gotten a chance to check this one out, though, but it may warrant a followup post later!

I’ve been rereading Silver Surfer this weekend. I started with the Englehart/Rogers stuff, which was really very pretty, but kind of boring so I skipped up to Jim Starlin & Ron Marz scripting over Ron Lim.

And wow. What an underappreciated bunch of comics these are! I’m not sure if they are actually good or not, but I’m enjoying the crap out of them. I’d read half a dozen of these as a kid, so I figured I’d see if they held up. I’ve taken some notes which I hope you’ll enjoy and possibly be able to answer!

• Silver Surfer is a gigantic whining wimp. Honestly man, he spends entire issues at a time either a) fighting his own psyche or b) moping around space or c) moping around a planet in space.
• Black Panther punking Surfer in Fantastic Four was way more of a big deal than it should have been. Surfer spends half the series getting punked by dudes with no powers, dudes with guns, dudes with sharp teeth, and a girl with big fat angel wings who is upset that he doesn’t love her back. Even people whose powers are “sharp teeth” and “big muscles” rough him up.

• There are ray guns in outer space, but a shocking amount of people still prefer to use good ol’ fashioned axes, spears, and swords. Not even ones made out of lasers or some kind of made-up science word– just straight up hunks of metal with pointy bits on the end.
• Frankie Raye, Nova, is dead. I didn’t remember this coming into the series. I’d kind of noticed her absence in the current Marvel Universe with an unspoken “Wasupwitdat?”, but hadn’t thought much about her. I mean, all I know is that Frankie Raye is an awesome name and fire hair is cool. Anyway, she told Galactus “No,” he told her to get gone, she literally had some kind of nervous breakdown, psychotic break, or amnesiac whatever and became a space stripper.
• Yeah, space stripper, not even joking. She was working at a bar aimed towards aliens with a flame-girl fetish, too.
• Luckily, she didn’t live to wrestle with the indignity of the situation, since she was killed two issues later by Morg, Galactus’s new herald.
• But seriously ladies, space amnesia turns you into a stripper. Be careful out there.
  
• Rereading the Infinity Gauntlet issues was a long and drawn-out process, to the point where I feel like I’ve read Silver Surfer continuously for the past eighty years. It’s not that they were bad– okay, they were pretty bad.
• Ron Lim is kind of awesome. You could make the case that his facial features are a little too similar, but that’s every artist ever. However, he draws awesome space battles, great aliens, and I think I like his version of the Surfer more than Kirby, Buscema, or Rogers.
• There are a lot of weirdly shaped word bubbles in this series. Terrax, Morg, Tyrant, Adam Warlock, Airmaster, Firelord, Nova, Drax, and Thanos all get custom balloons.
• Tyrant is a terrible name for a villain.
• Galactus talks a lot, but rarely backs up his threats. However, when he does, it’s almost always worth it. “I will have words with you” is an awesome entrance line.
• Surf really doesn’t have a supporting cast to speak of. They’re all either dead or too aloof to be interesting. Impossible Man should show up more often, too.
• The book got a lot less weird when Starlin left, though it was still pretty weird.
• Tyrant effortlessly punks Gladiator, Beta Ray Bill, and three heralds of Galactus in one issue.
• Surfer is guilty because his mother slit her wrists in the bath? And years later, his father put a bullet in his brain? Aw, c’mon. That feels like unneeded depth.
• Galactus should never, ever take his hat off. He looks ridiculous.
  
• The Spinsterhood is an incredible idea and one that should be relaunched and revamped in a prestige-format 12 issue maxi-series asap. We can draft a few established characters, hook up a new costume, give them a new enemy. It’ll be golden. From the comic: “We took our sacred vows, forsaking the pleasures of the flesh for training in the ways of war. We marked ourselves with the symbol of our ceremonial daggers.”
  

Happy 500 posts to us.

Yes, this was supposed to be up on Thursday. You’ll be surprised to find that this time it wasn’t the fault of my laziness. Instead, PopCultureShock was having some technical difficulties and couldn’t update the front page for a couple days.

So here’s my review of Acclaim’s short-lived series based on Killer Instinct.

A year ago, I bought, read and reviewed Peter David’s novelization of Spider-Man 3. I thought it was pretty good and went on record to say that Sam Raimi would have to go out of his way to fuck up that movie. Wouldn’t you know it, he did exactly that. He deleted a handful of scenes that would have turned the movie’s three villains into more than ridiculous, one-dimensional jokes. While he removed all the valuable Eddie Brock and Sandman scenes, he made it even worse by hardly shaving off any whiny Mary Jane moments.

I made the decision to go for round two. This time Peter David writes a novelization based on the upcoming Iron Man film. More than anything, I was curious. The build-up has been nice. Not just with the trailers, but the feeling that there’s love in the movie. I recall Jon Favreau saying that in preparation, he had been reading every single issue of Iron Man from the 60’s on. So would love be enough to make this story work?

Yes. Yes it really would.

I’m not going to give out explicit spoilers, but if you really want an absolute blank slate to the point that you didn’t even watch the trailers, by all means don’t read this and instead just give me $5.

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