UPDATE: (4:18 PM CST Nov. 22, 2011) Cosmic Book News has taken down the image.
Matt McGloin the editor and publisher of Cosmic Book News posted the last page of Fantastic Four #600 which spoils the end of the story. Is this a problem?
The picture also has the Cosmic Book News logo on it so that no one can use the image. The problem with the post is there is no review to go with the image, just the generic description of the issue put out by Marvel Comics. Do you consider this journalism? Should the industry implement rules for releasing images? Retailers have new books on Tuesday but can’t sell them till Wednesday morning.
No one at Marvel Comics would go on record to comment on the situation. The best I could get is a “Bummer,” from Ryan Penagos the editorial director of Marvel.com.
Comicvine.com is trying to avoid spoilers till they read the issue. John Siuntres of Wordballoon.com wasn’t excited to here the news. Jonathan Hickman replied to the Comic Vault through twitter with this to say.
Jonathan Hickman
@comicvault – I don’t care. It was going to get out there. Besides it’s not the reveal that matters…
Jonathan Hickman
@comicvault – plus I haven’t read that article, so I’m not sure ‘which’ spoiler is being spoiled
2 minutes ago
Did you read that?! ‘Which’ spoiler? Hickman is a crafty man.
Venom #9
Writer: Rick Remender
Art: Stefano Caselli and Frank Martin, Jr.
Venom #9 picks up during the aftermath of “Spider-Island.” New Yorkers are running through the streets, frightened. After all, the city just found itself waking up naked after being turned into giant spider creatures.
Flash Thompson, meanwhile, is still trying to absorb his father’s death two issues ago, let alone the citywide catastrophe he just helped solve. Oh, and that he’s playing host to the Venom symbiote, which has its own ideas of justice and has a habit of turning people into monsters.
It really doesn’t make matters any better that a guy calling himself “the Hijacker” is driving an “impenetrable” tank through the city to rob banks, running over anyone and anything in his way, while the cops literally have their pants down. Especially not when Flash witnesses him run over an innocent security guard.
But it gets worse. A lot worse.
This issue has a really dark moment that pushes Flash over the edge, and for a while, he’s totally consumed by the Venom symbiote. Interestingly enough, he’s drawn closer to the Eddie Brock incarnation of Venom than the Mac Gargan one that has been around for most of the last decade. The eyes-in-the-middle-of-eyes on the Gargan Venom always kind of bothered me, so this is a welcome change.
Come to think of it, I can’t remember which Venom design they used the last time the symbiote took complete control…
Remender delivers another excellent issue of Venom, making symbiotes more interesting than they’ve been since the early ’90s. He isn’t afraid to go too dark with the tone of the story, and it really helps that he doesn’t do it just for the sake of seeing how far he can go. All of this serves a purpose of playing on Flash’s inner turmoil — his sans-symbiote problems as well as the problems he has as a result of the struggle with the alien creature.
Stefano Casseli and Frank Martin, Jr. deliver some of the most beautiful art on this book yet, which is really saying a lot if you’ve seen the previous eight issues. It pops when it needs to, and the facial expressions and body language deliver exactly what they need to.
It will be interesting to see where this book goes, especially now that Venom has been announced as a member of the Secret Avengers once Remender takes that book over in a few months.
Story: 9/10
Art: 9.5/10
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Scott Snyder continues to show that he’s not done adding layers to both Gotham City and Bruce Wayne’s troubled family tree. It’s as if he’s been plotting Batman stories since he was five years old . Snyder takes us to Gotham City circa 1922 where we are introduced to Alan Wayne who has become delirious and is muttering about Owl’s and how they are nesting in his home. Unfortunately for Alan his crazed state causes him to misstep an open man-hole cover and fall to his death.
Snyder has an amazing talent of using history and bits of dialogue to tie into his story beats happening in the present. Batman has decided that the only way The Owl from last issue could have infiltrated his building was through the train tunnel lines . Which leads to a brush with the Whisper Gang . Snyder spends most of the fight explaining why the Whisper Gang are a very serious threat to Batman. Mean while Capullo’s pencils continue to prove that he has an amazing grasp on what makes Batman so imposing . The fight is kinetic and fast paced . Capullo draws Batman like a force of nature . He fights with reckless abandon , and Snyder’s always coming up with creative toys for Batman to use. Each issue thus far has had a holy s#!t moment , this issues moment involves a passing train and a well placed magnet. I don’t want to spoil it for you but I was smiling from ear to ear .
Bruce realizes that the tunnel’s are a dead-end in his investigation and heads back to the Bat Cave. In the cave Alfred informs Bruce of his Ancestor Alan and his obsession with Owl’s in his last years. Snyder tells us that Alan was a superstitious man , in fact he was one of the first men to decide to cut the 13th floor from each building he built. However being the superstitious man that he was he made sure to leave one small floor in its place in each building. This bit of information along with Batman telling us the readers about the territorial habits of Owl’s makes for one hell of a twist ending to this issue. It appears that the Court of Owls have set up shop in the vacant 13th floor of every Building built or funded by Alan Wayne since the early 1920’s
You get a sense that Batman is in over his head , and Capullo draws the last scenes of the book with great attention to detail. Seeing Bruce slowly realize that he’s in over his head is a great way to end this issue . Snyder and Capullo continue to tell a very entertaining and satisfying story. Whats more incredible is that the two compliment each other extremely well. This book is fun , creative and is worth every penny of its $2.99 selling price. Highly Recommended!
Deadpool #46
Writer: Daniel Way
Art: Salva Espin and Guru eFX
At the end of the last issue, Deadpool was standing on a bridge talking to a man who was thinking about jumping killing himself. The man didn’t have the nerve to kill himself, so he had just asked Deadpool to do it for him.
If you’ve kept up, Deadpool’s healing factor (and the “curse of immortality” placed on him by Thanos) keeps him from dying. [And people totally always want the one thing they can’t have, amiright?]
Anyways, an “Evil” Deadpool [with a freakin’ sweet backwards left arm] had formed from dismembered body parts in the meantime, and Evilpool hijacked a jet and crashed it into a bridge.
The same bridge Deadpool and the jumper had stood on.
After surviving the explosion AND the fall, the would-be jumper decides he doesn’t want to die anymore and swims to shore, leaving Deadpool to finish his trip to New Jersey for his favorite chimichangas. This, of course, further establishes Deadpool’s insanity, as nobody in their right mind should ever willingly want to go to New Jersey — especially just for a chimichanga.
[Hey! We agree on something for a change!]
[Shut up and stop crashing my Deadpool reviews, inner monologue!]
[No! I am you and me and you are we! You cannot escape!]
[$#!@*&%&#*$@!*&*@^%@&#*]
Unfortunately, Evilpool, who parachuted from the aforementioned bridge-bound plane, got to those chimichangas first. And he blew the place up.
Poor Deadpool.
Through his disappointment, however, he realizes that there’s only one person who would do something like this…HIM! Naturally, he turns around and Evilpool is standing across the street.
This leads into some great Tom & Jerry-esque panels where two characters who think one step ahead of each other [They are, you know, technically the same guy] find new ways to maim one another. Of course, when you’re using heavy artillery in the middle of Jersey, federal authorities are bound to be brought in [because Jersey needs to be protected, too…for some reason] because the powers that be want the next issue to have a guest star.
Daniel Way’s writing on this title continues to be fun and well-paced. Deadpool isn’t supposed to be too serious, and Way is well aware of that. The cartoonish slapstick elements of this issue bring to mind the Deadpool vs. Bullseye storyline from a few years ago, and that’s always a good thing — even though that magic would be hard to recreate. Of course, Salva Espin and Guru eFX really compliment that slapstick with the book’s animated-but-realistic-enough art.
Deadpool remains a solid choice for anyone who wants a fun ride with little-to-no thought required.
Story: 8.5/10
Art: 9/10
[amazon_link id=”B0066UR3L2″ target=”_blank” container=”” container_class=”” ]BUY Deadpool #46 on Amazon[/amazon_link]
Amazing Spider-Man #674
Writer: Dan Slott
Art: Giuseppe Camuncoli, Klaus Janson and Frank D’Armata
In the wake of Spider-Island, a rash of apparent teen suicides has broken out across New York City. The cops assume these suicides are the result of kids who had a taste of spider powers during the “spider virus” incident trying to jump and/or swing from buildings. New York’s Finest are also none too happy that they turned into giant spiders and had webs coming out of their butts.
Naturally, this means the NYPD doesn’t care too much for Spidey. Again.
On the first page of the book, we see one of these “jumpers” going splat near the arch in Brooklyn. Longtime Spidey fans will notice, however, that this goth kid plummeting to his death has some rather familiar wing-like tech. I wonder how the cops missed that bit.
If you’re not entirely new to this, then you already knew from the shadow on the book’s cover that the Vulture was back. When and how Adrian Toomes escaped from the Raft at Ryker’s Island is still a mystery, but that’s where he was at the last time we saw him nearly 100 issues ago. Speaking of which, what happened to the newer Vulture that debuted in that same storyline? One can imagine that the younger, acid-spitting, Predator-jawed, all-around more monstrous Vulture isn’t going to like sharing the skies with Toomes and these newer, gothier Vulturions (They haven’t been called that…yet. But I’m old enough to remember those guys.)
Anyhow, this issue also touches on Spider-Man’s spider sense being back and what a crucial part of his power set it really is. Of course, this is set up for the developments on the following pages with the Kingpin, Hobgoblin and their inside man at Horizon Labs. It didn’t take Slott long at all to start weaving in new subplot threads after the biggest event of his career. There’s a reason he’s the best Amazing Spider-Man writer since Michelinie, and this is it. Let’s just hope his run with the book is as long and influential.
On the art front, Giuseppe Camuncoli delivers big time. Along with Klaus Janson’s inks and Frank D’Armata’s color job, this is right up my alley stylistically. I’ve been a sucker for realism since I was a kid, and this definitely works for the gritty, creepy direction they’re taking Vulture in.
My only complaint here involves the lightsaber scythe things that the Vulturions carry. I can suspend disbelief for a lot of things (including that ridiculous fire sword that Hobgoblin carries now), but lightsaber scythes are kind of beyond my threshold. Can’t criminals, you know, just carry knives or something?
Overall, though, Slott continues his stellar run on the book.
Story: 9/10 (Those lightsaber scythe things drop it down a notch.)
Art: 10/10
Monster Dudes is a self published comic book written by Dave Scheidt with art by Matt Fagan, two local Chicago creators.
Monster Dudes #1 is wacked-out tales of your favorite monsters living the everyday life. The teen wolf always has to get a hair-cut and Sasquatch has more than a few crappy jobs. This book is great to just relax and read a few stories. It reminds me of all the great cartoons in Mad Magazine. Monster Squad is one of my favorite movies, Monster Dudes keeps the memories alive.
“Most of the inspiration though comes from every day life and just me and Matt being huge weirdos and making stories that make us both laugh,” Dave Scheidt describes his thinking process.
In 2012, Scheidt and Fagan hope to have a very successful convention schedule.
Monster Dudes #1 is available in these stores in Chicago.
Alternate Reality Comics
3149 West 111th Street
Chicago, Il, 60655, IL 60655-2205
(773) 881-4376
Brainstorm Comics
1648 W. North Avenue
Chicago, IL 60622
(773) 384-8721
Challengers Comics + Conversation
1845 N Western Ave # 2R
Chicago, IL 60647-6646
(773) 278-0155
Chicago Comics
3244 North Clark Street
Chicago, IL 60657
(773) 528-1983
Evil Squirrel Comics
6928 N Glenwood Ave
Chicago, IL 60626
(773) 338-0899
Alleycat Comics
5304 N Clark St
Chicago, IL 60640
(773) 907-3404
Quimby’s Books
1854 West North Avenue
Chicago, IL 60622
(773) 342-0910
Graham Crackers
77 E Madison St
Chicago, IL 60602
(312) 629-1810
Gmart Comics
2641 N Kedzie Ave
Chicago, IL 60647
(773) 531-4847
Issue four picks up immediately where issue three left off, with the kids finding out about Spidey being shot. Miles feeling a bit of Spider responsibility takes off and ends up witnessing the *SPOILERS* Death of Peter Parker, from the last Ultimate series. Pichelli’s art is particularly great here, especially conveying the satisfaction on Peter’s face as that even though he’s dying he saved Aunt May, and Aunt May’s silent tears as Peter passes.
Miles and Ganke end up having a discussion about responsibility as he comes to grips with the fact that he was given these powers for a reason, and he should have been there to help. Ganke interjects that maybe he is supposed to take Peter’s place (shades of Madame Web anyone? Web of Spiders? Funny how that is tying into the discussion at the end of ASM #673 (SHAMELESS PLUG ALERT: Read Roger’s review here! Do it! Now! Then come back!)
Miles continues down the slippery slope of realizing the great power comes great responsibility and attends Peter’s funeral. He ends up having a conversation with Gwen Stacey, who actually finally (briefly!) has the great power, great responsibility speech with him, and finds out why Peter wore a mask. (Because it looked cool, duh. And maybe he didn’t want anyone to know who he was.)
Than finally, almost three four full issues into the series, we get the money shot. Miles in his friend’s Spider-Man Halloween costume, which lands him some action that we only get to read about in a mock Daily Bugle cover, which rips into him, as a Spidey impostor who is impersonating in bad taste. The issue ends with him getting familiar with his Spidey sense (like how he refers to it as “head buzzing”) and getting asked just “Who the @#$@ do you think you are???” by Spider-Girl.
I’m pleased that we finally get to see Miles in costume, and we managed to get the character development across as well. Bendis seems to be hopefully turning into a faster pace, and maybe by issue six we may get to see him in his real costume, fighting super-villians instead of just reading about reports of him fighting super-villains.
Pichelli’s art continues to be amazing, the little details in the difference between the real Spider-Man costume and the Halloween costume are great, and again she does a fantastic job with the facial emotions.
Both issues of Gail Simone’s Batgirl and J.H. Williams III’s Batwoman hit the stands this week, and it was definitely a good time to be a Bat-Lady.
Starting off my pull list for the week was Simone’s Batgirl. I’ve had my reservations about this series before, but this month’s issue read like what a modern take on a Silver Age story should actually look like. There was a heart-warming (also a bit heart-wrenching) scene with Commissioner “Redhead McCoy” Gordon, a runaway train, and a game of tag between a couple of former kid-wonders. Usually, I’m not one to lose myself in nostalgia stories, but Simone manages to pull hers off with tact and even a bit of grace. Also a little spit and blood, but that’s what good stories are made of. The relationship between Barbara Gordon and Dick Grayson gets a little more firmly established in the DCnU as the two play a game of chase between Dick’s good intentions and Barbara’s stubbornness. Shippers beware, you will love this issue. Personally, my favorite part of Simone’s Batgirl wasn’t the witty repartee between the Acrobat and the Ballerina, but instead Simone’s ability to pinpoint something that other writers in the superhero universe tend to overlook. The innocence that can’t be saved. Occasionally, a writer will bring this trope out of the closet and give it a Robin domino mask to give a well-meaning hero something to angst about, but Simone weaves the theme carefully throughout all of her stories, and it’s something her heroes (or not exactly heroes) contend with throughout the stories she writes. The way Barbara deals with Mirror’s victims is very real, and it gives the reader that anchor in a world where guys fly around in spandex and Batjets. Again, not being the greatest fan of nostalgia-comics, I found myself wanting a little more, but overall the story itself was solid and fun and fans of Barbara Gordon Batgirl will really love this issue.
Next on the list was Batwoman, part three of the series that’s been teased to readers since last year. In all fairness though, the wait was totally worth it. To say J.H. Williams III’s Batwoman is a visual feast for fine art and comic book lovers alike would be an egregious understatement. Everything about the art in this book is gorgeous, and never at the cost of narrative comprehension. Williams’ has mastered the two-page splash page combining art and concise dialogue in a way that other writer’s should definitely take note of. This particular issue doesn’t necessarily further the plot of the book itself, but readers still get some bone-crunching action for their precious 2.99. What makes this particular issue is the heart of the characters, we get to see a side of Kate Kane that we’ve never really seen before, and my little shipper heart is floating the Maggie Sawyer and Kate Kane boat all the way home after this most recent issue. There are also great moments between Kate and Bette, as well as a really fantastic moment featuring Kate’s father that proves Williams can be just as good with his words as he is with his art. This series in new and fresh in everything it takes on, from relationships to artwork to narrative choices, and it’s the perfect book to hook someone into comics that thought they were just funny-books for old white guys. Let’s just be honest. If you’re not reading Batwoman, you seriously need to reevaluate your life.
J.H Williams III and W. Haden Blackman’s Batwoman series continues to epitomize what should happen when you let a story breathe and allow a master artist and story-teller do most of the heavy lifting . Williams uses a unique way to show what the Weeping Woman does to her victims. Again the first four pages of this book will leave you in awe . As Kate is pulled under water she struggles and the bubbles she creates become panels that show Kate losing her grip on reality. Kate still hasn’t completely forgiven herself for the death of her sister and the Weeping Woman preys off of her fear. However at the last-minute she snaps out of her trance and comes back for air , only to have Agent McDonagh waiting for her.
Batwoman makes a very quick retreat after her standoff and comes home to her cousin and sidekick Flamebird. Kate’s character is further developed as she continues to lash out at those closest to her. Her attempt to stop her cousin from fighting crime herself, turns into a very abrupt argument that leads to her cousin leaving her apartment. Kate believes by pushing the people in her life away she’s making them safer , but its nice to see Williams and Blackman take time out to have her reflect on her actions showing us she’s her harshest critic. We also get to see deeper into her personal life as her Girlfriend shows up when Kate’s at her weakest and she finally lets her defenses down. The focus is then shifted back to McDonagh who decides to question Kate’s father hoping for him to agree with a truth she already knows , that Kate and Batwoman are the same person. When McDonagh doesn’t get the answers she wants she decides to go after Kate’s cousin.
William's art continues to be nothing short of amazing
The issue ends with Flamebird going on patrol alone with McDonagh and The Weeping Woman on her tail. Kate’s finally opening up to someone , but at what cost? After three issues this book continues to deliver a well-rounded story anchored by amazing art and a fresh take on female Superhero as we know it.
Avenging Spider-Man #1
Writer: Zeb Wells
Art: Joe Madureira
Color Art: Ferran Daniel
Avenging Spider-Man is a book done in the tradition of Marvel’s classic Team-Up books, with the idea being that each story arc teams Spidey with one of his Avengers teammates (hence the title) or another Marvel character of equal or lesser renown.
It might seem like a strange idea to give Spider-Man another book considering he already has Amazing Spider-Man, is a member of TWO Avengers teams (Avengers and New Avengers), and — at least for now — remains a member of the Future Foundation (i.e. Fantastic Four, or FF). Ultimately, though, if you’re going to do a team-up book, it probably makes sense to have it anchored by your company’s flagship character. As the relatively short-lived Deadpool Team-Up showed, maybe a wise-cracking-but-schizophrenic, un-killable assassin isn’t the way to go for a book that has a potentially broader appeal.
The first storyline in Avenging finds Spider-Man teaming up with the Red Hulk following a humorous debate between the Avengers regarding who was going to give ol’ webs a lift back to New York City. Has anyone else noticed that the other Avengers don’t seem to particularly care that Spidey’s on the team?
Anyways, for those who don’t know, the green Hulk isn’t the only Hulk in existence. His old enemy General “Thunderbolt” Ross became the Red Hulk at some point a while back. After spending some time continuing to be a villain, he eventually decided he wanted to redeem himself and has been a part of Avengers since around this time last year. He’s still a deadly serious guy, though, which makes him the perfect foil for Spidey’s wisecracks in this issue.
Upon arriving back in New York (Hulk jumps them there), the two heroes find themselves in the midst of an attack by the Mole Man’s moloids — and Hulk finds himself on the receiving end of a Kool-Aid joke that he doesn’t get. The moloids kidnap J. Jonah Jameson after summoning a giant creature to keep Spidey and Hulk busy, and we find out that all is not well in Subterranea (the underground kingdom of the Mole Man).
This is a great first issue overall. I’ve felt Zeb Wells has a good handle on Spider-Man going back to the rotating “Spidey Brain Trust” writing team that existed a few years ago during Amazing Spider-Man‘s thrice-monthly scheduling. There’s some great banter in here between Spidey and Hulk, and Joe Medureira and Ferran Daniel provide absolutely beautiful art that definitely fits the writing’s playful, cartoonish tone.
There are, however, a few things that stick out to me continuity wise that pull me out of the story. I’m not sure when exactly this story is supposed to take place, but Thor died during Fear Itself, so this has to take place before then. The Mole Man was also still King of Subterranea in the last FF storyline, which didn’t hint that he had been overthrown at any point in time. So when exactly does this story take place?
I know the argument against that is, “It’s a comic book! Don’t take it so seriously!” The same people that argue that point, though, are the ones who in the next breath will speak deadly serious about their favorite book. Ultimately, I understand that this story was probably written prior to either of the other two I mentioned, but it would be nice if there were some sort of note indicating where in continuity this happens.
Story: 7/10 (Down from 8 because continuity issues pulled me out of the story)
Art: 9/10
