Dark Avengers #11, The Authority #3, and Batman Unseen #4 Reviewed!

 

Dark Avengers #11

Written by: Brian Michael Bendis
Art by: Mike Deodato and Greg Horn
 
I should start off by saying that this issue is really well structured. The fact that the story opens up by referencing Victoria Hand's position as a S.H.I.E.L.D. accountant three years ago is a perfect set up. By starting the issue this way, Bendis allows for two ongoing story lines to occur simultaneously that cross over into one another, but still manage to remain separate, and do not confuse the reader. Victoria Hand is presented as this very weak female character in the beginning of the story, and you can see the way she has evolved and been strengthened as a character over the course of the last three years. This issue is as much about Norman Osborn's assistant as it is about Norman himself. In this issue, Norman is tested by the Molecule Man, who can easily destroy Norman if he wished to, but doesn't. The plot reaches a climax in the beginning of the book, and then reverts, before ending on a high note once again. 

"The only thing I don't understand is...How long did you think you were going to have this job, anyhow? Everybody wants you to fail. Even the people who are rooting for you-- secretly they know what you are and they know what's going to happen to you...They're just waiting! When will he snap? Well, for my purposes, I can't wait. The sooner the better. And if I can help it along...all the better."

Bendis writes a perfectly despicable and resentful Molecule Man, which is perfectly captured in his character narration. Probably the most powerful scene in the entire comic is the interaction between Norman and the Molecule Man, who seems ready and willing to aid Norman in his own psychological destruction. This interaction reinforces the idea that Norman is self destructive, and that in the end, he very well may be his own enemy. His psychological instability seems to be what will more than likely result in his own demise.
 
Scenes which Molecule Man clearly has the upper hand and has invaded Norman's mind are drawn by Greg Horn, while all other scenes are drawn by Mike Deodato, who has been the artist on the book throughout the entire series. The decision to bring on another artist with a completely different style for these specific scenes acts to further reinforce the shift in the story which makes for an interesting dynamic. Perhaps the reason I enjoyed this book so much is due to the Molecule Man's prominent role in the story, specifically because he seems like such an unlikely adversary. A fantastic issue overall, my only complaint is that the interaction that Molecule Man has with the rest of the Avengers (Sentry, Ms. Marvel, Daken...) seems rushed and could have been extended. 
 
4 out of 5 

 

Batman Unseen #4 of 5

Written by Doug Moench
Art by: Kelley Jones
 
Of all the Batman books out in the market now, this is definitely one of my favorites. Written specifically for fans of the Bruce Wayne Batman- sans the side-kick, this book returns the character to his detective roots and reads like an edge of your seat mystery thriller that has over the years, been what has made Batman so intriguing to so many fans. Everything from the style of the writing to the art aid in bringing the reader back to a dark and dreary bronze age Batman, which is exactly what makes this such an interesting read. Kelley Jones' abstract and dark artistic style likens to that of Frank Miller's artistry in ' The Dark Knight Returns.' The way that the narration acts as an internal monologue intertwines perfectly with the character dialogue. The story is organized effectively into chapters which distinguish the transition from one scene to the next similar to a novel. Perhaps it is the way the book is structured, or the fact that it is so well written and organized, but this book blew me away. Mind you, Bruce Wayne is also my favorite comic book character so I tend to be a bit biased...then again if I think that he is characterized well in this book, then chances most Batman fans will agree. 
Note that this title is out of the continuity of the other bat-books. I recommend picking up the three previous issues before tackling this one so that you can get the most out of this story. 
 
4 out of 5 

 

The Authority: The Lost Year #3

Story by: Grant Morrison and Keith Giffen
Written by: Keith Giffen
Art by: Darick Robertson and Trevor Scott
 
There are few artists that can capture the fluidity of movement and still maintain a gritty style; Darick Robertson however does exactly that. The first four pages exemplify his personal artistic style to perfection. If you have not and are not planning on picking up the two previous issues of The Authority, then there is really no sense in getting this one because you may not grasp what is going on. The content is somewhat graphic and the art is suggestive in some scenes, but entertaining, nonetheless. The book maintains an interesting plot and story and is very well structured, but without an understanding of these individual characters it is near impossible to read. One thing is certain, these guys are a hell of a lot more interesting than the Justice League. The script is well organized which is evident in the artistry of the first four pages. I personally love a good fight scene without dialogue; it is a great example of the artist's talent. While it was a fun read, I did have some trouble being engaged throughout the entire story and it felt no different (to me) than reading any other super hero book.
 
3 out of 5

Filed under : The Authority, Batman, Dark Avengers, Dark Avengers

 
  
While I was a bit unsure about the "newsworthiness" of this type of content for the front page, I still found it humorous enough to share with you guys. Sit back and check out the best Christian Bale/Batman impersonation I have seen in any kid under the age of 10, ever. 
 
You love it.

Fall in love with comics...again

 
Over the course of the last four months or so, Comic Vine has managed to be present for some relatively prominent comic book conventions. From the heavy coverage we did at the San Diego Comic Con, to the first ever Long Beach Comic Con; we were able to score a lot of interviews and to chat with many popular creators. This weekend, Comic Vine decided to attend APE, right in our backyard. I quickly realized that there is something unique about APE that makes it stand apart from all conventions, in that it stays the closest to the roots of the creative process. 'APE,' the Alternative Press Expo, has been held every year in San Francisco since 2000, acting as a stage for independent publishers, self publishers, and alternative cartoonists to showcase their hard work. Having at one time consisted of a single day event; the convention has grown over the course of the last three years and now features special guests and panels, and spans the entire weekend (both Saturday and Sunday). Each year it has gotten bigger as more and more independent writers, artists and creators come to showcase their hard work.
 
While the majority of the mainstream comic book industry managed to keep relatively busy at "BACC" (Big Apple Comic Con hosted by Wizard) in New York City this past weekend, I headed into the "city by the bay" to check out the smaller convention. What I came face to face with was the creative process at it's best; a beautiful display of the passion that is so often lacking from mainstream conventions in general. Untouched by the overly commercial video game industry, and media giants that are Marvel and DC, was a venue for dreamers. APE is where independent creators come to show off a lifetime's worth of all of their hard work. It is a place where all the characters are original and the comic books are more often than not published at the local Kinkos, with love.

Roaming the (somewhat confusing and disorganized) isles of the Concourse Exhibition Center, I found myself drifting from one table to the next, leafing through the pages of the many stapled independent books; admiring their often outrageous plot-lines and eclectic interior art. I quickly realized the beauty of the venue that is APE when I opened up 'Brazilianoir,' a gorgeous story where everything from the art, mood and language is completely depicted in a noir style. Holding the rough pages I felt myself succumb to the world of Emily Stackhouse, a lovely and vibrant young woman whose personal style mimics that of the classic era she was channeling. It was then that I fell in love with her story. Sure, the book was rushed, the panels could have been better organized, the dialogue was somewhat brief and needed editing; but it was that raw artistic expression that really struck me. It is an element that is simply missing from main stream comic books, and it was effortlessly pouring out of Emily's pages. The use of light and dark that are such a staple of the 30's and 40's was executed brilliantly onto the panels of 'Brazilianoir.' Somewhere along the way I had forgotten what it was about comic books that made me fall in love with them in the first place. It was among these somewhat sloppy, rushed, stapled books that I realized the 'why' all over again. It was the understanding of all the time, effort and passion that goes into creating an incredible story that made me feel good. At that point I came to understand how important APE is. Had there been no venue for Emily, I may never have had the pleasure of immersing myself in her story and recalling the reasons why I truly love comic books; for the sheer fact that they are a brilliant form of artistic expression.

You wouldn't steal someone's wallet, would you? Clearly you know how wrong it is to steal anything from someone else. Ideas are no different. In fact, I would go as far as to say that stealing ideas is a worse crime because while you can put a price tag on something monetary; you cannot put a price tag on an idea. Ideas are priceless. 
 
I've been finding a lot of plagiarism and it's making me pretty angry. If you like and appreciate the Comic Vine community, and you don't want us to look bad, then please do not plagiarize from other websites.

 
 As you may have already heard, earlier this morning the Walt Disney Company announced in an official press conference that they have managed to solidify their acquisition of Marvel Studios and it's "portfolio of 5,000 characters." The question on the minds of most comic book fans is whether or not the buyout will effect the development of the characters and what this means for the future. In other words, for example, will the "merc with a mouth" still have "a mouth"?

I want to tell you exactly why it is a good thing.

Firstly, I do not believe Disney would pay 4 billion dollars to purchase a company just so they can change it. From a purely business perspective, and I quote the Disney execs when I say this, "if it ain't broke" don't 'fix' it. Disney has witnessed Marvel expand and evolve from being solely a publishing company to a media giant. As a company, they would be foolish to tamper creatively with the success of the company and its characters, and I do not believe they would invest a tremendous amount of money just to do so.

Disney executives made a point during the call to infer that "no one knows Marvel characters like Marvel...[and that] Disney respects Marvel to give and allow [them] creative control of the company."

At the moment, less than 50% of Marvel's revenue is international. This deal is about expanding revenue, and getting the Marvel brand out to people who might not be familiar with it. With the backing of a corporate giant like Disney; Marvel will be allowed to expand and will be better suited to reach audiences they previously may not have. The deal allows Marvel to remove their relationships with third party companies and which would thus eliminate friction. Pixar is an example of this. While licensing Pixar may have been attractive; acquiring the company was a major benefit and allowed them to expand and develop projects that they previously would not have had the funding and backing to do so. The buyout will allow Marvel to expand it's distribution as well as the number of products it develops. Essentially, Marvel increases in value because of this deal than it did when it had been a stand-alone company.

"This is about buying people who know the characters really well...when you are one company, you deal with less friction "

What does this mean for Marvel's current projects?

Nothing. According to representatives from both companies, Disney will respect the deals that are already in place with other companies and distributors, and will take over once those contracts expire. They note that while they Disney will respect the deals already in place, that they do want to eventually become the sole distributors of Marvel's films.  
 
For the sad part..
 
I don't want to be labeled as a cold-hearted lover of all things corporate; and while I do see this buyout as advantageous for both companies, there is still something sad about witnessing a company that has survived independently for 70 years being bought out by the bigger dog. I remain an optimist, however, in that I really do not think that the the content will change and that this was all for the best. I understand the concerns of so many Marvel fans when they base their opinions on Disney's reputation as a company. My advice to the skeptics is to remember that this was a business deal and it would be illogical for a company like Disney to pay 4 billion dollars for something they want to change. Both Marvel and Disney feel that this is an advantageous step in the right direction because in essence, it means that Marvel will have a stronger foundation to expand.