In 2021 I set a goal to post reviews here for 1,000 comics, and finished the year at 1,008 reviews. It was a stretch - - not to read that many comics, because I actually read quite a bit more. The challenge is to find and take the time to write a fair review of what I read - - but I made it. I’m up for a new year, and a new challenge. My goal for 2022 is to read and document 1,200 comics. That’s an average of 100 books per month, easy enough to check and update. Wish me luck!
# GOAL FOR JANUARY 20, 2022 . . . 67 comics documented
CURRENT COUNT . . . . . 39 comics documented
Peter Milligan's story is notable in that a super-hero (Sub-Mariner) is utilized as the dread/threat/horror in this five-issue mini-series. Even more notable is that fact that Namor does not utter one word of dialogue, nor does he even appear in a significant way (only in quick glimpses and shadows) until the final issue. You would not expect that to work, but it does.
This is done so well, with the suspense building issue after issue until the finale. Imagine if Edgar Allan Poe was asked to write a superhero story. I can also imagine a huge uproar among Sub-Mariner fans if this had been a continuing series. Regular readers know him as a proud protector of his homeland and environmental activist, but you've never seen him respond to challenges to Atlantis in bloody, merciless fury as this before.
The evocative art of Esac Ribic is a perfect compliment to Milligan's story, with a painted appearance that helps enhance the Classics Illustrated feel to the story.
Two expeditions venture deep into the Marianis Trench to find the lost city of Atlantis. The sole survivor of the first journey, Captain Marlowe, becomes a homicidal lunatic after his crew is dispatched in bloody fashion. The world's foremost debunker of myths and legends, Dr Randolph Stein, becomes the sole survivor of the second expedition, and the series details his descent into skepticism, followed by self-doubt and madness. His resolution to the challenge is horrifyingly blunt.
Pick this up if you're looking for a scary good read. Just don't expect a traditional super-hero story. FOUR STARS.
The Anti-Carnage Task Force (with assistance from Eddie Brock/Venom and John Jameson/Man-Wolf) pursues Carnage to an island temple of the followers/worshippers of Chton. Carnage has an ability to read the strange
writing in the Darkhold tome, which summons the Elder God. Carnage also has Rage under his thrall, forcing her to do his bidding. There’s the usual
head disciple of Cthon, as well as a race of frog people (the product of mating sea creatures with sailers - - shades of H.P. Lovecraft’s “The Shadow Over Innsmouth.”)
I could never get into Marvel’s Darkhold stories of the Elder Gods, the huge book that keeps them in check, and the Children of The Midnight Sun.
An obvious borrowing of many elements within Lovecraft’s cosmic horror tales, but perhaps too obvious and not even half as good. It didn’t help that this was a mix of Carnage (ugh) and Darkhold (ugh ugh). Although, Mike Perkins’ art is pretty cool. TWO STARS.
The resurrected Scarlet Witch finally names her accuser. There is a meeting of the Quiet Council of Krakoa, and a trial of sorts (very brief). But, surprise! (I really don’t think anyone who’s been reading this series is surprised). It’s not Magneto.
However, Magneto is so affected by the outcome and resolution that he retreats for self-contemplation: guilt, regret, an inability to express love - a weakness or an asset? Here is how writer Leah Williams justifies the title of her story: “No matter the cost. No matter how much it pains him. This is how a tortured, traumatized, magnificent man knows how to love. Through trial. It takes a lot of practice.” I understand now. It’s all semantics. We poor readers misinterpreted the use of the word. Are you feeling a little cheated by this?
More revelations: Magneto and Wanda did have a secretive meeting in the bushes on the night of the Hellfire gala, a heated exchange where Wanda presents her theory of chaos magic. Williams now shares that with us in a symbolic one-page text wheel that requires a 360-degree reading or standing on your head (readers’ choice).
Unbelievably, the poor mutant taking the wrap for Wanda’s death was manipulated by a certain pair of schemers. Wanda was supposed to die and she wanted it to happen so she could leave all mutants with a gift, perhaps to make up for all the things she did in the past (House of M, No More Mutants, etc). I guess the Avengers are next in line for a gift (as recompense for Avengers Disassembled).
I’m not going to spoil everything by telling you what the gift is, but it’s a real game-changer and will affect the future of the X-Men Universe. (Unless it’s ignored, always a possibility when the continuity police look the other way). No, seriously this could be a very big deal.
This mini-series also raises another question: is Wanda Maximoff/Scarlet Witch a true mutant, or isn’t she? The final issue ends with a campfire tale of “how the Pretender became the Redeemer.” This is followed by a one-page advertisement (I think) for the next series: The Scarlet Witch, revealing a cool logo with a big M in the middle of it. Hmn?
I no longer regret following this mini-series, despite the writer pulling some tricks on me. FOUR STARS.
The homage to the JOHN WICK franchise continues, with this re-telling of the origin story from the point-of-view of Wick’s dog Flint, who was the sole survivor of the home invasion/attack instead of John Wick. Just like Wick did after his dog died in the film, after Flint’s master dies he suddenly stands up on two legs, speaks English, grabs the guns, drives the car, gets a new suit and plots his revenge.
Lots of action, with some really engaging artwork that straddles the line between cartoon and crime comics. The dialogue is snappy and funny.
I’m fairly certain I know where this is going and how it will end, but it’s such an entertaining ride I don’t care. Whee! FOUR STARS.
He meets a trench-coated gunman (name of Molly, a reoccurring joke) who warns him of a deep state conspiracy and offers to rescue him via a waiting mini-van. Before the issue ends, yet another crime gang gets involved.
There’s a little too much thrown at readers in this introductory issue, but a mystery is brewing and the dialogue and scenes are kind of funny. I love that psychedelic color scheme and the art straddles the line between realism and caricature. Not going to seek out future issues, but who knows if I see it on the comic shop racks whether the impulse bug will bite me. THREE AND ONE-HALF STARS.
The initial hype on this series conjured visions of AVENGERS FOREVER greatness from the end of the last century. With the same writer in charge h (Kurt Busiek) I had high expectations. This hasn’t lived up to the hype. My expectations haven’t been met, yet this remains an entertaining read. (Now, there is a new AVENGERS FOREVER series. Yes, I’m curious!)
My favorite thing this issue is what Busiek has done with the original Vision from the 1940’s, a being from another dimension who uses smoke as a weapon in battle and also a gateway to other lands. He’s aloof, a bit smug and mysterious, and learns intricacies about certain characters from analyzing the vapors from their breath. Iron Man is particularly snarky this issue, and the new Warbird has a secret (more next issue) that may upset the applecart.
Aarkus, the Vision, helps the Avengers enter Siancong through the mystical barrier surround it. They confront Lady Lotus and her army of giant monsters (straight out of Tales To Astonish, etc. circa early 1960’s Marvel).
Issue #7 features Captain America, Iron Man, Black Cat, Storm, Human Torch, and newer characters Aero, Kevin Schumer and Warbird. THREE STARS.
Covers have been great throughout this series. The capper is this melting clocks Salvador Dali homage cover.
At the root of this storyline is the reason Kang and all his incarnations are so obsessed with time and trying to alter past, present and future events. This is the tragic love story of Kang’s devotion to Ravonna and his repeated attempts to resurrect her in various timelines and her repeated rejections of his affections.
I read this final issue three times in order to better understand the unstated rules of time travel and tampering with history: deaths, revivals, and suicide (kind of - if you kill another version of yourself). When I felt that I finally understood this enough to explain/summarize in this review - - I read it for the forth time just to be sure I got it right.
That didn’t help. I’m confused again. Don’t worry about it. Just read this and enjoy it. FOUR AND ONE-HALF STARS.
Comics publisher Ablaze has been bringing deserving comics works from other nations to American shores, adding translators and letterers to
make it easy to enjoy. ANIMAL CASTLE is very deserving, and getting a lot of buzz. This 24 page debut issue ($3.99 cover price) has risen in value to $12 on the Comics Price Guide website.
“A long time ago humans built a castle that was turned into a farm. No one really knows why, but they left” . . . . That’s the starting point, which allows the farm animals to imagine themselves as free “citizens” of a new republic. But in short time, stronger animals assert themselves and the republic turns into a feudal monarchy ruled by Silvio.
“On the Farm all animals were equal. In the Castle some are more equal than others.” Silvio doesn’t make a physical appearance in Issue #1, but I assume he’s the huge bull pictured on the cover as sitting on his throne.
The smaller animals (ducks, cats, rabbits, etc) are turned into laborers, toiling all day while watched over by a militia of large dogs, forced to work for buttons they can exchange for heavily-rationed food. In Issue #1, the starving farm animals rebel and attempt to storm the storehouse in order to eat. It doesn’t end well, as a major character (Ms. Bengalore, a widowed housecoat with kittens to protect) watches many of her companions die.
The interactions between the animals that share the bond of oppression and the expressive illustrations are what makes this special. FIVE STARS.
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