NEONOMICON #3

Alan Moore is probably the most famous comic book writer still working these days. I should probably say “legendary” instead of “famous,” though, because there probably are a lot of younger readers who might only know him from the film adaptations of late. He rarely does interviews and he refuses to work for the mainstream comics these days, so when a new book written by him comes out it's a pleasant surprise and sort of a big deal. No, he hasn't written anything great since his second mini-series of A League of Extraordinary Gentleman, but I am enjoying this new series of his mostly because it's fucking bat shit crazy. It's also disturbing, creepy, and interesting. I would go so far as to say that it's the love-it-or-despise-it book of the year and Moore's most pornographic since Lost Girls. The series is basically about the world that writer H.P. Lovecraft created. What if all the odd things in his novels were actually real? There's a serial killer that two F.B.I. agents are tracking down. This leads them to Salem, Massachusetts where they find a cult of weirdos that have a sea monster creature in their basement. Cue the monster raping the female F.B.I. agent who also happens to be a sex addict. & the serial killings may have something to do with the strange dude that has a mask over his mouth and is probably missing his tongue. Yes, it's insane stuff and definitely over the top and I can see how most people would think that this is garbage and horribly silly. I found it to be intriguing, though, and the strange world seemed to wash over me in the same way most of Alan Moore's writing has done. This isn't Moore at the top of his game, but it's unique and different than anything out there. Artist Jacen Burrows has drawn a terrific cover and some really moody, stark panels that bring the book to life without overdoing it. Whether you find it to be trash or brilliance, you'll still be thinking about it long after it's read. I think that's a good thing in a world of throwaway superhero tales. ***

BATMAN #705

While patiently waiting for the delayed, David Finch written and drawn new Batman title, Tony Daniel has been showing everyone who's boss. The dude has written, drawn, and inked two issues already in his current run on this flagship title. Not too shabby, especially considering that Daniel is one of DC's best artists. It's certainly strange when a long time artist all of a sudden starts writing as well. You always have to wonder if he's a bit too narcissistic. With Daniel, I think he got sick of drawing Grant Morrison's obtuse plots and just wanted to have fun. In this issue, he certainly has fun. Batman rides a horse! The Riddler returns! The Riddler's daughter, Enigma, shows up! There's a fight with a samurai/ninja dude! He befriends a sexy Asian chick, Peacock! Definitely this is more in the spirit of a regular, action spectacle than the dark, brooding, and gloomy world that Batman usually resides in. Daniel's script is of course by-the-numbers, but he doesn't want to break new ground and that's okay. The art is terrific; it's detailed, fluid, and in your face. If you loved Batman: R.I.P. for the art but hated the story, pick this book up. It's old-school in a sense and definitely not remarkably fantastic, but it's a fun ride. **1/2

SUPERBOY #2

In January of this year, the last issue of Adventure Comics featuring writer Geoff Johns and artist Francis Manupal hit stores. They only worked together on that book for four issues, but it was a hell of a run while it lasted. It featured Superboy back in Smallville. This is Superboy's new title. Unfortunately it has a new writer and a new artist. The upside is the artist, Pier Gallo, is terrific, and the writer, Jeff Lemire, currently has one of the best books out there (Sweet Tooth). For some reason or other, this book just feels limp. Johns and Manupal's run was exciting and beautiful and fun. This series feels more kid-friendly and simple minded. The villain in this issue is Poison Ivy. She shows up in Smallville to steal a mysterious machine that's hooked up to a dying farmer. The machine has spawned vines and plants that have taken over the town and it's up to Superboy and his high school science nerd sidekick to save the day. They do save the day...but the two strangers that built the machine seem destined to destroy Superboy once and for all. It's simplistic, gee-whiz fun, right? It should be, but it ends up just being dull. The saddest thing in all of this is that Johns and Manupal left to work on the new Flash series which isn't even half as good as their Superboy storyline. You really fucked up D.C. Congratulations. *

Shadowland #5 + Daredevil #512

Perhaps the most reviled storyline of the year, “Shadowland” finally ended last week. Well...it didn't even really end, as this week brings forth a one-shot titled Shadowland: After the Fall (it has a cover by artist David Finch who signed DC-exclusive contract in January, which means that he's not allowed to draw for Marvel anymore...so how long has this cover been sitting around the Marvel office?). January brings a four-part Matt Murdock mini-series and Black Panther gets a new series, Black Panther: Man Without Fear (he's the new Daredevil until the eventual new Daredevil #1 hits), so things don't even really end here, if that's what you thought (Daredevil impales himself with a sword in Shadowland #5 but Matt Murdock still lives, go figure). The reason this story was so hated by the fans (and, granted, they still bought it...Shadowland #1 sold out and had a reprint) was that it was just plain silly. Early on I found it to be retarded but it was fun in the same way a B-movie is fun. The final few issues, though, were borderline terrible. The premise was decent but the execution never went anywhere. Daredevil is possessed by “The Beast” and fights a group of heroes like Ghost Rider, Spider-Man, and Elektra. The way that “The Beast” dies is as ridiculous as the way the aliens are defeated in War of the Worlds. Iron-Fist uses his “chi” power to destroy “The Beast” from the inside. Okay, that's fine...but why did he wait until #5 to do it? He could've just done it when he first showed up at the fortress which was issues ago. Daredevil #512 is the aftermath and we see Matt Murdock leaving his mask days behind him. The Kingpin takes over The Hand. Black Panter starts fighting crime in Hells Kitchen. Nothing is technically over and it's a tad lame that The Hand is still around. They seem to have worn out their welcome these last two years. Time for a new evil? The art in Shadowland #5 looks pretty rushed, but I love the noir style art in Daredevil #512 by Marco Chechetto. All in all, this ending is mostly a mediocre finale to an event that never struck sparks. Ed Brubaker did such a hell of a job setting this all up that it's a little sad to see writer Andy Diggle just completely dullify it. Next year, when they eventually re-launch Daredevil, I want to see a new writer on the book. & take it back to it's roots; no more mystical mumbo-jumbo. We've had enough. Shadowland #5 * Daredevil #512 **

ULTIMATE SPIDER-MAN #150

The reason for this book, which takes place in a separate realm than all the regular Marvel books, was to re-start the story of Spider-Man so that new readers could get caught up. After 150 issues, that reason is moot, right? I guess it still makes money so they continue it, but why not just throw writer Brian Bendis and artist David Lafuente onto another new, regular-continuity Spider-Man book? After all, Peter Parker can't be in high school for ten years plus, can he? I do love this book and it's been firing on all cylinders lately, but this issue is a complete mess. A big anniversary issue should basically be a story that involves something big; a death, a wedding, a return, or a huge swerve. I don't want extras because the extras are always horseshit that nobody cares about and are always drawn by someone that's not the regular artist. David Lafuente is the usual artist on this book and he's a phenomenal talent. For this issue he drew the wraparound cover and six measly interior pages. There are some names that added art for this mega-issue, but nobody super famous. John Romita, Sr., Skottie Young, Michael Avon Oeming, Sean Phillips, Alex Maleev, and Mark Bagley are the semi-big names that provided art, but where are Marvel's best artists like John Romita, Jr. or Steve McNiven or Marko Djurgevic? The book is split into two parts. Part one has S.H.I.E.L.D telling Parker that he has to attend superhero school. Part two is a mix of various stories that lead to Parker reading an essay in school about how his father is his favorite superhero (and this second part was already published a few years ago as Ultimate Spider-Man Super Special #1). Skottie Young, who usually draws the Wizard of Oz books, does a great job with his odd but fascinating bit dealing with Spider-Man facing a villain in a museum. David Lafuente's art is exceptional as usual, but the rest of the art is borderline terrible and so many artists on this book makes it difficult to get immersed and interested. All I wanted was a 22 page issue with some oomph. This is an expensive mess. 1/2*

MORNING GLORIES #4

Teenagers are very easy to write. You would think they would be difficult to write about because a lot of what they do seems so stupid that it's hard to comprehend, but it's actually a breeze and a lot of fun. Writing dialogue for teenagers is a rush, too, for a lot of reasons. They say hilarious, vulgar, rude things. They know more about pop culture, so cue the references. The best quotes I've ever written have all been in books about teenagers. This current series, the newest smash hit from Image, is more or less a mash-up of the Harry Potter books, Lord of the Flies, and the Japanese film Battle Royale. There's a mysterious school with secrets that a bunch of smart kids get sent to. They find themselves trapped and tortured for unknown reasons. The actual plot isn't very interesting; there are too many secrets still up in the air so far. Writer Nick Spencer is having a field day with the dialogue, though. The back-and-forth, the diatribes, the nasty insults, the jokes, it's all so entertaining, amusing, cute, and fun. Eventually the secrets will reveal themselves, but for now the issues seem to be just filled random acts of sadism (and the art, by Joe Eisma, is crisp but pretty elementary). The dialogue is so spot-on, though, that's it really hard to complain. For a book with a lot of blood on its hands, it sure is a hell of a lot of fun. ***