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. ***

THE ASTOUNDING WOLF-MAN #25

Writer Robert Kirkman is such a superstar in the comic book world that he could write a series about anything and it'd get published. Case in point: this series, which has just ended, is about a superhero that's also a werewolf. Lame? That's kind of, sort of the point. I do enjoy Kirkman's three monthly books, Haunt, The Walking Dead, and Invincible, but he's always seemed like the type of comic book writer that anyone could simulate. When I read a book by Alan Moore or Neil Gaiman or even Joe Hill I'm often astonished and realize how great they are and how I could never write as good as them. With Kirkman, his writing is akin to an everyman approach. That's part of the appeal I suppose, but it's also a bit of a curse. This book ends here with #25, a big finale of sorts, although the obvious problem is that it wraps up two major plots but introduces two more. This book was terrific early on because of the non-stop cliffhangers, double-crosses, and major characters biting the dust. The last dozen issues merely went through the paces, and this last issue is simply standard when it certainly deserved to be special. Gary, the werewolf, finally escapes both The Elder and his vampire nemesis. Gary ends up taking over the horde of werewolves, training them to become a part of a superhero group that go after bad guys like Grog. The best thing about this issue is the art. Jason Howard can never draw a serious comic book, but his cartoon style art works great in this over-the-top world of superhero werewolves, ninja-clad daughters, villainous vampires, and Pentagon dudes in suits. It was never a masterpiece of a series, but it was gory and fun and felt like an old-fashioned romp, which is what comic books were always supposed to be. Now if only it had ended as wild as it started. **

VICTORIAN UNDEAD: SHERLOCK HOLMES VS. DRACULA #1

What's up with the Sherlock Holmes' resurgence? There was just a BBC three-week mini-series re-imaging the detective as a modern man. There was Alan Moore's daughter co-writing a new Holmes comic book last year. And on comic book stands as we speak there's Muppet Sherlock Holmes. This mini-series, though, has to be the one that stands out, right? Frigging Dracula vs. Sherlock Holmes? That's pretty cool, isn't it? Unfortunately, this issue turns out to be deadly dull and about as cool as a loaf of warm bread. The art is great, though. When The Demeter crashes onto the rocky shore of England, it definitely inspires dread. The lightning and the storm are colored perfectly; it's a fucking maelstrom with unholy cargo. The rest of the issue is way too stale. Holmes and Watson meet some banker in London and then run into some gypsies. The final page has Dracula showing up to meet the Queen. Perhaps eventually this will morph into the series we all want: Holmes investigating amidst the fog of London late at night while bloodsuckers attack. It's such a great B-movie type premise...shouldn't it be more fun? *1/2

BATMAN & ROBIN #16

This is, more or less, the end of this book. The title will go on, but without writer Grant Morrison it will morph into something else, probably just a by-the-numbers superhero title. What does Morrison do to tie up his years-in-the-making run? Actually, a lot. This is Morrison's best issue in quite some time. I do miss artist Frank Quitely. He still draws all the awesome covers for this book but he hasn't touched an interior since #3. It would have been nice to see him return for the big finale. The book does feature some good art; Frazer Irving's work is exciting and modern, Cameron Stewart's is in a sort of classic, Saturday morning cartoon style, and Chris Burnham does a good job with details and mood. The three of them all helped draw this 30 page issue, the psuedo-conclusion to “Batman R.I.P.” The guy that runs The Black Hand and says he's really Bruce Wayne's father? He's not his dad, but an ancestor that used demon blood to sustain a long life. The Joker ends up knocking him out and burying him alive. As for Mr. Pyg: he gets attacked by his minions and sent to Arkham. The real Bruce Wayne comes back and helps save Alfred and the day. The big last page reveal has Bruce Wayne announcing to Gotham that he's been giving Batman money all these years and now he's setting up a global system to fight crime with both Batman's. This will lead into several new Batman titles, one called Batman, Inc. that will be written by Morrison. The problem with Morrison's run on this title is that a lot of it makes no sense or is just plain confusing. This does make his books stand out. They're certainly more interesting than a lot of comic books out there, but it does present a level of frustration that rarely recedes. Even with the confusion and super-odd dialogue, this issue at least is entertaining. It does wrap up everything in exciting fashion and leads to what could be an interesting future. I do think that Grant Morrison's work on Batman will end up being historic. He did things a little differently and it's been a fairly wild ride. As much as I sometimes can't stand his writing, I am looking forward to see what he still has up his sleeve with Batman. A new chapter dawns. Now...how fucking weird can it still get? *** (out of ****)

INCOGNITO: BAD INFLUENCES #1

Writer Ed Brubaker has been in a funk lately. His work on Captain America lately has been dull and his work on Secret Avengers is terrible and silly. Thank God he's still writing his independent crime books. His last installment of Criminal was his best yet, and this series is shaping up to be another terrific work. This series deals with Zack Overkill, a used-to-be super villain that is now working for the good guys. The first six-issue arc had Zack stuck in a witness protection program and this new one starts out similar: the U.S. Government has him working for them and living a deadly dull regular life as a decoy. He fights crime now and has taken down “Dark Leopold” and “his nuclear nazis,” “Zhing fu, the Asian underlord,” and “G.I. Gorilla.” This series sets up him attempting to bring back a maniacal rogue agent from the dark side. Oh, yeah: and he's sleeping with his boss, Zoe Zeppelin, but he doesn't want to tell his therapist. Yes, it's very old-school. It's like the old comic book and radio serials from the 30's and 40's but it has the modern edge to it. Artist Sean Phillips is doing an amazing job with this. The book is dark and muddy but also very film-noir and very retro. This new series is nothing new compared to the previous arc but it's hugely entertaining and highly satisfying as usual. Sure it's dark and bloody but it's also vibrant and thrillingly alive. ***