“And this, too, shall pass.” A phrase said to be traced back to King Solomon; once invoked by Abraham Lincoln in 1859. The Great Equalizer of all things.
It flitted across my mind the other day, while I was reading all 24 issues of Joss Whedon’s ASTONISHING X-MEN, and comparing them to Warren Ellis’ single issue (thus far) of ASTONISHING X-MEN #25. Joss’ take on the X-Men seemed so right to me; as if it were an extension of the seminal Claremontian period that had defined Marvel’s mutants so thoroughly over the years; an extension that even Claremont himself seems incapable of reattaining.
But where Joss Whedon and John Cassaday pulled me in literally with their very first issue, Warren Ellis and Simone Bianchi…I dunno. Between Bianchi’s artwork, which sometimes feels rather overdone, perhaps better suited for a graphic novel one-shot or a magazine like HEAVY METAL…
…and Warren Ellis’ dialogue – which sometimes feels rather Millaresque, and if you’ve been reading me this whole time, you’ll know that’s not meant as a compliment –
…and I can’t shake the impression that the following scene is the X-Men “trying” to blend in, as if none of them had ever been to San Francisco, and this, they assume, is how they dress in the City by the Bay…
You said it, Ororo. Although, I can’t say I care to know about how bored you are with doinking your newlywed husband either, but I’m just sayin’.
Anyway…it got me thinking of different books I’ve enjoyed, and others, well…not so much. Mark Waid’s FANTASTIC FOUR compared to the aforementioned Mark Millar’s. THE AMAZING SPIDER-MAN* vs. THE AMAZING SPIDER-GIRL. How I cared so little for Michael Turner’s artwork…and now he’s gone. How I support and look forward to the new status quo for the X-Men, and yet, they’re not winning me over by having Greg Land doing, well, any of the artwork on THE UNCANNY X-MEN #500:
I dunno. Maybe I just like photo-referenced artwork in my comics when Alex Ross does it. Maybe I’ve been turned off by his reputation for relying too much on photo references from other media. Heck, I’m not even sure what my point is right now. (my gf and I saw the Dalai Lama two weeks ago and I’m reading A NEW EARTH right now, so I’m feeling extra-contemplative lately) But it’s just a little fascinating to wonder about the impermanence of it all. Hm.
And so it goes…man, it all comes back to you, doesn’t it Kurt?
And with that, we move on to thoughts on a few comics I’ve purchased since our last get-together, and our first stop is CAPTAIN AMERICA #40. Thinking back on the previous issue, I have to say it looks like a case of the Bru giveth…
…and the Bru taketh away.
Poor Sharon – so very close…
It’s the mark of good drama, I’ll tell ya – I actually cheered at the sight of a collection of hand-drawn images depicting our heroine turning the tables on the despicable Sin, and then felt frustration at the sight of a collection of hand-drawn images depicting her escape coming up short…and dangerously so, at that. In a word…what a ride. That’s three words. I’m a heavy tipper.
Now I’d like to get into a pair of comics that I hadn’t even planned on buying, but am glad that I did. I gotta say, I hadn’t intended on paying any attention to DC’s JOKER’S ASYLUM miniseries, but emailing back and forth with Jeff Ritter and Manolis’ review of JOKER’S ASYLUM: PENGUIN made me go back and give it a look, and I have to say…wow.
The one-two punch of Jasons Aaron and Pearson really did give us something here; a story that manages to make you feel alternating sensations of revulsion, joy and pity for this longtime Bat-foe. Don’t be surprised if these two are writing one of the main BATMAN books in a few years’ time at the most. Seriously, I’m stunned at how well they get the sick, sad story of Oswald Cobblepot…
…but since Manolis has already been kind enough to put us onto that story, allow me to chime in with the story that comes…excuse the pun…a close second:
The story itself puts Harvey Dent face to face to face to face with a gentleman named Holman Hunt who, like Harvey was in his previous life, a servant of the people. He’s a volunteer firefighter who was horrifically scarred, leaving him in the same bifurcated state as Two-Face.
What’s interesting to note is the mirror effect we have as Harvey and Holman first meet. Their scarred sides line up perfectly, contrasting their respective paths, and linking the two in true grace-of-God fashion. Something that does not go unnoticed by the former district attorney…
…who then makes a decision as only he can.
…and that’s all I’m going to tell you about the story itself. The way the ending is handled is a work of genius, and much like with the Penguin, is perfect for the character of Two-Face and my favorite part of the whole comic. And using the Joker to execute it makes it all the sweeter, considering artists usually like to break the fourth wall for the sake of a gag…
…as opposed to, say, freaking you out completely.
In 2008, it’s especially difficult to open a mainstream superhero comic and find a scene that makes you stop in your tracks and go…”Whoa.” I don’t care how humble the guy is in life – and I’m pretty sure he is – but if I were David Hine, I’d be pretty damn proud of myself right now. I’d be about as proud of myself as I was when I came up with the S-Theory of female sitcoms, or the ultimate definition of irony. Ask me about them sometime, it’s kind of neat, if I do say so myself. Nonetheless, here’s my point: if you want to get down on JOKER’S ASYLUM, Penguin and Two-Face are your best bets.
And now, just to try and book-end this entry with a little more Greg Land, and to prove that I’m not a fan of everything Ed Brubaker does, I offer what I suppose you could call your moment of Anti-Zen:
Scott…Mister Summers…you are one of my favorite characters in all of Marveldom. Don’t ever say that again. In fact, if there’s a way to strike a deal with Mephisto to go back and time and fix it so that you’ve never said…what you said here…go for it. For real. Don’t make me beg, dude.
And by the way…VORT?
Just sayin’, is all.
