TPB Review: Spectacular Spider-Man: Countdown

Spectacular Spider-Man: Countdown, collects the Spectacular Spider-Man (volume 2) #6-10 by Jenkins / Ramos

Despite being undeniably one of Spider-Man's premier rogues, it could be argued that over the years Doctor Octopus has been mishandled on occasion. Despite being the star of some classic stories (and a well received movie), the good doctor has also appeared in some very forgettable comics, with his appearances often lacking the gravitas that a character of his stature probably deserves. While he is perhaps more known for his emotional, character driven stories Paul Jenkins also drew plaudits for his revamp Spidey's arch nemesis the Green Goblin, in the fan favourite A Death in the Family arc. With Doctor Octopus appearing in Spider-Man 2, Jenkins was chosen as the writer to take advantage of the character's increased exposure, and featured him as the focal point of his second arc on Spectacular Spider-Man, titled Countdown.

The story sees Octavius at his scheming best, as he kidnaps a Palestinian Foreign Minister, promising to release him only if Spider-Man unmasks at a scheduled time. Jenkins manages to craft an excellent Spider-Man story here, in my opinion using all the elements that make the web-slinger such a great character. His supporter cast - so often marginalized during the JMS era is utilized superbly well across the five issues. While Big John clearly has the potential to become very annoying I found him a likable presence and it's a shame that he has disappeared from the books with his creator. Jenkins is as adept as using classing members of the supporting cast as his own creations, and MJ and Peter's relationship, so often a bone of contention among Spider-fans, is displayed touchingly without being overplayed. This story is a good example of what MJ brought to the Spider-Man mythos while she and Peter were married. The likes of Jonah Jameson, Robbie and Flash Thompson are all here too, and while not playing major roles are all portrayed well. Despite his incapacitation the scenes with Flash in particular are very touching and a real highlight. Jenkins' scripting is superb and the pacing of the story is excellent. despite being spread across five issues it rarely lags and every page is used well.

Doctor Octopus too is at his villainous best here, Jenkins understands his personality and delivers a multi layered, if obviously insane villain. It was pleasing too, to see the criminally underrated origin story from Spider-Man: Unlimited #3 revisited. His fight scenes are superbly done and all in all I think there have been few better portrayals of the character.

This brings me neatly to Humberto Ramos' artwork. Few artists divide opinion as much as he does but I love his distinctive style and consider it a great fit for the character. His action scenes bristle with energy and even his human characters are well drawn, if very very odd.

For me, there have been few better stories featuring Doctor Octopus, and it is a shame that the character has not been this well done throughout his history. Nothing too groundbreaking occurs over the course of the five issues but if you are looking for a quintessential Spider-Man arc featuring one of his greatest villains, look no further.

A

Film Review: Thor

Despite Marvel Studio's excellent track record so far, I must confess that I had my misgivings about their latest release. Marvel Comics' interpretation of the Norse God of thunder is far from the easiest of their characters to adapt, with a vast array of supporting characters and perhaps the most complex mythology of any superhero. This coupled with the slightly cheap looking costumes and underwhelming trailers served to ensure that my reputations were somewhat on the low side, a rarity when it comes to comic book adaptations.

The films opening half hour seemed to conform to my expectations, styling itself as a Lord of the Rings lite, with little of the charm or unique aesthetic qualities that have made Thor such a successful character over the decades. The Warriors Three and Sif are all there but their characterizations are hurried and unconvincing with the action sequences being competent and entertaining, but somehow still a little hollow. The world of Asgard is presented somewhat simplistically and I found myself struggling to engage with it.

Thankfully the film impresses a lot more when the setting is moved to Midgard - Earth to you and me. Hemsworth plays Thor in an admirably straight manner and the interplay between he and the human characters is both endearing and and funny, without the humor ever being piled on too thickly or seeming out of place. Thor's character development over his time on Earth is a little unconvincing but still comes across as credible enough, despite his romance-by-numbers with Natalie Portman's Jane Foster treading a fine line between irritating and preposterous. The predictable love affair between the two is bearable enough when it simmers in the background, but soon outstays its welcome after being thrust to centre stage at the films climax.

Thor purists may be annoyed at the large role that the S.H.I.E.L.D organisation play in the story, but I found them to be a welcome presence, helping to tie the film into the Avengers franchise without ever coming across as too forced. Clark Gregg continues to grow into his role as Agent Phil Coulson and manages to come across as oddly likable without ever exuding much in the way of charisma.

While the Frost Giants are fairly bland adversaries, Tom Hiddleston is pitch perfect as Thor's scheming brother Loki. He originally auditioned for the role of Thor but does an admirable job as his arch nemesis, and steals the show on more than one occasion. Hemsworth too impresses as the title character, a clearly revered presence, still imbuing him with the humanistic traits that make him such an interesting character.

Thor is ultimately a success, far more than I would have presumed. The characters and the world of Asgard are all introduced well enough for the most part, as well as the all important connection between Thor and the human world. The film is far more than set up for the forthcoming Avengers movie though, managing to entertain throughout thanks in no small part to strong, convincing performances from its leads. There are a few plot holes and inconsistencies, but all in all, Branagh has crafted a more than worthy addition to the Avengers franchise.

A-

DVD Review: Neverwhere

Neverwhere (episodes 1-6), created by Neil Gaiman and Lenny Henry

Starring: Gary Bakewell, Laura Fraser, Hywel Bennet, Clive Russel, Paterson Joseph.

A collaboration between Neil Gaiman and Lenny Henry seems, at first glance to be a sort of bizarre joke, much less a project that was actually made and screened on TV, before being adapted into both a book and a comic book series. Luckily for us, such a project does exist and was released on DVD six years ago.

I think it's fair to say that there is more evidence of the former's involvement than Lenny Henry's. Neverwhere feels totally like a Gaiman creation from the off, an oddly comforting sensation to one used to the British writers work. Be warned though - the plot is anything but comforting as everyman office worker Richard Mayhew (Bakewell) is transported to a mysterious world beneath London, bizarrely inhabited by living and breathing personifications of several famous tube stops. The plot hangs together fairly loosely, zipping along at a brisk pace without ever being particularly gripping or compelling. Bakewell is never anything less than thoroughly likeable as Richard Mayhew and serves a logical purpose as an entry point for the viewer into the weird and wacky world of Neverwhere. Sadly his co-star Laura Fraser is less impressive, putting in a very bland performance, with the pair lacking in any chemistry whatsoever. Other standouts are Paterson Joseph as the enigmatic Marquis de Carabas and Clive Russel as hilariously blunt Mr. Vandemar. The script is largely excellent and gives the star studded cast a lot to work with, Luckily for the most part they do - there are several laugh out loud lines over the six episodes. Some of the more emotional scenes fall a little flat but Bakewell copes very well with a chilling psychosis sequence.

Sadly the show is let down by absolutely shocking production values, the music and costumes are passable enough but everything else is fairly uninspired, from the cinematography to the props and sound effects. Put it this way - a lot of the time it makes Doctor Who look like Avatar.

Neverwhere is a long way from perfect - Neil Gaiman reportedly wrote the novelization due to a lack of creative control and I think at times it shows. Nevertheless, despite the shoddy special effects and dodgy plot, Neverwhere is actually a very watchable show, with its three hour running time passing very quickly for me. It is not a masterpiece, nor anywhere near Gaiman's best work but is definitely worth a watch (even if it's just for the novelty value of seeing Johnson from Peep Show in a wig)

B

Review: Uncanny X-Force #5

Writer: Rick Remender

Artist: Esad Ribic

I have never bought an issue of X-Force before, nor do I have any real interest in the concept or the current X-Universe. However, when I saw Esad Ribic’s beautiful cover and noticed that he was also drawing interiors, I couldn’t resist picking up this issue. Rick Remender is a highly rated writer and I was curious to see if he could get me interested in at title that had previously been nowhere near my radar.

The plot focuses largely on Fantomex, shortly after his controversial murder of a baby carrying the soul of Apocalypse. I found the story to be fairly complex and difficult to understand but Fantomex is a cool character with a great design so I was fairly happy to see the issue centred around him. The rest of the team do show up in a brief four page scene but it didn’t really interest me at all. Remender has chosen a very bizarre mix of characters and I’m not convinced that the dynamic between them works particularly well at all. The conversation between them was interesting enough but I found the idea of Deadpool being the team’s moral compass quite unsettling, perhaps Remender’s intention?

The sequences with Fantomex work a lot better, with Remender doing a lot to endear him to the reader. While I thought that he was in interesting enough character when written by his creator, Grant Morrison, I never thought that he had much of a personality, something that Remender at least attempts to remedy here. His origin has always been slightly off the wall and bizarre but this something that Remender tries to play with rather than shying away from and it is generally well dealt with.

Of course the real selling point of this issue (for me at least) is Esad Ribic’s superb artwork. He, along with the rest of the art team can give themselves a pat on the back because this is one of the best drawn comic books I have read for a long time. Ribic’s pencils are beautiful, and his layouts superb while Matt Wilson’s colours bring a lot to the story, imbuing each scene with a totally different tone. This is one of the few comic books that I can honestly say I would buy for the art alone. The story isn’t bad and is very well competently told by Remender but in truth, is not particularly interesting. Remender does deserve plaudits for making Fantomex an interesting character though. Overall this issue was pretty much what I was expecting – confusing and occasionally difficult to follow but never less than beautifully drawn. There is definitely enough here to keep me on board for the next issue.

B

Retro Review: Web of Spider-Man #8-9

Local Super Hero by Micheline / Isherwood

I wasn't expecting much when I sat down to read these two issues, in truth having only bought them because of #8's gorgeous cover. David Micheline is a widely respected Spider-Man writer but his work on Web of Spider-Man has been largely ignored by critics, with the title having gone down in the annals of history as the 'black sheep' of Spider-Man satellite titles, sorely lacking in both purpose and quality stories.

Thankfully, Local Super Hero really surprised me. The plot takes us to Smithsville, where titular hero the Smithsville Thunderbolt has been protecting the sleepy town for years after gaining superpowers from a mysterious meteor. Approaching retirement age he is struggling to deal with the fact that his powers are gradually fading away, but is forced into action one last time after another, less immediately heroic recipient of the meteors power comes to town looking for answers. Spider-Man's role in the story is fairly minor as he is called to the town by the Bugle to cover the Smithsville Thunderbolt. He takes part in the fight scenes and there is a minor subplot involving Peter and a bratty local reporter but it is fairly uninteresting and really only serves to pad out the page count.

The real selling point of the story is the Smithsville Thunderbolt, a thoroughly believable character who engages the reader right from the off. The idea of superheroes getting older and having to face retirement is one that is rarely played out in modern superhero comics and it is dealt with brilliantly here, as Micheline captures the sense of desperation in a man who has no idea how else to live his life. The character of the second Smithsville Thunderbolt also works well - he is the archetypal sympathetic villain, leaving the reader ever unsure of who to root for. Where the story is really made is in its ending - without wanting to give it away it is unpredictable, bittersweet and tugs at the heartstrings, leaving an impression long after the issue has been put down.

Geof Isherwood's artwork is very unremarkable but it does little to harm the story and actually suits the somewhat downbeat tone more than a lot of styles probably would. It never detracted from the plot and really that is what you want in a story of this nature.

In short, this was a very entertaining two-parter- not your typical superhero story.

A-

Retro Review: Captain America and the Falcon: Madbomb

Captain America and the Falcon: Madbomb collects Captain America #193-200 by Jack Kirby

It is a sad fact that the late Jack Kirby will always be more well known for his (admittedly spectacular) artwork than his writing. Indeed, his runs as writer for Marvel on Captain America and the Black Panther will always be eclipsed by his career defining work pencilling Stan Lee's seminal run on Fantastic Four. With that in mind I was unsure of what to expect from his Captain America work but this storyline happily does little to dispel Kirby's status as one of the comic book worlds most iconic figures.

Kirby's plotting itself is fairly unremarkable, while the story works well enough it is often overly complex, with some fairly sloppy pacing. A whole issue is devoted to an unnecessary and forgettable love interest, while the final confrontation between Cap and the arc's villain seems oddly abrupt and inconsequential. Despite these issues, this graphic novel was a great read. What the plot lacks in ingenuity it more than makes up for in heart. Kirby's great strength as a writer is in the weaving of real-world social issues into his plots without ever coming across as heavy handed or preachy, and this is something that definitely comes to the fore in this collection. Madbomb is much more than men wearing silly outfits hitting each other and is a much stronger read as a consequence, with some genuinely though provoking dialogue.

Of course it is impossible to review any Kirby-penned title without mentioning its artwork. Although Kirby's style is slightly dated it has aged remarkably well. His artwork is vibrant, dynamic and brilliantly detailed, aided by Janice Cohen's brilliantly vibrant colours. Kirby's fight sequences are outstanding as well, very well choreographed and packing a real punch. It is plain to see from his work here how he has come to be known as one of the finest comic book artists of all time.

While this story is hardly doing anything groundbreaking, it is an excellent example of Kirby's oft-ignored talent as a writer. The plot isn't perfect and the dialogue is sometimes cheesy but where this story really shines is in its refusal to shy away from difficult social issues, something that gives the story a somewhat timeless feel. Madbomb is a little known but heavily underrated story, by a man whose writing talents have sadly received little of the acclaim that they undoubtedly deserve. A very good read.

A-

Tpb Review: Astonishing X-Men Volume 1

Astonishing X-Men: Volume 1 collects Astonishing X-Men #1-6 by Whedon / Cassady

The X-Men is a brilliant concept, yet one that is very easy to get wrong. Boiled down to its core concept though, and with the right combination of characters the X-Men arguably have a greater potential for good stories than any other group of comic book characters out there. For me Joss Whedon and John Cassady's debut arc on Astonishing X-Men is a superb example of this. Even in the absence of series mainstay professor Xavier, Whedon hits all the right notes for a classic X-Men story. Gifted is a tightly plotted, quick witted blend of high octane superheroics and thought provoking moral questions, inviting the reader to think as well as marvel at the action unfolding before them.

The arcs core concept, that of a cure for the mutant gene, is not exactly an innovative one but is dealt with in a sensitive and intelligent way by Whedon. By the end of the arc it becomes clear that this isn't even the focus of the arc, more a backdrop behind which the main bulk of the plot can take place. Ord is a good villain - again, not exactly innovative but a good deadpan foil for the rest of the characters.

Whedon chose his team very well, and they have a great dynamic. He also seems to have a great handle on all the characters. As well as appreciating past classics he shows a willingness to build on established characterisation - while Kitty Pryde has been shown as a mature young woman in previous stories it is great to see her being treated as a respected heroine here. Whedon's dialogue is also superb, smart, witty and never clichéd. Many cite Brian Michael Bendis as the man who revolutionised comic book dialogue - while I have the utmost respect for Bendis' work I think he has been trumped here.

John Cassady is a fantastic and often unappreciated artist. His work here is no exception. Wolverine looks ferocious, Beast looks larger than life and well...beastly - in short, all the characters look the way they should do. Cassady's action scenes are as kinetic as his conversations are heartfelt. Wonderful work, and it never looks rushed at all.

I don't like awarding things perfect scores on principle, but I really can't think of a way that this story would lose marks. Whedon clearly understands the characters and is a talented storyteller to boot. The plot may not be the most innovative, and the villains may not be that compelling but when a story is this gripping, exciting and thoughtful in equal measure I can live without those things. Spectacular work from all concerned.

A+