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Post by goldenfist on Jan 20, 2009 22:05:10 GMT -5
On the night of March 25th, 1945, twenty-three men of the Second Battalion of the United States Army Rangers undertook one of the most daring raids of World War Two, led by none other than Captain America. But it doesn’t go the way anyone planned, when a German soldier is taken as a prisoner of war and placed in Cap’s care. In his second installment, Paul Jenkins (CAPTAIN AMERICA: AMERICA THE BEAUTIFUL) explores the fact and fiction of World War II Captain America, and the good soldiers that followed him into the darkest of days. An all-new story of the original Captain America! www.newsarama.com/preview_images/marvelnew/apr2009/capabrot001_cov_col.jpg
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Post by goldenfist on Jan 20, 2009 21:59:16 GMT -5
Leading off a series of celebratory specials commemorating Marvel’s 70th Anniversary, James (STARMAN, SUPERMAN) Robinson and Marcos (AMAZING SPIDER-MAN) Martin bring you an untold story of the living legend. In the days before he becomes Captain America, a scrawny kid from Brooklyn named Steve Rogers shows the world that you don’t need a super-soldier serum to be a hero. Plus a classic Captain America tale from the Golden Age by Joe Simon and Jack Kirby. www.newsarama.com/preview_images/marvelnew/apr2009/captimelyann001.jpg
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Post by goldenfist on Jan 20, 2009 21:56:50 GMT -5
The official rating on the website is a 6 which is supposed to be Speed of Light and if no one is to have Speed of Light how come the Flash get's to have it.
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Post by goldenfist on Jan 20, 2009 10:41:55 GMT -5
I heard that Quicksilver got his speed back in a one shot X-Factor issue I know he can run up to Mach 5 (3,801 miles per hour) but on marvel.com his official raitng for his speed is a 6 which is Spee d of Light. www.marvel.com/universe/QuicksilverI'm wondering if Marvel finally let Quicksilver run at Light Speed.
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Post by goldenfist on Jan 20, 2009 1:07:33 GMT -5
This is it...the explosive issue that changes everything! From the moment it was formed, the Initiative has had more than its share of dark secrets. Now, they've all come out. On top of everything else, can the Initiative survive this? Well, the title of this story is THE INITIATIVE: DISASSEMBLED... media.comics.ign.com/articles/946/946226/img_6361975.html
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Post by goldenfist on Jan 20, 2009 1:03:49 GMT -5
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Post by goldenfist on Jan 20, 2009 0:58:02 GMT -5
"CHASING GHOSTS" The SCARLET WITCH is back and her brother wants answers! Join QUICKSILVER as he races around the globe, hunting down the MIGHTY AVENGERS! Plus, what's HANK PYM'S problem with MR. FANTASTIC? And what does NORMAN OSBORN have in store for Earth's Mightiest Heroes? Guest starring QUICKSILVER, and featuring appearances by the YOUNG AVENGERS and the FANTASTIC FOUR. media.comics.ign.com/articles/946/946226/img_6362011.html
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Post by goldenfist on Jan 20, 2009 0:34:14 GMT -5
Go to any comic con convention they said Dark Knight was the better movie.
I liked Iron Man but Dark Knight was WAYYYYYYYYYYYYYYYYYYYYYY MUCH BETTER.
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Post by goldenfist on Jan 19, 2009 16:59:36 GMT -5
A DARK REIGN TIE-IN! War Machine faces the biggest fight of his life when his new best friend, Ares, God of War, reveals his dark side! That’s right, everything you’ve seen Ares do before was him in a good mood! Meanwhile, Norman Osborn makes our one-man-army an offer that he might not be able to refuse! To save his soul, will Jim Rhodes work for the devil himself? Find out in the book that has IGN saying, "Leonardo Manco's beautiful art matches the subject matter perfectly...(for the) shoot'em up comic with the sci-fi twist." www.newsarama.com/preview_images/marvelnew/apr2009/warmach005_cov.jpg
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Post by goldenfist on Jan 19, 2009 16:58:14 GMT -5
Cover by ALEX ROSS Variant Cover by MITCH BREITWEISER The true enemy stands revealed and in a twisted past with no order, two teams of heroes make their way under the Atlantic ocean to confront the enemies of freedom who are planning their next move behind a wall built around Europe. But even with the help of Sgt. Fury and his Howling Commandos, plus Black Panther, it may be too late to stop the end of everything. www.newsarama.com/preview_images/marvelnew/apr2009/avninv010_cov.jpg
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Post by goldenfist on Jan 19, 2009 16:56:59 GMT -5
SECRET INVASION has ended. The Skrull armies have been routed and destroyed. In the wake of his battle in aid of Thor and Asgard, Beta Ray Bill has departed Earth once more, to bring justice and order to the stars. But when Bill becomes savior of a space-faring alien colony, he'll discover that perhaps – just perhaps -- it's possible to be too much of a hero. Soaring action and adventure starring your favorite horse-faced Demigod of Thunder, by Kieron Gillen (NEW UNIVERSAL: 1959) and Dan Brereton (GOD-SIZED THOR)! www.newsarama.com/preview_images/marvelnew/apr2009/siabetarb001_cvr.jpg
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Post by goldenfist on Jan 19, 2009 16:55:10 GMT -5
Really?
Well which movie made the most money....It was Dark Knight and it was a great movie better than Iron Man.
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Post by goldenfist on Jan 18, 2009 14:01:02 GMT -5
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Post by goldenfist on Jan 18, 2009 13:59:42 GMT -5
I think the variant cover of GOTG #8 has Thanos with the Infinity Gauntlet on it.
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Post by goldenfist on Jan 18, 2009 13:56:20 GMT -5
media.comics.ign.com/articles/945/945537/img_6353412.htmlThe Dark Avengers' first mission shows Norman Osborn all the plusses and minuses of the choices he has made for his team. So changes must be made. Some come, some go, and not everyone is happy about it. Also, the Cabal reunites for the first time since the Dark Reign began, and they are REALLY not happy.
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Post by goldenfist on Jan 18, 2009 13:54:40 GMT -5
Yeah well they ain't going to fire Bendis at all.
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Post by goldenfist on Jan 18, 2009 13:44:17 GMT -5
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Post by goldenfist on Jan 18, 2009 13:38:43 GMT -5
What you see is what you get.
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Post by goldenfist on Jan 15, 2009 20:59:08 GMT -5
Variety sure seems to think that it’s possible. The trade reports that Blunt is “rumored” to be the frontrunner for the role of Russian superspy Natasha Romanoff in the sequel to last year’s Iron Man. The British actress, probably best known for her role as Anne Hathaway’s nemesis, Emily, in The Devil Wears Prada will next appear in the Joe Johnston-directed The Wolf Man.
The past week or so has been a hotbed of Iron Man 2 news, given the rumors of Mickey Rourke and Sam Rockwell circling parts that may include the Crimson Dynamo and Whiplash, as well as the discussion of whether or not Sam Jackson will be reprising the Nick Fury role.
Personally, I’m a little more curious about the story itself. We’ve heard that there will be more on Tony’s alcoholism, War Machine (now played by Don Cheadle), and maybe a different version of The Mandarin.
With all the casting rumors so far, this is sounding like a David Micheline/Bob Layton comic come to big-screen life.
What should this be to hit another home run, shellheads?
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Post by goldenfist on Jan 15, 2009 20:55:27 GMT -5
Word has come that Warner Bros and Fox have settled their legal dispute over the rights to the film version of Alan Moore and Dave Gibbons’ Watchmen. According to The Hollywood Reporter, the settlement details will be delivered to Judge Gary Feess on Friday morning, and the parties will then request that the pending legal case be dismissed, saving both studios millions, and ensuring that the film will meet its March 6th release date.
As the trade reports, no terms will be made public, but reportedly includes a “sizable cash payment” and a portion of Watchmen’s box office. As a result of the deal, Fox will have no piece of Watchmen, and will no co-distribute the film.
While this portion of the case may be over, for Watchmen Producer Larry Gordon, the problems may just be starting. It has been reported that Warner Bros. will seek reimbursement for the amount being paid to Fox from Gordon, due to the fact that Gordon’s attorney from 1994, when he left Fox, admitted that he did not inform Gordon or Warner Bros. of the claim Fox had on the Watchmen film. The move by Warner Bros. is tantamount to the studio laying the blame for the entire matter at Gordon’s feet.
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Post by goldenfist on Jan 10, 2009 10:28:54 GMT -5
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Post by goldenfist on Jan 8, 2009 9:09:00 GMT -5
Here's what Ign.com had to say about Secret Invasion: War of Kings
I should start by saying that I don't really go for the whole space drama thing. Often I find that it all feels too similar, and there aren't really many things for writers to say with the concept other than "my, aren't these aliens wacky?" But Dan Abnett and Andy Lanning somehow managed to suck me into Nova during Annihilation, followed it with Conquest, and continue to entertain me monthly with Guardians of the Galaxy. And predictably, they've worked the same magic with the Secret Invasion: War of Kings one-shot... or as I lovingly refer to it, Inhuman As Hell And Not Gonna Take It Anymore. (Sorry.)
This one-shot is the natural extension of what happened to these characters during the alien infiltration last year. The Inhumans are understandably not feeling so jolly about Black Bolt being abducted, tortured, and used as a Skrull weapon during Secret Invasion, so they set out to exact their ruthless, explosion-laden revenge on their enemies. And then go ahead and exact some more revenge. And then some more.
Abnett and Lanning use the events of SI: Inhumans to springboard the Inhuman race into a real, bona fide threat. It's a necessary step if they're meant to take on Vulcan and the Shi'ar Empire in the War of Kings series, particularly considering Vulcan's a character who's essentially been vindictive since he was ripped from the womb. It's a bit of a jarring shift for the Inhumans, then, but not one that feels unnatural or forced. The writers find a nice, brisk rhythm of progress for the characters, cut expertly by the use of Crystal as the hand-wringing pacifist who would rather just forgo all the blowing-up business and have a nice cup of tea.
Paul Pelletier's artwork is his usual traditional fare. It tells a solid story, even if Crystal finds herself in some deeply awkward Victoria's Secret model poses from time to time. But the key emotional beats and plot moments come off as well as they're meant to, and so it's easy to call his work a success here.
Secret Invasion: War of Kings, as the title suggests, does a fantastic job bridging the Inhumans's story between Secret Invasion and the upcoming War of Kings. Fans of the characters should find more than enough reason to be pleased, and if nothing else it's a strong indication that the crossover storyline on the horizon will be better than average - at the very least.
Review Score: 8.8 Great
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Post by goldenfist on Jan 7, 2009 10:45:46 GMT -5
Of all the books to spin out of Marvel's Dark Reign storyline, Dark Avengers is quickly yielding the most buzz and interest from fans. Not likely by coincidence, the series is also the one most shrouded in mystery - who are these new heroes? Some, like Ares, seem fairly obvious while others, like the Iron Patriot, have yet to be revealed. No doubt answers will be coming on January 21, when the first issue ships, but until then IGN will try to dig up a little more information.
Since we've already chatted with Brian Bendis about the series, we figured we'd let some of the art do the talking this week. First up we have today's interview with Mike Deodato Jr. Whether through his work on Amazing Spider-Man or more recently Thunderbolts and Wolverine Origins, Deodato has rarely been less than stellar. We asked the artist what we could, though he could obviously only say so much. We did manage to secure some of his concept art for the title's covers and characters though.
We're guessing our second article, due on Friday, will be even more appealing to the Dark Reign readers out there. IGN will be exclusively debuting art from Dark Avengers #1. Stay tuned for that. For now, let's get into the mind of Mr. Deodato.
IGN Comics: There's no doubt Dark Avengers seems to be a project suited for your art style, but how did you get assigned to the series? Did Brian specifically seek you out for the book or were you looking for some fresh characters to tackle?
Mike Deodato Jr.: I'm told there was a long search - by irate villagers with torches and pitchforks, trudging through that monstrous foreign land known as Pennsylvania. (Laughs) When all the creatures were felled, Brian Bendis looked across the torched landscape, and saw me there, shackled to my drawing table, not-insubstantial hair singed, my drawing table smouldering, and it was love at second site. Because we'd worked together on New Avengers awhile back, he wanted me.
IGN Comics: Between Thunderbolts, Wolverine Origins and now Dark, it seems you definitely have a particular flavor of superhero books that you work on – do you prefer comic books that are darker and twisted? Could you ever see yourself working on a series where people aren't getting stabbed, blown up and mutilated? –laughs-
Deodato: Sure! Give me that Millie the Model team-up with the Impossible Man from Planet Pop-Up, and I'm ready and rarin' to go! Years ago, I had myself convinced that I was purely an action artist who - despite my being called on to draw a lot of sexy females - thought I drew guys best. A lot has changed... wisdom with maturity, and all that.
I find myself looking forward to the opportunities of challenges. You may recall that I handled a considerable run on Spider-Man that had a lot less light-and-shadow, and a lot more straight-on character performance. That's because the over-the-top noir mood simply didn't seem right for the wall-crawlin', wit-crackin', friendly neighborhood Spider-Man.
It just seems as though writers and editors lately enjoy handing me a lot of horrific stuff - terrible people doing terrible things, werewolves, zombies, and the like. So I'm adapting to what I'm being asked to draw. I do have other styles and rhythm - and I'm poised to take over drawing Franklin Richards, Son of a Genius any moment now! (Laughs)
IGN Comics: What artists do you look to for inspiration? Are there specific people within the industry or outside that have influenced your art significantly?
Deodato: It's some of the best of the classic guys, as you might expect - Neal Adams, Dick Giordano, Berni Wrightson, Will Eisner, and Jim Steranko.
IGN Comics: I associate your art most with the use of shadow. How important is lighting to your work – would you ever work on a black and white project to emphasize that element or do you prefer a full color treatment of your work?
Deodato: Let's put it this way: About two or three times a year, I beg Marvel to do some black-and-white magazines like they used to, along of lines of their Savage Sword of Conan and Monsters Unleashed and Tales of the Zombie and Unknown Worlds of Science Fiction and so forth. I would love to work on books like that, so all of the intensity of the line is right there on the page.
Or, barring that, I'd love to see some of my recent work reprinted in a large-format black-and-white edition.
IGN Comics: I'm curious about photo referencing since that is a technique you use with your work. When do you utilize photo referencing? Do you use just one source or many? Do you think there are boundaries of what artists can and can't reference or how much is acceptable?
Deodato: I think the difference in my way of photo referencing and most other people's is, I'm not married to the photo references. Most artists, from what I've seen, assemble their references, then create their pages around their references. I do it backwards from there. I create my layouts the way I've always done them, out of my head, then I shoot new references or find references to match my layouts; in this way, I get all the energy and power that's often lacking from reference-based comics.
Every time I go to New York, for example, I shoot thousands of digital photos for reference. Buildings, toilet stalls, trash cans, graffiti, cabs, mailboxes, everything I can spot. I use it all. The authorities are probably eyeing me up, wondering what the heck I'm doing.
For every book I draw, I also shoot dozens and dozens of new shots of myself and my family in the poses I need. It's really pretty complicated and time-consuming, but it's also the best work of my career, and fans and editors all seem to be appreciating the extra time and effort.
IGN Comics: How much do you know about a series when you're working on a particular issue. Say you're drawing Dark Avengers #1, do you know what's in issues #2 and beyond to help set the tone? Do you like knowing what's around the corner? Do you feel your layouts and the "acting" of your characters is more sincere when you don't?
I prefer to know, but usually I find out what's in the next issue when I read the script for the next issue. I'm not involved in any of the planning or plotting.
IGN Comics: This is a bit of an odd question, but I'm curious if you find the experiences of working on covers and interiors drastically different, and which you prefer? Book solicitations are out three months early so much detail must be omitted from your cover work, case in point Dark Avengers #1. Is that at all frustrating? Do you wish you could be more explicit, more bold with some of that imagery?
Deodato: It's an "apples and oranges" comparison. Many times I'm asked simply to create bold display art that can, of course, be utilized as prints and posters and licensing art, as well as for the covers. Sometimes I'm given nothing at all, or only a vague notation. Once in a while I'm given story-based covers to do, and I like those best.
IGN Comics: What's the toughest type of scene or page for you to work on? Is there a particular object or scenario that you have to work on over and over?
Deodato: The toughest type of thing? Zombies! Hordes of... well, anything. In other words: Too many characters. When I'm asked to draw to many vast scenes, whether it's 15 Avengers in one panel or a space armada, it takes away from the real story, the humanity of the characters, and I get impatient to get back to the people.
It's easy to do in a movie these days, the writer types something that the CGI team replicates a thousand people and a thousand horses, but it a comic book we artists still have to draw every single figure.
Once, just once, I'm tempted, when given a big huge battle scene, to focus on two characters pointing off-panel and saying, "Here they come!" and leaving it to the imagination. (laughs)
IGN Comics: I've actually been avoiding Dark Avengers a bit so far because I know there's only so much you can say. Let's talk about some of the sketches and concepts we'll be showing alongside this interview.
We're looking at Iron Patriot and then some versions of Ms. Marvel, Spidey, Wolverine and Hawkeye. How much input do you have in these designs? Clearly there are secrets here… but did you get to determine Spidey would be black, Iron Patriot's red/white/blue motif, etc.?
I did some versions with completely new designs - all mine - that we chose to use later on. The ones that will be used in the first issues are product of intense exchange of ideas among Tom, Jeanine, Brian and Joe, and me. I also drew the designs for the ships of Dark Avengers and Hammer and the logo for Hammer.
IGN Comics: Victoria Hand looks to be an interesting character – I know she's in a variety of titles, were you the one to design her or did another artist get that shot?
Deodato: I did it - following descriptions by Brian, of course.
IGN Comics: I'll ask one broad, sweeping question about Dark Avengers because we know a lot is still under wraps... um, can you just identify each character for us? –laughs-
Deodato: Yes, I can. Thank you for asking. Next question?
IGN Comics: Hmmm, okay, I'm hoping you can tease a bit here... I'm guessing you are an issue or two into the series at this point... as much as you can, even if it's just mentioning characters, can you say what your favorite scene to draw has been?
Deodato: A tease? Like going "Nyah-nyah-na-na-naaaahhh!"? How about this... A double-page splash with Doctor Doom on it. He's such a powerful and iconic character...
IGN Comics: Anything else you'd like to add?
Deodato: Yes, this is fairly new, I'll be a Guest of Honor at the New York Comic Con on Friday through Sunday, February 6, 7, and 8, 2009. This will be my first U.S. convention in three years. I live pretty far away in Brazil, so this is your rare chance to chat with me, get autographs, and sketches. See you there!
IGN Comics: Okay, one more shot. Anything else you can reveal about Dark Avengers? -laughs-
Deodato: I can reveal that the true Marvel fan, past or present or future, whether the occasional buyer, the avid collector, or the rabid fan, all absolutely need to buy Dark Avengers. I mean, it needs to be some kind of rule, don't you think?
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Post by goldenfist on Jan 5, 2009 17:31:51 GMT -5
Read this article from newsarama.com
Let’s talk character rehab. Not the Dr. Drew kind of rehab, but the overall evaluation and rehabilitation of a character that’s going in the wrong direction. Today’s subject? Tigra.
Tigra’s had a rather eventful year or so. Though she was a member of the Avengers in the mid ’80s and even made it to the line-up for the short-lived Avengers animated series of the ’90s, Tigra’s been a perrenial background player. Her look (cat-girl in bikini) probably presents a drawback in the minds of some creators when it comes to selecting a hero with which to do some substantive character work.
That’s why I was actually glad to see Tigra appear in New Avengers at the outset of the arc involving The Hood. I thought that perhaps she was being positioned to join the male-heavy team. As it was, Tigra ended up being The Hood’s example of what happens to heroes that cross him and his. I understood the notion of having The Hood conduct a home invasion and shoot Tigra in the kneecaps; it’s not unheard of as intra-criminal punishment, and I thought that it was perhaps the seed for Tigra to recover and be the tipping point in the war between the Hood and the Avengers. It didn’t quite go that way.
Tigra was forced to give up the location of the New Avengers hide-out to The Hood and his cronies during a second home invasion. Granted, while she did particpate in the fight and get in a couple of good shots, it was far from the overcoming-adversity-comeback that I’d hoped it could be. When next we saw her, she was involved with Hank Pym in Avengers: The Initiative. Uh-oh.
Yeah. Hank turned out to be a Skrull. Therefore, the entire time that Tigra saw (and yes, slept with) Pym, he was an alien agent. Needless to say, that’s a particularly terrible form of victimization. Really, about the only thing that would be worse would be if . . . what’s that? She is pregnant by Skrullowjacket? d**n.
The point? While we do expect suffering to be ladled onto our heroes, I think that there should be a line. Bart Allen was kneecapped by Deathstroke the Terminator, and other characters without number have lost eyes, limbs, and lives at the hands of villains. The kneecapping I can get.
The sleeping with a man that you didn’t know was someone else? It’s certainly a shopworn soap opera and “women in jeopardy” film device, but it has a extra layer of discomfort associated with the fact that it wasn’t a mere personality shift. This was an alien invader that was knowingly, and for sport, having sex with an unassuming female hero without her ever having an inkling that he was anything else. Tigra has no recourse for any of this. Sure, the skrull died, but she had no hand in seeing justice done and has been placed in the role of reaction only. The pregnancy doubles this effect; even if Tigra terminates the pregnancy, as she’s suggested, the psychological damage would be immense.
So, how do we rehab Tigra? Writer Christos Gage should continue the arc of therapy that the character has begun, and we should see how she deals with these massive betrayals in character and dialogue. We should see Tigra develop as a stronger character, as a leader and an anchor thru her strength of will and her Avengers experience. And, honestly, she could don a more practical suit. The animated version and Marvel Adventures version of Tigra both have a more sensible outfit; perhaps Tigra’s self-confidence and newfound seriousness could be reflected in her sartorial choices.
What do you think, readers? What to do with Tigra?
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Post by goldenfist on Jan 5, 2009 17:28:51 GMT -5
Alot of things are going to get worse for the Initiative cause the Yellowjacket Skrull left a gift for the Initiative and that gift is the Clone Thor.
And just because the artwork is not everyone's cup of tea doesn't mean it was terrible.
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Post by goldenfist on Jan 3, 2009 10:27:14 GMT -5
Here's a review of Guardians of the Galaxy #8 from Ign.com
As Abnett and Lanning sew the seeds for War of Kings, the duo continue to use chaos as the nucleus for Guardians of the Galaxy. With the team separated into conflicting factions and its authors taking the overarching story into diverging directions, the book becomes zanier with each installment. Fortunately, Guardians is ever bit as consistent as it is hectic, providing ample proof that humor and drama are not necessarily mutually exclusive.
Yet even putting aside the book's more blatant joys, perhaps Guardians greatest attribute comes with its creators' incredible ability to roll with the punches. While juggling corporate mandates alongside creative intent, Abnett and Lanning have masterfully woven together a series of stories that could have easily become disjointed. As the duo used Secret Invasion to tear the team asunder, they now use the resulting chaos to segue immediately into an event of their own design. For crying out loud, they even bring Civil War successfully and organically into the mix by taking Star-Lord to the Negative Zone.
Somehow this series continues to be all over the map while at the same time cohesive, which is why in many ways Guardians #8 serves as a microcosm for the series as a whole. Abnett and Lanning do a great job of using characters like Rocket Raccoon to break the tension as they use Star-Lord's troubles to propel the series forward, making for a well rounded and diverse installment. While a reuniting of the core team is predictably on the horizon, this book continues to get a lot of mileage out of the familiar themes of trust and responsibility as it branches momentarily outward.
In the meantime, Brad Walker's pencils in the issue seem right on par with Paul Pelletier's, and in some cases better them. He particularly shines in his designs for the Accuser and Blastarr, as he uses sharp line strokes to detail villains in the vein of those from Jack Kirby's Fourth-world. From where I'm sitting Walker is one of the more underrated artists in the industry, so it comes as good news that he will return periodically over the course of the next few issues.
While part of me wishes that Guardians were a tad more accessible, it's hard to deny Abnett and Lanning haven't created one of the better epics of the past year. They have a plethora of tools at their disposal and could easily have turned this into a quick-hitting one and done adventure vehicle, yet they chose a much more admirable approach requiring long-range planning. It's hard to recommend this series without also encouraging a requisite catching up on material, but for those of you willing, it's still plenty early enough to merit the effort.
Review Score: 8.4 Impressive
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Post by goldenfist on Jan 3, 2009 10:20:58 GMT -5
Read what Ign.com had to say about Avengers The Initiative #20
One of Secret Invasion's broader strokes was the dissolution of the Initiative as we know it, and the vilification of the whole operation to the public at large. Even its members and personnel now know that it was essentially a small piece in the larger Skrull takeover. So that begs the question, then, where does Avengers: The Initiative go, as a title created solely as a vehicle for a now-defunct operative?
Dan Slott & Christos Gage answer that question, mostly by not answering that question. True to form, A:TI just plays around with the toys in the Marvel Universe toybox and sets up later developments in books like Mighty Avengers, Skrull Kill Krew, and Thunderbolts.
One of the bigger ideas in issue #20 is the rehabilitation of those affected by the Skrull invasion/abduction. In a strangely effective scene, Doc Samson counsels some heroes in a therapy group, among them Dum Dum Dugan, Mockingbird, and Thor Girl. Like most of A:TI it's borderline ridiculous, but it works. The issue also pays service to its longtime readers by continuing its own affairs, featuring characters like Gauntlet, Komodo, and Taskmaster, as well as the grand Mutant Zero reveal.
But perhaps the biggest draw is the Hank Pym portion. This issue ostensibly bridges the gap for the character between the end of Secret Invasion and becoming the new Wasp, and it sees him confront Janet one last time in a very clever, Slott-ian use of Marvel backwater continuity. It's the highlight of the issue and has some really great, snappy dialogue that keeps the pace moving. It's clear that going into 2009, Hank Pym is getting a major push, and pieces like this certainly help the character.
There's still the big question mark of how exactly A:TI will work in the coming year, and just how effectively. But for now, its scattershot subject matter and shapeless directive are perfectly indicative of the state of the characters' lives and the overarching premise of the series.
Review Score: 7.9 Good
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Post by goldenfist on Jan 3, 2009 10:13:39 GMT -5
Here's a review of Captain America #45 from ign.com
At first glance, what makes Bucky Barnes such a fantastic new Captain America is that he brings a hesitance, uncertainty, and moral ambiguity that Steve Rogers lacked as a protagonist. The more I think about it, though, the more I become convinced that what makes Bucky such an endlessly fascinating character is his shady and mysterious past as the Winter Soldier, which seems destined to catch up with him at every turn.
By taking such care in retroactively building (or rebuilding) Bucky's back-story from the first issue of his run onward, writer Ed Brubaker has granted the character an endless well of dramatic potential for writers to tap into. There is literally no limit to the amount of stories, characters and ideas Brubaker and future writers can mine from Bucky's past in the service of constructing modern day adventures, which makes him in many ways just as viable and interesting as his predecessor.
Although this much was evident relatively early on in the course of Bucky's resurrection, and has certainly been obvious since he donned the Cap costume, Brubaker's first Post-"Death of Captain America" arc is shaping up to be a shining example of Bucky's dramatic potential. By weaving in and out of the three major era's of Bucky's life – his time in World War II fighting alongside Rogers, his time as the deadly Winter Soldier, and his modern role as Captain America – Brubaker has effectively lent a ton of gripping intrigue to this arc. What do Bucky's WWII mission to save a twelve-year old Chinese genius, his later Winter Soldier mission to assassinate the same person, and Batroc the Leaper's modern day quest to steal valuable U.N. property have to do with one another? The issue goes a long way towards answering those questions, yet somehow manages to deepen the mystery of the labyrinthine plot thanks to a late-issue left-turn. Like any great conspiracy tale, the plot thickens in a way that bolsters each era of the mythology without convoluting the whole.
Besides Brubaker's stellar scripting, the most impressive aspect of Captain America continues to be the consistency of its artwork. Despite a rotating team of pencillers Steve Epting, Butch Guice and Luke Ross, this series has retained a distinct visual feel throughout its forty-five issue run. With this arc, Ross is proving to be just as capable of capturing immensely dynamic action scenes as Epting and Guice, and the action scenes in this issue threaten to pop off the page. There's a palpable sense of desperation to the violence here, which makes these twenty-two pages seem all the more dramatic and important.
What else is there to say about this issue that can't be said of this series as a whole? Brubaker's Captain America remains one of the strongest superhero comics on the stands, and with Bucky proving to be such a wonderful protagonist, it doesn't look like that will change anytime soon.
Review Score: 8.8 Great
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Post by goldenfist on Jan 3, 2009 2:27:26 GMT -5
One of the big questions about how Marvel's God of Thunder would make his transition from the Thor movie to The Avengers has reportedly been answered.
According to IESB, rumor has it that "the character of Donald Blake has been added to the end of the script. Let me reiterate that he wasn't there before, the script was set entirely in the land of the Norse Gods. The introduction of the character is essential to how Marvel will tie Thor into the Avengers that is set in contemporary Tony Stark/Hulk timeframe. It explains how the actual Thor film will be set in the ancient time of the Norse Gods and how they will subsequently bring the character into a modern time with Donald Blake discovering the magical Norse hammer Mjolnir and turning into Thor."
Marvel reminds us of the comic book history of the character of Dr. Donald Blake: "Thor chased a monster into the land of the Frost Giants, a breech of protocol that nearly sparked a war in all of Asgard. Odin had to teach Thor a lesson. He created a mortal body for him, one with a lame leg, and sent Thor, stripped of his powers and memories, to Earth. Thor arrived on the campus of New York State College of Medicine as Donald Blake. Blake proved to be the humble and patient man Odin had hoped for. He eventually graduated with top honors, gained a reputation as a caring family doctor and a brilliant surgeon, and opened a private practice in New York City. His nurse, Jane Foster, was equally caring and competent, and the two began to fall in love."
IESB adds that, in addition to directing Thor, Kenneth Branagh will play an unspecified supporting role in the film as well. Branagh previously acted and directed in films such as Henry V, Hamlet, Dead Again, and Much Ado About Nothing.
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Post by goldenfist on Dec 29, 2008 17:17:26 GMT -5
Iron Fist had to leave to go back to his company but he said if they need anything he'll give them a helping hand.
Clint is not going back to being Hawkeye he already passed it Kate Bishop of the Young Avengers.
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