Laying Cable: Marvel Announces Avengers: X-Sanction

Yesterday afternoon, Marvel announced in a conference call that their next big event will be called Avengers: X-Sanction, written by Jeph Loeb and penciled by Ed McGuinness. The story will focus on the Avengers – probably to keep focus on the team for the release of the Joss Whedon movie nest summer – and will feature the return of Cable, the popular mutant character killed in the X-Men Second Coming event last summer. Cable, who was introduced in New Mutants in 1990 by *eyeroll* *drool* *take back fuck I threatened to give*

Okay, maybe that’s not fair and a little premature. Let’s see what Loeb has in mind for the story:

As to how Cable’s mission relates to the Avengers, Loeb said he “doesn’t want to give away too much,” but “how Cable survived ‘Messiah Complex’ and ‘Second Coming’ — and I do consider those one big arc — if there had been even a hint that the Avengers had something to do with Hope’s future, he would… do something to them.”

…[Marvel Senior Vice President of Publishing Tom] Brevoort said the event puts Cable in conflict with characters readers aren’t used to seeing him with. “The definition of Cable as a father out to protect his daughter by any means necessary gives the character a weight and heft you can relate to on a very human level.” There are also “some larger situations going on” for both Nate and the Avengers.

Okay, THAT changes things. NOW I feel… yeah: I got nothing.

The Nuclear Option: Atomic Robo Volume 6, #1 Review

So one last non-New 52 review from last week’s releases before the comic store opens and another 13 DC first issues make it impossible for me to find anywhere on my coffee table to put down my beer…

Actually, let’s stop and think about the New 52 for a second. I read an interview with Dan Didio today where he said that part of the reason we have the DCnU is because years of continuity preconceptions about characters made it hard to tell new and interesting stories about them. Didio quotes legendary DC editor Julie Schwartz:

…he literally said to me at one point, “Every ten years, continuity needs an enema, because your characters don’t age in real time, the stories don’t move in real time and when you build too much story against the characters, it holds down the potential stories you could tell for the future because you’re so beholden to the past.”

And being a reader of comic books for (Jesus) 36 years now, I can tell you Julie was right. Almost any comic book character will, over time, get mired down in continuity, old stories and character beats that makes doing something different with them nearly impossible.

(I say NEARLY impossible because regardless of continuity, it is still possible to read new and fresh stories about Batman making sweet, sweet man love to Optimus Prime while Strawberry Shortcake watches – thank you, slashfic! But I digress.)

For example: because of 70+ years of Superman-as-Boy Scout stories, DC continuity had to die in order for Grant Morrison to tell a story about a young, iconoclastic Superman (“But what about Mark Waid’s Birthright?” QUIET, YOU!).

Comic book characters get tied into telling certain stories. There is no exception.

Except for Atomic Robo.

Amalgam Comics Redux

Considering the most effective and forward-thinking form of comic book marketing has historically involved white wire, ball bearings and the garish phrase, “Hey Kids! COMICS!”, DC Comics has been going all out hyping their New 52 books. They’ve put commercials for the books on TV (Including reportedly during The Daily Show to catch that wily college potsmoking demographic), trailers in movie theaters, and print ads in straight magazines (I can’t address any idle rumors about ads in gay magazines).

And they haven’t stopped there. Rich Johnston at Bleeding Cool reported this morning that DC’s bought themselves a bunch of sponsored search terms on Twitter.

Those search terms being the names of Marvel Comics characters.

Bwa-hah-ha-huh?: Justice League International #1 Review

EDITOR’S NOTE: This review contains spoilers.

I love the Foo Fighters, but I have trouble listening to more than a song or two in a row. Because whether it’s on purpose or what I bring to the music as a listener, I very quickly become convinced that every song is Dave Grohl singing about Kurt Cobain. In Your Honor. Friend Of A Friend. My Hero. Darling Nikki. Courtney Love Chokes Pole. Rob Shouldn’t Write Reviews While Drinking. You get the point.

I got the same feeling reading Justice League International #1: almost every panel seemed like it was about the DC Comics reboot.

Look: the first line in the book is:

Confidence in every level of authority is at an all-time low.”

A page later, this exchange between a member of the UN Security Council and head of UN intelligence Andre Briggs happens:

DC Comics’ Electric Dreams

This morning on the Source Blog, DC Comics announced that Justice League #1 and Action Comics #1 have each sold through more than 200,000 copies in less than two weeks and one week respectively, and that Justice League #1 is now officially the biggest selling American comic book of 2011 so far… they key word being AMERICAN. The biggest selling JAPANESE comic being, of course, the million copy selling Tentacle Panty Sniff Party by Kuroda Masato, the biggest name in Manga that I just made up.

In all seriousness, them’s big numbers for DC, and not the only ones: every New 52 book DC released last week is going back for a second printing, and other than Action and Justice League, DC’s got eight other books with sellthrough of more than 100,000 copies.

Which is exciting news for DC Comics and for comics enthusiasts in general; God knows my Local Comic Store Owner – who knows me by name and asks me if I should maybe be eating better or if instead something crawled up my asshole and died – was positively giddy when he confirmed to me last Wednesday that I was FAR from the only customer who asked him to pull all 52 of the new DC books.

And even MORE exciting is that those numbers only count the actual print run; they don’t include numbers from DC’s other big innovation – making every book they sell available for sale digitally the same day they’re available in print! And when you add THOSE numbers in, well… I’ll let John Rood, DC’s Executive VP of Sales, Marketing and Business Development tell you: lay ’em on us, Johnny!

We can’t.

Um… what was that?

Terminator / Robocop: Kill Human #2 – No Directives Found

Back in 1992, Frank Miller and Walt Simonson did a four-issue miniseries for Dark Horse Comics called Robocop Vs. Terminator, where Robocop singlehandedly takes on Skynet for the future of mankind. It was a story by two legendary creators at the top of their game who were immersed in the mythology of both the Robocop and Terminator universes (Miller wrote the screenplays for the movies Robocop 2 and 3). It has never been reprinted.

In 2011, Rob Williams and P. J. Holden are doing a miniseries for Dynamite Comics called Terminator / Robocop: Kill Human, where Robocop singlehandledly takes on Skynet for the future of mankind. It’s a series by a guy who did a pretty good indie book (Cla$$war) nine years ago and a guy who did some Judge Dredd comics once, who apparently have never seen any Robocop or Terminator movies. It will never be reprinted.

Detective Comics #1: Don’t You Know What The Night Can Do

Tony Daniel draws one hell of a Batman. He’s got some kind of bastardized mixture of 1990’s McFarlane, modern Jim Lee fine line and detail work going that makes things just look exciting and keep the eye on the panel, combined with enough broadly inked, shadowed, Frank Miller-style panels of Batman in silouette that mix together to make an instantly recognizable, iconic style of Batman art. Of all this week’s New 52, Detective Comics #1 is probably my favorite in the art department, which is saying a lot considering this week included work by Rags Morales, George Perez and Yanick Paquette. Then again, considering this week’s art included Rob Liefeld’s Hawk & Dove, Daniel could have drawn Batman as: “>(:|)-<=<” and still not been my least favorite. Seriously, though: I’m liking the look of this book.

Daniel is putting together a pretty solid entry-level Batman plot in this book as well. Make no mistake; for the first 18 pages or so, he’s not exactly reinventing the wheel: Batman feeling tortured by failing to prevent the Joker’s murders, persuing Joker relentlessly only to end chase to save a little girl from danger and evading capture by the police via an attack helicopter chase, all in Batman’s first major story following a reboot, is not exactly groundbreaking storytelling (*cough* *cough* Dark Knight Returns *cough*). But Daniel keeps the story moving along and entertaining, and breaks up what could be considered derivative by introducing the concept that Joker might commit his crimes while naked, which made even this old Batman fan take notice and comment: “AAAAAAAAAAANOOAAAAAWHYYAAAAAAA”.

Woman of Kleenex

DC Women Kicking Ass just released this DC Comics internal promo image by Cliff Chiang for the New 52 reboot of Wonder Woman by Chiang with Brian Azzarello scripts that’ll be released on September 21st:

Legion Sprocked

ScienceFiction.com has an exclusive preview of the upcoming DC New 52 title Legion Lost #1, written by Fabian Nicieza with pencils by Pete Woods. You can check it out here.

I’ve never been a big Legion of Super Heroes fan; it’s hard to take seriously a group of super heroes that include one who’s power is apparently based on Skittles and the neverending battle with Type 2 diabetes, and many other who were invented by 12-year-olds mailing in character ideas. So while this book is on my pull list for the first issue, it wasn’t one I anticipated adding to my monthly pull list… until I got a look at this page:

The Big Lie: Bullshit

EDITOR’S NOTE: This review contains spoilers. But if you were alive on September 11, 2001 and / or you know what the Truther Movement is, you already know how the fucking thing ends.

I’ve started this review about seven times with a variety of screeching hate frenzies about Rick Veitch, who is a creator I have always deeply respected. I have all his 1980’s Swamp Thing stuff. Brat Pack disturbed the hell out of me when I was 19 – in a good way. And Veitch’s live birth issue of Miracleman was one of two comics I went on eBay to get my hands on, after hunting fruitlessly through about a dozen comic stores, because I couldn’t wait any longer to read it.

And while, on the anniversary of September 11, it would be satisfying to blast The Big Lie – Veitch’s new book from Image Comics – for it’s weird politics and Truther point of view, this is a comics Web site – one of the only comics Web sites that is comfortable using the word “cumguzzler”, but a comics site nonetheless. Which means that I feel I need to review the book on its own merits.

Which is a dicey proposition; after all, this IS a comic that distinctly and pointedly implies that the Bush Administration ginned up the September 11th attacks in order to justify attacking Iraq. To review such a book ON September 11th merely on the merits of the story and the art could be uncomfortable on a good day and incendiary on a bad one… with September 11th itself most decidedly being a BAD ONE.

Thankfully, that won’t be an issue here, because this book sucks.