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Shadowland Review

Maximum Carnage.

That oft derided blood soaked comic book story arc of the early 90’s was what ultimately came to mind as I was reading through Marvel’s Shadowland.

Fortunately, I happen to be of the rare breed that, despite it’s flawed storytelling and absurd length; actually kind of liked Maximum Carnage.

Make no mistake though, Shadowland is by no means a well-liked crossover by most comic fan standards.

At least it's not universally hated like Onslaught... Onslaught sucked balls.

Written by Daredevil author Andy Diggle, and pencilled by former X-23 artist Billy Tan; Shadowland takes us into the dark territory it’s title suggest in the form of casting prolific crime-fighter and man without fear, Daredevil; as it’s central villain.

While this controversial storytelling decision has perturbed many a Daredevil fan since it’s publication, thankfully there is indeed a logical, though somewhat hokey explanation as to why Matt Murdock would suddenly turn heel overnight.

 

I don't know about you, but bad chili always puts me in a foul mood...

Leading up to the events of Shadowland, one of the Daredevil’s arch-nemeses, Bullseye; blew up a city block in Hell’s Kitchen, effectively creating a gigantic smoldering symbol of the hero’s personal failings smack dab in the middle of his backyard.

Having recently been offered the position as head of The Hand, a Japanese cult of ninjas and longtime opponent of Daredevil and Elektra; Daredevil ends up accepting the offer, in hopes of wielding the forces of The Hand to better protect the citizens of New York.

This leads to the purchase of the plot of land that was destroyed by Bullseye, and the erection of a huge Japanese fortress in it’s place; a territory that Daredevil dubs “Shadowland.”

Unfortunately, poor Matt Murdock didn’t count on being possessed by The Beast, a demon under the control of a splinter group within The Hand known as Snakeroot.

Said possession causes Daredevil to lose control of himself and his army, resulting in The Beast using him as a vessel to infect the citizens of New York with feelings of hatred and violence.

While many of the heroes of the Marvel universe tolerate Murdock’s actions, grudgingly; it isn’t until he does the unthinkable, and kills Bullseye; that his close friends begin to suspect that the devil of Hell’s Kitchen might be losing his marbles.

Thus sets the stage for a series of pitched battles between Daredevil and those that care most about him.

I assure it doesn't turn out like this, however it would be kinda' cool if it did...

A “mini-event” staged in the wake of Marvel’s most recent event comic proper, Siege; Shadowland represents the rather rare crossover event wherein the core players consist almost exclusively of  “street level” superheroes.

That is to say, despite a suitably epic storyline involving demonic possession and a mass riot across the Hell’s Kitchen section of Manhattan, the majority of the superheroes involved consist of low-powered, or in many cases; unpowered, individuals such as Iron Fist, Luke Cage, Spider-Man, and The Punisher.

Unlike many event comics, that raise the stakes to cosmic levels and beyond, a strong part of the appeal of Shadowland; at least for me anyway, is the fact that the story remains grounded in Daredevil’s niche in the Marvel universe, that of New York city.

While many of the heroes, such as Cage and Iron Fist; are personal friends of Daredevil, ultimately the one thing tying everyone together in the story is that they all share New York as their field of operations.

Early on in Shadowland we’re shown an overhead splash of the city, with several embedded panels serving to show us many of the New York-based Marvel superheroes as they all glare at Daredevil’s newly erected eyesore of a fortress and ponder on what to do of it.

Pictured: The splash in question.

It’s moments like this that serve to unify the cast of Shadowland in a much more satisfying manner than many other event comics.

With the exception of Ghost Rider and Moon Knight, (and a truly random Wolverine) both of whom have close to nothing to do within the context of the 5 core Shadowland issues, the vast majority of the cast feel appropriately cast.

That being said, what of the actual story?

Well, to be perfectly honest, Shadowland is one of those crossovers that seems to demand an unreasonable level of commitment from it’s readers, such that it feels like many important story beats are found only in tie-in issues.

That being said, questions arise every now and again when one is reading Shadowland, usually pertaining to where certain characters went, or how they knew some of the things they did.

 

...Or in the case of Elektra: "How are you still alive?"

In that sense, the storytelling and plot progression of Shadowland can feel fractured and abbreviated, however in my opinion this does not hurt it’s overall enjoyability.

Put it this way:

Shadowland is not a suspenseful story.

From it’s first pages, the “mystery” of Daredevil’s bloodthirsty nature are laid out for us crystal clear.

While the (surprisingly good) ending serves to shake things up a bit, there’s close to zero character development in Shadowland.

From the moment Bullseye gets shanked, we know exactly who our villains are, making for a story that does most what little “telling” it needs to as fists are flying and blood is spilt.

The real meat of Shadowland is in establishing Daredevil as a character poised to take a fall, and then watching as his closest friends band together to set him straight, not through superpowered might, or even magical exorcism; but through heart… and a shit ton of kung fu.

Martial arts have a way of making any story just that much better.

While it sounds corny, Shadowland is essentially the comic book equivalent of an intervention.

Hal Jordan fell prey to Parallax, Jean Grey turned into Dark Phoenix, every now and again one our most beloved superheroes finds themselves under the control of some malevolent force, ultimately resulting in their friends banding together (unsuccessfully) to stop them, only for them to choose redemption through the only means most superheroes seem to know:

Altruisticly Superpowered Suicide, better known as A.S.S.

Sorry, couldn’t resist…

Despite the frequently used storytelling formula listed above, one should note that I never said that’s how Shadowland ends.

I’m not a fan of spoilers, so I’ll let you read the story yourself to find out just what happens.

*Spoiler Alert!* The Death Star blows up at the end!

Anyway, it’s a safe bet to say that Shadowland represents a story that has been recycled in the world of comics more than a few times already, however the new coat of paint it throws into the mix, in the form of it’s cast and setting, make for a fun experience for those who, like myself; are somewhat invested in things from the get go.

In other words, Shadowland is hardly a jumping on point for those who don’t read any of the characters involved in the core storyline, but for those that frequently read tales from the streets of Marvel New York; it’s hard not to have fun with Shadowland.

...I mentioned there was fighting, right?

Coming into Shadowland, I honestly didn’t know what to expect from artist Billy Tan.

Normally, I am keen on looking up the work of artists for comics I’m about purchase, largely because I put a great deal of stock in an artist’s abilities when it comes to gauging my overall enjoyment of a book.

Most reviews I read of Shadowland prior to purchasing it were mostly negative, however nearly all of them made mention of the art being “typically outstanding” in reference to Tan’s body of work.

Don’t ask me why, but for some reason I came into Shadowland wanting to be surprised by something, given that most of the story can be spoiled by reading even the most vague of reviews.

Anyway, I was indeed surprised by Billy Tan’s art in Shadowland, but more importantly; I was impressed.

Impressive... Most impressive...

Like many of my favorite comic artists, Tan excels at drawing his characters with somewhat more realistically proportioned bodies.

Many of his figures appear lithe and flexible, which is a very important factor to consider when dealing with a cast of characters consisting largely of martial artists and acrobats.

Speaking of which, while his face work can seem a little off at times, Tan displays a penchant for illustrating figures in motion.

There are moments in Shadowland, particularly in the battle with Bullseye; where the action of the panels felt more like viewing an animation than reading a comic.

For your viewing pleasure, a full page of awesome.

Needless to say, Billy Tan’s artwork and easily deciphered layouts in Shadowland meet my approval, and quite handily at that.

I won’t be reading X-23 anytime soon, out of my general disdain for the character; but nevertheless, I look forward to more Tan projects in the near future.

Anyway, that’s about all I’ve got to say about Shadowland.

As mentioned earlier, it seems like Marvel expects us to read a lot of the tie-ins in order to get the whole story, but I myself can’t justify such an investment.

I will however be picking up the Moon Knight tie-in, as it genuinely looked pretty good to me, and besides; Moon Knight’s my boy.

Other than that though, I’m mostly happy with what I got from Shadowland on it’s own.

Hope this was helpful to some of you, thanks for reading!

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Blackest Night Review

*Disclaimer* No spoilers, but just want to say that I don’t really touch on the plot AT ALL.  Too lazy…

Blackest Night is the latest in DC’s long line of major crossover events.

Unlike Crises past, present and future however, this particular storyline is distinctly more focused on the actions of the Green Lantern rather than the usual “Big Three” (Superman, Batman, and Wonder Woman.)

Is it just me, or is Wonder Woman dead behind the eyes?

Blackest Night was written by Geoff Johns, with the event serving as a major climax in his very long, and revolutionary run on the Green Lantern franchise.

Beginning in 2004, Geoff John’s run on the series took us from the rebirth of classic Green Lantern, Hal Jordan; (as depicted in the story “Rebirth”)

to the expansion of the Green Lantern universe to accomodate power rings for every color of the light spectrum,

and finally; to the fateful prophesized day of reckoning known to the Guardians of the Universe (the overseers of the Green Lantern Corps) as the Blackest Night.

The Guardians of the Universe: Little Known Cousins to the Smurfs

Key to the build-up to Blackest Night, was the creation of the “emotional spectrum” of colored power rings.

Thanks to Geoff Johns, we now have Green for Willpower, Yellow for Fear, Red for Rage, Orange for Avarice, Violet for Love, Blue for Hope, and Indigo for Compassion.

It’s cheesy, yes; but interesting nonetheless.

Every single one of these colors has a Corps of it’s own, with distinct and interesting characters whose temperament clearly reflects their place in the emotional spectrum.

It was a revolutionary idea, and it almost single-handedly got me back into Green Lantern after almost a decade of me not caring post-Emerald Twilight.

Yes, I read it. And yes, I was too young to understand that it sucked.

Hey, I was a 90’s comic fan, I liked my Hal Jordan, particularly when he had his pimpn’ Mr. Fantastic white badger-esque hair.

Indeed, Blackest Night has been a long time coming.

I myself will admit that I came into Blackest Night just a little bit under-prepared.

Prior to reading this event, I had read John’s Rebirth and Sinestro Corps War, with a majority of the essential tidbits and factoids leading up to Blackest Night being revealed to me through reading reviews of the in-between story arcs.

Despite this, I will say this:

As long as you at least know who most of the characters are in Blackest Night, or the DC Comics universe for that matter; you probably won’t have any problems understanding the storyline, as most of it is fleshed out on the fly for you in convenient, exposition heavy “comic speak.”

Pictured: A child fluent in "Comic Speak."

That being said, is said storyline worth reading in the first place?

In short, yes; but only if you genuinely want to read this particular story.

All others, may be better spending their money/time elsewhere.

I’ll get back to that, but first let’s take a moment to go over the details of the story in question:

In short, Blackest Night is a story about the dead coming to life throughout the universe wearing Black power rings of Death, and tearing out the hearts of the living to fuel the resurrection of their mysterious leader.

For the love of God, get these people some Clearasil!

Of course, there’s a lot more to it, but I don’t feel like going into it, on account of me being lazy.

Our main characters are, surprisingly; The Flash, (the recently resurrected Barry Allen version) The Atom, Mera, (Aquaman’s hoe) and of course; Hal Jordan.

Could it be!? A moment where Aquaman is actually being cool!?

Personally, I found most of these characters to be interesting and a decent enough focal point for the narrative, but the problem for me was that I genuinely don’t give two-shits about half of them.

By half, I mean The Atom and Mera.

The reasoning behind using these particular characters, seems to be largely the fact that they have close ties to the recently deceased, making them good candidates for drama throughout.

To make a long story short, this particular ploy works, largely due to the visual impact that the various Black Lanterns have when in conflict with the heroes.

Goddamn they look cool..

It needs to be said that Blackest Night, despite being a whopping 8 issues long, twice that of Siege; the one major downside to the story is that it’s full of holes.

Seriously, half the reason I didn’t attempt to write a review until just now, was the fact that I really didn’t feel like I finished the story until I read the accompanying Blackest Night: Green Lantern.

Hell, I read that, and I still don’t feel like I’ve finished Blackest Night ’cause now I know there’s still a shit ton of holes regarding what went on with the Green Lantern Corps!

Pictured: Blackest Night

Getting back to what I said earlier, about this being a story that one needs to want to read, the problem with Blackest Night is that the 8 issue core story just isn’t a complete thought.

Characters inexplicably disappear for half the story, events are hyped that are never further explored, and in general, the whole thing genuinely feels like the writer was writing in too many directions at once.

Which of course, is exactly the case; as Geoff Johns just happened to be writing the Green Lantern series parallel to Blackest Night.

Despite the content of the collected edition being a little sparse, the writing is typical of Johns, with characters speaking with a distinct sense of voice, and entertaining banter throughout.

In particular, I really enjoyed John’s Sinestro, he truly captures the overbearing and forceful passion of the character.

Sinestro: He doesn't look like Hitler. Not at all...

Ivan Reis illustrated Blackest Night, and I doubt anyone can say that his work in it is anything short of excellent.

Characters are rendered faithfully and beautifully, with several of the Black Lantern designs coming across as truly inventive an downright creepy to boot.

The one issue I had with the art, is not actually an issue at all.

My one problem with the art of Blackest Night, was the fact that it wasn’t done by Ethan Van Sciver.

Did I mention Ethan Van Sciver was a good artist?

I understand that Reis and Van Sciver have collaborated several times, and indeed have similar styles, but for my money, Van Sciver is the real talent of the pair.

Seriously, the Van Sciver art for John’s Rebirth story arc was a huge factor in getting me back into the Green Lantern, and to this day I’m still hoping to see his work on the character again.

Anyway, I’m running out of steam, so I’ll just say this:

I liked Blackest Night, but bear in mind, I like comics.

I’m not exactly a DC kind of guy for the most part, but I liked the Green Lantern, and I liked Geoff Johns, so I gave it a shot.

After reading it, I said to myself:

“Hmm…  That was good, but where’s the rest of the story?”

That lead to me buying, reading, and enjoying (in that order) Blackest Night: Green Lantern, but after that I said to myself:

“Hmm…  That was good, but where’s the rest of the story?”

To my knowledge there are 7 Blackest Night collected editions.

Enough to require the use of an Amazon.com B6 box. I should know, I'm a certified box maker...

While I don’t intend to purchase all of those, I genuinely liked the spectacle to be found within 2 of them, and am fully prepared enjoy a 3rd.

I think that speaks volumes as to the appeal of this storyline.

When faced with reading the messy and incomplete collected edition of Blackest Night, my gut reaction was to ask for more.

That surprised me, and I feel good knowing that.

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Wolverine and The X-Men: WTF?

Huh?

Maybe it’s just me being anal about my comic book shit, but when I ran across this DVD at work today, I couldn’t help but throw up my Corporate Eyebrow in confusion.

For the sad individuals that are unaware, the Corporate Eyebrow is this:

But using the opposite eyebrow.

Strangely enough, I have difficulty executing the People’s Eyebrow

Oh well, perhaps I’m not worthy of it’s majesty.

*Ahem!* ANYWAY, my confusion in regards to this DVD cover, springs from two aspects of it:

1. The fact that the title of the TV series is Wolverine and The X-Men.

2. The fact that somebody was actually dumb enough to title this particular segment of the show “Final Crisis.”

Keep in mind, I know nothing of this cartoon, nor do I have the patience to research it.

While both of these are admittedly minor points, let’s take a moment and address this point by point, shall we?

Wolverine is not a leader of the X-Men.

Nor is he a Jew, but apparently nobody told this guy...

In the comics, Cyclops has recently attained the status of being the undisputed team/spiritual leader of the entire X-Men organization.

Tee hee, I used to like him 'cause he wore glasses...

I’m not sure how things work these days in the X-Men, (frankly I don’t give a shit) but back in the 90’s, Storm and Cyclops headed the Blue and Gold teams of the X-Men, effectively splitting command between the 2 of them.

The simplest explanation as to why Wolverine would receive the top billing in this particular X-Men cartoon, is the fact that Wolverine is an absurdly popular character that is probably better known and loved than the entirety of the X-Men universe.

Even more than Dazzler!? Surely everybody kno... Nah, who am I kidding, everybody hates Dazzler...

Personally, I’ve always liked Wolverine when he was detached from the X-Men, as he is definitely an interesting and fun character, but whenever he’s with the X-Men all he seems to do is pine for Jean Grey (living or deceased, doesn’t matter), get into cock fights with Cyclops, and have awkward moments with whatever jailbait X-Men is popular at the moment.

Yeah, I’m not kidding about that last part.

Ever hear of Illyana Rasputin, Shadowcat, Jubilee, and X-23?

Wolverine = Pedo.

Yeah, they all wanted his nuts SO bad…

Except maybe X-23, she doesn’t want nobody.

Plus, she technically is Wolverine, so I don’t even wanna’ think about the chemistry involved in the result of a “pairing” between those 2…

Oh, that's not so bad.

Anyway, I understand using the Wolverine character and name to put asses in the seats, but did they really have to shit on the X-Men name like that?

Besides, we all know Colossus is a hundred times cooler than Wolverine…

As much as I love him, we all know that Colossus would get his ass kicked if he tangled with the Juggernaut...

My other gripe about this DVD cover, was the fact that they titled this miniseries, “Final Crisis.”

Why does that bother me, you ask?

Because “Final Crisis” is the name of a very recent major DC Comics event.

*Cough!* Kind of a big deal...

Okay fine, this one isn’t so much a “gripe,” as it is a cause for confusion.

In the comics world, the word “Crisis” has a a very unique meaning.

Whenever it is spoken, any self-respecting comic reader’s mind invariably thinks “DC.”

Ever since the revolutionary 1985 release of DC’s first major crossover, Crisis on Infinite Earths, the word “Crisis” has always referred to an event involving the DC comics multiverse.

Whoops! Spoiler Alert!

Needless to say, to use the term “Crisis” in a Marvel product is a major no-no in the industry.

To actually go ahead and use the full title of a “Crisis” storyline as the title of a Marvel product, is straight up blasphemy.

BLASPHEMY.

Like I said, I understand that everything I’ve been babbling about in this post is just me nit-picking, but understand this:

I was at work for 10 hours today, and this was the one element of my day that I took the time to remember.

Needless to say, it was a slow fucking day.

Maybe you’ll all get lucky and something cool with happen to me tomorrow.

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Crossovers and Event Comics, Goddamnit…

I am not an event book reader when it comes to comic books.

In most cases, I find them to be sloppily organized, and sometimes harmful to the storylines of the characters involved.

More often than not, I find that crossovers and event comics typically have valuable ideas and story beats to bring to the table, however in most cases the events that take place between these major moments amount to little more than fluff or padding.

All of this, combined with the fact that I don’t consider myself a fan of “team” books, is what keeps me from reading event books.

I find them to be nothing more than bloated, ponderous, fanboy conceived drivel that are more enjoyable to read in bullet-point summary.

Or in the case of Onslaught, better when avoided entirely.

That being said, what experience do I have personally with event comics?

Well, the first crossover I ever read was X-Men: Fatal Attractions.

Okay, Magneto looks fucking retarded on this cover, but I swear it's a good book.

This was a typical 90’s X-family story, wherein the Acolytes are running around being dicks, Magneto has somehow come back from the dead following Fabian Cortez’s betrayal, and now the whole planet is in danger.

Pictured: The Kevin Costner of the X-Men universe.

The story is told from the viewpoint of nearly all of the major X-family factions including the X-Men, X-Factor, X-Force,  and even the England based Excalibur.

Sorry though, no New Mutants, although I don’t know who in their right mind would miss them.

Good God what a juvenile pile of suck...

The whole thing comes to a climax when a small strike force of X-Men attempt to destroy Magneto, resulting in him using his magnetic powers to tear the adamantium from Wolverine’s bones and clear through his skin.

One of my first "Holy fucking shit" moments in comics.

It was perhaps the most dramatic moment in the entire storyline, however it was by no means the only important event to occur throughout.

Colossus’ defection to the Acolytes while mourning the loss of his younger sister Illyana was quite memorable, as was Cable’s hopeless one-on-one struggle against Magneto.

This just seems to be the trend whenever Magneto is forced to take the gloves off...

As a kid, I really liked Fatal Attractions.

The X-Men cartoon and Capcom’s various Marvel arcade games of the time had thrust the X-Men into the forefront of my childhood consciousness, and even if I didn’t “get” all the subtleties of the story, I was just happy to be reading about the X-Men.

Nowadays, as an older, wiser Azn Badger, I bow my head in shame at any thought of the X-Men comics, however I still find myself nostalgically flipping through my collected edition of Fatal Attractions from time to time.

The only other crossovers I own, are the excellent Death and Return of Superman, and the mediocre Batman: War Games.

Oh yeah, and that piece of monkey-crap, X-Men: Messiah Complex.

WORST. COMIC. EVERRRRRRRRRRRRRR.

In general, crossovers always have the potential to be pretty good, but when it comes to combining the writing and art of so many different writers and pencillers, it takes a special kind of chemistry to make it all sync together just right.

Of the 4 crossovers I own, only Fatal Attraction manages to remain fairly consistent in voice and presentation.

Well, except for maybe the guys that drew the Excalibur portion, they sucked something fierce.

Seriously, what the fuck is up with Colossus in this cover?

When everyone comes together just right, and are able to trick you into thinking you’re reading a single cohesive story, written by one person; then you have a crossover that just might be something special.

It doesn’t happen often, but we comic fans are always hopeful.

...Unlike this kid.

Event comics are something that I stayed away from until fairly recently.

My one big gripe with event comics has always been the over-abundance of spin-offs and tie-ins that invariably coincide with their release.

An example of a GOOD spin-off, which was in turn "spun off" from a spin-off.

You know those little captions that pop up in the corner of some panels saying cryptic little nothings like:
“For more info, read Avengers West Coast #47!”

That’s the kind of bullshit that kept me away from event books for most of my life.

My first event book, was a classic of the industry, namely Marvel’s Infinity Gauntlet.

A truly great fucking cover.

It was tightly paced, only had 2 illustrators, who thankfully had similar styles; and perhap most important of all:

It was self-contained.

True, there were a handful of supplemental storylines that tied-into the main storyline, but despite this, the entire collected edition, from start to finish, could be read and understood by just about anyone.

I really liked the Infinity Gauntlet, but from most reviews I’ve read, there aren’t that many company event comics that can measure up to it, outside of maybe the grandaddy of all event comics, Secret Wars.

The original Ocean's 11 of comic books.

I own maybe 3 event comics including the Infinity Gauntlet.

The other 2 are Civil War and World War Hulk.

I bought Civil War because of Steve McNiven’s art more than anything else, and World War Hulk was a necessary purchase after I read the story directly preceding it, the truly magnificent Planet Hulk.

Now imagine a whole book of THIS.

While World War Hulk was kind of a let down given that I am not really a “modern” John Romita Jr. fan, (I liked his 90’s style better than his Moai Statue looking people nowadays) and the conclusion of the story reeked of deus ex machina, Civil War was a pleasant surprise.

If anything swayed me a little bit on the possibility of good “modern” event comics, Civil War was it.

While the story is a little bit claustrophobic at times, and the conclusion seems to come rather suddenly, the collected edition of Civil War was largely coherent, and more importantly, enjoyable to read.

Did I mention Steve McNiven was a good artist?

While Mark Millar is hardly on my “good list,” his writing for Civil War was remarkably restrained, and fit the voices of the characters quite well for the most part.

Like I mentioned earlier though, it helps when you have Steven McNiven, one of the best artists in the medium; doing the interiors.

ONCE AGAIN, I'd just like to say that Steven McNiven is a pretty decent artist.

Civil War had a shit-ton of tie-ins, some of which I’ve been told were essential to the experience, particularly the Amazing Spider-Man issues, however I read none of them and still enjoyed myself.

The reason I chose today to gripe about event comics and crossovers, was because of a dilemma I encountered at Olympic Cards and Comics yesterday.

And this would be Azn Badger doing his civic duty by plugging a local business.

I was in the market for a trade paperback, (I don’t buy weekly’s and monthlies anymore) and I had found myself stupefied by a simple, 3-way decision.

I was holding Thunderbolts vol. 3, Moon Knight vol. 3, and Wolverine: Weapon X vol. 1, and even though I wanted the Thunderbolts, I ended up walking away with Moon Knight.

Why did I do this?

Because Thunderbolts vol. 3 just happened to be a tie-in to the 2008 event comic, Secret Invasion.

WORST COMIC EVERRRRRRRRRRRRRR MK. 2

In terms of event comics, Secret Invasion is widely regarded as the definition of “let-down.”

It was hyped for no less than 5 years, and while the changes to the Marvel universe that it brought to the table were indeed significant, the actual panel-to-panel experience amounted to nothing more than “meh.”

On top of that, if you go to your local comic shop, and you look for Secret Invasion of the trade shelf, do you know what you see?

A WHOLE FUCKING ROW OF PAPER THIN PURPLE BOOK SPINES.

Marvel really shat on it’s readers with it’s release of Secret Invasion and it’s ungodly number of tie-in books.

Seriously, by my count there are 26 books under the Secret Invasion label, with 4 of them being of the core storyline, and about 5-6 of them being essential to the experience according to most recommendations.

At $30 for the core book, and like $15 a pop for any of the tie-ins, that’s not asking a lot, that’s just straight punk-garbage-faggotry, man.

...Sure, why not?

Secret Invasion pisses me off because I don’t want to read it on account of it’s shittiness, and yet I feel a strong desire to give in and read it on account of it having stake in just about every storyline since it’s publication.

Either way, I still hate reading really good trades from characters I like and seeing those little fucking yellow captions pop up with their “See Secret Invasion #5!” bullshit.

Fortunately, I always have this as an excuse for not buying over-priced bullshit.

2 years have past, I know what happens during Secret Invasion, and yet I don’t.

Though I loved Thunderbolts 1-2, the interference of Secret Invasion, a bloated book I honestly don’t want to read, is what kept me from pursuing the rest of the series for the time being.

Well, that and the fact that Warren Ellis bowed out of the series as writer after volume 2.

Warren Ellis: Creator of such wonders as the "Bowel Disruptor Gun."

The whole point of this rant is that, I love comic books, but I’m pretty sure I’m always going to be one of those guys that just reads his comics.

I took a gamble with Civil War, and it worked out, but I also took a gamble with Messiah Complex, and now I feel like hitting someone every time I think about it.

Unfortunately, no one was around at the time of writing this...

Event comics are hard for me, because I tend to read comics from the DC/Marvel universes, but I generally stick to the characters that typically aren’t involved in the big events.

Moon Knight was featured in about 1 page of The Infinity Gauntlet.

I guess you could say The Punisher lent a hand in Civil War, and by that I mean he killed a pair of D-list supervillains that nobody cared about.

Just for fun, here's the two of them hangin' out together.

Batman is the FUCKING MAN, but if you thought Marvel’s event comic continuity was impenetrable, then apparently you haven’t looked at DC’s “Crisis” storylines and their multiverse bullshit.

That's nice an' all, but could someone tell me what the heck is going on?

I like my comics, but every now and again, I feel compelled to take a gamble and try and read one of their comics.

When I think about it though, near as I can tell I’m about 1:1 with my “good” and “bad” event book purchases, so I guess the odds of me being pleasantly surprised are actually pretty good.

Here’s hoping to future gambles and pleasant surprises then, I guess.

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