The Read-me pile is a stack (sometimes a terrifying stack) of comics that for whatever reason were set aside unread the week they were brought home. Most often it is because I prefer to read that particular title as a run of issues, but sometimes there are other reasons. Sometimes there isn’t enough time in a week, but usually there is a more well-thought out reason. In these columns, I do my best to explain why the books were set aside, as well as (of course) provide an entertaining recap.
Following the same format as the weekly review column, tonight I read six books (DC: 3, Marvel: 2, Independent; 1). Somewhat surprisingly all six were solid and rewarding reads. One of the reasons titles sometimes get put into the “Read-me” pile is that they are on the verge of being left off the pull (“buy me”) list. None of the five titles reviewed tonight were on that precipice and all of them acquitted themselves admirably (more or less).
Reading List (February 5, 2010)
Chew #8 (published on 1/27/10)
Detective Comics #861 (published on 1/27/10)
Batman & Robin #7 (published on 1/27/10)
The Web #5 (published on 1/27/10)
Spider-Woman #4 (published on 12/23/09)
Spider-Woman #5 (published on 1/20/10)
Report Card
The Good
Spider-Woman #4 (w: Brian Michael Bendis/a: Alex Maleev) is an excellent post-mordem to Secret Invasion. The big difference between the two big companies’ (Marvel & DC) huge crossover mega-events is that Marvel continues to build on the previous huge event, while each of DC’s crisis’ seemingly tears down everything that has come before. Spider-woman #4 exists (and is brilliant) because Bendis draws on the very complicated and tortured past of Jessica Drew (Spider-Woman) to address the very disturbing hand she was dealt in Secret Invasion. The result is a much more satisfying response than killing a character and bringing them back, so that you can kill them again or make them a Black Lantern. I’m just saying. Spider-Woman #4 sat in the “read pile” for so long because somehow I neglected to pick-up Spider-Woman #3. While there is a subplot that I had to piece-together, the story is written well enough that even if you haven’t been reading Spider-Woman, if you enjoyed Secret Invasion you will probably enjoy this book, where Jessica gets the opportunity to come face to face with a Skrull for the first time. Grade: A (story: A/art: A)
Spider-Woman #5 (w: Brian Michael Bendis/a: Alex Maleev). While Bendis has become synonymous with huge Marvel Mega events and comics that have more talking than fighting, it is easy to forget that aside from all the hype, Bendis can pen a really excellent comic. On her own, operating in the same Bendis-Verse as the Dark Avengers, Norman Osborn, etc. most of Spider-Woman #5 is a self-contained (or series contained) story that is gritty, mature (themes) and compelling. An Avenger, a Skrull-prisoner, a double-double agent, Jessica Drew has a lot of baggage, which remarkably makes this series better rather than drag it down like an anchor. Without question, Drew has become the best thing to happen to SWORD since Whedon created it. Deftly Bendis & Maleev, through Drew, make SWORD a viable organization and useful contributor to the larger Marvel U.(unlike say the mercifully canceled SWORD series). Spider-Woman (the series) is tightly wound around a central plot that has bounced back and forth between the backstreets of Madripoor, a Hydra base and the psyche of Jessica Drew. Spider-Woman #5 brings the story back to Madripoor, where we see another use of Jessica’s powers and she is inevitably re-connected to the current mega-event. Grade: B+ (story: B/art: A)
Chew #8 (w: John Layman/a Rob Guillory). Sometimes comics get held back to the "Read me" pile because they have in the past been “just that good”. Usually these are independent titles or titles that aren’t connected to any other titles (or major event crossovers). Chew #8 was held back to be savored (pun intended). While coming into Chew late, it has been consistently entertaining in a light-hearted, mature (for language, theme and plot complexity) read. The second story arc (which started with Chew #6) has maintained the quality of the first arc. Each issue tells a complete story and also advances the “International Flavor” story arc. Chew #8 has Tony helping a local Police Chief ruffle the feathers of a cock fighting ring. Meanwhile, we also learn more about the mysterious fruit that tastes like chicken. Chew remains a satisfying meal that leaves you wanting just a little bit more. Grade: B+ (story: B+/art: B)
The Web #5 (w: Marc Guggenheim/ a: Talent Caldwell) trumpets the arrival of a new creative team and makes for a decent jumping-on point. The Web remains not only a good comic, but the best of the Red Circle line. Web #5 continues to define the personality of the main character, as well as expands the stable of former-Archie Comics heroes. The story moves briskly, like an episode of NCIS or 24. The plot isn’t complicated but develops cleanly and is packed with action. The Hangman back-up is still difficult to read and doesn’t measure up to the main feature. Overall, the Web has been one of my favorite books for the last few months. It fell into the "Read me" pile because it is, for the most part, disconnected from the goings-on in the DCU (Blackest Night) and there were so many titles that came out last week. Grade (on the Web story only): B (story: B/art: B)
Batman and Robin #7 (w: Grant Morrison/ a: Cameron Stewart) starts a new story arc, with a new artist, with Batman (and Batwoman?) in the U.K., while Alfred has delivered the injured Robin to his mother, leaving us to wonder just who is minding the store back in Gotham? Robin’s Luke Skywalker impersonation, floating in a healing vat and his mother’s cryptic mutterings are dire omens of things to come, but who didn’t see that coming? It is nice to see the British dynamic duo. The underlying theme of the plot is intriguing, the execution is mediocre and only the reader is more confused than Batwoman as to what she’s doing in this story. Grade: B (story: C+/art: B)
Detective Comics #861 (w: Greg Rucka/a: Jock). There just simply wasn’t enough time to read the two Bat titles (Detective and Batman & Robin) last week. Compounding the delay, the phenomenal artist J.H. Williams is replaced (for at least this story arc) by Jock. Detective #861 marks the return of Batman to the series. Rucka’s Batwoman plots have been convoluted and disjointed, but had until now have been aided by Williams’ superior art. Jock, while no Williams, does a very good job rendering the work, but the stark panel-to-panel, page-after-page of a traditional comic artist really emphasizes the haphazard storytelling of Detective. All that being said, Detective #861 isn’t a bad story, but isn’t well organized (to the point of distraction). And for the record, I quit reading the Question back-ups about two months ago, they are that bad. Grade: C+ (story: C/art: B+)
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