Category Archives: Reviews
Reviews of Marvel and DC Comics.
Time for a Longbox Graveyard guest blog, as Kris Peterson of the Gravy Age podcast joins us with a favorable review of a comic that I casually dismissed at first impression … and maybe you did, too! Take it away, Kris!
Making a snap decision based on little to no information is the name of the game these days, things are hated from the moment they are announced, meaningless petitions are signed, online battles rage over the merits of taking an existing property and changing things for a new generation. I try (and fail) not to get too worked up over things, despite my sentimental attachment to movies or whatever the case may be. Scooby Apocalypse, from the first time I saw the name, was something I immediately wrote off as stupid, based on nothing but the title. Scooby. Apocalypse. Seeing the cover with Hipster Shaggy didn’t do anything but make me feel completely justified in hating this book.
Growing up, Scooby-Doo, Where Are You? was an after school staple of my day. I was always crazy about old sci-fi and horror movies, which my mom always was happy to talk about with me. I loved the ghosts, werewolves, aliens, all of it. My dad was a detective, and until my first draft of this, and then talking to Paul over a couple emails, I had a weird realization. My parents divorced when I was very young, young enough that I honestly can’t picture them as a couple.
What does that have to do with Scooby-Doo? Even though the monsters always turned out to be some creep, dressing up like monsters or a ghost, there was also a mystery to be solved. Maybe back in the day, I associated the campiness and weird “monsters” with my mom, and solving mysteries with my dad. It was basically kids (or teens) solving mysteries. There is probably something in there I can wring for some emotional content. Something about latching onto something from each parent. And like most of the cases my dad worked, these were financial crimes. His cases leaned more towards embezzlement, and less towards, Old Man Smitty is dressing up like a Yeti to scare potential buyers away from the abandoned ski lodge, because there is a silver mine under it. Or whatever the heck any particular episode of Scooby-Doo was about. Even as a kid though I had problems with a cartoon with a laugh track.
Since my kids were out of school, we were heading up to the mountains for a week. I stopped by the comic book store and grabbed a pile of books to read. I picked up Scooby Apocalypse with no other thought than, “If this sucks I can make fun of it on the blog or podcast,” and pat myself on the back for being the super awesome prognosticator that I am. My record is flawless, in that I’m wrong far more often than I’m right.
I knew so little going in, that when I finally sat down to read it and saw the names Giffen, DeMatteis, and Porter on the cover, I was actually surprised. Surprised, and willing to give it a shot. Your milage may vary with those names, but I think they can make fun of things (I’m guessing Giffen’s doing), while also adding a surprising amount of depth and humanity to things (DeMatteis solo, and with Giffen can get deep in unexpected places). If nothing else, I figured it would be entertaining. Maybe because the bar in my head was set so low, that it didn’t have to do much more than not be awful for it not to be a waste of money. The thing is though, I enjoyed it. I really enjoyed it.
The first issue is the setup of the world, and our introduction to the gang. Velma is a scientist in some sort of shadowy cabal that was trying to manipulate the world’s population through a nanite plague. Shaggy is a dog-walker at the secret research lab Velma works at. Daphne is the host of Daphne Blake’s Mysterious Mysteries, a late night, cable television show. Fred is her loyal, if not particularly brave camera man. And Scooby Doo himself, a failed smart-dog experiment designed to help soldiers in the field. They are basically the characters I knew, although in all honesty they weren’t really deep characters to begin with.
Fred and Daphne especially, were almost non-characters. They are expanded upon here, enough to fit them into this world without changing them. There is a bit with Daphne punching Fred that feels kind of mean spirited. Fred gets the best panel of the issue, after being startled and throwing his camera, because he’s scared it could be, “Mole people,” which my son and I now just randomly scream at each other. We get some hints at a bit of backstory, at least for Daphne, in that she was once a well respected reporter, though why she left real journalism for the likes of her show haven’t been touched on yet.
The nanites, as originally conceived by Velma were supposed to be beneficial, removing greed, and anger. Unfortunately, the others in the project wanted to turn the rest of humanity into docile slaves. Velma wanted to alert the world to the plague, choosing Daphne, because she is languishing in deep cable, conspiracy, weirdo television that she wouldn’t even be on the radar of the others in the project as a threat to expose them. Before she can do that though, the lab goes into lock-down and the plague is unleashed, turning humanity into actual monsters.
There is also a back-up story about Shaggy meeting Scooby for the first time that fills us in that Shaggy has a special connection with dogs, and shows that Scooby lacks the killer instinct to be effective in combat, and is scheduled to be destroyed. In a show of bravery, Shaggy steps between Scooby and the other dogs to protect Scooby from being killed. Two of the dogs seem to be nods to Scooby-Dum, and Scrappy-Doo in size and coloration. Hopefully we don’t really get into Scooby-Dum or Scrappy Doo in this world though. Ugh.
The second issue gets to the actual apocalypse, with the gang trying to figure out what happened outside and how to escape the facility. It would be pretty easy to turn this into a gritty, kill ’em all, excuse to mow down monsters, and turn the gang into gun-toting bad-asses. Thankfully (and wisely) Giffen and DeMatteis don’t do that. These monsters aren’t mindless, they retain memories of who they were. The gang take no pleasure in having to kill them. I appreciate that the violence in the book has consequence, I appreciate that the characters are sickened by what they have to do to to survive. Daphne gets another punch in on another one of the gang that feels a lot more justified.
I hope I’m not selling this as too dark a book, it’s still a fun read. The humor is in there, in fact this book is not just the team from Justice League 3001, it’s almost a spiritual successor to the book. It takes different versions of existing characters and places them in a new world, and allows the creative team to have fun with ideas, they couldn’t get away with in a regular Scooby Doo book. The only real issue I have, (aside from Daphne’s punch) with the series so far is Scooby’s pointless, emoji projecting headset. Yes, Scooby can project emoji’s into Shaggy’s contact lenses. What purpose it would serve, I’m not entirely sure.
Like I said at the beginning, maybe I set the bar too low at the start, but Scooby Apocalypse caught me completely off guard with how much I dug it. And I’m pretty proud of myself for getting through this without a single, “Zoinks,” “Jinkies,” or “Ruh-Roh!”
Thanks for the review, Kris! It sound like Scooby Apocalypse might have caught some of the same magic that made Afterlife With Archie an unexpectedly great read. I hope Longbox Graveyard’s readers will check it out … and be sure to listen to Kris at the Gravy Age, and follow him on Twitter, too!
NEXT: Doctor Strange vs. Dracula!
DC UNIVERSE REBIRTH #1
CONTEXT-FREE REVIEW: DC’s latest reboot leads with DC Universe Rebirth #1, a big ol’ bunch of housekeeping that is one part mea culpa and one part blueprint for doing better, served with a side of finger-wagging at past editorial decisions that have painted DC into a grim and gritty storytelling corner. It’s also an entertaining story, mostly. The writer is DC’s silver bullet, Geoff Johns, who along with a half-dozen artists serves up a literal lightning storm of present-tense DC vignettes, with a time-lost Wally West bursting in and out of reality, looking in on old friends who do not remember him (or their pasts). The script is wordy with a couple awkward exposition dumps but does the job, assisted by art that values clarity over style (and where each artist seems to be trying to make this book look the product of a single hand). The Big Idea, here, is that the DC Universe has lost its way, manipulated by an outsider Big Bad (and I won’t spoil his identity, but details are here). The Big Bad, you see, is the reason why DC has failed — why it over-applied the lessons of Watchmen and Dark Knight in creating a dark and unsmiling comic universe where no one is having any fun … not the characters, not the creators, and not the fans. “A darkness from somewhere has infected us,” Wally says, “It has for a long time now.” The premise of Rebirth, it seems, will be heroes struggling against this darkness.
OK. Here is where you get on, or you get off. Here is where you embrace the meta or you choke on DC’s naked admission that all those books they’ve been marketing to you for decades were dirty, nasty things that we should regard with shame and revulsion. For my part, I got on board. I liked the stories Johns set up here, including the schmaltzy ones, and I even felt a bit of emotion — like a tingling sense of wonder when the Atom’s recorded message served as a call to adventure in the microverse, and I teared up (just a little bit) when Wally witnessed a marriage proposal, and again later when he was reunited with his old mentor. Rebirth #1 is not perfect, but it will do — and it had better, as there is a sense that if DC can’t get it right this time, then we may not have DC (as we know it) to kick around any more. In the end, Johns goes right at it, inviting us to cleanse ourselves of the sins of the past through the transformative power of love. And, yeah, I don’t feel like those sins were mine, especially, but I’ll give the guy the benefit of the doubt. I’ll read more of this reboot …
… but you will have to wait until July for my capsule review series to continue, because I’m going on vacation, and Longbox Graveyard is going on hiatus!
THE PART WITH THE CONTEXT: It’s kind of silly that I even have to add this paragraph, but DC Comics has become such a lightning rod for fannish discontent that some kind of public service announcement is required, if only for self-defense. There’s been plenty of coverage about how DC has walked back their this-is-the-new-reality New 52 launch with Rebirth; how Rebirth smells of desperation after DCYou cratered last year; the editorial turmoil around DC’s Vertigo line; and the serious-on-entirely-different-level charges of sexual harassment inside the DC offices … it’s a big ball of awful, to be sure. This is apart from the more mundane fan outrage DC has provoked with how they’ve handled some of their characters these past several years; or the collateral news of Warners reshuffling their movie division after Batman v Superman seemed to get it so wrong; or even the echoes of discontent over new projects spinning out of beloved DC classics like Dark Knight and Watchmen (with the later now hotting up again). It seems like everyone has a beef with DC Comics! I’m not here to dismiss anyone’s issues with DC — and I even share a few of them — but I do want to state that I’ve gone into this review series laser focused only on the comics in front of me, without really trying to fit things into the larger context of DC’s business operations, talent relations, or the way they have treated their fans and their brand/continuity. I’m just reviewing the comics, man! In the interest of full disclosure, I do have a couple friends and DC, and I would like to see them succeed in their jobs … and if that makes me some kind of apologist, well, OK, I guess. But I’m here to tell you that I don’t have a dog in this fight — aside from wanting to like these comics, and wanting superhero comics in general to enjoy success — and if DC can give me that, then I’m happy. I have scant investment in DC’s characters or history and thus will have little sensitivity to the character and continuity changes that may drive more dedicated fans mad. So you can blast off at me in the comments section if you like (and I hope you will!), but please do so with the understanding that I am an outsider when it comes to most things DC, for better or worse … at least as much of an outsider as a guy who has been writing a comics review blog for five years can be!
Approachability For New Readers
This book is aimed squarely at the core, and new readers be damned. It is readable and entertaining but good luck if you don’t already know most of DC’s characters and history. There’s an awful lot of handwringing here about continuity and characters and times gone by, but I was intrigued more than I was confused. Hopefully the stories to come will focus more on the present than the past.
Well, there isn’t a second issue of DC Universe Rebirth on the schedule (yet), but I will definitely be reading the next issues in this relaunch.
Read capsule reviews of a competing relaunch — The All-New All-Different Marvel Now!
INTERNATIONAL IRON MAN #1
This book teams Brian Michael Bendis with his old Daredevil running mate, Alex Maleev, and so it is going to be a love-it-or-hate-it-affair. In its favor, you get solid dialogue, an intriguing new take on Tony Stark, and plenty of emotion and mood through Maleev’s art. On the other hand, you get that Bendis/Maleev explosion-in-the-word-balloon-factory style of storytelling, plus it is going to cost you four bucks a month for the next year to get the whole tale. Despite my early reservations, I have come to appreciate this team’s style, and I enjoyed this latest Iron Man book, though there is precious little Iron Man in it — aside from the opening and the coda, Iron Man is a distant dream in this story, which concentrates on a fateful meeting during Tony Stark’s pre-heroic college days. There are a lot of talking heads and only a little action, but the characters are authentic and the plot does move forward, at least by Bendis standards. It is an unconventional take on Tony but Bendis pulls it off, and he has earned some credit — the work he is doing right now makes most of Marvel’s other writers look like they are playing with Tinkertoys.
Approachability For New Readers
Fine. Bendis has a cinematic sensibility, and while his story starts in the middle, he catches you up with the who, what, and why as he goes along.
Sure … when it is collected.
Seeing as my All-New All-Different review project began with an Iron Man book, this latest Iron Man book seems a good place to bring the project to a close. Thanks to everyone that stuck with me through these better than 60 (!) reviews, and keep an eye on Longbox Graveyard for a summary post about my experience with Marvel’s latest relaunch, coming soon!
Read more about Iron Man at Longbox Graveyard
Read more capsule reviews of Marvel’s All-New All-Different rolling relaunch.
With all due respect to creators Chuck Wendig and Nik Varella, does anyone want a Hyperion book? Has anyone ever wanted a Hyperion book? I ask because in an age where New Avengers sells less than 20K copies a month, giving Hyperion his own book sure seems like shoving an orphan into the storm. Marvel is shining a spotlight on the Squadron, for whatever reason … in addition to their new Squadron Supreme series, we are getting a Nighthawk book in a couple weeks. It is strange, but I suppose I shouldn’t fault Marvel for trying. I do fault Marvel for not trying harder. This new Hyperion book isn’t terrible, but it is nowhere near outstanding enough to break out in this market. For those not in the know, Hyperion is Marvel’s answer to Superman, a relic of an unauthorized Avengers vs. JLA pastiche from decades ago. Here we join Hyperion as he dons a trucker cap to drive across the country and fume and ruminate about his Squadron pals. He picks up a girl on the run and then collides with the Hills Have Eyes carney rednecks that are hot on her heels. This is a perfectly adequate book with a couple mild surprises, but I tell you … I felt the shadow of cancellation before I was a quarter of the way through the book. I can’t see new readers jumping on board with this story, and die-hard Hyperion fans (both of them) will find their hero nearly unrecognizable here.
Approachability For New Readers
There is a wordy explanation of Hyperion and his backstory on the title page. It does the job.
Read more capsule reviews of Marvel’s All-New All-Different rolling reboot.
This unexpected series promises to reward repeat reading — according to the text feature, it is deliberately designed as a four-issue “puzzle box,” with your impression of this first issue changing over time as each of the succeeding issues is read. But the first issue works fine all by itself, and maybe it isn’t wise to look too far ahead, with a few books of this latest Marvel relaunch getting the axe after just five or six issues. Live in the now! Mockingbird does, and that’s part of her problem, given that her “now” involves submitting to annoying and invasive medical tests by S.H.I.E.L.D. every week … and her doctors may not be telling her everything that is going on. Not by a long shot. All of which sounds a lot more grim than it is — this is actually a fast-paced, humorous, and light-hearted book, with writer Chelsea Cain letting us in on Mockingbird’s sarcastic inner monologue, and artist Kate Niemczyk scattering blistering little visual Easter eggs all over the place (yes, that is Tony Stark reading a STD pamphlet in the S.H.I.E.L.D. medical waiting room). This is a unique and entertaining book that deserves your support — don’t sleep on Mockingbird!
Approachability For New Readers
Pretty good. It helps to know a bit about Mockingbird’s past relationships and associations, but it’s easy enough to figure it out as you go along.
Yup. I need to know where the dog comes from.
Read more about the Avengers at Longbox Graveyard
Read more capsule reviews of Marvel’s All-New All-Different rolling relaunch.