Continued from Part 1
X-Men Outback #1
This was hard to resist on the rack with this appealing Psylocke cover. This is her armored warrior phase, before the proper English girl got turned into an ethnic Asian ninja. In retrospect, that was a questionable editorial decision. I guess Jim Lee wanted to draw a hot Asian girl. I’m not really complaining, I think. This did lead to Olivia Munn playing her in an X-Men movie, the part she was born to play.
What does it say about the current state of the X-Men that Marvel is publishing three different “retro” X-Men titles this month and another to come next month? The X-Men 97 cartoon has been enough of a success to merit a second season and convince Marvel to publish a comic book that readers actually want. If they went “backward” with their entire line, they might sell more comics than DC and their Absolute “Hulk/Batman” creature.
This series is meant to supplement the X-Men’s time in the Australian Outback. It was an odd moment where the X-Men were thought dead and were hiding out. An Aboriginal teleporting mutant, Gateway, provided them the ability to easily the travel the world, even from such a remote location. This era didn’t last long and was mostly known for Marc Silvestri’s excellent artwork.
The story is Sabretooth finding the X-Men and attacking them. Psylocke has to adjust his memory afterward, so that he forgets the encounter. I suspect this sort of thing will be happening a lot in this series to explain why nobody knows about these new adventures. The comic is not exactly a throwback. The artwork is half-anime/half-splatter horror film. It’s cute and bloody.
In the dialogue, there’s also a definite undercurrent of current day writing, which is functionally Chris Claremont’s 80’s writing. The subplot is Wolverine telling Storm to take command. I guess it’s trying to explain why Logan isn’t in charge, which didn’t need to be explained. She’s been in charge before; Wolverine hasn’t. It just gives Logan the opportunity to tell Storm how amazing she is several times.
It’s the right idea and reasonably well done. The creative team knew the source material well. (I think this even starts with an off-panel Mojo cameo.) It’s a little too close to Claremont’s 80’s stories and maybe that’s the problem. You would put up with certain things from Claremont, because he’d bring originality with it. If I were planning on going to the comic book store next month, I’d probably pick up the next issue and give it another shot, but I wouldn’t be going just to get it. I doubt you’re going to see anything really fresh or novel in the rest of the series. They have to work within established canon and it’s not like anyone at Marvel has had a good new idea in years.
Teenage Mutant Ninja Turtles #20, 300-th Issue Special
I think I’ve only ever had one TMNT comic (11-22-19) and the Palladium RPG book, which included a Turtles story done just for the book. I never had any of the toys, but I enjoyed the original cartoon and some of the movies well enough. In spite of the $7 price tag, I was a sucker for the retro cover and an anniversary issue to boot. I did pass up a couple of “blind bag” issues for the same price with possibly valuable variant covers. It won’t be the first time I’ve made a poor investment decision with a comic.
I was glad I got this. It was most definitely goofy, silly Turtles, but there was a tremendous amount of character motivation, backstory, and a good plot. There are real stakes, emotions, foreshadowing, betrayal, and loyalty. You’re getting the gambit of storytelling. I was impressed. Unfortunately, the main story was continued and I don’t plan on going back next month. The artwork is also very well done and finely detailed.
The other story in this was a nostalgic retrospective on the different styles of Turtles stories that have occurred over the past 299 issues. Mostly, it was meant to show that however much the Turtles change, some things never change with them. If I’d been following along with the comics all this time, I’m sure I’d have more to say. And there’s a gallery of all 300 covers (as thumbnails).
This is another IDW production. It feels like they really take care of their properties. Nickelodeon is listed in the credits. I don’t know if that means that they own the Turtles, but the corporate oversight is paying off in quality material. Now that I’ve read this, I could see getting a TMNT trade if I see one that looks this good.
Giant-Size Youngblood #1
In honor of Rob Liefield’s artwork, I’m writing this review with my mouth open and screaming. I’ve been listening to Rob’s podcast for a while and mostly enjoying it. I appreciate his enthusiasm for the art form and criticisms of the comic book industry, while I’m skeptical of his fanboying of Hollywood.
There’s a trade of Liefield’s run of New Mutants at Zia Comics that I’ve passed over several times. Since I already have the first appearance of Deadpool from that run 11-21-22 and didn’t think much of it, I haven’t been willing to buy it. (It’s also not well-reviewed and it’s full price, unlike the other trades I’ve bought there lately.) There have been a few issues of the new Youngblood on the rack. I’d recently seen a video on Liefield. There was a description of the Youngblood premise in it that made it sound more interesting than I thought it was. Today was the day I decided to try an issue.
In contrast to the standard “Liefield” style, this super-group has a decided lack of small pouches on their uniforms and is totally lacking large firearms. This is a 64-page square-bound book with no ads. This is the nice portion of the review.
Is this the worst comic I’ve purchased on a price-per-page basis? I think it might be. I can’t remember a comic with a more relentless lack of characterization and plot. It’s a context-less fight scene and it even wasn’t much of a fight. Rob’s rants about writers being nearly unnecessary compared to the artist’s contributions are actually how he does comic books. And he seems stunningly unaware that all of his favorite comics that he spotlights are well-written. (He even sued Marvel over not getting credited as a writer in a reprint.)
Oh, and the art, it’s not that great either. In the 90’s, this was a fresh new style and it would be sort of iconic. That’s not to say it’s good; it’s just distinctive. Rob reminds me of my own art. Occasionally, I might make a nice drawing, almost by accident. The difference is that I’m not a professional artist and Rob’s been at this a long time. He should be much better than this in art and storytelling.
Just to rub it in, this large issue is half, if not more than half, just reprinted pinups. You could probably argue that the whole book is nothing but pinups. Four of the pinups featured Obama to let you know how old they are and who Rob voted for.
If I were a long-time fan of Youngblood, I’d be infuriated with this, since I doubt the original series was this bad. As is, I’m wondering if I should ever buy another comic I’m not familiar with . . . if I should buy another comic at all. This sounds like hyperbole, but I’ve declared a moratorium on buying comics until I get this taste out of my mouth. I’m not going to ask Rob for my money back (it won’t help with the emotional damage anyway), but I’m putting everything he says from now on in context with this comic.
Whew! What a roller coaster ride from this trip to the comic book store. Regardless of the highs and lows, I do think I’ve been a little too indulgent buying comics for the last couple of months and need a break. I’d finally cleared out some shelf space and I just filled it right back up. I’ve been done with comic books several times, but I wonder when they’ll be done with me.




























