Tag Archives: Kris Anka

Freeze Frame 1/20/2017

From Green Arrow #15 by Juan Ferreyra
From Green Arrow #15 by Juan Ferreyra

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Indubitable Issues and Pull List (01/18/17)




Tyler’s Recommendation…
cursewords1Curse Words #1
“Charles Soule teams up with Ryan Browne for a story of an evil wizard posing as a good guy in modern day NYC. With this creative team that synopsis is only the tip the iceberg, I expect a lot of glorious insanity in this book.”

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Freeze Frame 12/23/2016

From Ether #2 by David Rubin
From Ether #2 by David Rubin

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Uncovering the Best Covers, 5-05-16

Want to know what covers caught our attention this week?

Curious what our eyes fell in love with at first sight?

Well, here they are, the most memorable images on the stands this Wednesday . . .

Cosmo ogles the luxe life of  . . .

The Wicked + The Divine 19 Kris Anka
The Wicked + The Divine #19 by Kris Anka

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Freeze Frame 1/22/2016

From I Hate Fairyland #4 by Ryan Ottley
From I Hate Fairyland #4 by Ryan Ottley

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The Rough Guide To All New, All Different Marvel

Fall is upon us but while Secret Wars and it’s many tie in’s sit in delay purgatory for the time being, Marvel is once again relaunching it’s superhero line with a whole bunch of #1 issues for their comics. With that said, the publisher is moving from a different position than they were in with Marvel Now & All New Marvel Now. With the former, Marvel had a lot of young creative talent that they were able to re-position during the relaunch to give their line a fresh make over and give creators they had brought up on  their lower tier titles a higher profile like Jonathan Hickman, Jerome  Opena, Esad Ribic, Kelly Sue DeConnick, Jason Aaron or Rick Remender. After Marvel Now was a success, they added several new talents into their fold by building off the success of the original relaunch, giving creators like Ales Kot, Tradd Moore, Michael Walsh, Felipe Smith or Michel Fiffe their first shot at a major comics launch with the publisher. Now, much of the talent from both those initiatives has moved on from the publisher. In their place, Marvel has new creators coming on from all sorts of different mediums in addition to some of their old standby’s like Brian Michael Bendis, Mark Waid or Greg Land, and they are publishing a lot of comics. Probably too many. Below is a list of all the announced new series categorized into grouping of Yay, Mayhaps or Nah like we did with Secret Wars. Keep in mind that I won’t be including series that are basically the same creative talent and that Marvel will surely have more books to announce in the months ahead.

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Freeze Frame 8/21/2015

From Birthright #10 by Andrei Bressan & Andriano Lucas
From Birthright #10 by Andrei Bressan & Andriano Lucas

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Review Of Captain Marvel #1

326251._SX640_QL80_TTD_by Tara Butters, Michelle Fazekas, Kris Anka & Matthew Wilson

After three years of transcendent success on the refurbishing of the Carol Danver’s character as Captain Marvel by Kelly Sue DeConnick, the title and it’s character have a new writing team. While they manage to provide a story with some interesting idea’s and potential, the loss of it’s former writer is still felt in the voice and spirit of the series.

Tara Butters & Michelle Fazekas have a thankless job here, DeConnick’s run on Captain Marvel is undeniably iconic for it’s influence & fan support. This has been forgotten somewhat, but Captain Marvel was a book that helped completely shift Marvel & DC’s approach to female led comics to where they were actually conscious of female readers. Without DeConnick’s Captain Marvel, it’s hard to see the success of Ms. Marvel, Jane Foster Thor, Gotham Academy, Spider-Gwen, DC Bombshells, The Unbeatable Squirrel Girl or any number of successful superhero comics that have treated their female readership with the same respect as their male counterparts. Moreover, the success of Captain Marvel completely elevated DeConnick’s profile; it was her first hit book and surely had a hand in her getting her own Image series while creating a large fan base for the writer in the form of the Carol Corps. That’s because DeConnick’s voice and style felt so distinctive to the title, it was on Captain Marvel that her writing strengths in humor and heart really shined though. Because of that, Captain Marvel feel’s much closer to a Kelly Sue DeConnick creation then a legacy character. Considering all that; Butters & Fazekas are in an impossible spot.

Replacing DeConnick with another comics writer would have been difficult enough, Butters & Fazekas had never written a comic in their life prior to this. Butter’s & Fazeka’s are TV lifers who’d found success writing for Marvel’s Agent Carter television show. Coming on to script Captain Marvel, there is no way they couldn’t attempt to keep the voice & tone of the series that DeConnick established but how do they do that for someone that is as singular as DeConnick? In the first issue they can’t pull it off and it ends up being the comics weak point. There are attempts at humor and personal moments here, but it lacks the insight & warmth of the previous series. The dialogue fails to  capture the vibrancy and rhythm that DeConnick was so natural at and while what Butters & Fazeka is doing is not outright bad per say, it’s not measuring up to it’s predecessor either. That said, Butter & Fazeka do manage to build an interesting plot by introducing he character to a new environment that still feels consistent with the books mytho’s. There is a twist on the books conclusion that will make Carol Corp fan’s want to read the following issue. Artist Kris Anka is good enough here albeit a little flat in some moments, but his visual narration feel’s like some of his best in that regard. Colorist Matt Wilson continues to be among the elite in his profession for how he contrasts the brights with different blue hue’s.

There is enough going for this comic to be good enough but it’s also lacking in what made the original title feel special. Captain Marvel was so unique and singular, and most of what made it unique and singular was the vision of writer Kelly Sue DeConnick. Without her, it feels very much like another superhero comic and while that’s fine in the abstract, the whole reason that Captain Marvel stood out in the first place was how it surpassed that. DeConnick’s Captain Marvel was a book that legitimately inspired it’s readers, it created movements online, shifted the direction of it’s publisher and made a star out of it’s writer. This new era of Captain Marvel is doing a lot of things right, but it’s first issue is not doing any of that and if it’s not, what’s the point?