In which this is the latest of a series of occasional blog talking about recent comics, and to start the big Marvel crossover event since the one they had in the spring, Absolute Carnage. Written by Donny Cates and drawn by Ryan Stegman this teams Spider-Man and Venom up against Carnage in a story that is virtually incomprehensible if you’ve not been reading Cates’s run on Venom, or dipped in and out of various Spider-Man titles over the years.
If you don’t want to dive into Wikipedia, Cates does include pages of exposition in the first issue explaining what’s going on as Eddie Brock brings Spidey up to speed with what’s going on but it’s a scene that kills the story stone dead. Prior and post this scene, the comic is a pretty average superhero title with lots of fights as one would expect from a massive crossover event. The problem with these events now is they’re weighted down with so much continuity that they have to have these scenes to explain to reading just what the fuck is going on.
And what is going on is that Venom and Spider-Man have to fight loads of Carnage controlled symbiotes who are out to kill as many people as possible. It is basically what you’d expect, though Ryan Stegman’s art is nice, plus he can tell a story which is a sadly decreasing talent among many Marvel/DC artists. This is ordinary stuff, but there is one great scene at the end of the overlong exposition scene which shows Cates is capable of doing more than he is here.
Which brings me onto Silver Surfer Black.
Written by Cates and drawn by Tradd Moore, the story is a typically angst-ridden Surfer story, which most Silver Surfer stories are. Again this spins out of another Cates written title, The Guardians of the Galaxy, to tell this story of the Surfer fighting an old evil. There’s nothing spectacular about the writing but dear me, the art is extraordinary stuff.
Moore is a definite talent, and his work here veers from surrealism to expressionism to whateeverism. It really is like watching a talent hit his prime, and Marvel need to be applauded for releasing this in the autumn in the same treasury format they released Ed Piskor’s X-Men work.
Meanwhile over at DC Comics, Brian Bendis is writing Event Leviathan, another crossover event wich also relies upon knowing lots of continuity but less so here as Bendis is crafting a detective story so much of the exposition flows better here, but it’s still a crossover that reliesupon characters stopping what they’re doing and telling others the plot.
Bendis is a good solid writer, but hasn’t bothered to push himself in over a decade and he doesn’t here, but this is still decent enough stuff though it is Alex Maleev’s art which drags this up from the usual DC crossover. I especially love his version of The Question.
The problem with crossovers in 2019 is they give publishers a healthy sales boost during the spring and summer when they’re traditionally fighting against other streams of entertainment. Quality tends to go out the window but here at least, there’s three examples of good to great artists showing what they can do.
And finally, The Wicked and the Divine #45.
Keiron Gillen and Jamie McKelvie’s superb comic comes to an end with a sort of coda set in the future when the gods are old and can mourn their dead. It is a firm, definate end. Over the coruse of the run Gillen and McKelvie carved a story which criticised and celebrated modern culture, society and the comic itself as an artform. As a comic it was one which did a lot but recently never quite got the plaudits it deserved but it was one of the best published this decade.
It is a shame the market goes wild for an uninspiring crossovers while comics which try new things build a solid audience without the aid of empty crossovers. As a comic I wish more tried to explore the medium as The Wicked and the Divine did.
And that’s it. Another blog soon about some of the stuff clogging up comics shop shelves…