Brian Michael Bendis Archives - Page 2 of 9 - Robot 6 @ Comic Book Resources
A few years ago, my husband was in the hospital for a fairly serious procedure that required an extended stay. After the surgery, he began experiencing excruciating pain and, following a bit of work, learned that it had to do with the stitches: There had been too many and some were too tight, so the surgeon was called back in to take a look. The surgeon spotted the problem immediately and asked a nurse to bring him some scissors. Snip, snip, the tension was released and the surgeon said everything should be fine in a few hours.
Which it was, but after the surgeon was gone, my husband was left with bloody gauze, a pair of scissors and the remains of his stitches left all over his chest. We waited and didn’t touch anything, thinking, “Oh, that guy is coming back or something.” He didn’t. I grabbed a nurse, and with a long-suffering sigh, she apologized and cleared away the remains. When we said we thought the surgeon had left everything behind because he would be coming back, she explained this is just something surgeons do. When in the operating room, there are people on hand to take care of the little things so the surgeon can concentrate on the task at hand; they tend not to give things like cleaning up a second thought, if even a first.
Brian Michael Bendis is an incredible surgeon of event storytelling, and Age of Ultron #10 leaves stitches and scissors all over the reader’s chest. I can’t even say I’m surprised, nor can I really confirm that this is a “bad thing.” There’s no value judgment here: Age of Ultron needed to get to point B, it got there after 10 issues, and point C is going to be handled by a variety of folks (including Bendis himself, but we’ll get to that). In the end, I’m not exactly sure why it needed to be encased in black plastic, as the ending literally tells us to stay tuned for yet another issue (or series entirely). But I’m getting ahead of myself. Did you dare to open your sealed copy of Age of Ultron #10? Of course you did! Follow on, Dear Reader, as we talk about the skill inherent in a Bendis event and all the things that are traditionally left behind.
WARNING: Yep, spoilers for Age of Ultron #10. Honestly, I wouldn’t worry too much about knowing something that would ruin your enjoyment of the series whole, but it’s up to you if you read further. Do you dare? Click on, brave soul.
For those who might’ve missed this 2006-2007 miniseries, Doctor Strange: The Oath is a five-issue story written by Brian K. Vaughan and drawn by Marcos Martin — that pedigree alone should ensure it has a place in your long box or the handy trade paperback sits on your shelf. Vaughan’s clear, lyrical writing style is in full force, and Martin’s art is as fluid and dynamic as it’s been for Mark Waid’s Daredevil. The story delves into the occult to save Wong, who’s been stricken with a fatal disease. Not only does it have magic and mysticism, it also reminds you of Strange’s classical origin as an arrogant surgeon who had to learn humility in an area both street-level and far-flung dimensions. It also brought Night Nurse in as a strong supporting character to the good Doctor’s retinue and, as the back cover tells me, firmly establishes Doctor Strange in the Marvel Universe.
A nice idea, but it really did nothing of the sort.
there are millions of people in the world who are experts, certified PhD level experts, at setting themselves up to fail. if that’s who you want to be, that is absolutely fine. but you have to stop talking about it and be who you are.
but if you’re telling me that you have a voice, there is no one in the world other than you who is going to be able to make that voice heard. no one’s going to come over your house and sprinkle magic dust on you to make you the writer you want to be. you have to sit down and start writing.
stop excusing yourself from living the life you want to live.”
Nick Fury was and always will be the face of S.H.I.E.L.D., but writer Brian Michael Bendis just revealed a new and surprising member to Marvel’s spy outfit: Dazzler. As revealed in today’s Uncanny X-Men #6, Dazzler has been recruited into S.H.I.E.L.D. by Maria Hill in an attempt to counter-balance Cyclops rebellious talk of a mutant revolution.
“That’s why she’s a perfect candidate. She’s on nobody’s side,” Bendis told IGN. “She is looking at this with eyes wide open. Even though her relationship with Cyclops has been very good in the past she doesn’t know how she feels about what he has turned into. Dazzler’s previous relationship [with] Scott Summers is part of the reason Maria Hill recruited her.”
It’s not the fact that she’s a mutant that makes her a surprising choice; fellow X-Men alums Kitty Pryde and Danielle Moonstar have been agents of S.H.I.E.L.D. at one point or another. What’s surprising is the prominent position the former pop star has moved into. Most recently seen in the pages of X-Treme X-Men bouncing around to alternate realities, the singer-turned-X-Man Alison Blaire has never been that much of a major player in Marvel Comics — but for a time, she was planned to be.
Hello and welcome to What Are You Reading?, our weekly look at the comics, books and whatever else we’ve been checking out lately. Today our guest is Shaun Manning, a former staffer at CBR, occasional convention reporter and comics writer. His current project is a comic called Hell, Nebraska (with artist Anna Wieszczyk), and he’s currently running a Kickstarter to raise funds to publish it. So go check it out.
To see what Shaun and the Robot 6 crew have been reading, click below.
Chris Bachalo is one of the preeminent superhero artists working in comics today, but that’s not what he originally wanted to do. Despite quietly becoming the most prolific X-Men artist of all time, Bachalo got his start in a far different place: Vertigo. As a child and teenager, he actively avoided X-Men comics, and his passions lay instead with more experimental artists like Bill Sienkiewicz and Dave McKean. But now as a 23-year veteran of comics he’s one of Marvel’s top artists.
But that doesn’t mean he isn’t prone to experiment.
Hard at work on the eighth issue of Uncanny X-Men, is redefining the franchise’s flagship title with writer Brian Michael Bendis while also planning a themed art book called Giant Robot Destroyer that collects drawings he’s over the years. And yes, he’s also thinking about Steampunk.
This week saw the arrival of Guardians of the Galaxy #1 by Brian Michael Bendis, Steve McNiven, John Dell and Justin Ponsor. The series spins out of the events of Bendis’ Avengers Assemble arc, but at the same time sets up a new story and mission for Starlord, Rocket Raccoon and the rest of the team.
So does the comic soar or make a crash landing? Here are a few opinions from around the web to tell you just that ….
It’s been almost two years since Avengers 12.1, an issue where Tony Stark warned that Ultron comes back smarter each time he’s reborn. Well, Hank Pym’s robotic “son” is back again, and apparently smart enough to take over New York City and transform it into a dystopian dictatorship. The first issue arrived on Wednesday, written by Brian Michael Bendis with art by Bryan Hitch, Paul Neary and Paul Mounts, the same creative team who created that 12.1 issue — and the same writer who teased it in an issue of Avengers back in 2010.
So was it worth the wait? Here are a few opinions from the web who thought so or thought no, as the case may be:
It is relentlessly focused on the evocation of nostalgia, to a degree that’s remarkable even among super-comics (a genre that’s built out of nostalgia-evocation), but what is perhaps most interesting about the book is the particular frequency of nostalgia the publishers appears interested in.
Yes, this is a comic book seemingly about other comic books, a comic book like so many other Marvel comic books you’ve already read, but which Marvel comic books, and from which decade? That’s what’s unusual about this particular go-round.
It’s hard to look at the cover and not think of the 1990s.
No longer content with variant-cover schemes, Marvel has upped the ante in its silly cover-gimmick arms race with DC Comics, and come up with an embossed gold-foil cover. There’s a metallic shine to the wrap-around cover (the back of which is really an ad for the second issue), justified in-story by the fact that this is about a robot. That robot, Ultron, like the “AU” and “Marvel” logos, is embossed, so the comic feels special — not just metaphorically, but literally. Run your fingertips all over it with your eyes closed; yeah, this isn’t your typical issue of Avengers!
Graphic novels | The top-selling graphic novel in bookstores in February was the 60th volume of Naruto, according to Nielsen BookScan; four other manga made the chart as well. Actually, it’s an interestingly eclectic mix, with eight volumes of The Walking Dead, the first volume of Saga, Alison Bechdel’s Fun Home, and Chris Ware’s Building Stories making the list, as well as The Book of Revelation from religious publisher Zondervan. Marvel was entirely absent, but two of DC’s New 52 collections appearing. [ICv2]
Comics | Former DC Comics President Paul Levitz talks about the new edition of 75 Years of DC Comics: The Art of Modern Myth-Making, which has been broken out into five volumes and expanded to include more art and an additional creator interview in every volume; the first volume, The Golden Age of DC Comics, is out now. Levitz also touches on the history of the company, the importance of characters, and the impact of young readers on the early comics: “It wasn’t adults tending to what they wanted their child to read or libraries selecting. It was the kids of America who said I love Uncle Scrooge as its done by Carl Barks, I love the Superman comics that are coming from Mort Weisinger’s team at DC, I love the Marvel comics that Stan Lee, Jack Kirby and Steve Ditko are creating. And they really got to choose those things that became trendsetters in the culture and ultimately leading to the massive success of the superhero movies in more recent years.” [Complex Art + Design]
As unlikely as it may seem, the Guardians of the Galaxy are poised to be the next Marvel team to get a tent-pole movie, following The Avengers (me, I was hoping for a Champions movie, as all but Hercules have been previously introduced in movies*).
The publisher has turned to Avengers-rehabilitation expert Brian Michael Bendis to write a new Guardians of the Galaxy series, and after teasing them in the first arc of Avengers Assemble, the comic featuring the cast from the Avengers movie, the writer is all set to launch a new Guardians monthly, penciled by Civil War artist Steve McNiven.
The title kicked off Wednesday with its first issue, Guardians of the Galaxy #0.1 (market research apparently revealed that comics buyers are more attracted to decimal points than either the number 1 or even 0), and it isn’t a bad read at all.
It’s the origin of Peter “Star-Lord” Quill, and while the story is essentially one character telling another his history, Bendis, McNiven & Co. depict it as a regular comic, rather than a long, dull conversation, as Bendis is often in the habit of doing. The last two pages reveal the cast.
And who, exactly, is this cast, and where did they come from? Based on the sales of the previous volume of Guardians of the Galaxy vs. sales of your average Bendis or McNiven comic, I imagine a lot of folks will be reading the new series without knowing much of that. And, as always, I think it’s worth keeping in mind who created these characters and how long ago (none of them are any newer than 1976, if you’re wondering).
So let’s take a look at your new Guardians of the Galaxy, shall we?
Following on the heels of All-New X-Men, the first X-title written by Brian Michael Bendis as part of the big Marvel NOW initiative, Uncanny X-Men sees the scribe join with Chris Bachalo to relaunch the mothership. While All-New focuses on the teenage versions of the original X-Men, this title showcases the leader they were brought forward in time to convince that his current actions aren’t kosher. Joined by two former (former?) villains and the diabolical ruler of Limbo, Cyclops goes about recruiting some of the new mutants who have been popping up since the end of Avengers vs. X-Men. Why should Wolverine have all the fun?
Is the new approach revolutionary or revolting? Here are a few opinions from around the web …
Anghus Houvouras, Flickering Myth: “Uncanny X-Men #1 takes us to the other side of the fractured X-Men. Cyclops, Magneto, and a handful of others have taken to recruiting new mutants to be part of their brotherhood. Cyclops still believes mutants need protection from the world around them and is willing to resort to violence if necessary. S.H.I.E.L.D. Director Maria Hill is approached by a mysterious foe who claims to have inside information about Cyclops and his mutant terrorists. Much of the issue is spent catching the audience up on the current state of mutant affairs. It seems that there is a traitor in their midst as someone is intent on seeing Cyclops suffer for his sins.”
Marvel announced this morning that it will celebrate the release next month of Guardians of the Galaxy #1 with a series of six limited-edition trading cards available only at those retailers hosting launch parties for the new title by Brian Michael Bendis and Steve McNiven.
However, one of the cards will be even more limited than the others. To learn which one — Star-Lord, Gamora, Drax, Rocket Raccoon, Groot and Iron Man — the publisher is pointing fans to their participating local store.
“We’ve found a way to bring the cosmic elements of the Marvel Universe to the center of the playing field,” Bendis teased last month. “Here’s a wide-open, brand new #1 that starts these characters on the most reader-friendly place you could ever hope to have them without taking away anything that made them special in the first place.” The writer and Marvel Editor-in-Chief Axel Alonso talked more about the series in CBR’s latest “Axel in Charge.”
Guardians of the Galaxy #1 goes on sale March 27.
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
If I had $15, I’d be tempted to blow it all on the recolored Death of Superman collection for the ’90s nostalgia. But then I’d probably flip through it and come to my senses, and instead get something new like Fatale #12 ($3.50) by Ed Brubaker and Sean Phillips, which looks like it’s going to be a trip, flashing back to Medieval times but self-contained as a good entry point for new readers. That’s smart comics. Speaking of smarty-pants, I’d probably get The Manhattan Projects #9 ($3.50) by Jonathan Hickman and Nick Pitarra. It’s the first part of a two-part story about scientists trying to take over the world. There will probably be lots of words that leave me dizzy. I likely wouldn’t be able to resist Matt Wagner writing The Shadow: Year One #1 ($3.99) because, you know, The Shadow knows. I haven’t been following IDW’s G.I. Joe universe but G.I. Joe #1 ($3.99) by Fred Van Lente and Steve Kurth seems like a good opportunity to try it out. And I’d finish it off with Cyber Force #3 by Marc Silvestri and Koi Pham because it’s free.
With $30, I would add to the above. Darkhawk is on the cover of Avengers Arena #4 ($2.99) by Dennis Hopeless and Alessandro Vitti, so I’d be compelled to buy that. I’ve been meaning to check out Erik Burnham and Dan Schoening’s Ghostbusters since I hear it’s real fun, so the relaunched Ghostbusters #1 ($3.99) is a perfect opportunity. Morning Glories #24 ($2.99) by Nick Spencer and Joe Eisma seems too intriguing to pass up. I am so behind on the X-books, but I’d be real tempted to try Brian Michael Bendis and Chris Bachalo’s Uncanny X-Men #1 ($3.99).
My splurge item would be tough. I’d be real tempted to get either the Iron Man Omnibus collecting the entire run of David Michelinie, Bob Layton and John Romita Jr., including the famous alcoholism story, or Counter X: Generation X – Four Days by Brian Wood. But I’d probably end up instead getting the Daredevil By Mark Waid, Vol. 1 hardcover for $35. I don’t know, do I need to justify this purchase? It’s probably the most beloved superhero comic of last year, maybe for the last couple of years. It paved the way for similarly rejuvenating series at Marvel like Hawkeye, Captain Marvel, and Young Avengers. The art by Paolo Rivera and Marcos Martin is swoon-worthy. And it wants to be on my bookshelf, dagnabbit!
Publishing | Comics sales were up 22 percent in the direct market over January 2012, and graphic novels increased by nearly 38 percent. This good news is tempered a bit by the fact there were five Wednesdays in this January (or 25 percent more Wednesdays, if you want to look at it that way), but that fifth week is usually a quiet one for new releases, so I think we can call this a win. The retail news and analysis site ICv2 credits Marvel NOW! and a strong backlist for the boost. [ICv2]
Publishing | Dark Horse’s video-game art book The Legend of Zelda: Hyrule Historia last week was the No. 1 book in the United States, according to Nielsen BookScan — not merely in the graphic novel category, but in any category. The initial print run was 400,000 copies. (Comic Book Resources interviewed the book’s editor Patrick Thorpe last month.) [ICv2]