#269 Preacher (1995-2000)

Author: Garth Ennis & Steve Dillon
Title: Preacher
Genre: Graphic Novel
Year: 1995-2000
Pages: 1,800 (in total)
Origin: read on the iPad
Nod Rating: 4 nods out of 5

 

Tulip: The way I hear it, there's two good places to look for God: in church, or at the bottom of a bottle.

Jesse: Maybe I'll go find a liquor store, then … 'cause lemme tell you, it sure as hell ain't church.

Since making waves in the 1990s, Preacher has gathered critical acclaim. The original run of Preacher spread across sixty-six issues released between 1995 and 2000. In recent years these issues have been published in nine collected books, of which the Worm read over a series of months. The reader follows Jesse Custer after he becomes possessed by a supernatural force that gives him with great powers, leading him to search for God in order to have a few questions answered. Throughout the run of issues Jesse Custer gets into a suitable set of adventures to thrill the everyman comic reader.

Undoubtedly, Ennis has created some fantastic characters. The main trio – Jesse, Tulip and Cassidy – loosely echo that golden triumvirate from Star Wars. Jesse is searching throughout the issues to find himself (as well as God), Tulip is an ex-hitman who has the effect of making all men drool after all, whilst Cassidy is an Irish vampire (what more is there to say!). Furthermore, villains include the undead cowboy Saint of Killers and the unfortunate and angered Herr Starr, whilst the famous Arseface makes consistent appearances throughout the run.

The storyline leans on the conspiracy theories of the Holy Grail (which provide some humorous villains), the legend of westerns, as well as religious theory. Ennis has created an interesting blend of action, humour and serious commentary in the form of this comic. However, it is unfortunate that the run seemed to lose momentum half-way through. Perhaps it moved beyond its initial remit and attempted to expand into areas into which it lacked the same high standard of the original stories. Of greater annoyance was Ennis’ intrusion – in the form of Jesse – to voice his concerns of the world. In the beginning these monologues were fresh, but by the end they became stale and tedious. Similarly, giving off wafts of staleness was the love affair between Jesse and Tulip. The storyline in which Jesse goes it alone and becomes a sheriff was a very welcome distraction.

The Worm “ummmed” and “aaahed” about the nod rating for Preacher. 3 nods would be more suitable in reflecting the second-half of the run. However, it made a fresh entrance into the comic-reading community and sustained interest over a period of years. For this reason, 4 nods are given. There has been a lot of talk of Preacher being converted into a TV show or movie series; the Worm is interested in seeing how this comic is adapted. But for those waiting, better to gain hold of the original books and get started right away.

Read about the writer Garth Ennis here

#266 Ant-Man: Season One (2012)

Author: Tom Defalco & Horacio Dominques
Title: Ant-Man: Season One
Genre: Graphic Novel
Year: 2012
Pages: 130
Origin: read on the iPad
Nod Rating: 1 nod out of 5

 

The Worm is a fan of the Marvel Cinematic Universe series of movies recently released. Using less heavily induced nerd-language, this basically means the many hero action movies spewed out into cinemas over the past few years. Yes, you know the names by now: Iron Man, Captain America, Hulk and even the mighty Thor. But in 2015 there will be a new hero in town: Ant-Man.

Ant-Man doesn’t have quite the same attraction to it as perhaps Batman does. However, the Worm was intrigued by the film and its creative force of Edgar Wright (he who directed the “Cornetto” trilogy of British films alongside Simon Pegg). It led the Worm to attempt a read into the back-story of Ant-Man, and where better than Ant-Man: Season One.

Well, it would appear, there are many better places to start. The reader follows Dr Hank Pym as he discovers the power to reduce and increase his size, as well as communicate with ants. Unfortunately, this story offers little to stoke up the interest in the casual reader, resulting in a lack of depth. The art-work is acceptable enough, but in a market that has strengthened with serious writers and artists, this particular offering appears to be nothing more than yet another cash-in for the Marvel brand.

All of which is a shame, as the Worm wished to delve into this character before next year’s movie was released. But just as the read was finished the news was announced that Wright was to be leaving the production; the Worm’s interest soon waned in the whole operation. He leaves this review providing 1 nod for a basic story that appears rushed and unloved. The Worm hopes that 2015’s movie will fare better.

 

#261 From Hell (1999)

Author: Alan Moore & Eddie Campbell
Title: From Hell [Collected Edition]
Genre: Graphic Novel
Year: 1999
Pages: 550
Origin: borrowed and enjoyed
Nod Rating: 4 nods out of 5

 

The Worm’s initial meeting with From Hell was in the form of the Johnny Depp movie from 2001. The film was terrible. The less said the better. Fast-forward a decade and the Worm’s current (seeming) fixation on Alan Moore led him to the original graphic novel version. Published in sporadic serial form over a 7 year period, between 1989 to 1996, the novel focuses on the Jack Ripper murders of Victorian London.

Yes, Jack-the-bloody-Ripper. A seemingly ever-enduring and popular legend. This is just the reason that Moore has picked such a theme, developing and elaborating on various conspiracy theories involving the birth of an illegitimate royal baby. Prince Eddy – the Duke of Clarence – fathers a child with a commoner, Annie Crook. When Queen Victoria becomes involved the decision is made to “correct” Annie with the help of William Gull who damages her thyroid gland, whilst the baby is secretly taken to Annie’s parents. The plot thickens when Annie’s friends – a group of prostitutes – become aware of the scandal and attempt to blackmail those involved. Ever the trusty right-hand man, Gull is sent to deal with the women: one by one they meet a grisly end, thereby giving the genesis of the Jack the Ripper alias.

Gull is an intriguing character. Much time is spent developing his story, from childhood, as well as a deep exploration of his links to Freemasonry. Within Gull the writer Moore hints on the connections within time (the supposed “fourth dimension”) with everything in a specific order, with links made to other murders and crimes committed in later years, such as the Sutcliffe murders. Moore hints at this throughout the various chapters, particularly in Gull’s experiences of witnessing modern-day life (such as peering in at a television set in a Victorian alley-way, as well as appearing in a modern office furnished with computers). The horrors of later days to come were prefigured in the Ripper murders: “For better or worse, the twentieth century. I have delivered it.” Gull delivers to a speech to the twentieth-century office workers:

“With all your shimmering numbers and your lights, think not to be inured to history. Its black root succours you. It is inside you. Are you asleep to it, that cannot feel its breath upon your neck, nor see what soaks its cuffs? See me! Wake up and look upon me! I am come amongst you. I am with you always!”

Interestingly, Moore links both murderer and murdered into the same boat, yearned and desired after by later generations: “Ah, Mary, how time’s levelled us. We are made equal, both of mere curios of our vanished epoch in this lustless world.” Yes, Jack-the-bloody-Ripper, perfect fodder for Moore to make a point about the passages of time.

The wealth of research into the period, theories and historical characters is clear to be seen (as testified by the various notes and references made available in the collected edition). Victorian London is brought life, with Moore unable to bring in a few notable – but pointless – connections, such as the Elephant Man. However, other central characters – such as the “physic” Robert James Lees and the police-inspector Abberline – are more well-rounded.

The artwork has none of the razzmatazz expect of modern day comic books.  Printed in black and white, it adheres to a structure of nine panels on every page (aside from a few deviations). But the story is so much greater than the artwork alone, and despite being slightly dense and inaccessible in parts, From Hell is a considerable work. Particularly within the graphic novel field, packed as it is with pointless and faceless superheroes who continually save the world in an empty and unsatisfying manner. As such, the Worm heartedly endorses it to the level of 4 nods out of 5. This is a must-read for any fan of Moore’s work.

Read about it here

#256 The Killing Joke (1988)

Author: Alan Moore & Brian Bollard
Title: The Killing Joke
Genre: Graphic Novel
Year: 1988
Pages: 60
Origin: read on the iPad
Nod Rating: 3 nods out of 5

 

The Killing Joke is one of those influential comic books that everyone seems to know something about. It inspired a shift-change in how artists and comic-book writers handled the gigantic legend of Batman, later also informing the Christopher Nolan trilogy of films in recent years. However, despite all of that, the story’s writer – Sir Alan Moore – has become slightly dismissive of his work.

The first read of The Killing Joke – some seven or so years previously – was an engaging one. Having not been a comic-reading enthusiast in his youth, it was the Worm’s first real immersion into the genre. It was dark, action-packed, with an interesting narrative that took into account the (supposed) beginnings of Batman’s arch-nemesis, the Joker. As such, the Worm joined the ranks of others who supported its influence and special place within graphic novel history.

Second-time round always brings new surprises. This time the Worm had the experience of feasting on other Batman storylines (particularly that of Frank Miller’s The Dark Knight Returns), as well as more of Sir Moore’s back catalogue (including the excellent The Watchmen). This time the journey was not as engaging or surprising, with the Worm’s comic-book reading critical eye shrugging at some of the lacklustre dialogue, and becoming disinterested at the shock-factor of the shooting of Gordon’s daughter. Furthermore, some of the plot seemed rushed, including the Joker’s origin back-story. In what is an otherwise downbeat review, what of the positives? Reading the 2008 deluxe reprint it is clear of the highlights of the artwork of Bollard.

The Killing Joke remains a crucial read for anyone serious in their devotion to Batman, or indeed, to that of Sir Alan Moore (yes, the Worm has knighted him). 3 nods may appear slightly unkind, but the Worm is not one for sentiments. Furthermore, this reviewer believes that the reading experience may become good once again, third-time round. See you in another seven or so years, Killing Joke.

#253 Marvel 1602 (2003)

Authors: Neil Gaiman (writer) & Andy Kubert (artist)
Title: Marvel 1602
Genre: Graphic Novel
Year: 2003
Pages: 250
Origin: read on the iPad
Nod Rating: 3 nods out of 5

 

As most of you review reading fans will know (the whole two of you, I believe) the Worm has a fondness for Tudor history as well as comic books. What better way to spend a weekend in reading Marvel’s own Marvel 1602. Yes, the title is rather bland and uninspiring, however the idea and overall execution was an interesting one to follow.

Marvel 1602 is an eight-issue comic book series released throughout 2003. Written by Neil Gaiman (a further enticement) it promised some intriguing and engaging ideas. Characters from the Marvel universe are transplanted to the end of the Tudor period. Queen Elizabeth is an aging and dying woman, assisted by Sir Nicholas Fury (who in turn is assisted by Spiderman’s Peter Parker as Peter Parquagh). The Fantastic Four are present, known as a sailors who went missing at sea, only to be discovered as the prisoners of – who else – the evil Doom. England is home to those who dare to dabble in magic, including Stephen Strange and many of the X-Men (led by Carlos Xavier). However, England is set against the Catholic reactionaries from across Europe, in particular the Inquisition years of Spain. The villains of the Marvel comic books fill the roles, notably that of Magneto as the Grand Inquisitor. This battle is played against the running out of a clock, as the world is speculated to soon self-destruct.

But rather than simple “good” versus “evil” (the life and blood battle for Marvel for six decades) the writers attempt to build a bridge between this alternative universe and the one played out week after week on comic book stands. As states the writer ‘We are the Marvel Universe. It’s 400 years ago. For reasons we do not yet understand, people and events are coming into existence at the wrong time.’ This is a theme returned to as the climax rises throughout the pages, with Dr Reed postulates:

‘We are a boatful of monsters and miracles, hoping that somehow, we can survive a world in which all hands are against us. A world which, by all evidence, will end extremely soon…. [We are] a universe in which no story can ever truly end; in which there can be only continuances.’

Unfortunately, not all of this is fully pulled off. Yes, the action is present, but the volume of characters overpowers any momentum. It is likely that when given the keys to the embarrassment of riches that are all Marvel characters Gaiman became greedy. The central idea of the universes colliding is never fully convincing, nor – it must be said – fully understood. Too much paint is thrown at the canvas, resulting in an admirable but wasted attempt.

Such a problem is seemingly corrected in later titles set within this universe, with concentration provided on particular characters (such as Marvel 1602: Fantastick Four). But the Worm will not be tempted to return for a second bite.

Buy it here

#242 Days of Future Past (1980)

Author: Chris Claremont (writer), John Bryne (pencils), Terry Austin (ink)
Title: Days of Future Past
Genre: Graphic Novel
Year: 1980
Pages: 180
Origin: read on the iPad
Nod Rating: 2 nods out of 5

 

What with Superhero movies all the rage in recent years, the Worm has taken a fancy to having a peek at the original source material. The big blockbusters have taken in billions, however, it all started on the tablet-ops of artists and writers both intent on creating on creating an action story that would captivate the imaginations of young people. This particular read – Days of Future Past – is one that stroke the interest of the Worm considering the impending release of yet another X-Men film (the sixth in the “franchise”). Like a glutton for punishment, the Worm has sat through many turgid releases; ever in search of the great superhero film (much like the search for that elusive Great American Novel), the Worm even watched every minute of The Wolverine… The ending clip of which set up proceedings for celluloid’s take on the original Days of Future Past storyline.

Days of Future Past has become something of a legendary storyline within comic-reading circles, originally published across a couple of issues back in 1980. Its plot finds a beaten and older set of X-Men in a dystopian future in 2014. Mutants have been declared illegal, and as such have been removed in a variety of violent ways causing much death and misery. The violence stems from the iconic Sentinels: large robots with an array of mutant hunting devices. Despite being annoyingly inconsistent in terms of power in their various incarnations, they are heavy-weight villains that the recent movie series has been severely lacking. Jumping back into the past is the recently introduced character Kitty Pryde, her mind melding with her younger self in 1980. Warning the 1980s X-Men about impending doom, they set out to prevent the trigger that leads to later events: the assassination of Senator Robert Kelly by the evil Brotherhood of Mutants.

The storyline proved popular, leading to much creative ammo in subsequent decades (in particular the animated series of the 1990s, as well as the upcoming Hollywood film). However, for the Worm, it failed to live up to the much vaunted expectations harnessed by the comic community. Graphic novels have evolved a long way since 1980, providing the reader with less direct spoon-feeding of information and in-depth character portrayals. Days of Future Past has more in common with the Marvel comics of Stan Lee’s heyday back in the 1960s: simple story-telling that leaves no lasting effect on the reader.

Was such a comic ever intended for the Worm? An interesting Alan Moore quote – a man who has made his name as a writer in the comic industry – would firmly answer in the negative. He noted: “I think it’s a rather alarming sign if we’ve got audiences of adults going to see the Avengers movie and delighting in concepts and characters meant to entertain the 12-year-old boys of the 1950s.” As such, perhaps the Worm should leave his judgment for others more connected with the source material. No matter, he will at some point watch the upcoming X-Men movie whilst munching on popcorn… perhaps only then this recent, underwhelming read will finally find a fitting home.

Buy it here

#237 Frank Miller's Robocop (2007)

Authors: Frank Miller (script), Steven Grant (writer), Juan Rose Ryp (artwork)
Title: Frank Miller’s Robocop
Genre: Graphic Novel
Year: 2007
Pages: 210
Origin: read on an iPad
Nod Rating: 2 nods out of 5

The success of 1987’s Robocop spawned a host of dubious sequels that confirm the law of diminishing returns in a movie series. Before the terrible made-for-TV movies of the later 1990s, the Robocop "franchise" once stood at the point of enduring commercial and critical success. In the hope of creating an engrossing sequel, producers called in the help of comic-book artist Frank Miller.

However, rather than take-on Miller’s (always) interesting ideas, the producers carved up his script and used various elements in two films. The legend grew that Miller’s vision was one that would have satisfied audiences, leading to a rising call for his work to be created in the form of a series of comics. And so the demand brought forth a nine issue series published between 2003 and 2006: Frank Miller’s Robocop.

But, with a catch. Yes, it is based on Miller’s script and original ideas. Yet it does not contain his comic-book writing or art-work (obviously, distinctive hallmarks of Miller’s work). Instead, we have Steven Grant (writing duties) and Juan Rose Ryp (art duties).

Certain plot elements will be known to viewers of the Robocop sequels: a city full of corruption, evil corporations (the infamous OCP), the police and other public services crumbling and full of mistrust, and Robocop’s quest to regain his lost humanity. Regrettably, none of these areas are developed beyond simple ideas. Instead we are “treated” to lots of fighting (Robocop shooting various people and battling bigger robots). Violence attempts – and fails – to cover the absence of a sustaining plot.

As could be expected from Miller, the result is chaotic and dark. The themes of a near-future that has decayed and become overrun with crime is one continually referenced in Miller’s work. Furthermore, we have the inter-slicing of media and TV commentary that was used so effectively in Miller’s The Dark Knight Returns. However, rather than a cutting-edge device and revolutionary – as it was three decades ago – the result there is tired and clichéd.

As for the art-work, it attempts to create a highly detailed waste-land of a city. However, the panels are filled with dense and unimportant features, all of which becomes an annoyance that prevents the story proceeding at an adequate pace. In the climatic fight sequence the action is actually hard to follow, leading to some confusing sighs from the Worm. Never a good sign, he can tell you!

Very much hyped, unfortunately Frank Miller’s Robocop fails to live up to the lofty expectations of the fan-base. The script does not pay-off all of the years of misplaced hope. But perhaps it is the character that is at fault: apt for a one-off movie, rather than a failed “franchise” of half-arsed films, animation and heartless comic-books. It looks increasingly likely that the character of Robocop will not join other great protagonists of fiction – an Othello and Sherlock Holmes – and will remain an interesting idea that entertained for a two-hour period back in the 1980s.

Buy it here

#218 The Dark Knight Strikes Again (2005)

Author: Frank Miller
Title: The Dark Knight Strikes Again
Genre: Graphic Novel
Year: 2005
Pages: 250
Origin: read online during May 2013
Nod Rating: 3 nods out of 5

Earlier this book reading season – number 184 in October 2012, to be exact – the Worm reviewed Frank Miller’s iconic and ground-breaking graphic series The Dark Knight Returns. Published in 1986, it was a genre-defining comic that transformed the Batman mythos; no longer was the character a camp hero of the ilk of the 1960s (Pow! Biff! Zap!), but rather a brooding, multi-layered figure that connected with reality. The Worm praised Miller’s earlier work, calling it ‘a triumph’; such praise is commonly found in graphic novel reading circles, with the comic series frequently featuring in Top Ten lists. Miller’s reputation was assured. But then, fifteen years later, came the return to ...Returns: The Dark Knight Strikes Again.

Released in three issues during 2001/2002, the sequel is set in a different world to that of its predecessor; all of which is fitting, considering that the author was writing in a different time to that of the 1980s. The Cold Was gone, and 9/11 was a recent event. The previous story was set in the throes of the Cold War and saw an older Bruce Wayne come out of crime-fighting retirement to do battle with the world gone wrong around him. Batman ends with the hope of building a new model army to do better in the world; however, by the sequel the world has become all the darker, with America becoming a dictatorship begging to be crushed. This time around he has help in the shape of many friends and assorted heroes with freakish powers. These include Catgirl (the former Robin sidekick from ...Returns), an army of ‘Batboys’, and a plethora of names that would wet the whistle of any DC fan: the Atom, Flash, Green Arrow, as well as the less bone-shattering, Plastic Man and Elongated Man. Along the way they do battle with the government and the puppet masters pulling the strings: Lex Luthor and Brainiac. Furthermore, the government also controls endorsed heroes – such as Superman – who have become corrupted by their association with evil. This is a continuing theme from The Dark Knight Returns, with much soul-searching enacted between the superheroes, with Wonder Woman talking to Superman about their quandary and state of affairs: ‘We’re beaten. Crushed. We’re a joke. We’re worse than a joke. We run about, stopping this disaster and that – quietly, secretly – and do nothing about the evil that rules the world!’

Much mayhem occurs, all of which is too random or pointless to outline in this short review. Rest assured, it involves aliens, explosions and bizarre situations; one sample quote: ‘Bruce, maybe you ought to get here. The whole forest is on fire and we’ve got dinosaurs.’ Of course, this being a comic, we know the “good guy” will win the day. But with this being a Frank Miller narrative, there is enough ambiguity for the reader to question various characters and motives. The storyline is one significant difference with ...Returns, what with it all feeling slightly incoherent and ready to collapse at any moment. Yes, the critic in you might point out that this is all the intent of Miller, to mimic a counterpoint to Wayne’s very own journey during the story in toppling the government. However, others might simply ridicule the author for becoming older and lazy. This has been a common accusation thrown at the comic ever since its release more than a decade ago.

But yet there is an inkling in the Worm’s mind that wishes to give Miller the benefit of the doubt. This fits in with the concept of the artwork throughout the series, all of which has an ill-judged feeling about it, as if they were sketches of nightmarish thoughts from Miller’s dreams. Some are seemingly half-finished, with an odd combination of colours used. It leaves the reader with an unsettled feeling that is hard to shift. Intention, or not? Yes, that is the question. One thing cannot be doubted: Miller’s critique on society. In ...Returns he satirises television and youth culture, and in Strikes Again he goes even further in his commentary, showing that his eye for what makes society tick remains as keen as ever. In many ways it is a comic fitting for the times – not just in its subject matter – but in its intention of holding the attention of the readers in short, frenzied bursts.

The poet Felix Dennis once wrote: ‘Never go back. Never go back. / Never return to the haunts of your youth. / Keep to the track, to the beaten track, / Memory holds all you need of the truth.’ And such advice is heeded by many. However, admiration must be adorned on a creator in deciding to not serve up what has come before but rather to go in a new direction. In this, Miller has succeeded; The Dark Knight Strikes Again is significantly different than what has come before to stand on its own two feet. No, it is not a triumph of the genre, but it does not deserve the bad press and muck that has been thrown its way. It is chaotic, but there is a beauty within that chaos. And more than enough within its pages to maintain the interest of the comic book and Batman fan.

Buy it here

#213 Kick-Ass (2010)

Authors: Mark Millar & John Romita Jr
Title: Kick-Ass
Genre: Graphic Novel
Year: 2010
Pages: 190
Origin: read online during April 2013
Nod Rating: 3 nods out of 5

‘Okay you cunts, let’s see what you can do now’ – Hit Girl

Kick-Ass became known to millions in the form of the 2010 movie directed by Matthew Vaughn. It charts rising star Aaron Johnson as a self-made superhero-cum-internet sensation, Nicholas Cage as the trained killer Big Daddy, and Chloe Grace Moretz as his foul-mouthed assassin daughter, Hit Girl. Their quest, like all other superhero stories, is to take down the bad-guy. And, like all other superhero stories, it can trace its origin in print form.

Mark Millar is a well respected name in the Comics Industry, even taking on the role of overseer of all superhero movies for Twentieth Century Fox. Kick-Ass is his initial baby, before it took on life in theatres and with Nicholas Cage’s fake moustache. Released as a series of comics between 2008 and 2010, Millar’s story charts the journey of Dave Lizewski, a boy who decides to become a superhero and help out people. Interesting – for the modern day – is how he becomes an internet sensation on YouTube, using social media to advertise his services. Unwittingly, he teams up with the trained vigilantes Big Daddy and Hit Girl in a serious plot for revenge against a mobster; this team-up brings about recognition that he finds it ‘harder and harder to relate to people who didn’t wear masks’.

In many ways, the film trumps the comic book. Chiefly, with regards to the emotion on offer and the investment we plough into these characters. Whereas the concluding third of the movie reveals the death of Big Daddy and the climatic battle scene, the comic appears to throw a southpaw into the gut of expectations by revealing that Big Daddy is not an ex-cop, but rather an avid comic collector who invented the fantasy for his daughter so as to avoid banality of ordinary life. His lifestyle of guns and death is funded by selling unique out-of-print comics on eBay. As the character shouts out before his impending death:

‘I wasn’t a cop. I was a number-cruncher for a credit company and married to a wife who fucking hated him. Are you satisfied? I hated my friends and I hated my life so I ran away with my baby girl and built a new one. I’m a fanboy, Dave. Just like you. Mindy died having no idea, but I’m just another asshole.’

However, you could suggest that this is part of Millar’s greater plan: a love-letter to superhero comics. There is no doubt that Kick-Ass is a homage on the superhero theme, but with a grounding in the real, modern world. Comics are referenced throughout the series, such as in Dave telling Hit Girl that he will not kill anybody; the reply given from Hit Girl is: ‘Oh, kiss my ass. What is this? The Silver Age?’ Later conversations chart Dave commenting on his team-up with Big Daddy and Hit Girl: ‘Spidey wouldn’t mind teaming up with the Punisher, but there’s no way he’s gonna employ his fucking Vietnam-honed methods.’ Whilst he also notes: ‘Big Daddy and Hit-Girl could be our team’s Wolverine’. Such references will serve as a treat for comic book fans, however, unlike the Vaughn film it does not hold universal appeal.

Other notable differences include the love interest. Interestingly, rather than the inevitable movie match-up, the comic takes a fresh twist. Dave reveals his undying love, only to be rebuffed and then beaten up by a jealous boyfriend. Millar piles on the agony and humiliation, having a picture message sent to Dave showing the love interest performing oral sex on the boyfriend. This illustrates – in its own gratuitous way – that the comic has kept enough of its original identity to remain a unique read.

The comic book references, the use of social media, and the language utilised – ‘If I’m absolutely honest, I’ve wanted to see you in pain since the first we met. I’ve even jerked off about it. Does that sound weird?’ – makes this a read better suited to a younger audience. The violence hints at this; notably in Big Daddy’s death in which a bullet blows open his skull.

Kick-Ass 2 is in cinemas later this year, but before checking out the movies it would be a good suggestion to pick up the comics. As can be seen from the brief review above, it will be an entertaining experience.

Buy it here
*In the Books Vs. Movies war earlier discussed, this goes as a win to Movies. The overall score now stands at 8-5.

#212 Marvel's Iron Man 3 Prelude (2013)

Authors: Will Pilgrim, Christos Gage, Ramon Rasonos
Title: Marvel’s Iron Man 3 Prelude
Genre: Graphic Novel
Year: 2013
Pages: 120
Origin: read online during April 2013
Nod Rating: 1 nod out of 5

Marvel has become a behemoth of the cinema in recent years, earning mega-bucks in theatres across the world through their films. The Avengers, Iron Man, Captain America, The Incredible Hulk, and Thor have changed the way that Hollywood views their “franchise” strategy – for good or for bad.

For good or bad – or shall we say, simply poor – comics have also added a new string to their bow: the tie-in graphic novel. Marvel’s intention is a simple one: continue adding to the adventures seen on screen. The Worm applauds the attempt to fill in the void that the movies are unable to cover, similar to the various novels/graphic novels of the Star Trek universe. The hope is that something greater can emerge that will delight and thrill keen fans.

However, when handled in such blasé fashion, the final product can be underwhelming and close to infuriating. In this particular comic, the awkwardly titled Marvel’s Iron Man 3 Prelude, the reader isn’t given any real meat on what will happen in the future movie. Rather than chart the exploits of Tony Stark/Iron Man, the reader is treated – or is that subjected to – the dull adventures of his wing-man, Rhodey/Iron Patriot. It is a wasted chance to help create a universe full of wonder, with the Worm left reading each page with a grimace, letting out a dull groan every once in a while. Only the most die-hard of fans will find this read of any interest.

All of which makes this book pointless and a waste of time. Unfortunately, the Worm has been suckered in before (with another “Prelude”, Fury's Big Week, which earned 1 pitiful nod) – and by extension, you also have been suckered in again (assuming that is, you have read both reviews). Therefore, the Worm makes a vow right now: he will not return to these cash-in tie-ins of comic book movies. The udders will forever be milked by Hollywood; it is up to the Worm to wise up, smell the coffee, and move on to better reads.

Buy it here if you dare!