Die Hard: Year One #3 review

I grew up with the Die Hard movies and loved every testosterone injected, unrealistic action-packed moment. When a buddy gave me the first three issue of Die Hard Year One, I turned up my nose. “What this hell is this”, I thought. How many more places can McClain get stuck in? An elevator, maybe? Oh, me of little faith. It’s a big world and there are plenty more binds for John McClain to get into.

With a necessarily slow build as the major player took their places, this series is shaping up to be a fun ride. Officer John McClain, the character immortalized by Bruce Willis in the Die Hard franchise, hits the New York streets on his first beat. It’s the 70’s and trouble is brewing in the Big Apple. Writer Howard Chaykin has good command of the story as he navigates multiple episodes and characters. Once all parties intersect, the plot takes off and the stage is masterfully set for some balls-to-the-wall John McClain ass-kicking and name–taking good times. Like all Die Hard plots, Chaykin does a fine job of assembling an interesting crew of bad guys and an unsuspecting McClain finds himself trapped in their scheme.

Stephen Thompson captures the feel and funk of the 1970’s. With bellbottoms and tube socks, the details make these pages sharp. Some of the effect choices fall flat, i.e. the forefront blurring in some action sequences, but overall it’s a good effort. I love the headbands and feathered back hair!

Die Hard is back and seeing McClain’s roots is a blast.

3.5 out of 5

Punisher MAX #2 review

The Punisher hasn’t been the most consistent franchise in the Marvel Universe. Still reeling from the recent Franken-Castle debacle in his self-titled series, Punisher fans deserve a good read. Author Jason Aaron delivers a fistful of Punisher delights and starts this series off with a frickin’ bang. Aaron’s Kingpin is pure genius; he gives the iconic Wilson Fisk a new origin story that establishes his sadistic nature very clearly. Sometimes, too clearly, but hey this is a MAX title. The scene with his father is particularly disturbing to read… and the prison shower…and, well you get the point.

Under the direction of his mobster employer, Fisk is luring Frank Castle into a trap by creating a phantom “kingpin” of the underworld. The issue beautifully parallels the steps of Fisk and Castle as the play cat and mouse. It’s nice silent commentary on the subjective use of violence to achieve a goal, be it virtuous or evil. How thin is the line between vigilante and crime lord? Aaron’s storytelling is crisp and commanding without any filler or wandering.

Veteran artist Steve Dillon is a good fit for this book. He depicts the violence well, nuanced with a ‘less is more’ approach. We certainly see a sufficient share of point blank range mobster executions to last a month, but he captures the horror of what we don’t see. Through facial expressions and smart paneling, Dillion matches the talents of Aaron in conveying story. His lines are too heavy in some faces which drives me nuts, but overall it’s a sharp book.

The last pages are masterfully crafted. This is a polished work that I think is only going to get better.

4.5 out of 5

Punisher: Frank Castle MAX #75 review

I’m not sure if Marvel just doesn’t give a shit about The Punisher anymore, or if they are purposely trying to destroy the character’s legacy.  This MAX title is reseting under the helm of red-hot writer Jason Aaron and issue #75 seems like a mistake.

I have no inside information, but I figure the issue may lay with Marvel Editor-In-Chief Joe Quesada. In the theatre of my mind, I imagine a phone-call that went something like this:

Joe Quesada: Yo, Vic…Goran-my-man, how’s it going?
Victor Gischler: Uh, great Joe. What can we help you with?
Joe Quesada: It’s Friday afternoon…deadline is on Monday. When are you going to send over Welcome to the Bayou part 5?
Victor Gischler: Uh, sir…it was only a 4-part arc.
Goran Parlov: Do you even read Punisher?
Joe Quesada: Hey – do you know how many books Marvel publishes each month? I can’t read them all.
Victor Gischler: …
Goran Parlov: …
Joe Quesada: Just messing with you guys, gotta go!

Five minutes later…Joe Quesada addresses a con-call with every contracted writer and artist that could be found.

Joe Quesada: I have a great opportunity for one lucky team. Who wants to put together a one-shot for one of our flagship titles?
<cricket cricket>
Joe Quesada: Punisher: Frank Castle MAX #75….huh? Huh? And it needs to be done by Monday.
<cricket cricket>
Joe Quesada: Fine! You guys want to be that way, you can ALL write it. Yeah, that’s it. I want eight pages from all five teams and now the deadline is Sunday morning – because I’m going to read them!

So, either through that scenario, or possibly by design, the final issue of the run includes five stories by five separate teams.  It can be difficult to put together a strong stand-alone issue due to the limited options for story build-up, so how much should be expected from only eight pages?

Story number one, Dolls, from the team of Tom Piccirilli, Laurence Campbell and Lee Loughridge tackles the never explored (sarcasm) softer side of Frank when it comes to family matters, especially children.  A lost young girl interrupts Frank just as he’s about to snipe some scumbag through a window in a nearby building.  Of course, Frank can’t resist helping reuinite the child with her father.  If it isn’t clear to the reader how this might affect The Punisher, having lost his family and that his daughter was about the same age as this girl, we are smacked in the head with a flashback frame from happier days.  Campbell and Loughridge capture the competing themes of a man who must stay in the shadows, even when in the open, and the shoppers just out for a stroll in the snow.  The highlight is a three-quarter page frame of a larger-than-life Punisher from the viewpoint of the little girl’s father as he looks up to thank the man who found his daughter.

.5 out of 1

Gateway brings us just what every comicbook fan wants and needs – another twist to The Punisher origin story.  The first two pages are actually pretty interesting.  We’re introduced to a “middle man” who, among other things, sets up hits for the mob.  He justifies that he is just a businessman that provides a service, but who never actually performs the illegal act.  The story faulters as the hit in question, traps the Castle family in the middle.  We’re shown how Frank is dealing with his loss, sitting at a kitchen table with place settings for the whole family.  Strangely, the Castle family has a hidden pegboard loaded with firearms in the hallway outside the kitchen.  Very convenient for a man looking for revenge.  The artwork by Das Pastoras is interesting, albeit not necessarily good.  The frames are drawn from differing and somewhat unconventional angles.  Gregg Hurwitz was on to something with this story.  The ”middle man” living a good life with a clear conscience is just the type of guy that needs punished.  Pull out the ’origin’ angle, expand the story and this could have been a great Punisher Annual.  It just doesn’t work here in any manner.

0 out of 1

The only ray of sunshine is this issue Ghoul by Duane Swierczynski and Tomm Coker.  As such, I don’t want to give much away, because it may be the only joy you get from reading this issue.  The plot is original and it is made for eight pages.  There isn’t any more to tell.  Stretching it out to a full issue would have ruined the effect.  The story is really told through the changing facial expressions of the antagonist.

1 out of 1

If you get a feeling of deja vu from Father’s Day, it’s because you have seen these panels before.  The pages take us through a slideshow of highlight scenes from the MAX series.  I’m still trying to figure out why I’m really being shown this when I flip to the last two pages only to see the Castle family in Central Park played out yet again.

0 out of 1

Ken Ashley and Rob Stull get the accolades for the second best art of the issue.  The colors are bold and contrasting flying us through a lot of action via thin slices of panels.  There isn’t much story to The Smallest Bit of This, but then again, what can I expect in such few pages?

.5 out of 1

If you’ve been keeping score, then you already know that Punish: Frank Castle MAX #75 is awarded:

2 out of 5

“Punishment in the Bayou!”

This is the third part of a story that finds The Punisher tangling with hillbillies in the Bayou. Frank’s trying to save some kidnapped coed’s, fight the entire cast from “Deliverance” and still take care of his “package” locked in his trunk before it expires!

I have to say this title is way more entertaining that the other Punisher title. Maybe it’s because the Punisher, regardless of his origins (In Amazing Spider-Man), is such much better when separated from the Marvel Universe. Maybe its because you can really go hog-wild with a title in the MAX line. Or, maybe it’s that the team of Victor Gischler writing and Goran Parlov drawing that is really making this arc work. Whatever it is, this has been a very fun book and I’m particularly enjoying Frank out of his usual element, but still finding trouble. In fact, one of the characters even says that Frank is ******’ jinxed! Good book and a solid arc that will definitely bring me back for more!

4 out of 5

Peter J. Tomasi and Keith Champagne’s saga of earth’s lone super hero and his clean-up/public relations team boldly hits its stride in this issue.  Secrets are revealed and Alpha One’s true colors are revealed.

This story works because of its methodic and patient buildup to this point.  After four issues, the team of Champagne and Tomasi have successfully immersed their readers into this world, slowing weaving plot threads and hints of doubt throughout the pages.  Now that it’s familiar, the story begins to unfold as the truth seeps out and a confrontation is inevitable.

Captain Gabriel Cole is still breaking into this new position as captain of Section Omega, the team that care for Alpha One and the public he serves.  After meeting two of his predecessors, Cole begins to clearly see two choices in front of him.  Keep his mouth shut and reap the rewards of silence and loyalty as did Captain Dominic Deeds or live in the shadows as does Captain Taylor Rhines.  Rhines who has some terrifying revelations about earth’s protector confronts Cole with a stern warning.

Chris Samee’s art gives the title a unique feel.  His bold lines give a simplistically bold power to Alpha One.  He achieves this without the need to draw a six-pack and 28 inch biceps.  Clean lines with good use of shadows create an uncomplicated presentation.

I can’t wait to see Cole’s reaction to what he discovers this issue.  A showdown is coming, but what do you do when Superman is bad?

3.5 out of 5

The Mighty squirts a tear, showing his softer side.  How soft is he?

Peter J. Tomasi’s tale of Alpha One and his federally funded clean-up crew is a surprisingly engaging story.  Tomasi continues to delve into the character of Gabriel Cole, the new captain of Section Omega.  He’s still trying to fill the shoes of his predecessor.  I enjoy the realism which grounds this series and makes it unique.  The mundane and super are balanced very well.  For example, Cole is home watching tapes on public speaking when a bulky superhero hovering outside his window interrupts him.  Cole and Alpha One get some one-on-one time.

And that’s when things get creepy.  Maybe, it’s me, but I think Alpha One is sweet on Captain Cole.  Cole asks Alpha if he wants a beer after a hard day of saving the world.  Strike one against Alpha, he replies “a frosty, non-alcoholic beverage sounds perfectly right about now.”  I don’t trust a superhero who doesn’t drink (Tony Stark is the exception).  After drinks, Alpha One takes Cole back to his place, his secret lair.  I’m not making this up.  He tells Cole that he is special, he has never brought anyone to his place.  Then, there’s an odd sequence of panels.  Cole asks why Alpha One let Cole see his hidden lair.  While giving Cole “the eye,” Alpha One replies “Would you believe me if I told you I just felt like hanging out?”  No big man, I wouldn’t believe you.  Cole, run back to your wife.  I would be scared, very scared if a man with super human strength had a crush on me.

I’m not sold on Keith Champagne’s art.  He sets a nice feel to the book and gives decent expression to the characters.  Bold lines convey Alpha One’s ever-present power.  However, smaller images are poorly drawn.  Details are lost, the people look like blocks, and it’s distracting.

I liked this issue, but I’m confused.  Did I read into things that aren’t there?  If I did, sorry Alpha One, but you still acted creepy.  If I was right, I’m not sure if I like this new direction.  Either way, it’s still an enjoyable read.  Cole, I’m hoping I’m wrong, for your sake.

3 out of 5