Tag Archives: Ed Brubaker

Today’s Super Comics — Captain America Reborn #1-6 (2009-10)

Of course Captain America wasn’t staying dead. We already knew that outcome, but what matters is how they get there. And Captain America Reborn nails it, using Cap’s long history to remind us why he’s such a great character.

Steve Rogers has become unstuck in time. He’s being flung back and forth throughout his past, reliving World War II battles, Avengers battles, family moments, his time on ice, etc., and he has to follow the script in every situation. He has some ability to act, but the wrong action could wreck the timestream. It’s quite the elaborate trap.

In the present, Bucky Barnes, Sharon Carter, Falcon, and several Avengers navigate the dual threats of the Red Skull and Norman Osborn (the latter leading a government-sponsored team of villainous Avengers at this point) as they try to save their friend.

This miniseries sustains strong momentum throughout. Ed Brubaker’s script keeps everyone in character at all times, and Bryan Hitch’s art provides a grand sense of scale. It’s all epic without ever losing sight of the individual actors within.

The essence of Captain America is this: He always finds a way, no matter the odds stacked against him. And that’s what we see here.

This isn’t the end of Brubaker’s run on Captain America. However, my year of daily reviews has only twenty-some days left, so this seems like a good stopping point for this particular series. But it’s definitely been worth rereading.

Writer: Ed Brubaker

Penciler: Bryan Hitch

Inker: Butch Guice

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; Captain America Reborn (TPB)

Appropriate For: ages 13 and up

Today’s Super Comic — Captain America #48 (2009)

In order for the reader to care about the plot, the characters need to care about the plot. Yeah, that’s a pretty basic observation, but it’s an essential ingredient. And Captain America #48 provides an excellent example of how it works.

An unscrupulous scientist seeks to eradicate about 35 percent of the world’s population—for the good of the planet, of course. To achieve this, he’s used the remains of the original Human Torch to create a virus, one that renders its victims combustible. (Marvel’s first Human Torch was an android who debuted in Marvel Comics #1 in 1939; no relation to the Fantastic Four’s Human Torch.)

That’s all a good start. It raises the stakes by putting the fate of the world in the balance. But that alone would be too big and too impersonal. We’ve seen the fate of the world imperiled time after time in comics. We need a personal connection.

In this case, Bucky Barnes fought alongside the Human Torch in World War II. They were colleagues and friends, and those were happier times for Bucky, before he was forced to become the Winter Soldier. Bucky already lost Steve Rogers not long ago, and now another friend’s memory and body are being disrespected. Bucky is fighting not only to save the world, but also to preserve the honor of a man he respected more than just about anyone (other than Captain America, of course).

Joining Bucky in this mission are Namor the Sub-Mariner (another WWII ally) and the Black Widow (his current girlfriend). They represent his past and present, and they both have their own personal reasons for getting involved.

Not that anyone should need a personal motivation for saving the world, but it makes for a much more interesting story.

Writer: Ed Brubaker

Pencilers: Butch Guice, Luke Ross, Steve Epting

Inkers: Butch Guice, Steve Epting

Cover: Steve Epting

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Captain America: The Man With No Face (TPB)

Appropriate For: ages 14 and up

Today’s Super Comic — Daredevil #82 (2006)

Then there was that time Daredevil went to jail…and it was kind of justified, actually.

Ed Brubaker took over as Daredevil’s writer beginning with #82, and he picked up right where predecessor Brian Michael Bendis left off. Bendis shook things up quite a bit over the previous few years by giving Daredevil a secret-identity crisis. Matt Murdock was outed as the Man Without Fear, but in the absence of definitive proof, he was able to get away with the reliable tactic of deny, deny, deny…until he couldn’t.

So Murdock’s behind bars in the same facility as the Kingpin and many others he’s put away throughout his career. Issue #82 begins with him in protective custody, as he is legally a blind man, but you get the feeling that’s not going to last long. Meanwhile, Daredevil is running around Hell’s Kitchen beating up bad guys. Wait, what?

It’s a gripping scenario, one that does something different with a character who had been around for over forty years at this point. As you’d expect from Brubaker, the writing is tense, intelligent, grounded, and better suited for older readers, and Michael Lark’s art is a natural fit, the gritty style setting exactly the right tone.

Daredevil as a prison show…and it works wonderfully.

Really, though—lawyer by day, vigilante by night? As much as I love the character, Murdock has broken the law numerous times over the years, so it’s fitting that his hubris earns him some comeuppance. It may have taken four decades to get here, but this was a Daredevil story that needed to happen. The events feel earned.

Writer: Ed Brubaker

Artist: Michael Lark

Cover: Tommy Lee Edwards

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Daredevil by Ed Brubaker & Michael Lark Ultimate Collection – Book 1 (TPB)

Appropriate For: ages 15 and up

Today’s Super Comic — Captain America #37 (2008)

Dayyy-umm, what an excellent series this is.

Yes, I know—that was the height on intellectual literary criticism. I’m a bit pressed for time.

Captain America #37 begins the third trade paperback collection of the “Death of Captain America” arc, so we’re back to some rising action. The Falcon expresses his skepticism about the new Captain America to Tony Stark and the new Cap himself, Bucky Barnes, and these scenes are especially interesting in hindsight considering that Falcon (Sam Wilson) is the current Captain America substitute.

But the scenes are strong in their own right, adding tension and casting doubt as to whether Bucky can succeed as Captain America. As another former partner of the original Cap, Falcon is certainly qualified to have an opinion.

Falcon isn’t the only doubter—we get a nice little Hawkeye appearance, too, giving the new Cap a hard time, kind of like how he often gave the old Cap a hard time back in the day.

And if that all isn’t enough reason to keep reading, the cliffhanger involving Sharon Carter will do the trick.

Dayyy-umm indeed.

Writer: Ed Brubaker

Artist: Steve Epting

Cover: Jackson Guice

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Captain America: The Death of Captain America vol. 3 (TPB)

Appropriate For: ages 14 and up

Today’s Super Comic — Captain America #33 (2008)

In the past 15+ years or so, comics have embraced longer-form storytelling. Stories are still divided into chapters of 20-22 pages, but there’s been a greater focus on the overarching narratives that build over the course of years. The old rule of “every comic is someone’s first, so make it accessible” is less of a concern (recap pages try to compensate for that, though), and you’re best off starting with #1 or the first issue of a new creative team (which partially explains why companies keep rebooting books back to new issue ones). Television has undergone a similar evolution during the same time.

A common complaint when the “decompressed storytelling” trend first emerged was that you’d sometimes read an issue where it felt like almost nothing happened. The story would read great in trade paperback, but the month-to-month pace suffered…in some cases. Not in the case of Ed Brubaker’s Captain America run, which demonstrates the creative benefits of the slow build.

(Some spoilers ahead.)

Brubaker began reintroducing Bucky Barnes back in #1, took his time developing the character, and killed Captain America in #25. And yet, it’s not until #33 that Bucky is even ready to entertain the notion of succeeding his old partner.

By this point, clear motivations are established for everyone involved. The idea comes posthumously from Cap himself, communicated in a letter he arranged to have delivered to Tony Stark upon his death. He asked Stark to save Bucky from himself and to make sure the legacy of Captain America continues. Stark, wracked with guilt about how the whole Civil War debacle went down, feels especially obligated to comply, and he sees only one way to fulfill both objectives—have Bucky become the new Cap. Bucky, out of loyalty and respect, is not going to let anyone else take the job, and he has much to atone for. And Black Widow, who first met Bucky as the brainwashed Winter Soldier, knows he’s not ready to carry the burden, but out of respect and affection for both Bucky Barnes and Steve Rogers, she’s there to help.

The full saga is basically like a novel with dynamically laid out artwork. And so far, it’s every bit as amazing as I remember.

Writer: Ed Brubaker

Penciler: Steve Epting

Inker: Butch Guice

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Captain America: The Death of Captain America vol. 2 (TPB)

Appropriate For: ages 14 and up

Today’s Super Comic — The Immortal Iron Fist #6 (2007)

If you want to check out Iron Fist before the upcoming Netflix series, try out the series written by Ed Brubaker and Matt Fraction. It was critically acclaimed when it came out, but for some reason or another (i.e., monetary limitations preventing me from reading everything), I never got around to trying it out.

Until now, that is. Comixology digitally gave away the first trade paperback for free recently. So of course I read it. And yes, it is quite good.

Issue #6 wraps up the first storyline and leads into the next. This is where the action ramps up, with welcome assists from Luke Cage, Misty Knight, and Colleen Wing (Netflix viewers have already met the first two, and I’m assuming we’ll meet Colleen soon, too). Additionally—and this gets to the meat of the story—a previous Iron Fist fights alongside current Iron Fist Danny Rand (yes, I somehow never got into the most prominent superhero who shares my first name…so psychoanalyze whatever that means).

Superhero comics tend to handle themes of legacy and lineage rather well, and a martial artist superhero is a particularly good fit for such subject matter. After all, martial arts involve the passing of specialized knowledge down through the generations.

This is a more serious take on Iron Fist than when what we see in the current, more lighthearted Power Man and Iron Fist series. But both books are solid—which one you enjoy more may well depend on your mood at the time.

In any case, The Immortal Iron Fist makes me all the more optimistic about the Netflix series.

And fun fact: Apparently, Carrie-Anne Moss’s character in Jessica Jones, Jeri Hogarth, was originally the male Jeryn Hogarth, who ran Danny Rand’s company in the comics. I did not know that.

Writers: Ed Brubaker & Matt Fraction

Artist: David Aja

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in The Immortal Iron Fist vol. 1: The Last Iron Fist Story (TPB)

Appropriate For: ages 14 and up

Today’s Super Comic — Captain America #27 (2007)

The title character may be dead, but Captain America #27 features lots of great escalation.

Everyone is still mourning Captain America in their own way. Tony Stark is taking it rather hard, on account of the guilt he feels regarding the “Civil War” debacle. Sharon Carter has quit SHIELD. Bucky Barnes decides to gather Cap’s equipment. The Falcon tries to find Bucky. And so on.

The Black Widow enters the story, and we learn there’s a bit of backstory between her and Bucky. Makes sense, as both were used and manipulated by the Russian government.

The issue begins with Stark’s public proclamation that no one else will take over as Captain America—Steve Rogers was one of a kind and the decision is final. So that’s crying out to be boldly defied.

Bucky has a nice moment at a Captain America memorial, talking to an old woman who says Cap saved her father during a particular battle in World War II. Bucky knows the statement to be factually incorrect, but he chooses not to spoil her father’s memory. It’s a nice little touch that makes him a bit more likable. And that’s kind of important, given the role he’ll be playing as the story unfolds.

Captain America’s death may look like a big event comic, but it’s actually a terrific character-driven story.

Writer: Ed Brubaker

Penciler: Steve Epting

Inker: Mike Perkins

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Captain America: The Death of Captain America vol. 1 (TPB)

Appropriate For: ages 14 and up

Today’s Super Comic — Catwoman #1 (2002)

Here’s a time it actually made sense to start over with a new issue #1. When writer Ed Brubaker and artist Darwyn Cooke (both incredible talents) took over Catwoman, they injected a mature tone into the book and set Selina Kyle on a fresh course.

She’s been presumed dead for the past six months, so now it’s time to figure out what to do with her life. She laments how self-serving she had become, but she’s not quite sure what that makes her at present. As she observes Batman in action against the Riddler, she realizes how she doesn’t belong in his world of good against evil; her territory is “between right and wrong.”

Catwoman and Batman have a nice moment together on a rooftop, and the dialogue further sharpens their differences:

Batman: No matter what, I believe that deep down, you’re really a good person. Don’t you think so?

Catwoman: Sometimes…yeah, sometimes I do…but I think it’s just a lot more complicated than that.

(As a side note, it’s always nice when a Catwoman/Batman rooftop scene in a Catwoman #1 manages not to devolve into gratuitous sex to “shock” us or show off how “adult” it is. I try to stay positive here, but that poor decision in the New 52 series deserves the jab. So…sorry/not sorry. But as I said, Brubaker and Cooke bring a mature tone to this book.)

Catwoman, when handled properly, is a complex character. Her many shades of grey give her the potential to surpass Batman as a compelling protagonist. And this particular #1 kicks off the finest set of Catwoman comics I’ve ever read.

Writer: Ed Brubaker

Artist: Darwyn Cooke

Inker: Mike Allred

Publisher: DC Comics

How to Read It: back issues; Comixology; included in Catwoman vol. 1: Trail of the Catwoman (TPB)

Appropriate For: ages 14 and up

Today’s Super Comic — Captain America #25 (2007)

captain_america_25If you simply must kill the title character, this is the way to go about it.

Captain America #25 made national news when it came out. Must’ve been a slow news day if fictional events were considered newsworthy, especially given death’s well-known lack of permanency in the comic book realm.

We know Captain America isn’t going to stay dead forever, and no one tries to fool us about it. His death isn’t treated as the climactic event of the character’s story; it’s the inciting incident of this new story, which will carry the title for a while after. It’s not so much about how Cap dies, but more about setting up uncertainty about what will happen while Cap is dead.

Interestingly, writer Ed Brubaker and artist Steve Epting initially seem to present the death as a murder mystery. Cap takes a bullet for a stranger—a very Captain America thing to do—and in the commotion that follows, we see a gun drawing closer to him and shooting him point-blank in the gut. But we don’t see who fired the lethal shot. It’s a crowded, chaotic scene. Any number of people could’ve slipped in and done it. It looks like that question may be left unanswered for the time being.

Nope. We learn the identity of the shooter in the final pages, and rather than deflating the tension, this knowledge enhances the drama, demanding we read the next issue.

By the way, this issue also serves as an epilogue to the original “Civil War” crossover storyline, but that’s not essential reading for this story. You’ll get up to speed quickly enough.

Writer: Ed Brubaker

Artist: Steve Epting

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Captain America: The Death of Captain America vol. 1 (TPB)

Appropriate For: ages 14 and up

Today’s Super Comic — Captain America #21 (2006)

captain_america_vol_5_21There’s a lot going on here, all of it fun.

For the first time since World War II, Captain America and Bucky team up to take down a giant robot! And it’s just like the old days, aside from Bucky being the Winter Soldier, of course.

London superheroes Spitfire and Union Jack guest star and clobber a new Master Man (always good to clobber Nazis). Agent 13 (Sharon Carter) takes on Crossbones and Sin (the Red Skull’s daughter). And though his body his dead, the Red Skull shares a brain with an evil Russian, and somehow a non-corporeal Skull is far creepier than a corporeal one.

Issue #21 is a big action fest, though it builds on what’s come before, maintains ongoing story arcs, and continues to set up future threads. And during it all, writer Ed Brubaker and artist Steve Epting successfully balance classic comic book fun with a modern tone.

An enjoyable time all around.

Writer: Ed Brubaker

Artist: Steve Epting

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Captain America: Red Menace (TPB)

Appropriate For: ages 14 and up