Saturday Splash Page #205

"Prison Break," in Rocket Raccoon (vol. 2) #2, by Skottie Young (writer/artist), Jean-Francois Beaulieu (color artist), Jeff Eckleberry (letterer)

After his mini-series and escape from Halfworld, nobody much used Rocket Raccoon for the next 20+ years. I've heard Peter David had a panel in one of his Captain Marvel runs where Rocket's pelt was a rug on someone's floor, because, well, I assume he thought that was funny. As with all Peter David's humor, your mileage will vary. Then came Annihilation: Conquest, and Rocket is drafted into Star-Lord's Dirty Half-Dozen. He was a regular in the Abnett/Lanning Guardians of the Galaxy. Probably Bendis' version, too, though I didn't touch that with a ten-foot pole.

Then Rocket shot to super-stardom, courtesy of the first Guardians of the Galaxy movie, and that, more or less, brings us to this solo book, with Skottie Young as writer and sometimes artist. Young leans into the movie portrayal, with Rocket as a merc who does essentially anything for money. Rescuing kidnapped princesses, stealing stuff, blowing up giant undersea monsters.

I was never totally drawn into this book, in no small part because I found this Rocket Raccoon a scumbag. Part of the initial story is Rocket, under suspicion of murder, also being hunted by an army of angry princesses he wooed and then scammed out of money to pay off his gambling debts before vanishing into the night. In other words, Young's Rocket is one of those people who dates you to steal your bank info. This did not make me inclined to see Rocket escape the princesses' vengeance, or even really to see him beat the rap for a murder he didn't commit.

(He is, eventually, ordered to pay back all the money he swiped or go to prison.)

When I wrote a Favorite Characters post about Rocket Raccoon, I said that if Mantlo's version was an Errol Flynn swashbuckler, Abnett and Lanning's was more in the line of Bruce Willis, the wise-cracking cynic. Young's version is basically Deadpool, a violent lunatic who occasionally does good things while leaving a trail of ruined lives. Innocent of that particular murder, Rocket still killed a lot of other people, though he argues they're all justified. And the killing is largely a joke, as he even has a catchphrase, assuming "BLAM! Murdered you!" qualifies. When he pleads his innocence to Quill, Star-Lord correctly guesses that Rocket is in the middle of murdering someone right that moment. Movie Rocket was no saint, always focused on a payday or at least protecting his and Groot's hides, but this version seems tipped even further towards, if not villainy, close enough to shake hands with it.

This Rocket also doesn't know anything about his past. The last two issues are him breaking the terms of his probation to pursue a lead on the mysterious "Book of Halfworld," and learning that he is possibly not the only one of his kind in the universe, as he apparently tells everyone. The climax is played as a joke. None of the answers the book provides are satisfactory, and Rocket decides it's stupid to worry about where you came from. Life is somewhere ahead of you.

Eh, it's not the worst lesson I've seen in a comic book.

Young's artwork is fantastic, however. Wild and expressive and exaggerated. His aliens, if still broadly bipedal, can look weird or gross as the situation requires. There are motorcycles that transform into rocketpacks, all manners of spacecraft and weird monsters to blow up (though some of that was drawn by Jake Parker, artist in the back half of the series.) Rocket is far more expressive than a raccoon is likely capable of, and that's put to good use. He's alternately charming, pitiable, or homicidal, depending on what he thinks he needs from one moment to the next.

Mignola and the various GotG artists stuck closer to a raccoon's true body type in their renditions. Chubby body with short, stubby limbs, Rocket walking on the pads of his toes. Young goes leaner, with stick-figure arms and legs, what look like regular feet, and a scruffier fur coat. Past Rockets looked like they put some care into their appearance, but this version actually looks like he spends most of his time one step ahead of angry creditors/cops/ex-girlfriends. His eyes are just red-orange orbs, which also lends a feral air.

I don't think this was ever one of my favorites during it's 11-issue run, not with the Duggan Deadpool, Waid and Samnee's Daredevil, G. Willow Wilson's Ms. Marvel, or the Soule/Pulido She-Hulk run going concurrently. But it was the ongoing series that got me back up to buying 10 titles from Marvel in Summer 2014, for the first time in 7 years. Of course, that only lasted 3 months before Avengers Undercover ended, and Rocket Raccoon itself was canceled by the following summer during Hickman's Secret Wars. But if I didn't necessarily enjoy reading it, the art was always fun to look at.

Sunday Splash Page #387

"Pit Stop," in New Warriors (vol. 3) #3, by Zeb Wells (writer), Skottie Young (artist/color artist), Jean-Francois Beaulieu (color artist), Randy Gentile (letterer)

In 2005, the New Warriors returned. As a 6-issue mini-series. Where the team star in a reality show about traveling the country in an RV, fighting crime where they find it. Except they're maybe not very good at it, and the show might not even get picked up by the network?

It's hard for me to divorce the mini-series itself from how, a year later, Mark Millar would use this as pretext to make the Warriors sacrificial lambs for the monument to dumbassery disguised as topical commentary known as Civil War. Maybe Millar would have used the New Warriors anyway, but the fact their most recent comics appearance was them fighting crime for ratings, and generally not looking competent in the process, certainly didn't help.

Now, in Wells and Young's defense, the Warriors - Night Thrasher (now rocking a trenchcoat and jet boots), Nova (sleeveless for some reason), Namorita (blue again, but with white hair and Atlantean tattoos), Speedball (now with bubble lenses instead of goggles), and new characters Microbe and Debrii - actually want to help people. The pretext of the first issue is Tiger Shark and Armadillo escaped the Vault while shackled together and have taken up residence in a house in a small town. The cops are outclassed, and their call to the FF two months ago has gone unanswered. So here are the New Warriors, putting their necks on the line to catch the bad guys and protect this town.

In general, the team veterans are often annoyed by the TV people asking them not to fly so high, or for Speedball to bounce slower because the camera guy can't keep up. But, because this is making fun of "reality TV", and Young's art runs to exaggeration for comedic effect, the Warriors don't manage any clean wins. A zoo in Kansas is taken over by the Super-Apes (emancipated from the Red Ghost), who are raising the intelligence of all the other animals. The Warriors don't win so much as the parody of a person concerned with animal rights barges in and claims these poor apes don't understand what they're doing. The Super-Apes are so offended by this they don't want to fight any longer.

(I almost used a splash page from that issue of Nova and Thrasher fighting zoo animals while Nova demands to know who threw a banana.)

Issues 4 and 5 are the Warriors being invited to a town in Minnesota where pets are being abducted by Terrax. Turns out the whole thing is a scheme by androids based on historical figures - Freud, Virginia Woolf, Einstein, da Vinci - built and abandoned by the Mad Thinker, who want to take over the world, and figure the Warriors are so weak, they'll be a good test run for more challenging super-teams. Like the Great Lakes Avengers. The Warriors are bailed out by Debrii, put on the team by the producer to introduce more conflict in the "cast." Unknown to them, the entire town is androids, so the Warriors didn't really accomplish anything.

Nova's still apparently worried about trying to make it to the "big leagues" which, given what he'll be mixed up in within a year or so (Annihilation), is a prime example of being careful what you wish for Namorita joins because being part of the Atlantean royal family is boring, and at least she can do something useful this way. Night Thrasher agreed to this in an attempt to avoid bankruptcy for the Taylor Foundation, though he doesn't tell anyone that (the whole arrangement, and Dwayne's unwillingness to talk about why causes friction between he and Nova again, which is probably good for ratings.) Speedball's just bored.

Microbe gets a sad backstory and a couple of opportunities to be useful in his own way. Debrii gets introduced in the back half of the mini-series, so there's no time to progress much past "angry young black woman with some telekinesis." She refers to herself in the 3rd-person, but there's no chance for backstory or her motivation. She mentions being from New York at one point, so how'd the producer find her for this? Is she after fame, did she just want out of the city to see new places? No idea. Aren't reality shows supposed to do backstories that make you love or hate the people involved?

What I Bought 12/30/2015 - Part 4

Rocket Raccoon and Groot #1 shipped last week, but Diamond asked stores not to put in on the shelves until this week. Why they didn't just wait another week to ship them, I don't know. But either way, I found a shop that didn't wait, so screw it, I'll buy it now.

Patsy Walker aka Hellcat #1, by Kate Leth (writer), Brittney L. Williams (artist), Megan Wilson (color artist), Joe Sabino and Clayton Cowles (letterer) - I'm disappointed none of Patsy's fans are representing the costume she briefly had in that Engelhart/Breyfogle mini-series. With the blue and yellow reversed? Surely there is someone out there who defends it as the superior costume choice. Or is that up to me, because I'm not the best person to rely on as an advocate.

Patsy loses her job working for She-Hulk, but makes a friend in a young Terrigen-activated guy named Ian. And it's through Ian she realizes there are plenty of people out there with powers with no interest in fighting crime, or who just need work, and resolves to start her own temp agency to help those people out. Though this will require her to start working in retail to raise the funds. Except she also ran into her old friend Tom, who told her Hedy had signed some deal to re-release all of the old Patsy Walker comics, which netted him a handsome payout. Shouldn't Patsy be seeing some of that cash? Even if she's pissed at Hedy for doing it, she should still get some of the money, right?

There's this conversation with Ian in his apartment - although most of the book is an extended conversation with Ian, it just sometimes involves other people, not meant as a criticism, just an observation - where Patsy alludes to her difficult past relationships, and says she's trying to move on. And I guess I had taken it that she already had. They brought her back back from the dead in 2000. Even with Marvel's slow progress of time, that should have been a few years ago. And I guess I'd figured she'd mostly made her peace with that and moved forward. It isn't a big deal at the moment. I liked the book, the humor of it, and I thought Leth had a pretty good grasp on Patsy's character, that she enjoys getting to fight evil and uses it as a way to escape her other problems, but she means well and makes friends easily.

The combo of Williams and Wilson on art helps things out. Williams does this thing a few times where she simplifies Patsy's face - mostly removing her nose, enlarging the eyes, and giving her a sort of cat mouth - that I like. Tends to represent her mischievous side. The "angry She-Hulk" gag, where even the force of slamming the door is gamma-irradiated (and thus colored green). Though I think my favorite panel is that one of Patsy reacting to Tom telling her Hedy claimed to have Patsy's blessing. The gritted teeth, the way her shoulders are higher than normal (like she's arching her back, like a cat?), the narrowed eyes. It's a really good example of barely controlled anger. Wish they'd used the icicle effect on the speech balloon.

Rocket Raccoon and Groot #1, by Skottie Young (writer), Filipe Andrade (artist), Jean-Francois Beaulieu (color artist), Jeff Eckleberry (letterer) - I'm curious why Marvel gave each character their own solo book first, then went with the team-up title (although Groot was in Rocket's book constantly).

The rest of the Guardians of the Galaxy presume our title characters are dead, for some reason. But a familiar looking cloaked figure hires two mercenaries, Pockets and Shrub, to deliver something to evil Lord Rakzoon, who promptly orders them tortured, then executed until he learns they brought him a gift. Then he just orders them tortured. Then he inspects the package, which turns out to be Groot, with a bunch of stuff carved into him. Oh, and Rakzoon is Rocket.

Not the most gripping first issue. Didn't feel as though much happened. I know there's a mystery to be revealed as to why Rocket's acting like this, and what happened to Groot, but I don't find myself caring. Will Pockets and Shrub become recurring characters, or was that an one-off joke? Depending on how this "evil Rocket" plot plays out, they could have a serious grudge against him.

Andrade's art remains a mixed bag. I don't really enjoy the figurework - although the fact most of the characters are aliens, and most of them are cloaked in robes and masks obscures some of Andrade's issues with anatomy - but some of the layouts are well done. On one page, Pockets and Shrub are being pursued through space and towards the right side of the page. Pockets "gets his swerve on" and the steering wheel's position leads the eye to the panel of them basically pulling a hard turn to get behind their pursuer. That panel's basically in the middle of the page, and the movement of their ship is aimed for the lower left corner, which is where they are in the final panel, and now the pursuing ship is on the right side of the page, because it's continued on in the same direction. I feel maybe the actual swerve could have been depicted a little better, but the overall concept was sound. So pretty much the same reaction I had to Andrade's art when I first encountered it on DeConnick's Captain Marvel.

This was kind of a letdown, especially compared to Hellcat, so I don't know if I'll be back for issue 2.

What I Bought 5/9/2015 - Part 1

I went out last weekend and perused some of the local comic shops. I tried three stores, and still didn’t manage to get all the books I was looking for. And the back issue pickings, while substantial, weren’t much help for the things I was looking for.

Ant-Man #5, by Nick Spencer (writer), Ramon Rosanas (artist), Jordan Boyd (color artist), Travis Lanham (letterer), Idette Winecoor (designer) – I was going to admonish Scott that riding a white blood cell wasn’t sanitary, but I guess something that destroys bacteria would be about as sanitary as it gets. So maybe I should be warning the white blood cell that Scott’s not sanitary.

Darren Cross is back among the living, and was pretty happy stomping Ant-Man, until his son mentioned that Cassie Lang was right there on an operating table. At which point Darren decides to kill her first, but Scott manages to prevent that by getting smashed through a wall. Things are looking bad for Scott until the Pym Particles in Cross’ new heart cause him to shrink, and have to be saved by his needy, idiot son. Seriously, Augustine is more desperate for Daddy’s approval than Harry Osborn was, and that’s pretty damn needy. Anyway, Dr. Sondheim got one of those extra hearts Cross had ready into Cassie, but her body’s rejecting it, so it’s into the bloodstream for Scott, and he saves his daughter. At the hospital, Sondheim averts the wrath of Peggy by telling her Scott saved Cassie from a myocardial infarction, by getting in touch with Sondheim after Cassie called him for help. Peggy is so terribly grateful, she actually encourages Scott to spend more time with Cassie. So naturally Scott gets all, “This is my fault! I am a danger to my loved ones!”, and resolves to bail.

We’ve got at least until July before anything happens with this, and that’s assuming that Annual is going to follow up on this, rather than be either a movie tie-in or some Secret Wars junk. So I’m going to hope this is one of Spencer’s fake outs, like the ones he was so fond of in Superior Foes of Spider-Man. You know the ones. “Oh, we aren’t really here for Silvermane’s head!”, or “That isn’t really Boomerang getting his ass beat”. Scott seriously just opened his business and hired two employees, so now he’s going to pack up and move to Montana? Come on.

Real talk here: If Scott was to blame for what happened to Cassie, it was either because he rescued Dr. Sondheim from Cross the first time, which is how Cross wound up dead the first time, or because he tried to remain an active part of her life while continuing to be a superhero part of the time, which is how she got exposed to all the Pym Particles. But if he hadn’t saved Sondheim, Cassie would have died anyway, and who knows what Darren Cross would have gotten up to. As for the Particles, it wasn’t like Scott knew that was happening, and Cassie has been risking her neck for years as a superhero. Ultimately, while Augustine might have liked the symmetry of using Scott Lang’s daughter to revive his father, it was the Pym Particles that made her the choice. Sticking it to Scott was just a bonus.

During the fight with Cross, Scott makes a Zoolander reference, then says Cross would have missed that. Would that be true? That movie is 14 years old now, and I think the gap between Cassie's age in that first story and her current age is smaller than that. She's still in high school now. Oh well, Scott was dead for awhile, he can be forgiven if he got a few things mixed up.

Rocket Raccoon #11, by Skottie Young (writer), Jake Parker (artist), Jean-Francois Beaulieu (color artist), Jeff Eckleberry (letterer) – Now, THAT might be enough guns that even Cable thinks it’s overkill. Hmm. Nah, probably still not enough.

Young and Parker opt to skip Rocket’s heist of the Book of Halfworld entirely, and jump right into his escape, involving a motorcycle that turns into a rocketpack, and a lot of musing by our hero about how Life encourages us all not to look back on our pasts, but to keep running. As Rocket doesn’t know his past, his response is, “Nerts to that,” but he can’t get the case open to read the book. Which is when the other raccoon, the one we saw around the end of issue 4 shows up. Her name is Captain Sale, and she isn’t Blackjack O’Hare or anyone else posing as a member of Rocket’s species. She has the key to the case, and she’s willing to share, to even let Rocket have first crack at the book. Which he does, and before he’s finished reading, he decides he’s finished, period. He leaves the book with Sale, and he and Groot leave, only to learn that because he didn’t pay his court fees, he’s once again a wanted felon. So he’s going to jail, but it appears he’s going to bust out just like he did in the first arc, so no worries.

Well, assuming we’re meant to take the Book of Halfworld as true, Young is stating that the Mantlo/Mignola mini-series did take place, based on some of what Rocket mentions reading. Still doesn’t explain why he doesn’t remember, or why there are other modified raccoons like Sale around. Also doesn’t tell me whether the Abnett/Lanning stuff persisted, because the way the Guardians are now, it doesn’t seem likely. I don’t think current Star-Lord could ever have been a great hero who felt he disgraced himself and gave up on life, you know? He was just a disgrace, period.

I think this arc got rushed. Skipping the heist, the quick arrival of Sale, and the fact any differences are put aside quickly, that Rocket takes one page to read the book and decide this whole quest was a mistake. It feels like there should have been another issue in there, but maybe that’s just me thinking issue 12 would have been a logical endpoint. With the looming presence of Secret Wars and all the changes it’s bringing, though, I can’t help suspecting it’s to blame. It is possible Young was trying to make a point. Rocket’s spent a lot of time being defined by his past, either claiming he was the only member of his species like it was a badge of honor, to cover up the loneliness and uncertainty he felt about that. Or he’s running around like a lunatic trying to find the truth about himself, but in the process making his current situation much worse by pissing off everyone and everything around him. Of course, it’s easy for someone who already knows their past, for good or ill, to tell someone who doesn’t, “Don’t worry about it. Focus on now.” It’s not wrong to want to understand things about yourself.

Though I was never clear on what Rocket actually thought his past was. Apparently he didn’t think it was anything like the ‘80s mini-series, but what did he expect? A planet of just intelligent, talking raccoons out there somewhere? His people were wiped out by the Kree, or the Skrulls? That they were the product of tampering by the Celestials? That he has a family waiting patiently for him to return someday? Did he honestly believe his life was mundane before he got mixed up in criminal enterprises/saving the universe?

In the initial motorbike scene, was Parker doing an Akira homage with the bike and Rocket’s clothes? I suspect so, but I’ve never gotten around to watching Akira, so it’s all kind of second hand knowledge, from pictures on the Internet. And lots of people have spiffy red motorcycles. I did enjoy some the subtle body language Parker works into the issue. Rocket’s slackjawed expression when Sale responds to his ‘Nah, I’m not buying this time,’ with, ‘I’m afraid I don’t understand. Have I tried to sell you something?’ The panel before, Rocket’s standing very straight, with his gun arm extended fully towards Sale. But at Sale’s response, he moves closer, his shoulders seem drooped a bit, and the gun isn’t wielded so menacingly. Rocket’s sure it’s another fake, but the response throws him some, and he hasn’t switched fully to the anger he’ll show in the next few panels. Also, when Sale offers Rocket the key, there’s something slightly sad about the set of her eyes I can’t quite parse. I think she’s disappointed at how hostile Rocket’s being, maybe also a little tired now that her search is over.

Also, I’d like to compliment Eckleberry on the sound effect for the rocketpack ignition on pages 4-5. The way it follows the contours of the exhaust trail, and the size of the letters mimics the size of the exhaust. So the initial “BOOOOOOOOM” is large, as the rocket initial ignites, and then the letters shrink and move a little farther apart for the “oooooomshhhh” as it settles into a smoother cycle. I’m not describing it well, but I liked it at any rate.

What I Bought 4/17/2015 - Part 3

I should probably mention that the place I’m staying now doesn’t have internet. There are plenty of places within driving distance that do, but it’s a matter of having time to drive there, plus not wanting to waste a lot of fuel. So consider this the official declaration of “possible erratic posting ahead” for the next 3 months or so, barring changes in circumstance.

Ant-Man #4, by Nick Spencer (writer), Ramon Rosanas (artist), Jordan Boyd (color artist), Travis Lanham (letterer), Idette Winecoor (designer) -  Oh jeez, a Miami Vice cover. It was inevitable given the location, I suppose.

So Augustine Cross has covered all the bases in his attempts to bring his father back. He’s got the right doctor, he’s got the goons to kill her and her son if she doesn’t comply. He’s got Cassie Lang, whose heart is accustomed to being large and the strain that comes with that, and donor hearts the doctor can transplant into Cassie after. And he has an adaptive security system full of things designed specifically to stop Scott Lang. But Grizz has been attending the Super-Villain Anonymous chapter in Miami, and that’s how he ropes in Machinesmith to take out the security system, enabling Scott to get in. Where he is promptly stepped on by Darren Cross. Crap monkeys. At least it saves Scott from anymore awkward conversations with his ex-wife about where her daughter is.

I’m sure Cassie will pull through – Spencer doesn’t strike me as the sort to kill her off, not after Fraction and Allred just brought her back – but I hope having a new heart doesn’t signal the end of her superhero career entirely (since it presumably wouldn’t be accustomed to size-changing). I still hold out hope for father/daughter crime-fighting adventures.

Additionally, I don’t see this continued recruitment of super-villains ending well for Scott. Grizz seems appreciative, but Machinesmith is pretty clearly already looking to make it pay off for him, and I don’t think Scott’s providing medical and dental will change that. Letting criminals be involved in setting up security for places in probably bad, since they then know how to get in. Since Stark has apparently gotten Scott blackballed from the superhero community, I imagine it’s only a matter of time before the Avengers show up to defeat Scott and what they’ll think is his new, second-rate Masters of Evil. I wonder, though, whether this is Scott trying to give people a second chance because he got one once, or if, as Tony suggested, he’s just taking the easy route? Rather than try to force Machinesmith’s hand, or use his parole officer as leverage, he just agrees to give him a job, because it saves time, regardless of the consequences.

Rosanas’ artwork helped carry the scene where Augustine makes his pitch. Spencer writes him as though it’s just another sales pitch, so he’s mostly calm, but occasionally gets either excited or tender, for that human touch. And for the most part, Rosanas draws him as calm and collected. He’s almost always gesturing in some way with his hands. Either putting a finger to his chin to appear thoughtful, or pointing with the index finger to illustrate some point. He even hugs the tank his father is in, to better illustrate his point about bringing a family together. It also has to be significant that during that whole spiel, we only see Darren Cross’ legs, or parts of his arms. We see him in his entirety earlier in the issue, but once Augustine starts the sales pitch and moves closer, we’re too close to see all of Darren. It creates a sort of distance, because we don’t see him as an entire person, just parts. This makes me wonder if Augustine is really trying to revive his father, or just looking for a chance to unlock some secrets trapped within him. The last time Darren Cross appeared, Dr. Sondheim double-crossed him, by putting his worn out heart back inside him. She’s not in much of a position to do that this time, so perhaps Augustine’s going to pull the fast one.

Rocket Raccoon #10, by Skottie Young (writer), Jake Parker (artist), Jean-Francois Beaulieu (color artist), Jeff Eckleberry (letterer) – Even Cable thinks that’s too many guns. Haha, just kidding, Cable never thinks there are too many guns.

Rocket’s trying to make some cash to pay off his court costs. Then he gets word from a criminal who says he has info on the Book of Halfworld, but Rocket will have to pay. Bye-bye clean record, hello arrest warrant. Klep shows him a photo of a case kept in a vault in a place called Tower City, and Rocket’s off, though he has to beat up some more cops and Cosmo first. Cosmo got jobbed in that fight, I tell you. Didn’t use his mental powers at all. Anyway, now Rocket’s in Tower City, and he’ll get right after that case, as soon as he finishes barfing.

This series is not exactly packed with plot. Young seems content to allow space for gags and reaction jokes, most of which involve Groot. Either Rocket’s irritated with how much Groot enjoys his drink, or Groot’s dealing with some surly bartender. Which is OK, I suppose. The relatively low number of panels – this issue averages a little over 4 per page, and only tops 5 panels 3 times - gives Parker space to draw weird aliens and hideous undersea beasts. The number of panels does increase near the end of the issue, as Rocket has to flee and fight his way through security. Which I’d guess is meant to convey a rising sense of tension or danger. Except Rocket dispatches his opponents so quickly it’s hard to buy in. Oh well, we know someone else is out there looking for the book, so that’ll be a problem for Rocket eventually. Something about Tower City makes me think of Ratchet & Clank, which isn’t a bad thing.

What I Bought 3/24/2015 - Part 8

When I ordered all these recent releases, I also bought some back issues, most of which were various Iron Fist mini-series from the '90s or early 2000s. Marvel's releasing a trade of them sometime this summer, but I figured this would be cheaper and involve less waiting. None of them were what I'd call winners, and it seems like all of them were either about someone stealing the Iron Fist from Danny, or him wanting to give up being Iron Fist entirely.

Rocket Raccoon #8 and 9, by Skottie Young (writer), Filipe Andrade (artist, #8), Jake Parker (artist, #9), Jean-Francois Beaulieu (color artist), Jeff Eckleberry (letterer) - Well, Groot may have grown to enormous size and begun destroying the city, but Rocket's got his fists taped up, so I'm going with him. He could have anything hidden under that tape. Brass knuckles, attack bees, anything.

Rocket and Jink are trying to steal the yolk of a Nogu egg, because that will save Groot from the Nogu venom. Along the way, they talk a little, Rocket about how he and Groot met (it involves a prison break), and Jink about why she's helping (her father forbid her from making a similar trip months ago to save her mother). They find the nest, Rocket makes too much noise getting the yolk, and Jink kills the Mama Nogu from the inside. The day is saved, but as they leave the planet, our hero and his tree get a message from a guy who says Rocket should let Groot die. This fellow, Yak, sees possible futures, and in one of them, Groot joins the Avengers. They try to use his regenerative ability to cure diseases, but it somehow makes him grow to gargantuan stature and go berserk, to the point he's going to destroy Earth.

Iron Man tries to convince Rocket to come help talk him down, which doesn't work, then fails miserably at forcing Rocket to come to Earth. Though I guess he succeeds, because Rocket comes there mostly to kick Tony's ass, only to find Groot did it already. Rocket tries transforming his spacecraft into a mecha-Raccoonbot, and still gets destroyed. But this act brings Groot back to himself, and he helps make Earth into a paradise. It turns out what we saw was a simulation Yak had them run as a way to avert the future he saw. Quite why weird alien slug guy gives a crap whether Groot destroys Earth, is not explained, but his plan worked, so hooray?

Rocket didn't exactly live up to the recap page's promise that raccoons are great burglars. Oh right, he's not a raccoon. Well, that explains it. He made too much noise, nearly got eaten, then nearly got eaten again. Everyone has an off day. Very "power of friendship!" couple of issues. Rocket risking his neck for Groot (and his willingness to do so convincing Jink to defy her father and help him). Then Rocket dying (in a simulation of a future that won't happen) to help Groot snap back to his old self.

I'm not sure what to make of issue 9. Groot wants to join the Avengers, be a hero, Rocket didn't want to. So they parted company, and Groot ultimately gives too much, while Rocket grows bitter and alone. So this Rocket needs Groot around to remind him people are worth helping, but Groot needs someone to temper his selfless nature, someone who would have looked out for Groot, since the big fellow won't do it for himself.

I did like that when Stark tries to justify getting Groot to join to Rocket, he uses the same line about running through the door rather than walking he used to justify sending the Hulk off to die against Grootzilla at the start of the issue. Even in simulated alternate futures, Stark's still an ass.

Beaulieu's color work is really impressive on these two issues. I didn't think they were actually done by the same person, because they look so different. In issue 8, it's almost a painted quality to it, it reminds me a little of Dustin Nguyen's work when he paints the colors himself. There are these deep blues, and splashes of red or magenta for blood. It's less orderly, more Expressionistic (or what I see in my head when I think of Expressionism). Big splashes of color at times just hinting or suggesting the shape of clothing, or some huge creature. It's pretty cool, and very different from the next issue, when it's more what you might expect for a Marvel comic. It's mostly bright, sharply defined colors, staying inside Jake Parker's lines. There isn't that bleedover or anything like that.

What I Bought 1/26/2915 - Part 3

How's everybody's week going? Well, I hope.

Rocket Raccoon #5-7, by Skottie Young (writer, artist #5), Jake Parker (artist #5 & 6), Filipe Andrade (artist, #7), Jean-Francois Beaulieu (color artist), Jeff Eckleberry (lettering) - That's a really effective use of negative space there. And Young even drew Rocket's eyes as slits, to make him look like he's squinting against the wind in his face.

Each issue is a separate story, though issue 7 is the part of at least a two-issue arc. 5 is Rocket and Groot out camping with some alien kids, and Groot tells a story about the two of them finding a treasure map, which leads them on a quest involving a poker game (where Deadpool is involved, oddly), killing a cyclops (but not Cyclops, sadly) with a big sword, and finally, selecting the right treasure chest from three belonging to an alien pirate ghost. Except it was all just a birthday gift from the Guardians to Rocket, which just annoys our hero since it means no pile of loot. Just friendship, and cake. The joke is that since Groot tells the story, all the dialogue is variations on 'I am Groot'. But Young and Parker tell it easily enough with the art, so it's fine (although the "I am Groot" thing is starting to get old. But I recall that when Giffen first brought him back in Conquest, he knew more than three words, and used them frequently).

In issue 6, Cosmo calls in a favor Rocket owes him (for something that happened in the current Nova series), which involves helping Brute. Brute was a war mech that was discarded on an abandoned world with other obsolete mechs. But they possess intelligence, and built a peaceful civilization. Except some interested parties found it and stole 4 of the mechs, to turn them back into war machines and sell them. Cosmo's a law dog, so he can't get officially involved, but Rocket is a wild card with a questionable rep, so he's perfect. He and the robot (which speaks in binary, so no more intelligible than Groot) find where the mechs are being sold, rescue them, beat hell out of everyone, and the mechs go home, where they make baked goods. Including dog biscuit topped cupcakes for a certain head of security at Knowhere. Parker handles art chores solo on this issue, and his style is a bit more simplified than Young's. Rocket looks a bit more cutesy than Young's stringy, slightly feral version, but that works. This Rocket is actively trying to reform a bit, do good deeds for money (since he had to repay those princesses for all the cash he bilked them out of). He still complains a lot, and he's still violent, but he's at least showing greater selectivity in who he's being violent towards, and more critically, why.

Issue 7, Groot and Rocket are stranded on an ice planet, because Rocket didn't check the fuel gauge before they left home. They get attacked by things that vaguely look like enormous jackalopes, and saved by the princess of the locals, but not before Groot is bitten. And the creature's venom blocks his regenerative ability, so he's really going to die this time, unless they can get an egg from the mama of the Nogu. But the princess' father nixes that idea, meaning Rocket will naturally go by himself. Except Jink didn't appreciate being called a Daddy's girl, so he's got her on his side. But the Mother Nogu is large. Like Fin Fang Foom large, so good luck gettin' that egg.

I haven't seen Andrade's art since the end of the previous Captain Marvel series. This involves fewer human beings, which works to his advantage. If I think Jink's eyes seem oddly small and widely spaced, well, she's an alien. I can't see that being an evolutionary advantage, but maybe it is. His Rocket looks a bit nastier than Parker's or even Young's. More snarling, less smirking. The dark color Beaulieu's using around the gums really highlights the small, sharp white teeth Andrade gives him. When Jink's dad grabs him by his jacket and hauls him up, Andrade gives Rocket a posture that suggests a small creature being threatened. His teeth are bared, his nose is kind of wrinkled, even his hands and arms are held in a manner that almost suggests trying to flash his claws at the threat. It's a style that emphasizes the animal Rocket was created from, moreso than usual.

Beaulieu's color work, like on Avengers Arena and Undercover, is superb. Andrade uses heavier blacks in his work, but it plays well against an ice planet, which is a lot of white and various shades of blue. The colors tend to be brighter in the earlier two issues, but so is the tone of the stories. A lot more warm oranges, and vibrant reds. It suits tales that are emphasizing the size and strangeness of the universe, but in a sillier way. Contrasted with issue 7, where the strangeness is hostile and dangerous, where even the traits you think will keep you safe can be circumvented and rendered useless.