So, let me get this straight. Mike Costa and Christos Gage have actually introduced and used the characters Croc Master, Golobulus, Serpentor, and Venomous Maximus before Storm Shadow even makes an appearance in the IDW universe?
It’s hilarious…it’s awesome…and it’s a testament to the quality of these writers because they make it work.
To avoid spoilers, click the “Read the rest of this entry” link below for the full review.
G.I. Joe: Cobra started out as a very realistic, gritty, down to earth Joe story that put a focus on character and a film noir style, and it was wildly successful. With this non-limited series follow up, Costa and Gage stick to their familiar formula, but have really started to branch out into the strange and extreme. Promising to introduce Serpentor really made some folks scratch their heads, but it turns out that was just the tip of the iceberg. As we begin peeling back the layers of “The Coil”, an international cult of pseudo-science religion, we really get a very cool look at some of Cobra’s stranger creations, and tries to explain it away.
The crazy thing is, it really works. Serpentor, while not the genetically engineered super leader that he was in the 80’s, is still a very charismatic “emperor” of sorts that retains a lot of the great personality that he had back in the Marvel comic. Golobulus certainly isn’t the leader of an ancient race of creatures who are responsible for the formation of Cobra, but he has the iconic snake tail and makes for a great metaphor for a serpent god and ties into the Cobra mythology in a pretty unique way.
Then there’s Venomous Maximus. I will say without hesitation I’m probably one of the only fans of the Venomous Maximus character. Back in the Valor Vs. Venom days I absolutely loved the whole genetic engineering backstory, and the Venomous Maximus figure was a very interesting, unique looking action figure that really added something new. For that reason, I’m really enjoying how Costa and Gage are using him here.
Interesting…I’ve written three paragraphs and haven’t even talked about this specific issue yet.
Issue #8 shifts perspective a bit to Skullbuster, a Cobra trainer who is responsible for creating the Range-Viper corps, Cobra’s wilderness survival experts. Skullbuster looks considerably different than he did in the toyline (or in the Devils’ Due story) but is equally captivating. As we watch a Range-Viper progress through the brutal and intense training session, we get a deeper and deeper look into just how crazed you have to be to following the Cobra cause. However, as crazed as you might be, this very cool look into a faceless Cobra Range-Viper shows us that even the most dedicated Cobra operative can still have morals.
Even as Scoop slowly seeps deeper into the control of The Coil, this mysterious Range-Viper looks to be the one to try and pull him back to reality.
As we’ve come to expect with Mike Costa and Christos Gage, the pacing, dialog, and overall writing style is intriguing, captivating, and almost depressing. I initially wasn’t necessarily sold on Scoop’s place among this intricate history, but as the story has progressed, his place seems firmly set in the Joe mythos, and following along with the film noir methodology he is an absolutely perfect fit. He really slips into the 50’s era Private Eye mold excellently and seeing him get drawn into The Coil has been a fascinating ride so far.
I’m a huge fan of obscure Cobra characters, so obviously this look into the Coil has been terrific to me. The writing and art blends very nicely together, and while Antonio Fuso certainly isn’t the most realistic artist out there, his art style works excellently with how Costa and Gage are writing this story. Granted, I’m very much looking forward to seeing Chuckles and Cobra Commander go face-to-face once again, but I have enjoyed this peek in The Coil much more than I anticipated.
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Damn I’m having a hard time with this book. On an intellectual level I agree with everything you’re saying here Justin. I love the stories about the obscure Cobra guys, and the cool way they are being re-created and the story telling is top notch (sooooo much better than Dixon’s snore-a-thon)…
BUT
….I can’t deal with the art (Sorry Justin). This is the type of art you see in Government issued instruction manuals. Gets the point across but is devoid of any life, feeling or cinematic flare. It just is. Boring and blah, and shelling out $5 (roughly the cost with tax here in Canada) for something that has the visual impact of making me cringe, is hard to swallow, no matter how good the story is.
This is a general problem for IDW comics in my opinion. They have sub-par artists. I’ve been VERY pleasantly surprised by the amazing artwork in the Hama title. It’s not the best in the field but it fits the type of comic Hama is writing perfectly.
With other comics I will continuously go back and flip through the pages again and again, I tend to read COBRA titles once and then bury them somewhere safe from sight. This is a real shame, as the stories are worth reading several times over. I hope a change will come along somewhere down the road.
I, for one, really like the art in Cobra. It’s moody and understated, sure, but that’s where the brilliance is. There is a real-world feel to it that you don’t get in the other books, and that, I’d argue, is why the stories work. Read through the books again, and count how many times actions and moods and intent of characters are displayed through the art, and not through exposition. This is a testament to the talent of both the writers and the artist.
Now, style wise…design wise, I could understand complaints about aesthetics on this book. I wouldn’t agree, but I could understand. But the flow and story-telling the art accomplishes sets it leagues above what a lot of the Big Two are doing right now. Compare Cobra to half the Marvel stuff, and its a matter of bombast versus subtlety. Cobra uses the art to TELL the story, making the most out of the medium of comics. Most comics use the art to SELL the story, which is being told exclusively via dialogue and exposition.
Remember issue 20 of Hama’s GI Joe Marvel run? The silent issue. Great book, right? I remember it very fondly, but reading it again, the art was less than stellar, at least less than I remember. Why? Because I remember the story the art told so deftly, and the impact it had on the rest of his run. That one was all Hama, BTW; Plot and art.
Just my $.02. BTW, for a great example of writing and art working in tandem for the best, see Red 5’s Atomic Robo. Great, GREAT comic.