Thirteen Minutes

2.01.12 Reviews (Part 1)

2012-02-01T14:58:00.000-08:00

Dark Horse Presents #8 (Dark Horse): It’s a little disconcerting that I essentially paid $7.99 for a single 8-page story, but when the results are as compelling as The Massive, I don’t mind one bit. Worth is largely determined by a consumer’s subjective perceived value, I and certainly feel that I got my $8 worth of enjoyment out of this first look into the world of The Massive. First off, Kristian Donaldson’s work simply has never looked better. Dave Stewart drenches it in this greenish-blue that perfectly captures the cold isolation of the set, and that first two-page splash of the rig tells you instantly what a grand scale this story is going to take on. For readers who might somehow be new to Brian Wood, the inclusion of the "rogue" Draupner Wave is a good clue as to the type of research that informs his work. He’s not just making fictional shit up, as fun as that can be for some writers, but rooting it in science and history in order to lend an air of authenticity and plausibility to the work, making it more powerful and accessible in the process. I’m surprised that so much information is being relayed so tight and crisp in just 8 pages here, another clue that Wood’s writing might be taking an important leap forward, something he partially credits his Dark Horse Editor Sierra Hahn for. It’s evident that this is immediately spooling up to be a dream team collaboration on all fronts, from Kristian’s best-in-class art, to Brian’s thought-provoking scripting, to pulse-pounding colors, distinct lettering, and what appears to be a very healthy relationship with editorial. I think this installment is important because we get an origin story of sorts for (one of?) the series protagonist(s) right before game-changing disaster strikes. So, say hello to Callum Israel. If The Massive boasts the sort of political dynamics and personal intrigue that DMZ had, and pairs it with the post-apocalyptic vibe of, say, Wasteland, then I must be in the right place, considering those are two of my favorite books in recent memory. This is certainly Grade A work. Of course, there were a bunch of other stories here. I read them all, but can’t say any of them hooked me. The BPRD story was solid, no surprise coming from Mignola, Arcudi, and Fegredo. It had an ominous and mournful tone, with very engaging dialogue, certainly what you’d expect from the franchise. I enjoyed it. Rich Johnston wrote some Miss Crabapple story or something, and I remember that only because I thought the art had a nice Tim Sale type energy. Other than that, nothing was terribly memorable or made any effort to hook me, mostly silly, boring, or clichéd genre work in varying percentages. I guess if I went into this holistic book blind and then discovered that I only enjoyed 2.5 out of 10 pieces, the overall grade wouldn’t very high. But, considering I entered for one story, which I was completely satisfied by, the grading scale really becomes a little moot in this unique circumstance. So, buy it for The Massive if nothing else. Buy The Massive when it becomes a regular ongoing series later this year. It won’t disappoint.

2.01.12 Releases

2012-01-30T09:52:00.001-08:00

I’m excited for Dark Horse Presents #8 (Dark Horse) this week, which features the first installment of Brian Wood and Kristian Donaldson’s The Massive. If I understand correctly, there will be 3 prequel style stories in DHP #8-10, leading us into the regular ongoing series which begins toward summer. I think it’ll be a spiritual successor to the recently wrapped DMZ over at DC/Vertigo. Be sure to pick up the Donaldson cover too, since he’s a friend of the site. I’ll also be picking up Uncanny X-Force #21 (Marvel), though my faith in the title has slipped a bit. I generally liked the inclusion of the Captain Britain Corps last issue, but some of Remender’s flashycool style seemed to be absent, and I also found Tocchini’s art to be a little muddled. I’m hoping it autocorrects so I can wholeheartedly recommend the title again, as I did in the Jerome Opena arcs, rather than considering dropping it. I’ll also probably give Winter Soldier #1 (Marvel) a flip. I haven’t paid much attention to Brubaker’s Cap/Marvel work, but the premise looks interesting, the cover is great (too bad that’s not the interior artist), and I’m up for trying new #1 issues to see if I can buy more than just 2 Marvel books regularly, both of which (Uncanny X-Force and Secret Avengers) have slipped in quality recently.

"I Am a Quantum Copy of You"

2012-01-28T12:34:00.000-08:00

Rockstar Scientists #1 (Angry Fruit Salad): Writer Kenny Jeffery was kind enough to send me a PDF review copy of the first issue, and it was pretty fun! The series is planned for 5 issues, will be available at Graphicly.com, and postulates a world where scientists became adored by the masses like rock stars. There are stand-ins for Elvis and a Beetle-esque group, building a world that makes connections between the 1950's and 60's cultural touchstones of war, music, space, and civil rights. My favorite part, though, was definitely the art of George Zapata. It demands your attention with a garish pop color sensation that suits the tone of the rolicking story very well. The aesthetic reminds me of something in between Nathan Fox and Mike Allred, with the thick wisps of ink that someone like Guy Davis puts on the page to provide a sense of movement to static objects. The back-up story, with art by Jordan Cutler, isn't quite as strong, but still offers some interesting visuals. It's apropos that it feels like a Grade B to the Grade A work of the first piece, since it's overtly structured as a b-side cut from an album. The only small criticisms I have are that at times the narrative was a tiny bit unclear, but that was a result of the writer avoiding exposition and letting the art shine, and was quickly cleared up by a second read-through of one sequence. It also feels a bit like a sampler package; the bad part of that is that it seems incomplete, but the good part is that it makes me want to read the forthcoming issues. It would be fun to see a print version of this someday, complete with a more polished cover including creator info and price point, and all of the little accoutrements that print offers. The contents are certainly strong enough to carry such a package. Grade A-.

Not The Hypo!

2012-01-25T21:27:00.000-08:00

Dueling (Self-Published by Noah Van Sciver): This is not a review of The Hypo! The Hypo isn’t out yet! The picture you see might not even be the cover of The Hypo! This is a review of a totally different book! This book IS “Dueling,” which is an extended deleted scene from the forthcoming soon-to-be-mega-hit The Hypo, and I couldn’t find a pic of the cover. That’s my fault, but the figure work you see here will give you some idea of the style of the contents. The Hypo is the book I’m most looking forward to in Van Sciver’s graphic oeuvre (damn, that sounded pretentious!), so I was excited to see even a deleted scene.

It’s immediately obvious that Noah isn’t going to offer just attention to detail, it’s beyond that, it’s a commitment to detail. It’s evident there in the painstaking wisps of hair, the blood spatters when people are shot with antiquated .50 caliber rounds, or the flecks of color in the cover stock. It’s there in the running adherence to heavier inks, bolder use of negative space, and the sheer depth of field present in every shot. The end result is a much more somber tone than we’ve seen in his autobiographical work, or even in The Death of Elijah Lovejoy, which was the first major shift away from autobio, into historical fiction (I guess that’s what we’re calling it?). My favorite bits of artistic extra-mile are these big smudges of ink. They’re not haphazard, still controlled and effective, but it’s almost as if you can imagine Van Sciver taking a big syrupy gob of ink and thumb-printing it on the page, punctuating the action when someone is shot, like the blood is so dark that it’s now black ink on the page.

From what I can gather, The Hypo will focus on some early, little-known tidbits from the life of Abe Lincoln, but this detour in Dueling highlights the infamous duel as a way of settling disagreements that’s socially acceptable, complete with commonly accepted rules of social engagement. Though dueling is illegal, though it’s obviously violent, Noah lulls you into almost believing that this was a more civil way of settling disagreement than much of the vitriol we so often see slung on the web today. Yeah, you believe that right up until the gruesome end that poor William Graves gets when he ostensibly wins such a duel.

Another remarkable aspect of the construction of this book, which I assume will continue in the full length main feature, is the predominant use of a 6-panel grid system. 9-panel grids have been tinkered with plenty, 4 is common with this 8.5 x 11 folded in half mini-comic size, but with 6-panels, Van Sciver does some really clever things with pace and versatility. He’s able to layer info both horizontally (expected) and vertically (not so expected). For example, in the last page of the intro piece, panel 2 of 6 shows two men back to back preparing to duel, then in panel 4 of 6 beneath it, we expect the typical experience of reading panels left to right, and you can, but you can also follow the interesting discussion of the duel stance to the panel directly above it. It actually pulls your eye up so that the panels can be read up and back, not just side to side.

I was so absorbed by the book that I almost didn’t catch another dynamic, which was the fact that this book is essentially a deleted scene, assumably abandoned in progress, so some of the backgrounds are not fully rendered, just sketched, providing a really slick behind-the-scenes look into the craft of comic-making. Aside from a blurry inside front cover (maybe some meta commentary about the exhaustive process and excruciatingly long wait for the full length The Hypo!), this is flawless execution of what has essentially become a throw-away passage. If this excerpt is this good, I’m reeling at the possibility of how good the feature length story is going to be. Bring the noise, Noah! Grade A.

Examining "The Sighing Man"

2012-01-25T20:59:00.000-08:00

Blammo #7.5 (Self-Published by Noah Van Sciver): You could probably sub-title this issue “The Sighing Man” (a line taken from the book) and have some clue as to the core running theme. While this issue is a collection of previously run web-comics and various anthology strips, there’s a certain world-weary existential angst that pervades the work. If that description sounds pejorative, I apologize. It’s not meant to be. I think Van Sciver taps into an accurate vibe present in his generation. With the accelerated future we experience today, it’s not uncommon to feel these mid-life crisis rumblings in your 20’s.

If you pay attention to the arc of Noah’s career, it’s almost as if you can feel the energy behind this issue. With his graphic novel “The Hypo” coming out later this year from Fantagraphics (something I am totally stoked about, by the way), I think that Van Sciver is truly, finally, on this precipice, of really being appreciated for the talent he is. There’s tension in this moment before the big shift, and if this issue feels a bit hastily rushed out, I think that’s a viable explanation as to why. Everyone wants “the next book,” so Noah offers this as a bit of a placeholder until the big event, so that we don’t forget about him.

The print quality on the book, particularly the cover, is a little less refined than what we’re accustomed to. The content is solid though, ranging from an interpretation of a Japanese parable that sees karmic kindness rewarded, to his trademark portrayals of fellow traveler John Porcellino in some sort of bug-eyed, socially exhausted, near vegetative state (one of my favorite reurring crack-ups), all the while society’s perceptions of the cartoonist loom like vultures. Whether it’s dueling roommates, interpreting The Book of Mormon, or dressing up as a woman and being “sexually accosted” by drunken men (his words) on Halloween, the connective tissue in these shorts is Noah occupying space and then being perceived, judged, and sometimes persecuted by those around him. There’s a preoccupation with the world’s view of the cartoonist that seems to inform some of his autobiographical creative output.

Consciously or otherwise, Noah is examining his own liminal state, traversing the border between the fringe and the mainstream, the struggling artist and the commercial success, the kid envious of stardom and the man destined to feel guilty about his impending fame. It’s like Biggie said I guess, “Mo’ Money, Mo’ Problems.” I’m spending a lot of time on the psychological underpinnings of this book and the relationship to what I’m sure will be his impending “break-out” book “The Hypo.” I’m not even telling you about how funny this issue of Blammo is. It’s funny! I always enjoy the strips that show Van Sciver tabling at conventions or doing in-store signings for the completely wrong demographic. They’re biting commentary about the seedy realities of this medium, along with all the hidden motivations and common archetypes that seem to inhabit it. Amid all the generic superheroics and bland storytelling, Noah’s broad noses, scraggly lines, and wobbly figures are a welcome sight. He’s not just regurgitating fleetingly nostalgic stories that are copies of copies of copies, but actually has something observational to say about the world around him and his own unique experiences. Grade A-.

1.25.12 Review_

2012-01-25T20:48:00.000-08:00

Secret Avengers #21.1 (Marvel): You can definitely see what Rick Remender was going for here, but it just didn’t work for me on so many levels. The idea of a Point One (have I mentioned I hate the very idea of Point One, I hate saying it, I hate typing it, I hate the name, I hate that it exists?) diverting to show the transition of team leadership from Steve Rogers to Clint Barton, while setting up the new arc, is probably about as good a use of the silly Point One nonsense as you’re going to get, but the execution falls short. It opens with this highly expositional banter that just never lets up. When characters have lines like, “remember, blah, blah, blah is currently happening,” that’s never a good sign. These types of lines tell us that this place is x, our suits do y, and the bad guys want z, and it’s just awful scripting. The characters are essentially saying stuff to each other that they already know, so the lines exist for no other reason than to inform the reader. It’s petty as hell I’ll admit, but I don’t even like some of the spelling choices, like “cameraed.” I know what it means, but “camera’d” would just flow so much smoother visually. The humor is awkward too, Remender is forcing his characters to try to be pithy and funny with a sledgehammer, and they’re just not. The title of the book is Secret Avengers, so why Clint would intentionally blow his cover to a corrupt Senator on an unauthorized covert mission in a sovereign nation when he just said he’s in possession of some SHIELD stealth imager thing is beyond me. Steve and Clint bicker like an old married couple For. The. Entire. Issue. By the time Ghost Rider showed up, I was just about done. If ever a screen version of a character ruined the comic character for me, it’s Ghost Rider. It’s an instant turn-off. I had no interest in him before, and I have less than no interest now thanks to the one-note acting of Nic Cage, yet Remender seems intent on continually shoehorning GR into stories. Get! Steve says “I’m bored to hell with your attitude, Barton” and that’s basically how I feel about this issue. Zircher’s art is competent I guess, a little more loose and messy than Alan Davis, yet not as menacing or dark as Laurence Campbell, somewhere in between the two, which means that it’s not offensive, just inconsistent. I guess Steve does a good job of psycho-analyzing Clint, but it just feels so forced. By the end, the ultimate point is lost to Hickman’d out villains (<- see how that works with the ‘d? I didn’t say “Hickmaned” did I?), the layering of the twisty script, and all of the political grandstanding. It’s books like this that make me think there could be a day when I no longer read comics. So y'all creators are on notice, you have one more issue to wow me before I drop this book. Grade C+.

VOLUME 08: HEARTS AND MINDS Now Broadcasting LIVE FROM THE DMZ

2012-01-24T09:35:00.000-08:00

DMZ VOLUME 08: HEARTS AND MINDS is now broadcasting LIVE FROM THE DMZ. With the series recently wrapped and just two collected editions left to see print, it’s time to jump on board the site dedicated to Brian Wood and Riccardo Burchielli’s 6-year DC/Vertigo epic. DMZ is a contemporary classic that chronicles Matthew Roth stuck in a Manhattan war zone in a not-too-distant-future America plunged into the Second American Civil War. Volume 08 marks a tragic turning point that irrevocably alters Matty’s fate.

LIVE FROM THE DMZ takes a behind-the-scenes "Director's Commentary" look at the creation of the series, with interviews, never-before-seen concept art, and more, as we examine the flagship title from one of the most important creative voices in the last 15 years. There’s nothing else like it and it’s done with the full cooperation of Brian Wood and his series collaborators.

1.25.12 Releases

2012-01-23T09:52:00.001-08:00

Talk about a dud week of comics. I’m pretty sure I’ll be picking up Secret Avengers #21.1 (Marvel). Apparently, this marks the transition of team leadership from Captain America to Hawkeye. It’s also Rick Remender’s first shot at writing the series before he officially takes over with issue 22, in the wake of Warren Ellis’ departure. I’m always a little dismayed when movie costumes infect comic book renditions of the same character, I’ve never been a huge fan of Patrick Zircher’s art, and I really can’t stand Marvel’s continued adherence to this Point One thing, but I am interested if Remender can bring the same type of magic he brought to Uncanny X-Force to this title. Other than that, I don’t see a damn thing! I always hear that Sixth Gun is pretty solid, so I might give a flip to Sixth Gun #18 (Oni Press), even though I think I picked up an issue from a $1 bin or on FCBD or something and didn’t really understand the appeal. Any suggestions for what to pick up this week? Otherwise, I might fall asleep over here...

1.18.12 Reviews (Part 2)

2012-01-18T21:11:00.000-08:00

Uncanny X-Force #20 (Marvel): Rick Remender and Greg Tocchini kick off a story about Captain Britain holding Fantomex accountable for assassinating the child Apocalypse, with Psylocke right in the middle. Early on, I was enjoying the art, which has a sort of painterly aesthetic, referencing the Excalibur era, and the Captain Britain of decades past. The art transitions grow to be a little confusing toward the end, but it’s mostly held together by Dean White’s amazing colors. I enjoyed the elitism of Brian, Otherworld containing access to the Omniverse, and the team attempting to swap in the AoA Nightcrawler for Warren, which really disrupts the dynamic. Deadpool doesn’t have as much of his trademark humor as usual, but does get a couple nice moments, with a snapping monologue. What’s really crazy about the guy is that he has these moments of clarity, and you never know what you’re going to get. Interesting tidbit that Fantomex is an anomaly which only exists in 616. It’s not as grand as the prior highs the book has witnessed, but there’s still enough flash and complex themes at play to keep me interested. Grade B+.

Wonder Woman #5 (DC): The transition from Cliff Chiang to Tony Akins isn’t as jarring as I thought it would be, but hey, it still ain’t Cliff Chiang. The doe eyes are a little distracting, and there seemed to be some small little sharp notes here and there, and the arc break also feels odd. Did things really resolve after last issue? Is this the start of a new arc already? It feels almost as if I missed an issue, though I know I didn’t. Will the first trade really collect only 4 issues? This feels like an off place to break. Anyway. I enjoyed the over-the-top incarnation of Poseidon and the John Constantine, err, “Lennox” character, but then we dive into exposition overdrive. I enjoy the mood captured in London, the fallibility of Diana, and the general vibe of a War Between The Gods playing out among the lesser deities and mere mortals, but I don’t know, something is just missing. I appreciate the new direction, but I still don’t feel really personally hooked. I’m not sure that I can continue supporting this in singles, but may revisit it in trade format to give it another shot some day. It’s a good book, but I want to be buying great books. Grade B.

Venom #12 (Marvel): This isn’t on my regular pull list, but I picked it up for a co-worker and couldn’t resist giving it a go. I generally have liked Remender’s recent Marvel work, so it should have a decent shot. Can’t say that I recall anything from Lan Medina (any relation to Paco Medina who did some Dreadstar waaay back?), so yeah, it has a decent shot. There’s a really weird typo in the “Previously…” section, and stuff like that puts me in a really bad mood right off the bat. It’s this partially duplicated text with an “open quote that never gets closed. That’s extremely sloppy basic copy editing, matched only by the sloppy amateurish art. On the writing front, it’s an uphill battle, since I never cared for Flash Thompson, Venom Symbiotes, Red Hulk, or umm , the Merv Pumpkinhead guy, basically the entire cast of this book. It’s full of clichéd drunks, chicks, and casino thugs. The story is uhh, about a ‘roided out monster who beats up some guys, or something? And then somebody has a drinking problem, and then Matches Malone shows up, and then Red Hulk can fly? Apparently this kicks off some 6-issue crossover thing with more characters I don’t care about, like Ghost Rider, X-23, Red Hulk (again), and Venom (again). It’s basically generic, phoned in on all fronts, and not even in a really bad way that you can revel in while mocking, and have any fun with. Grade C-.

1.18.12 Reviews (Part 1)

2012-01-18T15:06:00.000-08:00

Wasteland #33 (Oni Press): Here’s 3 words that I love together: Chris. Mitten. Color. Beyond that, reading the recap blurb made me realize just how much story and world-building has been squeezed into the 32 preceding issues. Johnston doesn’t waste any time jumping right into revelations about the “Branded Man,” and catching up with Gerr upsetting the Michael/Abi duo, all 3 of them with secrets in tow. “Cross Chains Towns” is a clever turn of phrase that’s a great example of how crafty Johnston is as a writer. It’s a phrase that we’ve never heard before, but it’s one we instantly understand the implications of by inferring the meaning. On top of that, there’s more clues, like someone referencing “back east,” insinuating that this story possibly takes place further west(?). Also, let me just say “DAMN YOU, ANTONY JOHNSTON!” For years now, we’ve all been postulating our pet theories about where/what “A-Ree-Yass-I” lies/is/does/means, ie: is it the corrupted name of a town, a place, a facility, a person, a thing, an event, a bastardization of “Area 51,” etc. But now he throws us for a loop by placing those words up on the Christian cross in the cover pic of issue 34. They’re placed there just like “INRI” is in Judeo-Christian visuals, the Latin acronym for “Iesus Nazarene Rex Iudea,” or “Jesus of Nazareth, King of the Jews.” I mean, fuck! Now I feel like I have to somehow try and translate “A-Ree-Yass-I” to an alpha-acronym, say “REAC” and then correlate that to Latin to figure out what it means!? “Rex… something, something, something.” I don't really know much Latin. It could be a red herring, I’m probably not right, but it’s just another fun clue/possibility in trying to figure that piece of the puzzle out. Anyway, I like how he doesn’t pull any punches in discussing the difference between the literal and the figurative in belief systems, and puts the “Branded Man” right out there as a possible Christ figure. Justin Greenwood’s art is less detailed, has thicker line weight, and a more representational quality to it than Mitten’s, but one isn’t necessarily better/worse than the other. They’re just different styles. I like Greenwood’s style (though you do have to watch dudes with the “JG” initials), it never fails to convey emotional content or clarity of movement. Speaking of movement, it actually feels a lot like an animated style, as if this were some B&W animated movie. Now, that’s something I’d like to see. Probably not for Saturday mornings though. Get on that, Hollywood. I was prepared to give this the “A” grade, but considering the ridiculous price point, let’s call it Grade A+.

Prophet #21 (Image): This is the first shot in a couple of new titles from the old Liefeld “Extreme Studios,” helmed by Brandon “King City” Graham and Simon Roy, who actually reminded me of Simon Gane in spots – but I confuse my Simon’s easily, so pay no attention. Graham seems to blend the genres of sci-fi and fantasy in disproportionate quantities; it’s a pulpy blend that emphasizes some of the fantasy elements a lot harder than the sci-fi. I’m not complaining though, because regardless of the formula, the results are a wholly unique vision unlike anything I’ve ever seen. I keep trying to find mental comparisons for the sake of ease, and the fact that I can’t is probably a sign of how strong and original the ideas are. I think that this title deserves the type of attention it’s getting, unlike, say, Nate Simpson’s Non-Player, which was all the rage for about 5 seconds, and then didn’t do anything with it, like, say, put out a second issue. Anyway, I like the deliberate and effective design choices, little things like the way the red bleeds down the title page. It’s clear very early on that we’re in for something different. The combination of the weird critters and aesthetics bathed in warm Earth tones make the proceedings feel like we’re reading some dirty old 1950’s pulp rag; when John Prophet emerges, it’s not in some gleaming future utopia, it’s more like Dune, but without the impenetrable internal mythology and social editorialization. Roy’s level of detail is not quite on par with someone like Geoff Darrow, but the creative duo does seem intent on world-building in the idea sense, if not the physical minutiae. Rest assured there’s big ideas amid big places. With all of the wrecked ships, parasitic wolves, and mutated Earthscape, it’s like some sort of post-post-apocalyptic setting, with diagrammatic layouts I just eat right up. The voice-over narration in lieu of any actual dialogue for the first 2/3 of the book also gives it the feel of being some cautionary parable, like an old lost text that was found about different paradigms clashing. After reading comics for 30+ years, one of the best compliments I can give something is that it's like nothing I’ve ever seen. It feels fresh and new, which is a difficult thing to pull off. Prophet does that. So go ahead and believe the early buzz and say hello to one of the potential best books of 2012. Grade A.

Batman #5 (DC): Scott Snyder and Greg Capullo continue to bring their “A” game to this book and ensure that 2012 is off to an amazing start. I enjoy the way this issue slips quickly into the unconventional, in an effort to deconstruct Bruce Wayne. And man, the dialogue just flows *so* easily, it’s such a joy to read. You can breeze through every line, but also go back and savor each line. It’s never stumbly or awkward or staged like so many comics are. Jim lamenting leaving the Bat Signal on, wanting to believe in hope, is wrought with emotion. The 1960’s Silver Age flair to the maze works in a way that Grant Morrison never was able to pull off without over-the-top self-congratulatory Easter egg dramatics. Snyder understands that this world is about a family, understands how to use an ensemble cast effectively, and understands that tech must be balanced with old-school detective work. I’ve said it before, and I’ll say it again, but the reason this incarnation of Batman succeeds is that it’s a distillation of everything great about the character. Capullo’s depiction of Bruce losing mental acuity is equally precise. The mental breakdown works because it has the right balance of lifelike and stylized art, believability but superheroic flair. Most criminals would do better if they understood that choosing between a mental fight and a physical one is a losing proposition, attempting both in a dual attack may be one of the only ways to break the Bat. The physical maze is also a mental puzzle that literally turns Bruce upside down. The (probably) hallucinatory cliffhanger is easily reversed, but that doesn’t make the visual any less powerful or startling. Grade A.

Bridge Lost in Imagination

2012-01-17T13:23:00.000-08:00

Lost in Imagination (Self-Published by Bridget Flanagan): Flanagan’s first full-fledged entry into self-publishing is a slightly mixed bag of results, but overall I really enjoyed this first attempt. As part of her MSU Comics & Visual Narrative Class, the first entry in the book is an assignment requiring her to illustrate her Artist Statement. She does a good job of capturing how her creations can come alive off the page, and though there’s some rudimentary figure drawing at play which is sometimes distracting from the thrust of the story, as well as the occasional awkward turn of phrase, Flanagan basically wins over the reader with her self-effacing charm. I hesitate to use the term “cute,” because it’s like the antithesis of a manly descriptor, but it certainly applies to Flanagan’s self-drawn alter ego. The Black Fedora is the second short entry in the book, which displays some inconsistency with the lettering style, but amid some of the more expository dialogue, I liked the creativity behind some of the action sequences. Not only are the fights choreographed particularly well, but there are some clever visuals thrown in for style points. I’m thinking specifically of the The Black Fedora Thief falling suddenly off the side of a building, and then hopping her way down in framed inset panels which draw attention to her punctuated movements quite nicely. Brain vs. Voice was an interesting exercise in displaying different aspects of human physiology all attempting to control a person in concert, sometimes to calamitous foot-in-mouth results. I appreciate Flanagan’s method of visually differentiating the different aspects, complete with altered personalities. The idea of the human body being some clockwork mechanism that these personifications control is actually very fun. The Pas de Deux is the final entry and it’s probably Flanagan’s boldest attempt at comics-making. I say this because not only does it attempt to depict some relatively complex emotional content with a burgeoning relationship dynamic amid personal hardship, but it also does so without any dialogue or text whatsoever. It’s always difficult to accurately depict things like music or dance in static imagery, but Flanagan pulls it off. That it’s successful is a testament to the fact that while there are some minor craft issues to continue to hone with practice, Flanagan offers more to enjoy than critique, and definitely shows promise as a mini-comics creator. More information at http://www.kirbygal.deviantart.com/ Grade B.

1.18.12 Releases

2012-01-16T08:57:00.000-08:00

I think 2012 officially kicks off this week, showing how strong and wondrous the indie/creator owned trend is going to be this year, with Wasteland #33 (Oni Press) hopefully returning this title to its former glory, and then Prophet #21 (Image Comics), umm, eclipsing its former glory by a wide margin thanks to Brandon Graham. If you believe the advance buzz, Prophet is sure to be one of the books of the year, and I do admire the sheer bravado with which the New Image seems to be fully embracing their publishing paradigm, scuttling all that’s come before, and letting Graham re-appropriate this Rob Liefeld creation in the finest contemporary art tradition. Regarding Wasteland, it’s important to point out that this is a special New Year/New Interior Artist/"New" Cover Artist (It’s Chris Mitten – But in Color!!!)/New Story/New Commitment to Monthly Schedule issue that’s friendly to new readers and most welcome to existing readers. Because of all that, it’s at the low low low price point of just $1. My advice to everyone is to actually buy 3 copies, enjoy 1, and pass the other 2 along to likely converts. You’ll still only be in it $3, which is less than the price of a regular issue. Do your good deed for the new year and make Wasteland the destination book it’s always deserved to be.

DC is offering up Batman #5 (DC) by Scott Snyder & Greg Capullo, which I’m all in on. It’s essentially a perfect blend of everything that makes Batman special. Wonder Woman #5 (DC) is also hitting the shelves, and even though I can feel my interest slipping away for this title, I’ll probably at least finish out the first arc, and then re-read in order to pass my final judgment. Lastly, I’m looking forward to the best X-Book currently being published, Uncanny X-Force #20 (Marvel) from Rick Remender and Greg Tocchini, a team that last collaborated on the interesting The Last Days of American Crime. Pitting Captain Britain against Fantomex is an idea that automatically makes me smile, ideally with Psylocke caught right in the middle. What looks good to you this week?

Everything Dies #7 @ Poopsheet Foundation

2012-01-13T09:12:00.000-08:00

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Monkey Squad One #8 @ Poopsheet Foundation [My 300th Mini-Comic Review at PF!]

2012-01-13T09:10:00.000-08:00

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Reinterpreting 1979 Japanese Sci-Fi Comics

2012-01-12T09:30:00.000-08:00

SF Supplementary File #2A & #2B (Self-Published by Ryan Cecil Smith): If Jack Kirby had been born in Japan and decided to start making mini-comics instead of working at Marvel and then defecting to DC, it might have looked something like this.

Smith explains that he is redrawing by hand a 1979 Matsumoto Leiji comic called Queen Emeraldas. Those not familiar with Leiji’s work will probably recall the operatic “Space Battleship Yamato” (known as “Star Blazers” in the US) as some of his most widely known work. If your tastes swing toward this type of music and you too thought the only good thing about Tron: Legacy was the musical score, then you might also recall his involvement in the production of a couple of Daft Punk music videos. Queen Emeraldas certainly seems to live up to Leiji’s hallmarks, filled with brooding males, determined females, the hint of mysterious powers, and a fascination with retro technology. The most overt example of this type of anachronistic technology is the Queen Emeraldas vessel itself, which is actually a sailing ship strapped to the underside of a zeppelin-like rocketship hurtling through the cosmos. The aesthetic dichotomy, paired with the logic dichotomy, is just grand.

It’s almost instantly proven that SF Supplementary File transcends its sequential art origins to enter the realm of Fine Art. The sub-categories of Modern Art and Contemporary Art rely on a definition that, in part, includes the re-appropriation of found imagery, juxtaposition with new elements, and from that re-contextualization, the derivation of additional meaning being squeezed out. Oh, it sounds so clinical when I put it like that. It shouldn’t. The book crackles and sizzles with life, pounding the reader with fresh energy despite its dated aesthetic references. It feels like an exercise in Silver Age American Comics, with 4-color 1960’s print-making on that woody pulpy paper. But, it’s many things. It also feels a touch European. It feels like the type of avant-garde work that Travis Charest should have been doing instead of shlocking out that WildCats stuff at WildStorm 10 years ago. It also understandably has an obvious manga aesthetic. It actually reminded me of some old 1950’s Yoshihiro Tatsumi genre work, specifically Black Blizzard, in terms of the layouts and subdued coloring choices which assault the senses so pleasurably. Perhaps Leiji’s anime work shines through as well, because there’s definitely a cinematic quality to the experience. It’s so easy to imagine these sequences as animated shorts with origins in your ethereal dreams.

The construction of the book is flawless in the way it achieves its intended goal. Smith has taken so much care to create rich texture and depth of emotion on every page. He’s clearly thinking through every minute detail; even the staples binding the pages together are painted red. The paper stock seems to simulate the viscous texture of Japanese rice paper. This is part of the reason why I’ll just never be sold on digital comics. In order to appreciate this work, you have to experience it in a tactile sense. You have to run your fingers across the page and feel the paper, you have to tilt the pages into the light to see how they vaguely glimmer, you have to catch the miniscule dips and valleys that run across the body of the page’s relatively rough hewn stock. It’s an experience that pixels laying lifeless on a screen could never adequately emulate.

In #2A, which sees Queen Emeraldas destroy Planet T-Rex and the evil black-blooded bandit Deathskull, it’s interesting that only one color is used per page on the interior. That color is predominantly one shade of blue. As the story progresses into #2B and Emeraldas and her companion “Boundless Ocean-Boy” reckon with that act and their transpiring fate, the colors increase and change as their emotions escalate. We still see only one color per page, but the color choices now swing from blues, to purples, to blacks. Leiji, and Smith’s reinterpretation of his work, are so masterful at world-building that the universe undeniably extends beyond the panel borders. It’s not a guess or speculation on my part, I can prove it by showing you pages where the panels are cropped so that partial figures and dialogue boxes trail off the page, getting closure only from our imagination, such as an early scene with “Boundless Ocean-Boy.” There’s one minor typo in issue #2A, in which Queen Emeraldas’ name is spelled “Emereldas,” but otherwise the writing and the use of themes is as flawless as the wondrous aesthetic.

I think Smith aptly uses the sub-title “Storytelling of the Future,” because as Queen Emeraldas narrates, it becomes clear that there’s such a preoccupation with this vessel that carries them through the stars. The writers came out of a generation that was promised their “Jetpack Future,” when burgeoning reliance on technology essentially permeated society. The idea of this limitless future is captured in expansive full page spreads and sprawling double page spreads. This sense of wonder about the limitless future reminded me of one of the themes in Naoki Urasawa’s epic 20th Century Boys, and I wonder if Leiji was also working from a state of mind informed by post-WWII reconstructionism in Japan, part of a generation that desperately wanted to be in control of their own destiny. Smith weaves what I assume is a translation(?) to include commentary on class warfare, with the inclusion of the “Space File ID Card” that creates a caste system in this future. As “Boundless Ocean-Boy” (foreshadowing if I’ve ever seen it) and his true identity of “Boy Zero” are revealed, it’s clear that his main goal is simply freedom, to determine his own fate as he’s dropped on a mysterious planet and into peril.

Aside from the confluence of aesthetics at play, what I appreciate the most about the work is that it functions with clear intent and unambiguous proportions. The Queen says “...but when you start a fight in space… you have to finish it.” It’s this type of full commitment to an endeavor that I love. It’s reflected in the energy of the project, a return to comics with no creative indecision. The results are like nothing I’ve ever seen. It’s a transcendent experience that makes me fall in love with comics all over again. Grade A+.

Bad Breath Comics #4 @ Poopsheet Foundation

2012-01-12T09:16:00.000-08:00

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1.11.12 Reviews

2012-01-11T15:37:00.001-08:00

Scalped #55 (DC/Vertigo): It’s the conclusion to the “Knuckle Up” arc, and I’ll just say that I love the name of the final arc to come: “Trail’s End.” This issue picks right up moments from where we left off, and what ensues is a raging shoot out, which turns into a knife fight, which degenerates to a down-and-dirty street brawl between Dash and Shunka. These two men have probably despised each other the most, because only a con man can spot another con man, and they both sensed that the other possessed the most secrets in this harsh world. Shout out to Giulia Brusco, whose colors vibrate with rage-fueled red tones that bring RM Guera’s well choreographed action to life so damn well. You can feel every shot, every broken finger, and every guttural growl in your freakin’ bones, man. This has got to be one of the most intense, brutal, unpredictably violent fights ever depicted in comic books. I haven’t enjoyed a comic this much in a long time, sitting here with a nervous smile throughout, just eating it up, reading panels fast – unable to control my excitement and desire to see what happens next, and then going back to read them slowly – to really savor them and take it all in. Agent Nitz storms the casino with half of the FBI in tow. Shunka seems to utter a dying confession. Red Crow saves Dash with so much compassion, calling him “son,” saying “Dashiell” instead of the dismissive “Bad Horse” repeatedly, and in turn, on the last page, Dash says to Lincoln… well, that would just be a spoiler wouldn’t it? This is just something you have to experience for yourself. It’s a satisfying emotional payoff 55 issues in the making. It fucking blew my skull off. Grade A+.

Batwoman #5 (DC): It still strikes me every time I read a new issue how awesome the intro pages are on this book. As the camera zooms in, you read the recap, and get these staccato mental images, it’s clear that the "Hydrology" arc is something special under this creative team. Batwoman seems to be operating on a whole other level of function, transcending its identity as a “superhero” comic, employing ruminations on life, our existence, what we dedicate our lives to, and why. JH3, W. Haden Blackman, and Dave Stewart in particular are tearing it up every single time out. I feel like Dave Stewart should be listed as co-creator of this book, on equal billing with writer/artist because color plays such an important role. Holy crap, that full page reveal of Cameron Chase and Director Bones! Holy crap, I forgot about Flamebird! It seems that this sets up a new arc to track down the Medusa Organization as Bones comes recruiting, offering Kate a job with the DEO instead of Batman Inc. It’s awesome to see her striking her own path, but pitting her against someone you do not want to be pitted against (Bruce Wayne) will certainly have eventual consequences. Batwoman not only has it all, but does so intensely. It’s loaded with gripping characters, intricate storylines, the most imaginative layouts and fresh penciling ability around, solidifying itself as the best thing happening in the mainstream DCU at the moment. Forget Green Lantern. Forget the JLA, forget Morrison on Superman. Heck, you can probably even forget Snyder & Capullo on Batman (blasphemy!!!), because if you only had one DCU book to buy, this is it. Grade A.

Secret Avengers #21 (Marvel): It’s the last Warren Ellis issue before Remender comes on, and I’ll be sad to see this fun experiment go. The pairing of Ellis with Cassaday (cover) and Immonen (interiors) are two of my favorite pairings (Planetary, Nextwave anyone?), so it’s a treat to see both here in one compact package. Ellis repurposes the old O*N*E concept. I loved the whole emitting false fire scenario, with Beast in that inset panel aboard the ship. It’s clever and fun, representative of the whole affair. The panels are so slick, like Steve holding the gun, with Moon Knight and Black Widow flanking him. It’s just a visual delight. “I don’t believe in torture. So I’m going to let my colleagues do it” is the type of crisp turn of phrase, imbued with dark humor, that we love to love from Warren Ellis. Immonen also brings his “A” game, check out the Paraguay flashbacks. Only this guy could be the artist on everything from Nextwave to Moving Pictures. He’s incredibly talented and one of the most under-rated guys working today. Man, I’m a sucker for paramilitary style radio banter every time. Great colors from Chris Sotomayor, as evidenced by the glow of dimly lit rooms illuminated with only emergency lighting. The tragic denouement calls into question the very existence of this incarnation of the team. As far as individual panels go, it might never reach the heights of Moon Knight with that white mask in the all white suit that Michael Lark turned in previously, but overall this is probably the best issue of Secret Avengers yet. Way to end on a high note, Warren. Grade A.

Northlanders #47 (DC/Vertigo): Declan Shalvey really steps up here, with big iconic shots and depth to the environment as we come in on the tail end of Brida defending the Haukssons. It seems like this trilogy continues examining the universal existential questions of “who are we?” and “what is our legacy?” I recently read some little sound byte about how hope is juxtaposed with obstacles, and that tension created is basically your story. It sure seems like Brian Wood is living into that description with these stories. Dave McCaig deserves a special nod for the type of warm Earth tones he infuses into the mix. I like the whole package though, the influx of Christianity rapidly changing the world is such a nice backdrop, and the emotion of an exasperated Brida yelling “You are the bloodline!” With the introduction of Isobel, marriages to buy peace, and secret paganism, it becomes clear that survivors adapt, while people of strict principle can be consumed if they’re too rigid or inflexible. Grade A.

Dodo Comics #2 @ Poopsheet Foundation

2012-01-11T08:53:00.000-08:00

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Plankton Calamity @ Poopsheet Foundation

2012-01-10T08:57:00.001-08:00

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1.11.12 Releases

2012-01-09T11:50:00.001-08:00

It’s a nice tight week of comics, with Batwoman #5 (DC) probably being the most anticipated of a very strong lot. With DMZ wrapped, the two best Vertigo books being published today are both out in one week: Northlanders #47 (DC/Vertigo) with just 3 more issues of that series left, and Scalped #55 (DC/Vertigo) with just 5 more issues of that series left. It should really be a treat to see the Nextwave team unite, as Warren Ellis and Stuart Immonen bring us the last of Ellis’ run on the title before handing off to Rick Remender, with Secret Avengers #21 (Marvel) also hitting the shelves this week. What looks good to you?

JOHN PAUL LEON Now Broadcasting LIVE FROM THE DMZ

2012-01-09T09:09:00.000-08:00

John Paul Leon is now broadcasting LIVE FROM THE DMZ. Please join us at the DMZ tribute site for our interview with series cover artist John Paul Leon.

DMZ chronicles journalist Matthew Roth, stuck in an active war zone in a not-too-distant-future America plunged into the Second American Civil War. LIVE FROM THE DMZ is the only site dedicated to Brian Wood's contemporary classic, taking a behind-the-scenes look at the creation of the series, with interviews, never-before-seen concept art, and more.

Stranger Two Stranger #2 @ Poopsheet Foundation

2012-01-09T08:54:00.000-08:00

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Stranger Two Stranger #1 @ Poopsheet Foundation

2012-01-06T12:02:00.001-08:00

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Fight @ Poopsheet Foundation

2012-01-06T09:43:00.001-08:00

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The Super-Duper Dog Park @ Poopsheet Foundation

2012-01-05T08:35:00.000-08:00

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1.04.12 Reviews

2012-01-04T13:06:00.001-08:00

Wolverine & The X-Men: Alpha & Omega #1 (Marvel): Right from jump, I like the swagger displayed on the cover of this book. It’s too bad that Mark Brooks wasn’t able to handle the art exclusively. Roland Boschi and Dan Brown handle the Westchester sequences here, and I can’t say I’m a fan of the art in those passages. I thought the backgrounds were skimpy, there was some stiff, awkward, angular posing in spots, and the panels just lacked the detail to keep up with the visceral attitude of the script. The good news is that the script has that edge in abundance. The writing on the very first page captured Quentin Quire’s attitude instantly as he strolls the halls of the Jean Grey School and verbally spars with Rachel. It’s tightly crafted courtesy of Brian Wood, and a return to Marvel’s Mutants that only took 12 years. I also appreciate the way that a conscious effort is made to stay in tight sync with the continuity we just saw in Jason Aaron’s Wolverine & The X-Men series. Wood is really able to get in Quire’s head, capturing his rebellious justification for his own actions. I’m assuming we’ll explore just who Quentin really is, hero, anti-hero, villain, or something else, with the school as a fun backdrop. Logan told Captain America that Quentin was redeemable, so I’m curious to see if he was right. The concept of “psychwar” is a good one, as Quentin places Logan and Armor into a mentally projected virtual reality construct, and then tries his damnedest to sustain it, and cover his tracks out in the real world. Logan might be "the best there is at what he does," the best player, if you will, but if Quentin runs the game, who knows what will happen? It’s a smart way to level the playing field. Switching over to the construct sequences, Mark Brooks (and 4 other people!) nail the art. It just looks more like a proper Brian Wood joint. I enjoyed those passages a lot more, with equal critical gusto for both the art and the writing. Quire projects them into some sort of PKD futuristic dirty cityscape, which, forgive me for saying so, but it almost looks like a “mutant DMZ,” with Logan and Armor geared up and on the run like Matty and Zee, haha! Brooks’ art sells the construct, Armor looks great in torn fishnets and her mismatched attire. When she actually armors up, it calls to mind the John Cassaday look of the original. In Brooks, I see some Jim Lee in there, some Jamie McKelvie, and a level of European detail and figure scale variation that I can really get used to, all good stuff. This is a little arbitrary to get my grade to settle one way or the other, but since there were more Boschi pages than Brooks pages by my count, I’ll downgrade a bit and go with a Grade B+.

Uncanny X-Force #19.1 (Marvel): I think it’s a little odd that Marvel keeps doing these “point one” things. It basically only serves as a one-shot or prologue story to another book that’s starting up, so why not just have it exist as a stand-alone thing rather than shoehorning it in here to disrupt the flow of a great run? I guess the idea is to divert some of the interested UXF readers over? Not a huge deal, but it just sticks out as a pretty big departure point from the thrust of the regular series. So, Rick Remender, with Billy Tan and Jose Villarubia, takes us back to the AoA timeline where some mutants and a human resistance fight the dominance of the ApocaLogan, narrated by some guy I don’t know named Prophet, ‘cuz he’s, you know, prophetic or whatever. Tan’s art is not nearly as clean as Opena’s (which will forever serve as the high water mark on the title for me), but it’s still serviceable. The lack of Dean White coloring also takes away some of the book’s consistency. I suppose the rougher hewn look and pale washed out colors are oooooo-kayyyyyyyy for the timeline they’re in, but I’m begrudgingly admitting that because I really wanted to like this more than I did. The “Last City of Men” awaiting the Akkaba attack has a vague “White City of Gondor” feel to it. Clones of Wanda as a secret weapon was a total snoozer for me, because the “no more mutants” line is telegraphed for miles. However, there were some small bits like “Solar Hulk” that eked out a chuckle, like a Mitt Romney win in Iowa. Ba-dump-bump! He’s powered by the "good yellow sun." Man, Remender sure has a thing for clowning on Superman/DC, like he did with the Ma/Pa Kent riff in the last arc. This book is competent, but overall I think it just lacks any pizzazz, humor, or gravitas. The fact that it takes place in another timeline not our own doesn’t make these events feel like they possess much consequence. By the end, it all feels a fait accompli. Depowering the x-gene to save humanity doesn’t work. The Last City of Men is destroyed, along with the majority of the species, who were already admittedly too few to repopulate, so what’s the point of the series then? Apocalypse won this timeline, there’s nothing left to save. I’m not clear on the storytelling calculus. Grade B.

Grandma Stories @ Poopsheet Foundation

2012-01-04T08:43:00.001-08:00

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Big Plans #5 @ Poopsheet Foundation

2012-01-03T08:30:00.001-08:00

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1.04.12 Releases

2012-01-02T13:28:00.000-08:00

…and away we go with 2012 releases. Marvel opens strong, basically shutting out DC for me this week. Uncanny X-Force was one of the best books in 2011 and I look forward to seeing that continue in 2012. The first shot will be this week, with Uncanny X-Force #19.1 (Marvel) by Rick Remender, Billy Tan, and Jose Villarubia, taking us back to the AoA timeline. With DMZ having just wrapped and a new Marvel mini debuting, I think it’s safe to say that the next period in Brian Wood’s career officially kicks off this week, with Wolverine & The X-Men: Alpha & Omega #1 (Marvel) hitting the shelves, pitting Logan against young Quentin Quire. I’ve had a hard time getting into Rachel Rising with the same passion I felt for Terry Moore’s Echo, but nevertheless, I’ll give Rachel Rising #4 (Abstract Studio) a flip at the LCS. In my opinion, unless you’re going to top the first series, you shouldn’t try a new one, and I think it’ll be difficult to top the Brett Matthews, John Cassaday, Sergio Cariello effort. That said, I’ll certainly give The Lone Ranger #1 (Dynamite Entertainment) the requisite flip at the LCS to see if it even comes close. What looks good to you?

Looking for Beauty in the Oddity

2011-12-30T12:32:00.000-08:00

Oddriel by Adriel Flores Roman (Self-Published): Oddriel arrived in my “to review” stack as a very attractive and professional looking package. I enjoyed the creator’s wit being on full display, even before I cracked the book open. There were pull quotes (from his mom!) about the brilliance of his work or how handsome he was, and that just takes some stones to pull off. It’s tough to be funny in print, but those little tricks succeed. My favorite was the ominous teaser passage “A Young Boy Looking For His Soulmate. A Russian Experiment Gone Wrong. A City That Needs To Be Protected.” And then… in the tiniest of fine print: “*This Paragraph Does Not Depict Any Actual Content.”

The image you see up top is not from this actual book, but is rather one that I pulled from Adriel’s (largely graphic design oriented) web-site, because I think it best represents the strength and style of the cartooning he’s capable of producing. It reminds me a bit of the style of Arthur Dela Cruz, who did a book for Oni Press a decade ago which I just adored, Kissing Chaos, and then abruptly disappeared from the scene. Oddriel is a collection of strips and miscellany. The intro from his dog continues the humor and describes the author as “sometimes swearing like a vulgar cheap corsair during a drunken night.” As we move deeper into the accompanying text pieces, I found them to be *sorry!* a little preachy and condescending. I think part of the vibe is that they stemmed from writing artist statements in a university setting, where it seems from my lay understanding like you're encouraged to hype yourself and discuss how important and unique your artistic vision is. The point is about finding beauty in the oddity, but the tongue-in-cheek self-congratulatory style, with a tendency to over-explain, was just off-putting for me. I usually prefer when artists just let the work speak for itself.

Moving into the actual strips, I found Adriel’s figure work to be handsome. The characters are affable and easy to look at. There’s some nice variation in the line weight, though I do think that inking the pieces heavier, and altering the figure scale on occasion, would add some much needed depth and texture to the overall composition. Even the inclusion of some color would be great, judging by the graphic design samples on the web, the creator’s use of color elements is bold and iconic, something comics also live for. The introductory piece is a very interesting idea, about illustrating one of those aforementioned “artist statements,” and essentially answering the questions: Why do you do what you do? Why art? The results are a little fuzzy, and I think could be made crisp, for the greatest impact, with a strong editorial hand in play.

"Teddy Knight" is the second strip, a sort of Toy Story gone rogue as the kid slumbers in his bed. It also reminded me of a book called The Stuff of Legend wherein toys come alive to fight the equivalent of WWII, which takes that concept to the aesthetic extreme. "Teddy Knight" was full of a burst of unexpected energy, but seemed to be over just as it got going. "Unresolved Issues" is the third entry and the most personal piece in the book. Attempting “dream comics” is a very tricky business though. Initially they seem like easy source material for autobiographical creators, but unfortunately it’s a universal rule that dreams are only interesting to the people having them, and a total snoozer for everyone else. Adriel is able to visually capture the sense of confusion and insecurity that comes with low self-esteem.

There’s also a teaser for a promised web-comic entitled "Beast," about a TV persona who is also a vampire. The premise of the tale felt a bit unwieldy, but it’s full of nice perspective shots and use of negative space. At a technical level, there are a couple examples of an entry level mistake that Paul Pope refers to as “the halo-ing effect,” where trying to draw actual figures against an all black background, instead of the mere representation of the figure’s contours and shadows, creates an unseemly border outline. There’s undeniably some raw skill here, but additional polish is required to moves Roman’s work to being ready for the prime time mini-comics scene. Overall, I like the packaging, enjoyed the humor, but found some of the writing to be lackluster. With some writing practice that clarifies the delivery of the concept without editorialization, and some effort to work out the small journeyman technical glitches in the art rendering, I think Adriel Flores Roman could grow to be a creator to watch. Grade B-.

12.21.11 Reviews

2011-12-29T08:17:00.001-08:00

Uncanny X-Force #19 (Marvel): I’m just catching up on reviews from last week, so I thought I’d jot down some quick thoughts. I was really nervous that a(nother) new artist coming on would ruin the magic here, but I’m pleased to report that’s definitely not the case. Robbi Rodriguez is a worthy aesthetic successor to Jerome Opena, feeling like equal parts Opena, Nathan Fox, and even Kyle Baker in spots with that anemic sort of emotional line. I like it! Fantomex is still really stealing the show, turning in these performances that are full of arrogance, intelligence, and wit, seemingly several moves ahead of everyone else on the chess board, as he pushes the nurture vs. nature debate in all kinds of interesting directions. I really enjoy all of the baggage from the Age of Apocalypse timeline left over from the last arc. There’s Jean and Logan, the toilet humor of Deadpool and Sabretooth, Nightcrawler and Kitty, the “new” Warren, and Psylocke actually looks Asian! There’s small character moments, like Logan giving the sword to Sabretooth, and I’m still enjoying Remender’s swipes at DC with Evan’s “super” origin. The confluence of the Logan/Beast/X-Force/Avengers/Jean Grey School conflict is bloody brilliant, and Fantomex saying “befriend girls with loose morals” is absolute gold. UXF still has it all, action, humor, characterization, moral complexity, all in a very slick looking package. This is how you do it, folks. Grade A+.

Batman #4 (DC): I don’t have a lot to say on this one, but I’m still really enjoying it. Intense action, smart writing, and relationship driven storylines amid the grandeur of Gotham City feels like the proper recipe for a proper modern Batman, and it succeeds on all fronts. Snyder finds a clever way to add something to the Batman/Bruce Wayne origin story regarding The Court of Owls, without it being some jarring retcon, all positioned within Alan Wayne’s legacy and the history of Gotham. I also enjoyed the counterpoint between Bruce’s obsession and Dick’s pragmatism. Grade A.

Wonder Woman #4 (DC): For some reason, this book felt like the front half was really treading water and not doing anything. But, by the time someone said “We will protect our Queen. To the death.” I was all in. I still really appreciate the new direction this has taken, the whole “feminine code” bit between Hera and Hippolyta, and it’s definitely pretty to look at, but I feel like a) I need to re-read all the issues in one sitting, or at least the entire first arc, in order to make a long term decision regarding my financial support of the title, and b) that if Cliff Chiang left, so would I. Grade B+.

Wolverine & The X-Men #3 (Marvel): Argh, I really want to like this book! I dig Jason Aaron so much, but some bits of this really bugged me. First off, anything that takes 3 artists, 7 inkers, and 2 colorists to complete is likely to be a muddled mess. It’s true, some of the art is just very difficult to parse, and there’s so many massive conversations taking place amid the rubble and noisy art that it just feels like a mess visually at times. I like the characters though. Logan saying “You’re Captain America, you’re allowed to do whatever the hell you want.” is a great little moment, as was the entire Logan/Cap convo regarding the future of young Quentin Quire. I feel like Aaron and Brian Wood have been chatting about how Wood’s impending Wolverine/Kid Omega series is going to fit into all of this, and that’s nice to see from a collaborative/editorial perspective I guess(?). For me, Aaron commits one of the cardinal writing sins by inserting the “trending on Twitter” lines in here. That’s’ the kind of thing that will instantly date a comic, today’s Twitter is tomorrow’s MySpace. He kinds of saves it at the end with the Matt Murdock cameo. I guess I’ll try to stick with this, but like Cliff Chiang on Wonder Woman, I feel like all it would take is a less than desirable art change here, and I’d be out fairly quickly. Grade B.

12.28.11 Reviews (Bonus Round)

2011-12-28T20:38:00.000-08:00

Swamp Thing #1 (DC): I’ve been on a bit of a Scott Snyder kick after the new Batman and the American Vampire: Survival of the Fittest mini-series, so I decided to check this out. I think one of the things that makes Snyder a good writer is that he finds a nice balance between the literal and the figurative, and the juxtaposition of those elements within the words and pictures creates a tertiary layer of information. In that, he really *gets* what makes the medium unique. One of the examples of that in this issue is when he talks about stemming roses against the birds falling out of the sky in Metropolis. The team seems to re-root Swamp Thing in the DCU, with several JLA’ers making cameos, and Yanick Paquette is able to relay a lot of information visually during these early sequences. Paquette’s pencils can slip into being a bit stiff at times, but they’re mostly serviceable. Snyder’s script is well researched, and I generally dig the interpretation of the violent plant world. Shit, I don’t even like Swamp Thing as a character, but in Snyder’s capable hands, it’s kind of making me want to track down the next couple of issues. Grade B+.

Aquaman #4 (DC): For these next three reviews, I picked up a few books for a coworker. I couldn’t resist reading them before I had a chance to hand them off, so here we go… I don’t understand how Arthur and Mera can talk underwater. That's just lazy writing. The art is nonsensical at times. Something about Atlantean creatures underwater… or something? It seems to revel in its own attempted self-aware stupidity. Proof? One word: “Aquadog.” Grade C-.

Captain America #5 (Marvel): I kept thing that there was some hoary tired dialogue as I was trying to figure out something involving Hydra and Nowhere-land… or something? Then the book ended. There are some very jarring art transitions from the style of McNiven to Camuncoli. If Steve Rogers was frozen in a block of ice at the end of WWII, say 1945, then was revived in the mid-60’s, say 1965, then that means he was out for 20 years roughly, so saying that he “slept through the majority of the 20th century” is kinda’ dumb. "Majority" means more than half the total, which would be at least 51 out of 100 in this case. 20 does not equal 51. Dumb. Grade C-.

Captain America #6 (Marvel): Because one half-assed issue per week wasn’t enough! Man, this is so steeped in impenetrable Hydra and Baron Zemo machinations. There’s also this thinly veiled Impotent Cap theme running through these two issues. Brubaker seems to be attempting the clever intro captions that Matt Fraction made famous in Uncanny X-Men, minus the “clever” part. When did Hawkeye’s costume change? There’s a mindless fight sequence with no real plot advancement in the whole issue. Alan Davis instead of McNiven on art AND Laura Martin on colors can’t even save this thing. I thought Brubaker was hailed as like The Great Captain America Writer of Our Generation, but this is just perfectly mediocre Big Two Superhero Comics. Grade C.

12.28.11 Reviews

2011-12-28T14:39:00.001-08:00

DMZ #72 (DC/Vertigo): [DMZ Countdown Clock™: 0 Issues Remaining] As much as I’ve written about DMZ, I really don’t know where to start. It all feels a bit surreal, and a lot of thoughts flood into my brain and intertwine. The issue itself is an emotionally satisfying flash forward 15 years, with the war in the past. We take an everywoman tour through the city, which calls to mind the all Brian Wood issue, #12, or even Megan in Local to some degree. Riccardo gets to draw the city shiny and gleaming for once, teeming with life, and it’s such a peacefully jarring transition. Through the words in Matty’s book, we learn that he’s largely accepted his personal outcome, but essentially asks people to remember what occurred, to love NYC, including its turbulent past, because when you forget, well, that’s when the old adage comes in about those not knowing history being doomed to repeat it. For a book that was dirty and gritty and complex morally, bordering on apocalyptic at times, it’s a bit of refreshing sunshine to see Wood end the book with such hopeful optimism. If the real main character of the series was always New York, the city itself, then the creative team just ended a 6 year love letter to NYC. So much of what Brian writes in the end piece rings true for me as well. It’s amazing how much life can change in the space of 6 years, with DMZ having run as a constant in the background. When the first issue of DMZ shipped, I was still living in the San Francisco Bay Area too, still worked at Cisco and not at MCA San Diego like I do now, I was *just* starting this blog, I’ve since bought and sold houses, had two kids, and hit a lot of those life benchmarks Brian talks about. DMZ was always there, and now it won’t be. This book allowed me to meet cool people like Brian, like Jeromy Cox, Nathan Fox, correspond with Will Dennis, Kristian Donaldson, John Paul Leon, and even my paisan Riccardo Burchielli. But, like Matty, we grow up, we internalize those experiences, and just move forward. I’m looking forward to everything that comes from this creator from this point forward. For me, Brian’s in superstar territory now, whatever that means, having helmed one of the longest running Vertigo books in history. Congratulations to everyone involved! I’m also happy to say that DMZ won’t be “over” for me for a few months still. Please visit us at LIVE FROM THE DMZ, where we’ll be continuing our coverage, volume by volume, all the way until Volume 12: The Five Nations of New York ships in the front half of 2012. Grade A+.

Secret Avengers #20 (Marvel): I knew I was going to dig the covert sci-fi vibe of this book as soon as I saw the cover. It's John Cassaday, by way of Steranko, with Warren Ellis and Alex Maleev delivering the contents. The book is just go-go-go and I dug it all the way. The title page is slick as hell, we start en media res with a frantic action opener, we jump back 5 years, then skip all up and down a timeline as Black Widow tries to prevent a bad mission that killed Steve Rogers, James Rhodes, and Sharon Carter. The murky art suits the moral ambiguity of the tale. The period sequence looks like some delicious lost strip, with period-style sound effects, exposition, and general newspaper aesthetic. Doctor Druid, Daimon Hellstrom, and "magic irradiation" reminds me of Warren Ellis' early Marvel work. At the end of it all, the story is a closed loop that tries its hardest to avoid the time travel paradox, it's quite entertaining, and a reminder that good spy work is something that nobody ever knows about, nearly averting total disaster in total secret. Grade A.

12.28.11 Releases

2011-12-26T12:22:00.000-08:00

Things get a little back to normal as the final shipping week of the year comes around. Without question, the pick of the week will be DMZ #72 (DC/Vertigo), which marks the very last issue of Brian Wood's 6 year tale of Matty Roth and the cultural identity of the modern day United States. Any series hitting 72 issues from the same writer is a minor miracle these days, and I'll be sad to see it go, but we'll still be talking about the trades for months to come over at LIVE FROM THE DMZ. There's really no other book I'll be able to focus on this week, but I'll still be picking up Secret Avengers #20 (Marvel) from Warren Ellis and Alex Maleev, featuring Black Widow. I can also recommend Avengers: Children's Crusade #8 (Marvel), which is the penultimate issue in the saga. Joe Casey offers up a little double tap with Haunt #20 (Image) and Godland #35 (Image). I was underwhelmed by the story in Haunt #19, but there's no denying the magic of Nathan Fox's art. On the other hand, Godland is usually both a fun read and visually engaging, but I have zero recollection of the last issue and what's going on. What looks good to you?

Comic Book Colorist Countdown - Archive Post

2011-12-25T08:00:00.000-08:00

Ryan Claytor and I are now officially done with our 2011 Comic Book Colorist Countdown, bringing you our series of the "10 Best Colorists" working in the industry today. As Ryan often does with a series of articles like this, today's final post archives the links to all 10 of our selections, along with all of the bonus interviews, in a handy one-stop link dump. You can bookmark it here. Thanks for reading!

Comic Book Colorist Countdown - #5 Dean White (Bonus Interview)

2011-12-24T07:00:00.000-08:00

Ryan and I deliver the last of our interviews in conjunction with our countdown of the "10 Best Colorists" working on comics today. I'm pleased to have interviewed one of my favorite new creators, Dean White. Check it out!

Comic Book Colorist Countdown - #7 Alex Sinclair (Bonus Interview)

2011-12-23T19:39:00.001-08:00

It's not over yet! Altough Ryan and I have wrapped up our countdown portion of the "10 Best Colorists" working in comics today, we have a couple of last minute interviews with them still trickling in. Please check out Ryan's interview with Alex Sinclair.

Comic Book Colorist Countdown - #1 Laura Martin

2011-12-21T07:00:00.000-08:00

Ryan and I bring our "10 Best Colorists" series home, today discussing the astonishing Laura Martin. Do yourself a favor and read the post!

Comic Book Colorist Countdown - #2 Dave Stewart (Bonus Interview)

2011-12-20T07:00:00.000-08:00

Before we reach the last slot, Ryan pauses to interview colorist extraordinaire Dave Stewart for our "10 Best Colorists" series. Check it out!

The Great Statistical Purchasing Analysis of 2011!

2011-12-19T09:01:00.000-08:00

Welcome to the 4th consecutive year that I’ve tracked my comic book purchasing habits and provided some commentary about the data. Essentially, the trend formally established last year appears to be continuing. Yes, my high school stats teacher, Mr. Embry, was right, “three points make a trend,” he said, while I was staring at a girl named Gretchen who looked vaguely like Whitney Port and used to wear frilly low cut tank tops, sans bra, that revealed oh so much that was taut and perky and, wait... what was I saying...? Oh. Yeah… In short, I’m buying fewer books across the board and spending significantly less money.

I attribute this primarily to two factors. One, I moved from a 10+ year career at a high-paying job in Corporate America to a small non-profit organization (during that same time period, I also had two kids!) and thus have less discretionary income for my hobbies. Yeah, “I’m all groweds up,” as Trent would say. I gave up collecting and racing BMWs long ago, as well as my voracious film appetite. It was not uncommon for me to burn up a set of $800 tires on any given weekend when I had them slapped on a ’95 M3 at the track, nor was it uncommon for me to literally spend all weekend watching back to back to back new releases in the theatre and hitting the town with a certain circle of friends. Heck, a little known fact is that one of my first writing gigs, like ever, was writing movie reviews, not comic book reviews. But, I digress.

The second factor leading to my declining purchasing habits is that I perceive less value remaining for me personally in the majority of products I come into contact with. Not the medium itself, but what the medium is predominantly producing. And despite objective price points, a lot of consumer purchasing habits are driven by perceived value. It doesn’t matter if something is $5 or $50, people will/won’t buy an object simply based on whether or not they subjectively feel they’re getting their money’s worth in terms of enjoyment. There are fewer titles I’m willing to adventurously try or habitually spend money on because price points on the upswing are intersecting with enjoyment on the downswing. There are fewer creators I feel any die hard sense of loyalty to. Sure, they do exist, but I feel like the pool is dwindling rather than growing. Sure, new creators get on my radar that I become a fan of, but trust me when I say that I’m either shedding books, or not bothering to try new ones after a casual flip test, at a faster rate than I’m sticking. I want to point out that there are obviously some amazing exceptions out there that I love, it’s not all doom and gloom. But, the bottom line is that if I don’t feel I’m enjoying a title or creator, really enjoying them fully – writing and art consistently firing on all cylinders in a confluence of substance and style more than the sum of its parts, high expectations indeed – then I’m just not going to spend any money. I used to try first arcs of many new books, now I try first issues.

Well, with all of the usual blah-bitty-blah out of the way, let’s just dive in… I’ll start with the TOTAL QUANTITY of SINGLE ISSUES purchased from 2008 to 2011.

2008: 259
2009: 197
2010: 169
2011: 125

This is a substantial decrease of 26% from 2010 to 2011, and a whopping 52% decrease from 2008 to 2011. I’m basically buying half of the floppies I was just 4 years ago. Looking at the same category of SINGLE ISSUES in terms of TOTAL DOLLARS SPENT, the results are as follows.

2008: $777
2009: $697
2010: $616
2011: $458

This also represents a 26% decrease from 2010 to 2011, and a 41% decrease from 2008 to 2011. You’ll notice that this is a disproportionate decrease in dollars spent compared to titles purchased over the longer 4-year period. That’s due to the fact that during the last couple of years, the average price point per item went up from somewhere around $3 to somewhere closer to $4 on so many titles. Since comics are periodicals and the weekly sales pattern and subsequent news cycle is endemic to the paradigm, I like to look at my purchasing habits on a weekly basis as a meaningful statistic as well. Here is the AVERAGE QUANTITY of SINGLE ISSUES purchased per week over the period.

2008: 4.98
2009: 3.79
2010: 3.25
2011: 2.40

Basically, I would buy about 5 singles per week on average in 2008, and that’s slowly declined to about 2 per week on average, if you round to the nearest whole book. It’s roughly a 30% drop from 2010 to 2011, and a 60% drop from 2008 to 2011. We can also take a look at AVERAGE DOLLARS SPENT per week on SINGLE ISSUES.

2008: $14.94
2009: $13.40
2010: $11.85
2011: $8.81

In 2008, I’d spent approximately $15 per week on SINGLE ISSUES, and by 2011 I’ve dropped into single digits, spending just under $9 per week on average, rounding to the nearest dollar. That’s a 25% drop from 2010 to 2011, with a 40% drop from 2008 to 2011. Moving on to the GRAPHIC NOVELS AND/OR TRADE PAPERBACKS category, I tracked all of the metrics in the same manner. First, here is the TOTAL QUANTITY of TRADES/OGN purchased.

2008: 55
2009: 26
2010: 18
2011: 12

This is a 30% drop from 2010 to 2011, with a sharp decrease of 78% from 2008 to 2011. Now, keep in mind that these metrics are for books purchased, not consumed. I would guesstimate that I actually read just as many trades or graphic novels as I have in previous years, likely more, but the catch is that I didn’t pay for them. As Thirteen Minutes has flourished, and I’ve picked up writing gigs at other venues, the number of comp copies I receive has increased dramatically. I don’t track that number, but just off the top of my head I can think of at least 2 to 3 dozen books that I received for free for review purposes this year, directly from creators, publishers, etc. that would tend to skew this metric. It’s hard to know to what degree this skew is in effect, because some of these comp copies acquired are ones that I would have bought anyway, but that’s certainly not the case for all of them. So, just keep that in mind. My perception is that I think the trend holds though, that there are probably fewer books in this category that I would have willingly spent the money on, but I can’t back that claim up with metrics. Let’s move on to look at TOTAL DOLLARS SPENT on TRADES/OGN.

2008: $1,200
2009: $521
2010: $413
2011: $103

From 2010 to 2011 alone, this is a 75% decrease, with a staggering 91% decline from 2008 to 2011. I’ve nothing more to add here other than the fact that this year’s $103 really doesn’t reflect my reading habits very accurately in terms of what I consumed. As I mentioned, I received tons of comp copies from all over the place, and I also ended up with a ton of Amazon credit that I burned up on trades/OGN, but those “sales” transactions weren’t tracked here because they never represented an actual out of pocket expense. And this is a purchasing analysis, not a reading analysis per se, hence their exclusion.

The average price point is also out of whack for this category this year, but I can explain that one. One thing that might jump out at you statistical nerds is that if I spent just $103 on 12 trades/graphic novels, then the average price point only amounts to $8.58. What kind of trades and graphic novels only cost $8 you might ask? The kind that are on sale for up to 80% off at the BORDERS LIQUIDATION SALES! Many of the books in this category were runs of Naoki Urasawa’s 20th Century Boys, Pluto, Monster, or other manga that I sampled, which I ended up picking up for around $2 in some cases, and those purchases severely skewed the metrics. Let’s look at the weekly averages in this category, starting off with the AVERAGE QUANTITY of TRADES/OGN purchased on a weekly basis.

2008: 1.06
2009: .50
2010: .35
2011: .23

That’s a 34% drop from 2010 to 2011, and a 78% drop from 2008 to 2011. It’s still staggering to me that I was basically buying 1 full-on trade/OGN per week in 2008. Now that the number has slipped to .23 per week, it’s almost a meaningless and insignificant entry on a weekly basis, but it does equate to about 1 per month, if we looked at it that way. In terms of AVERAGE DOLLARS SPENT on TRADES/OGN per week, the numbers shake out like this.

2008: $23.08
2009: $10.02
2010: $7.94
2011: $1.98

As you can see, this is a pretty serious decline of 75% from 2010 to 2011, and 91% from 2008 to 2011, but there are some extenuating factors previously explained that would tend to position this as being a little less bleak than the raw data might lead you to believe. Lastly, and mostly for kicks, we can look at combined units for both floppies and collected editions. Here’s the overall TOTAL UNITS PURCHASED.

2008: 314
2009: 223
2010: 187
2011: 137

So, I went from buying 314 total objects that qualify as “comics” in 2008, to just 137 in 2011. That’s a 27% decrease from 2010 to 2011, and a substantial 56% drop from 2008 to 2011, meaning that I’m essentially buying less than half of the comics I did just 4 years ago. That’s a pretty powerful bottom line statement, all things considered. In terms of TOTAL DOLLARS SPENT on TOTAL UNITS, it looks like this.

2008: $1,977
2009: $1,218
2010: $1,029
2011: $561

That equates to a 45% decline from 2010 to 2011, with a 72% overall drop from 2008 to 2011. The numbers sound big, don’t they? I went from spending nearly $2,000 on comics 4 years ago, to spending in the $500 range this year. Add it all up and *cringe* it looks like I spent about $4,785 on comics in the last 4 years. Shhh! Don’t tell my better half! As for AVERAGE TOTAL UNITS purchased per week…

2008: 6.04
2009: 4.29
2010: 3.60
2011: 2.63

This means that I went from purchasing 6 total “things” that could be classified as comics per week (whether singles or trades) in 2008, to not quite 3 in 2011. Those metrics represent a 27% decline from 2010 to 2011, with a 56% drop overall from 2008 to 2011. Lastly, we can also look at AVERAGE DOLLARS SPENT per week as applied to TOTAL UNITS.

2008: $38.02
2009: $23.42
2010: $19.79
2011: $10.79

This is another pretty straightforward metric that seems to ring true based on my perceptions of what I actually do in the LCS on a weekly basis. It means that in 2008, I was basically dropping $40 per week, and now I’m only dropping about $10 per week on average. This comes out to a 45% drop from 2010 to 2011, with a 72% decrease from 2008 to 2011. That feels like what actually occurs for sure. I usually buy 2 or 3 singles per week, breaking a $20 bill in the process and hoping I have enough left for lunch, and then getting comp copies of a bunch of other stuff from generous creators and publishers.

Questions? Thoughts? Would you like to see me continue this analysis next year or is the writing on the wall at this point? Will all the categories ultimately bottom out at zero?! Should I scrap this ongoing project or hold out hope that one day the numbers will increase? Let me know!

12.21.11 Releases

2011-12-19T08:44:00.000-08:00

There are a lot of good books out this week, but I suppose I have the most emotionally riding on Uncanny X-Force #19 (Marvel). Over the course of 2011, it grew to be one of my favorite books, culminating with one of the year’s best single issues in last week’s conclusion to the Dark Angel Saga. I’m hope hope hoping that the transition from Jerome Opena to Robbi Rodriguez will be strong, hopefully shored up by Rick Remender and Dean White staying on the title, along with that awesome cover by Rafael Grampa. Wolverine & The X-Men #3 (Marvel) also comes out, continuing the better (best?) of the recently revamped core X-titles. DC continues a couple of their strongest offerings from The New 52 with Batman #4 (DC) and Wonder Woman #4 (DC) also hitting the shelves. In the indie arena, Michael Kupperman’s Tales Designed to Thrizzle #7 (Fantagraphics) is sure to delight the readers who seek it out. What looks good to you?

Comic Book Colorist Countdown - #2 Dave Stewart

2011-12-19T08:14:00.001-08:00

Ryan and I get closer to the finish line with our "10 Best Colorists" series, today we gush about the one and only Dave Stewart. Read the full post!

Comic Book Colorist Countdown - #3 Trish Mulvihill

2011-12-18T07:45:00.001-08:00

Ryan and I continue our countdown of the "10 Best Colorists," and the gloves come off as we argue over Patricica Mulvihill! Go sort out the madness.

Comic Book Colorist Countdown - #4 Philippe Dupuy & Charles Berberian

2011-12-17T08:05:00.000-08:00

Ryan and I continue our annual collaboration, this year counting down our joint list of the "10 Best Colorists." Today's selection is the duo of Philippe Dupuy & Charles Berberian, read the full post!

Comic Book Colorist Countdown - #5 Dean White

2011-12-16T08:27:00.001-08:00

Ryan and I continue our countdown of the "10 Best Colorists" working today. I'm pleased to announce today's selection, Dean White. Check it out!

Comic Book Colorist Countdown - #6 Seth

2011-12-15T08:33:00.000-08:00

Ryan and I continue our countdown of the "10 Best Colorists" working today, as he examines the work of the inimitable Seth. Take a look!

12.14.11 Reviews

2011-12-14T20:38:00.000-08:00

Uncanny X-Force #18 (Marvel): Truthfully, I was a little pissed off when I walked up and saw this sucker polybagged like it was 1992 all over again, half expecting to find a trading card by Rob Liefeld inserted. But, inside? It. Did. Not. Disappoint. The book is full of smarts, like Deathlok logic-ing his way out of War’s spell, reminding me of a duel that Sandman once had with a demon from hell that had stolen one of his weapons. The book is full of humor, like Fantomex calling Archangel “cuckoo bird,” reminding us why it’s no surprise that Paradox Comics Group recently selected him as “Best Supporting Character.” I’ve rarely seen a book that can push your emotions from one extreme to another. Within the space of just a few minutes, I’m LOL-ing at Fantomex, and then Betsy and Warren nearly bring a tear to my eye. I mean, seriously, I was getting choked up when the art switched to that fantasy sequence and she psychically gave him the life they both always wished they could have together. As if Jerome Opena’s full throttle action sequences weren’t in your face enough, Remender then comes along and takes two swipes at DC, with a Ma and Pa Kent archetype on a farm, then naming the new En Sabah Nur “Genesis” to the existing heir of Apocalypse. This is just smart, fun, cool, slick, beautiful shit. By the end of it all (vague spoiler alert, I guess?), two characters are dead, and there’s a bittersweet twist. This book is more imaginative, more adrenalized, more humorous, with a deeper emotional core than pretty much anything out there. And ohmygod, does that Rafael Grampa cover art for the next run look deliciously wicked. All of the other X-books should be taking notes from these guys on how to do the franchise perfectly. Oh, and three words: Dean. White. Color. Grade A+.

Batwoman #4 (DC): That text intro on the first page has got to be the best bit of succinct instant recap existing in the biz today. I love how Flamebird is more prominent in this issue. I don’t mean this to be salacious (don’t I?), but I also really like how you can see the outline of Bette’s nipples protruding from her costume. It just seems like a small realistic touch in terms of how the uniform would form around her body. There’s an anatomical authenticity there that I truly appreciate. The juxtaposition of the adrenaline rush from crime-fighting and the washed out black and white sex scene is a probing look into the mindset of Bette and what makes her tick, setting up all kinds of guilt to follow. This has got to be one of the most beautiful sequences this year, in one of the best single issues this year. Along with what just happened in Uncanny X-Force #18 (another best issue of the year), I’m so glad I put both of these series on "My Favorite 13 Things of 2011" list. As Kate and Maggie do some long-awaited “bonding,” Bette and Cameron Chase are sharing quite a different scene. One of the other best sequences is when we get to see some real investigative work being done by the DEO, and I always lose my shit when Director Bones shows up. Dude is just cool. One thing that might get lost in all of this rich character work, engaging story, and amazing pencils, is what a terrific designer Jim Williams is. There’s so much going on to latch onto, that you almost miss the sheer wonder of how he can lay out a page or arrange the panels. This book is absolutely breathtaking. Grade A+.

The Strain #1 (Dark Horse): I think I’ve seen this movie before. Dante’s Peak, Volcano, War of the Worlds, Outbreak, Independence Day, 2012, The Day After Tomorrow. I’m surprised this is Guillermo Del Toro and not Jerry Bruckheimer or Roland Emmerich. You take all that formulaic set up, about the dysfunctional family grounding you in a larger disaster, throw in the female partner, the personal connection to events, add de rigueur vampires, and some of that post-9/11 “airplanes are the scariest things we can think of now” stuff, as seen in the series premieres of Lost, Flash Forward, Fringe, and about a half dozen other TV shows, and there you go. Your basic post-9/11 disaster movie pitch “yeah we know The Walking Dead is pretty successful but don’t use zombies because that would just be too obvious” Hollywood formula. The opening prologue was very long-winded, I feel like that could have been done in at least half the pages. Mike Huddleston is a good artist though! The style almost feels like some bizarre cross between Leandro Fernandez and Gabriel Ba in spots. It makes me wonder if Huddleston would have been a good Northlanders artist? Anyway, I like the whole JFK lockdown, government procedural bits. I like the hook of the mystery regarding a plane full of dead people that lost comm. But, I hate the formulaic familiarity, the supernatural overtones turn me off, and I’m so very tired of vampires. This worked well enough for a $1 introductory issue, but I don’t think it’s quite unique enough for me to support at full price. Grade B.

Comic Book Colorist Countdown - #7 Alex Sinclair

2011-12-14T08:32:00.001-08:00

Ryan Claytor and I continue our annual collaboration, counting down the "10 Best Colorists" working in comics today. On this fine Wednesday morning, we take a look at Alex Sinclair. Check it out!

Thirteen Minutes Wins 2011 Paradox Comics Group "Oscar" For Best Web-Site!

2011-12-13T14:54:00.000-08:00

This is the sound of me speechless...

...which my friends will tell you doesn't happen very often. HUGE thanks to the crew at Paradox Comics Group for putting the awards together and delivering some very respectable choices, such as Uncanny X-Force, JH Williams III, Scott Snyder, and Fantomex in various categories. HUGE thanks to everyone who got out and voted! I'm humbled, gratified, and excited all at once.

VOLUME 07: WAR POWERS Now Broadcasting LIVE FROM THE DMZ

2011-12-13T08:43:00.000-08:00

DMZ VOLUME 07: WAR POWERS is now broadcasting LIVE FROM THE DMZ. With just a single issue left before the series ends, there's no better time than now to jump on board the site dedicated to Brian Wood’s long-running DC/Vertigo classic. DMZ chronicles journalist Matthew Roth in a not-too-distant-future America plunged into the Second American Civil War.

LIVE FROM THE DMZ takes a behind-the-scenes "Director's Commentary Track" look at the creation of the series, with interviews, never-before-seen concept art, and more, as we count down to final issue #72 this December. There’s nothing else like it and it’s done with the full cooperation of Brian Wood and many of his series collaborators.

Comic Book Colorist Countdown - #8 Tom Luth (Bonus Interview)

2011-12-13T08:40:00.000-08:00

Ryan delivers an in depth interview that survey's Tom's entire career, as our "10 Best Colorists" series continues over at Elephant Eater.

My 13 Favorite Things of 2011

2011-12-12T08:48:00.000-08:00

DMZ (DC/Vertigo) by Brian Wood & Riccardo Burchielli: Was there every any doubt? DMZ is the most relevant political allegory in early 21st century fiction. It captures a defining moment in the history of our generation, by the writer of our generation. It’s an unflinching “what if?” exercise that illuminates and provokes as often as it entertains.

UNCANNY X-FORCE (Marvel) by Rick Remender & Jerome Opena: Despite some fill-in artists, this specific creative team’s output remains the perfect X-Men book for my money. There’s a balance between an appreciation of history, and the avoidance of getting lost in its own convoluted continuity. It’s self-aware, with plots of consequence set in a visceral aesthetic tone that serves the story. There’s action, humor, and quintessential “cool” briskly paced with strong characterization. It’s everything I want from a modern superhero comic.

SWEETS (Image) by Kody Chamberlain: The collected edition of Sweets is a perfectly packaged singular creative vision that breathes new life into the well tread crime noir genre. At this point, my eyes are fixed on Chamberlain, sitting down in Louisiana hidden away from the incessant chatter of New York and Los Angeles like Prospero on his little island, to see what the one-man-band will conjure next.

20th CENTURY BOYS (VizMedia) by Naoki Urasawa: I discovered the works of Urasawa this year. I thought Pluto: Urasawa X Tezuka was a great reimaging, and even though the serial killer thriller Monster never quite hooked me, this one is truly his masterpiece. In the wake of post-WWII reconstructionism in Japan, a band of kids must determine the fate of their own generation. The kids were promised their science-fiction future, and when it doesn’t come to pass, they simply invent their own. It’s full of pop political commentary and a sense of epic grandeur seldom seen in American comics. It has more to say about the culture it resides in than many modern works do, while offering a master class in hooking and looping story threads. There’s no wonder it’s known as “The Watchmen of Japan.” Psst – I think it’s actually better.

ECHO (Abstract Studio) by Terry Moore: When you read the massive omnibus in one sitting, you realize that Moore essentially crafted a heartfelt action film on paper. It hums along with creative control, perfect pacing, effortless but highly effective pencils, natural dialogue, and small character moments balanced with unpredictable action. It’s a perfect self-contained package, and deep down we all really know what was in Julie’s box. Wink!

SCALPED (DC/Vertigo) by Jason Aaron & R.M. Guera: With just a handful of issues left, you suddenly realize what an essential part of the Vertigo line-up this was. Like the sun, like the air, it’s so good you don’t even realize the gaping hole that will be created when it’s gone. With no more DMZ, Northlanders, or Scalped, Vertigo needs to ramp up their next wave of flagship titles stat. In the wake of The Sopranos, Mad Men, Game of Thrones, The Walking Dead, and [insert your example here], if a network like HBO isn’t trying to adapt this brutal tapestry of American society in decay, masquerading as Native-American crime opus, then something is seriously wrong with the PTB in the Hollywood machine.

CASANOVA: AVARITIA (Marvel/Icon) by Matt Fraction & Gabriel Ba: With clever narrative tools like the lost art of superimposition, fourth wall breaking, calculated repetition, and Rashomon style re-examination of what’s come before, there’s probably no other comic today so aggressively displaying what comics can be and can do with absolute creative freedom. Casanova continually pushes the envelope of imagination, and wickedly entertains those-in-the-know in the process. In one of those aborted inverse timelines that Cass exterminated, all the Marvel Zombies only buying Fraction’s more mainstream work are buying this title instead – and the industry looks so much brighter.

BATWOMAN (DC) by JH Williams III, W. Haden Blackman & Amy Reeder: With formal constructionist tendencies and a strong supporting cast of (mostly female) characters, Jim continues his evolving artistry and skills at a compelling narrative thrust. Batwoman breaks the mold of full immersion in a world of substance and style. If all mainstream comics were this good, the medium would be a force to be reckoned with, instantly dispelling any backward-ass, lingering, embarrassing, nostalgic perception of the “BIFF! BOOM! POW!” era. Mediocre superhero comics are a poison, and Batwoman is the antidote.

ANY EMPIRE (Top Shelf) by Nate Powell: I think this book is going to mark a turning point in Powell’s career, as he seeks to reconcile the tension existing in his generation between their G.I. JOE childhood and the adult culture of war and violence they’ve been forced to inhabit. Any Empire operates in a perfect nexus of minimalist dialogue, a sense of adventure, and symbolic imagery full of emotionally charged ideas. It’s one of the most important works this year, reminiscent of Stephen King’s Stand By Me, in the way it chronicles the changing value system from one generation to the next.

LEWIS & CLARK (First Second) by Nick Bertozzi: It’s important to note that this biographical interpretation of the famed 1804 expedition dutifully captures their plagued misfortune, the minds of the explorers, overcoming all types of adversity, and the emotional toll it all took through robust characterization, but don’t ever think it’s just regurgitation of dry historical facts. It’s visually stunning, yet thoroughly accessible. Educators should take note of the evolving paradigm regarding rote facts being taught in a more compelling package, one that engages both the left and right sides of the brain with equal gusto.

CHESTER 5000 (Top Shelf) by Jess Fink: It’s a perfectly delicious blend of steampunk and erotica that isn’t apologetic or ashamed, but fiercely proud, about women’s sexuality and their sexual rights. Fink cleverly juxtaposes the societal progress of the industrial revolution, with the societal sexual repression of the same period. She delivers inventive and rightfully mischievous experimentation with the medium, most memorable for the way the panel borders and gutters come alive and directly participate in the storytelling activity. And the sex is really hot.

HABIBI (Pantheon) by Craig Thompson: Regardless of what you make of the contents (there’s some minor controversy online about Thompson’s story being accused of “Orientalism”), “My Beloved” is one of the most beautiful looking books to emerge in a very long time. It’s a lyrical story full of culture, action, and sexual awakening. To some degree, it’s about belief, but not belief in a deity per se, or the dogma of any particular religion. I think it’s about belief in love, in connectedness, in other people, and how that can profoundly alter your outlook on life. It’s hard not to gush about the symmetry in motion, the artistic depiction of orgasm, the soothing letters, the decorative ornamentation, the detail in the design flourishes, or how this will stand for a long time as an artifact of pure artistic expression. You can lose yourself in the visual wonderland. It has the sweeping scope of a modernized parable. This might sound like a contrarian backhanded compliment, but despite what could be perceived as some clichéd characters who lack development and the project potentially valuing form over function, this seems like an inevitable Eisner Award Winner.

THE NEW TEEN TITANS: GAMES (DC) by Marv Wolfman & George Perez: We’ve long forgotten how rapidly The New Teen Titans rose to prominence and gave the Uncanny X-Men a run for their teen angst money. Games is an interesting piece of ephemera that presents the classic period aesthetic of the 1980’s, but is modernized to address NYC terrorism in a Manhattan skyline that still possesses the WTC. Wolfman makes an effort to root this in DC lore with the inclusion of characters like King Faraday, but throws in terms like “darpanet” or “Langley” or “Quantico” from a time when the mere mention of these would have been the height of relevant government intrigue. This OGN starts on slow and builds to a frenetic pace, as the kids deal with an asymmetrical foe, paranoia, and government knowledge of conspiracies eerily similar to 9/11. It’s just smart. Perez is always lauded for his usually tight and detailed style, but here his versatile Azerath sequences with Raven come off more ethereal, like Jim Starlin’s work on the early Dreadstar serialization in Epic Illustrated. It’s all a memorable blend that feels like a paradoxically dated intellectual response to events now happening to us in real time.

Runner Up: BATMAN (DC) by Scott Snyder & Greg Capullo: I almost filed this in the “too soon to say for sure” category along with Wonder Woman and Wolverine & The X-Men (see below), but it was just too strong to be relegated to that fate. Batman was so close to knocking another title off the list and officially making the jump up, that for the first time ever, I caved and created a “Runner Up” category. I think it would’ve made it if there were just a few more issues out to demonstrate longer term consistency. If the current trend continues, I fully expect it to sit proudly on the list this time next year, without caveat or asterisk. This iteration of Batman marries Capullo’s slick but purposeful “best of the 90’s Image Comics” art to Snyder’s masterful distillation of all the essential elements of the property, seamlessly working together to create strong characterization and intelligent action. It’s a pitch-perfect union. If you’re one of those people who don’t consider Snyder “broken out” yet as a star writer from projects like American Vampire: Survival of the Fittest with Sean Murphy’s lavish illustrations, then this is the title that you won’t be able to ignore. Wake up, there’s a new player on the board.

There are a few additional books that I wanted to mention. These are books that I enjoyed, but just couldn’t seem to fight their way onto the list for one reason or another. SECRET AVENGERS (Marvel) by Warren Ellis & Various Artists was an abrupt run of perfect little done-in-one treats, like a box of See’s Candies. Sometimes you get a nut, some times a chew, some are favorites, and some are not. By definition, the artistic contributions were uneven, but I always looked forward to cracking it open. Speaking of inconsistent runs, there’s BATMAN INCORPORATED (DC) by Grant Morrison & Chris Burnham. The issues with Burnham on art feel magical, while the rest simply do not. If you want to keep talking about how artistic contributions affect your overall enjoyment of a title, well, then, I’ll say that I loved looking at WOLVERINE: THE BEST THERE IS (Marvel) by Charlie Huston & Juan Jose Ryp for the art alone, but nothing else was terribly compelling about it. It’ll come as no secret around these parts that I’m partial to the authenticity of Brian Wood’s writing in this project, but my mention of THE NEW YORK FIVE (DC/Vertigo) by Brian Wood & Ryan Kelly has just as much to do with Kelly and how much he’s grown as an artist. I really enjoyed the new Jason Shiga joint EMPIRE STATE: A LOVE STORY (OR NOT) (Abrams/ComicArts), a quality package showcasing his immense talent, full of pop culture drops and missed opportunities in life. In the “too soon to say for sure” category, I’d place WONDER WOMAN (DC) by Brian Azzarello & Cliff Chiang, along with WOLVERINE & THE X-MEN (Marvel) by Jason Aaron & Chris Bachalo. These are both solid books that have my interest piqued at the moment. If they can sustain their creative teams and the energy they’re currently putting on the table, it’s possible they could make a run at next year’s list.

12.14.11 Releases

2011-12-12T08:46:00.001-08:00

Two of my favorite books to read in terms of sheer comics enjoyment are out this week. They are Batwoman #4 (DC) and Uncanny X-Force #18 (Marvel). Both are recommended and continue to fire on all cylinders as shining examples of the mainstream done absolutely right. Although it’s strapped with that Guillermo Del Toro & Chuck Hogan moniker up top, which makes me nervous, I’ll probably check out The Strain #1 (Dark Horse) since the introductory issue is only $1. David Lapham and Mike Huddleston are a terrific sounding team, and I like the CDC/terror concept, if not the more supernatural overtones. On the collected edition front, I’d like to encourage everyone to skip that ridiculous $150 hardcover of all The New 52 first issues, and instead plunk down $99 on the Absolute Promethea: Volume 03 HC (DC). It’s a much better book and I can basically guarantee you’ll enjoy it more. It was a nice surprise to see the Nightly News Anniversary Edition HC (Image), highlighting Jonathan Hickman’s first attention-grabbing foray into creator owned works. Lastly, I can wholeheartedly recommend 20th Century Boys: Volume 18 (VizMedia) from Naoki Urasawa. What looks good to you?

Comic Book Colorist Countdown - #8 Tom Luth

2011-12-12T08:26:00.001-08:00

Ryan and I continue our series of posts concerning "The 10 Best Colorists" in comics, today featuring the incomparable Tom Luth. Check it out!

Comic Book Colorist Countdown - #9 Jeromy Cox

2011-12-11T06:00:00.000-08:00

Ryan Claytor and I continue our countdown of "The 10 Best Colorists" working in the industry, today featuring the uber-cool craftsman Jeromy Cox. Please take a read through the full length write up!

Comic Book Colorist Countdown - #10 Kristian Donaldson (Bonus Interview)

2011-12-10T07:40:00.001-08:00

Ryan Claytor and I continue our countdown of "The 10 Best Colorists" working, today featuring a special interview with Kristian Donaldson. He discusses his approach to coloring Supermarket, time spent at SCAD, collaborating with Brian Wood, and more. Check it out!

Comic Book Colorist Countdown - #10 Kristian Donaldson

2011-12-09T08:13:00.001-08:00

Ryan Claytor and I continue our countdown of "The 10 Best Colorists" working in the industry over the next couple of weeks, today featuring Kristian Donaldson. Check out the discussion!

Comic Book Colorist Countdown - Introduction

2011-12-08T08:46:00.000-08:00

During the holiday season over the last few years, it’s become customary for me to team up with Ryan Claytor of Elephant Eater Comics for a series of posts on various industry topics. In 2008, we discussed form and function, in 2009 it was the role of the creator and the critic, and in 2010 we collaborated on a spirited list of selections for holiday gift-giving. Our topic this year, as they all have in the past, spun out of an organic conversation between the two of us. Maybe it was in relation to an interview with Jeromy Cox I’d done, or maybe it was our mutual admiration for Dave Stewart on Daytripper, I’m not even sure at this point, but the under-noticed and under-appreciated role of The Comic Book Colorist presented itself naturally. When we were struggling to come up with an annual topic that we felt had enough “oomph,” this was an epiphany of genuine interest.

That said, we worked together to come up with our joint list of "The 10 Best Colorists" working in the industry today. There’s some natural overlap in our preferences, but also a lot of diversity on this list in terms of what influenced our selections based on our reading habits, as well as our respective roles as (primarily) creator and (primarily) critic. We’ll be flipping back and forth between our respective selections, supporting our choices with some crisp examples of their work, and then bat the conversation back and forth to see where that takes us. Finally, we’ll be posting the entire series at Elephant Eater, while I’ll be linking to it from here and tweeting the heck out of it! (Follow me @thirteenminutes and/or Ryan @elephanteater). We hope you’re entertained by this list and also come away with a better understanding of how strong coloring choices enhance the medium, and pay a little more attention to some of the unsung heroes of our beloved comic books. Enjoy!

Note: The picture you see is a quirky old image I found during research from a book by J. Hatt in 1908, who was arguing that color theory was stemming from a flawed premise. He felt that magenta, yellow, and cyan ought to be the correct primary colors vis-à-vis Yarmby’s color wheel. The book dives quickly into a more technical analysis beyond the scope of this series of posts, but I thought it was a bold proclamation about the importance of color theory and the role of colorists – not to mention just an awesome old timey image!

12.07.11 Reviews

2011-12-07T15:29:00.001-08:00

Thought Bubble #1 (Image): The Leeds Comic Art Festival’s First Ever Anthology. I caught some stray rumblings about this online, but never really paid much attention. It had an attractive cover, I saw names like Mike Carey, Becky Cloonan, and Antony Johnston advertised, and it’s in the “Newsprint Revivalist Movement” format (a term I invented to describe a wave of mini-comics a couple years back), so in an otherwise slow week of comics, I decided what the hell? And HOLY SHIT, not only is that cover by Becky Cloonan, but the first piece is a Wasteland strip from Antony Johnston and Charlie Adlard! It showcases the harsh environs and deadpan drifter Michael. Duncan Fegredo turns in a secret origin for himself, which I really enjoyed, especially the mentions of Kid Eternity and Enigma. There’s a closed room time travel murder mystery from Andy Diggle and D’Israeli which was gorgeous. I found the art itself a little stiff in A Thief’s Tale by Furth, Rutter, and Beazante, but it’s colored beautifully. The Da Vinci story by Mike Carey, M.D. Penman, and Andrew Tunney begins as a straight history lesson, introduces subtle humor, and then quickly builds to LOL proportions. The amazing art has an almost Winsor McCay vibe to it. The anthology contains 3 pieces from the 18+ entrants, and 3 from the under 18 set. Of those, I liked The Very Best by Sally Jane Thompson, which had a bit of a Jason Shiga aesthetic by the end, and Let’s Go Fly A Kite by Will Morris, which was clearly influenced by the great work of Gipi. H.P. Lovecraft’s The Hound was interpreted by Stuart Gordon and Tula Lotay. It balanced great horror motifs, great detail in the pencils, and nice colors, especially the bloody bits that literally bleed off the page. Considering the $2.99 price point, sheer diversity and strength of the work, and a format I’m partial to, this was clearly the book of the week. Grade A.

The Defenders #1 (Marvel): So, it’s like you have this really cool friend who is usually pretty smooth and you head out clubbing one night, right? But, instead of “Matt,” let’s call him, being a really good wingman who usually entertains you with his antics, he’s having an off night, and he’s trying reeeally hard to be hip and cool and funny, and instead you just feel embarrassed for him. Yeah, it’s like that. Fraction and Dodson open with some weird awkward one night stand involving Stephen Strange and then the hooking up with random chics thing becomes an ongoing bit in the rest of the book. Hulk shows up and then for some reason a bunch of heroes get together to help him, and then they go to Wundagore Mountain, but I have no idea why any of that is happening. One interesting thing about the book could be the clever info scroll at the bottom of the page, but I feel like Joe Casey was experimenting with that years ago in books like The Intimates. The shifting narrative POV was fun for a minute, but then you realize you’re overwhelmed by all of the random dialogue and straight exposition. The walking stereotype Flight Attendant does it: “Mr. Rand, I’m flying in a super duper plane that cost a gazillion dollars you invented doing a zero-g dive and blah, blah, blah…” Iron Fist does it: “It sounds like you just asked me to blah, blah, blah…” She Hulk does it (why is she red again???): “I’ll be the tourist, what is Wundagore Mountain?” so another character can go blah, blah, blah… I’m also not really sure how this is a sentence: “Namor’s shouting but she can’t hear him, but she reads his lips it looks like Rand.” Huh? Dodson’s soft serve art looks a little more at home here than it did in Uncanny X-Men, but the prevailing feeling is that Fraction is just trying too hard to be clever. Danny is reading Marvelman comics. Ok. I suppose he crams a lot of character intros into a small space, but there’s no real reason for these characters to be together. I guess that’s kind of the point of the book, but instead of playing like self-aware tongue-in-cheek meta, it just lays there with no real raison d’etre besides the obtuse “protect the world from the impossible,” whatever that means. Maybe this will congeal in a couple of issues, but based on the strength of this, I doubt I’ll be around to find out. Man, I love the guy, but it seems like Fraction has had more misses lately than hits. Grade B-.

BEST MINI-COMICS & SMALL PRESS TITLES OF 2011 by Justin Giampaoli

2011-12-05T08:35:00.001-08:00

[Originally Published @ Poopsheet Foundation]

Dedicated to Dylan Williams

As has become tradition over the last couple of years, I’ll issue my standard disclaimer about how difficult it is culling this list down to just 10 entries. It’s a rigorous mental exercise that has me staring at my screen for abnormally long periods of time, pitting title against title based on inexplicable personal criteria, and weighing artistic merit and entertainment value for what feels like an eternity.

I’d be remiss in not mentioning a few other selections that I enjoyed, which also valiantly fought for a place on the list. These recommended titles include BEING by Martins Zutis, THE STORY OF GARDENS by Kuba Woynarowski, CHICKENBOT’S ODD JOBS #3 by Eric H., NIGHT ANIMALS by Brecht Evens, I WILL BITE YOU by Joseph Lambert, VIETNAMERICA by GB Tran, OPTIC NERVE #12 by Adrian Tomine, HABITAT #2 by Dunja Jankovic, BLAMMO #7 by Noah Van Sciver, THE WHALE by Aidan Koch, THREE #2 Edited by Rob Kirby, BY THE SLICE by Giulie Speziani & Cecilia Latella, and PASSAGE by Tessa Brunton.

SOLDIERS OF GOD by Kelly Clancy: This coming of age tale diverges from the typical point of view of relatively insular Western Culture, taking cues from creators like Marjane Satrapi, Art Spiegelman, and Joe Sacco. It’s educational while never ceasing to entertain, and exhibits remarkable craftsmanship in the process, from someone who is early into what I hope is a very long and prolific career.

TOO DARK TO SEE by Julia Gfrorer: One of my favorite new creators has crafted a revealing confluence of the unsettling and the erotic. It’s an emotionally frank closed-room examination of basic human nature and the underpinnings of interpersonal dynamics.

THE DEATH OF ELIJAH LOVEJOY by Noah Van Sciver: I still don’t understand why Noah isn’t a superstar. He’s a talented creator who seems intent on pushing himself beyond the confines of his autobiographical roots, this time addressing speculative historical fiction merged with an outright biographical account of a figure that should be important for anyone who believes in Freedom of Speech and Freedom of the Press. Van Sciver is one of the small elite cadre of creators who make me yearn to still be reviewing comics 10 years from now just so I can see what he’ll do next. Noah, you might be an “Ignatz Award Loser!” but you’re a winner in my book. More precisely, Noah is the Robert Crumb of our generation.

THE WOLF by Tom Neely: The Wolf is a beautifully modern dissertation on sex, violence, and humanity, with painterly gallery worthy images capable of haunting you long after put the book down. Imagine a mash up that’s equal parts Floyd Gottfredson and Lon Chaney. It’s the fusion of early Disney ornamentation and Neely’s almost fetishistic fascination with horror imagery converging in a silent film concoction that perfectly controls the pace of the transformative experience. There’s nothing like it. It’s so damn good.

BLACK EYE Edited by Ryan Standfest: Applying the critical curatorial eye to humor-functionality-as-genre in the comics medium! Academic precision balanced with liberated artistic voices! Banned in Canada!

GANGES #4 by Kevin Huizenga: It’s the continuing adventures of Glenn Ganges and his latest nocturnal outing, as he navigates his sleepless existence on a seemingly endless night. With the degree of interactivity occurring between the page and the readers, there’s as much technique on display here as there is original storytelling.

BATUMAN #1 by Mari Ahokoivu: The only truly fresh Batman riff in recent memory. It cuts to the heart of the property’s psychological insecurities and transcends its origins to become something wholly unique. If Joe Matt, Chester Brown, or Seth did Batman, it would have come out looking like this VERY low budget Dark Knight that takes the familiar tropes of chummy partnership, playboy flirtation, enigmatic hero, and maniacal villain, and subtly upends every single one of them to reveal a brilliant new examination of a 70 year old character.

EVERYTHING UNSEEN: PARTS 4 & 5 by Drew Beckmeyer: There are more ideas present per page in Beckmeyer’s saga than most comics have in the entire issue. The sketchy lines drag us kicking and screaming through 40 days adrift in the desert. The contemplation ranges from pure existential dilemma to allegorical misgivings about our current culture of desert campaigns and pre-emptive strikes. Beckmeyer seems to eschew all the traditional narrative tools, common visual cues, and linear sets of logic. This book doesn’t do anything right by conventional standards, and for that it is perfect. As a reviewer, you seldom see such unharnessed energy reverberating off the page. It’s an absolute triumph from start to finish.

TRIGGER #2 by Mike Bertino: This is the second book in a little double-tap this year from Revival House Press. It’s got the primal visceral aesthetic appeal of Gary Panter, using colors and shapes that shouldn’t work together so well, but miraculously do. Along with his pure technical ability, Bertino’s narrative range is impressive. From faux autobio to humor to inventive sci-fi and other genre mash-ups, Bertino shares the lens through which he views the world and invents his own mythology and internal storytelling rules in the process. Some creators strive for world-building; Bertino is reality-building.

THE DISGUSTING ROOM by Austin English: Though some of the creators on this list are loosely affiliated with the publisher, this is the lone entry published (not just distributed) by Sparkplug Comic Books. The Disgusting Room is another foray into what I’ve been terming the “Newsprint Revivalist Movement” for a couple of years now. English’s work is about the impurity of the human condition, it rewards repeated reading, and although you might initially assume there’s a limited market for this odd abstract expressionistic style, its very existence sings about the versatility of the medium. It’s impossible for me not to acknowledge the loss of Dylan Williams in a project like this. In many ways, it’s a perfect example of why Dylan’s legacy continues to be so vital. The Disgusting Room is just the type of book he wanted to read. It’s just the type of book that probably couldn’t exist anywhere else. So, it’s just the type of book that Dylan went and published. He did that not to make money or to curry favor with anybody, but followed his entrepreneurial sensibility and punk DIY heart, just to ensure it was put out into the world and available for more widespread reader exposure. It’s selfless. It’s empowering. It’s about building something called “connoisseurship” in an audience. It breaks my heart that this is the first time he won’t be able to share his thoughts on one of my annual lists.

12.07.11 Releases

2011-12-05T08:32:00.001-08:00

Zzzzzzzzzz. Zzzzzzzzzz. Zzzzzzzzzzzzz. Zzzzzzzzzzzzz. Zzzzzzzzzzzzzz. *Cough* * Cough* Huh! What?! Oh, yeah, comics are coming out this week. What a sleepy bunch of offerings. I guess most people will be talking about Defenders #1 (Marvel) this week? I’ve never been a huge fan of the property, but despite some misses with Invincible Iron Man (ever since it switched to #500), and the whole Fear Itself debacle, and eventually losing me on Uncanny X-Men, Matt Fraction has at least earned the right to have me check out the first issue. I wasn’t fond of Dodson’s art on Uncanny X-Men, but somehow the cheesecake vibe seems like it might fit (what I assume is) the tongue-in-cheek tone of this title. Speaking of X-Men books, I’ll probably give X-Club #1 (Marvel) a flip at the LCS. I generally like the characters in this mini-series, and sometimes writer Si Spurrier can really crack me up online, so this has the potential to be a little sleeper. Lastly, out of the sheer desperation of just wanting something new to read, I could see myself picking up Voltron #1 (Dynamite Entertainment) just for old times’ sake. What looks good to you?

Passage by Tessa Brunton

2011-12-01T09:32:00.000-08:00

Passage (Sparkplug Comic Books): Ostensibly, this 32 page graphic novella is about celebrating her brother’s atypical rite of passage into adulthood, but it also serves as Tessa’s own small scale coming of age story. It’s a tale which ultimately sees her defending the sovereignty of her own personality and individual rights. Her offbeat parents are quite distinct, but Brunton wisely roots the story in a suburbia with some commonality we can all identify with. The end result is that the general mood absolutely rings true. Her note perfect details in the pencils lend a sense of authenticity to her quirky upbringing. When you start cataloguing the shading technique, the rampant crosshatching, and the variable line weights, you realize her self-taught style is highly accomplished, culminating with a glorious two page spread that’s a cutaway diagram of her parents’ house. It comes with a penchant for creating rich panels that hum with a lived-in feeling evident in the clothing, the hair, the backgrounds, and the general sense of diversity in all of the figure work. Most importantly, she’s able to capture the dynamic surrounding teenagers’ desire to be alone in order to find their way, much to the chagrin of well-meaning parents who always seem to over-insert themselves into the process. Maybe sequestered youths create hidden personalities as adults, but we should also remember our past while trying to transcend it, as the old saying goes. I enjoy her very dry sense of humor, as she matter-of-factly delivers the gritty details of her “fertility workshops” that intend to celebrate womanhood, and the titular homemade vision quest excursion that serves as her brother’s wacky passage from boyhood to manhood at the hands of the adult men in her father’s social circle. I guess if I’ve learned anything as a parent about teaching kids, which I see reflected back at me in Passage, it’s that you can’t really force the bonds of knowledge at a time of your choosing. It has to happen organically. It’s tough to try and overtly teach a kid, but instead you can try to create an environment, surrounding them with people and settings, where it can happen naturally. There’s nice tension in this book between outward celebrations of self-discovery, and more inward contemplation, in the difference between simple privacy and destructive shame. Perhaps true adulthood means that you’re capable of analyzing information and arriving at your own (hopefully positive) conclusions. Order it today at www.sparkplugcomicbooks.com Grade A.

11.30.11 Reviews

2011-11-30T16:09:00.000-08:00

Wasteland #32 (Oni Press): Well, it certainly feels like this is the end of one era of Wasteland, as another is about to begin. January marks a new year, a new issue in #33, with a new “introductory” price point of just $1, a triumphant commitment to a monthly schedule, a new cover artist in Christopher Mitten, a new interior artist in Justin Greenwood (though you have to watch those dudes with the initials “JG”), etc., etc. And let's not forget to thank Ben Templesmith for 32 amazing covers! It’s nice to punctuate the transition with one of the series interlude issues that often deviate from the main storylines, or rewind the timeline, and/or continue to world-build in a book that is already known for tremendous world-building. The lead character has a remarkably cheery disposition, I assume because she’s just glad to be alive, and in good company. It’s a reminder of what a harsh reality The Big Wet Universe is. It doesn’t really matter if you’re in a Sultan’s caravan, a Sunner, Ruin Runner, or living in Newbegin, you’re basically just trading one form of slavery for another. My favorite sequence was probably attempting to wash “Golden Voice” of his wounds at the river and the realization that brings. It sort of disproves my “out” theory I mentioned in last issue's review for what happens in the cliffhanger last time. Can you tell I’m trying to avoid spoilers here? I like how this character attempts to atone for past sins and how the group carries on despite a sand-eater attack during a sandstorm. I feel like as the series has crossed the halfway threshold to #60, the Ankya Ofsteen entries are becoming more and more seeded with potential little clues. It might not matter much in the grand scheme of things, but I really zeroed in on “Wosh-Tun” this time. Ankya has mentioned it numerous times before and I, like many, just assumed it was a bastardization of “Washington,” as in DC. This time out, I was left wondering if the language could have been corrupted so much that it actually refers to Boston. The clue of “across the river” in “Lo-Wil” might refer to Lowell, Massachussetts. I lived a year in the Northeast area, between Boston and New Hampshire, so I’m partial to that idea. Then again, “Lo-Wil” could also be below Wilmington, Delaware for all I know. Or maybe I'm just being The Ugly American by assuming this is in the US and not the UK! So many possibilities! In any case, it sounds like Wosh-Tun is a city still intact. It makes The Big Wet Universe sounds like a much bigger place than I originally thought, if the city still stands, and there’s some type of insular political council there. Weldele’s art suits an interlude issue just fine, and I like that it’s not as blocky or angular as I recall his old material being. Though I will say that it’s slightly difficult to follow sometimes, such as during the dog bite, the tattoo run-off, or when smaller figure scale characters become lost in the generous background details. But, he does get a lot of life out of just black and white, with some nice gray color washes. At the end of the day, it’s so nice to read a book that makes you think. Grade A-.

Haunt #19 (Image): Yeah, I wanted to clarify again that this is all about creator loyalty. I tried the first trade of this series knowing that this creative team was on deck, and didn’t get the appeal of the book AT ALL. It looked like very sad Spawn retread from the 90’s and frankly I find that vibe hard to shake. Joe Casey and Nathan Fox have delivered numerous times on separate projects though, and working together created the entertaining Dark Reign: Zodiac, which was all about wreaking subversive havoc right in the Marvel U backyard. It even made my best of the year list when it came out, so I was in for this. It’s hard not to acknowledge the attention-grabbing new direction the series seems intent on taking when the opening pages feature Cristo Redentor in flames and severed limbs awash in dystopian deified language. I enjoyed the visual of the Vatican(?) Shock Troops or whatever and sheer manic gusto of the prostitute bloodbath, but I have to say that the disparate story threads need to converge fairly soon for me, and it just needs to get to the trademark clever playfulness I expect from Joe Casey. Fox’s art gets more and more Paul Pope-y as time goes on (which is a great thing!), with garish coloring as impressive as you would expect, but I feel like Casey might need an issue or two to corral all the existing baggage before he can get the story to go where he wants and start inserting his raucous “Casey-isms.” In short, I’m hoping this gets better. Grade B.

11.30.11 Releases

2011-11-28T09:10:00.000-08:00

It’s a small but potent week. I’m really looking forward to Wasteland #32 (Oni Press), not only because it’s a joy to see the series getting back on track, but also because this is one of those rare interlude issues that fall in between arcs. These interludes are one of my favorite parts of the series because they’re crammed with information and are such a grand example of world-building by Antony Johnston & Company. The last one was the immaculate #25 with fully painted interiors by Mitten, certainly a high water mark in the series. That said, there are big shoes to fill, but hopefully Brett Weldele is up to the challenge as artist this time out on one of these stand alones. Chalk this next one up to creator loyalty because I tried the first trade of the series and didn’t see what the draw was at all. But, after various projects, including their team up on the memorable Dark Reign: Zodiac mini-series, I’d try just about anything Joe Casey and Nathan Fox did, including Haunt #19 (Image). I won’t buy it, but I’ll flip through Game of Thrones #3 (Dynamite Entertainment) just to see how (poorly) this adaptation is faring. Speaking of the publisher, they’ve also got The Lone Ranger TPB Volume 4: Resolve (Dynamite Entertainment) due out. Not sure if this arc has been collected before, but it’s probably the best series I’ve seen yet from the publisher, and one I often recommend.

Thirteen Minutes Nominated For Paradox Comics Group "Oscar" 2011

2011-11-23T20:31:00.000-08:00

I’m humbled yet again to report that Thirteen Minutes was nominated for the second year running in the category of "Best Web-Site" at the annual Paradox Comics Group "Oscars." There are some outstanding nominees in all categories, while the competition in this category is pretty stiff. I'm up against Comic Book Resources (CBR), Bleeding Cool, and Newsarama.

Needless to say, I'm a relatively unknown underdog against the big boys, so I'm shamelessly asking for your support. Vote today over at their Facebook page so that when the winners are announced in December, we can pull off a major upset! Vote, blog, tweet, tell your friends! Let's see if we can really get some grass roots support in motion.

This also serves as a great opportunity to give a quick shout out to our friends from across the pond at the Paradox Comics Group. The crew at Paradox posts tons of timely reviews that are well observed, articulate, and filled with lively opinions. It’s one of my daily web stops and is always a good read!

11.23.11 Reviews (Marvel Edition)

2011-11-23T15:49:00.001-08:00

Secret Avengers #19 (Marvel): There’s probably no other writer on the planet that could have someone screaming “Al-Qaeda! Al-Qaeda!” come off as funny during a fire-fight, but I’m getting ahead of myself. Warren Ellis, Michael Lark, and Stefano Gaudiano (this time out) open with our strike team infiltrating an Eastern Bloc crime enterprise to supposedly stop the sale of a homespun super serum (or something far creepier as it turns out – a sort of shamanistic MJ) being sold to The Shadow Council. If you’ve been studying Warren Ellis material for any length of time, there are a few of his “isms” that instantly reveal his hand in the script. The mere mention of things like “The Flowers of Aniana” or “shocktoxin flechette guns” just scream with his brand of intrigue the moment they roll off the page. There’s the type of well played radio traffic that us procedural whores just adore, all while we explore these hidden corners of the Marvel U. You might say that Ellis and/or Lark swiped a small piece of an early Bryan Singer scene out of The Usual Suspects, but that aside, Lark is delivering some extremely well choreographed action sequences that effectively control the pace with sly use of some 9 panel grids. Moon Knight, with his white mask in that white suit, is just an absolutely priceless visual. I’ll never forget that, and never tire of it. The dark and murky aesthetic suits the tone of the story just fine, a perfect match-up between narrative intention and artistic choices. It feels like this team is just barely winning, constantly saving the world on a small scale, just in the nick of time. This issue felt like equal parts Planetary and Global Frequency in the Marvel U. Grade A.

Wolverine & The X-Men #2 (Marvel): I guess everyone on the interwebs is already talking about “the kiss” in this issue, (though I’ll point out that it’s not really clear if that’s actually Bobby or just a dupe), but overall I think it goes a long way toward showing how willing Jason Aaron and Chris Bachalo are to shake up the status quo. I loved the flashback that serves as the catalyst for his personality shift, the desire to have Bobby Drake step out of the shadows and step up as a real player in this new era. Aaron does a nice job of utilizing something that feels like an old school plot (Sauron, Wendigo, Krakoa!), but then tempering it with modern dialogue and forward thinking character arcs. Not to mention the inventive nature of the Iceman “dupes,” ala Multiple Man. As Kade Kilgore and The Hellfire Club attack, it seems love is in the air. It’s not just Bobby and Kitty, but also Idie and Broo! Now, it’s no secret that I love Kitty Pryde, but I have to say that Rachel Grey is probably my favorite new character visual in this iteration thanks to the skilled hands of Chris Bachalo. This issue was basically a non-stop ride that sees the team turn to an unconventional person for help. It’s also worth pointing out that this issue does something that most x-books forgot how to do a long time ago – have fun. Grade A-.

11.23.11 Reviews (DC/Vertigo Edition)

2011-11-23T14:29:00.000-08:00

DMZ #71 (DC/Vertigo): [DMZ Countdown Clock™: 1 Issue Remaining] <- If that “1” there doesn’t sound a bunch of klaxons off in your head, then I don’t know what else would. It’s all come down to this issue. The arc of Matty’s character has taken him from being a sheltered boy who wasn’t aware of who he was, to a man who ultimately finds his identity even though it takes him to a dark place where he has to deal with the consequences of his decisions, as all good men do. You can lament the fact that the military tribunal needs another fall guy (the specter of Parco Delgado wasn’t enough), and you can cry out over how they distort events and facts to support their own cause. They range from the Indian Point nuke (which is an outright lie), to Matty stealing some Liberty News gear (which exists somewhere in the gray between fact and fiction), to him being responsible for issuing that damn sloppy order that got a wedding party killed (which is, unfortunately, absolutely sound). The label “war criminal” might seem like a strong one for someone as usually well–intentioned as Matty, but you know how it inescapably goes. The victors always write the history books, and someone had to pay the price of accountability. Someone had to pay that price for Matty’s identity quest, for his journey to ring true intellectually. If he learned anything, it’s that you own your actions, you own your responses to situations, even if the situations themselves were shitty to begin with. Most people like to conveniently view the world in black and white terms, but it seldom is. Those same people either expected some silly idyllic scene where Matty and Zee move upstate to start a family, or a denouement which was Matty just getting killed and not making it out alive. True, there’s one issue left that could prove me wrong, but I’d bet the reality is somewhere in the middle and, as is, is a much harder pill to swallow when it’s so deep in the gray. Riccardo Burchielli rises to the challenge laid out before him, thanks in part to Jeromy Cox’s mustard colored flashbacks as Matty’s life in the DMZ flashes before him, sometimes it’s in sync with what the court says, and sometimes it’s a contrarian recollection. It’s always beautiful, exciting, and regretful, the complex web of emotions that Matty’s 6 years in the DMZ were, not coincidentally, the same 6 years we lived with the series as readers. Long before The Occupy Movement, long before the extension of our protracted desert campaigns in the Middle East, long before the political disenfranchisement surrounding our election cycle, you saw it all here first from the mind of Brian Wood. Grade A+.

Note: As usual, join us for more in depth coverage of the series at LIVE FROM THE DMZ.

Scalped #54 (DC/Vertigo): This issue opens with a visceral shootout, and moves on quickly to address the amount of redemption possible for characters like Nitz, Karnow, Catcher, Wade, Dino Poor Bear, and Shunka in relation to all their many past transgressions. As Hooper X would say, yup, “the chickens are comin’ home to roost, y’all.” Everyone seems to be on a path to get their due as Shunka and Dash continue to vy for the top spot in Lincoln Red Crow’s organization using nothing but lies and deceit. It’s full of action, intrigue, dead bodies galore, and some kind of twisted Michael & Fredo Corleone in Cube style moment. I think there’s a small mistake on the last page, since this is part 4 of 5, but the last text box reads “concluded” even though it looks far from, especially considering that last page shot. Something I’m sure they’ll fix up in the trade. As rousing and intricately plotted as always. Grade A.

Everything Unseen: Parts 4 & 5 @ Poopsheet Foundation

2011-11-23T10:16:00.001-08:00

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Ditkomania #82 @ Poopsheet Foundation

2011-11-23T09:40:00.000-08:00

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2011-11-23T08:13:00.000-08:00

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2011-11-22T08:59:00.000-08:00

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2011-11-22T08:58:00.001-08:00

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11.23.11 Releases

2011-11-21T13:40:00.000-08:00

I can't believe it's the penultimate issue of this title, with DMZ #71 (DC/Vertigo) hitting the shelves this week. Continuing a solid week of offerings, we also have Scalped #54 (DC/Vertigo) from Jason Aaron and RM Guera, and the latest of the Warren Ellis run with Secret Avengers #19 (Marvel). The House of Ideas also has another Jason Aaron joint, with Wolverine & The X-Men #2 (Marvel). Last, I was pleasantly surprised to see Berlin #17 (Drawn & Quarterly) from Jason Lutes. What looks good to you?

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2011-11-17T08:34:00.000-08:00

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2011-11-17T08:33:00.000-08:00

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11.16.11 Reviews

2011-11-16T21:01:00.001-08:00

Batman #3 (DC): It’s becoming clear that Scott Snyder & Greg Capullo are setting this run within a nice historical context tied to Gotham City’s past and the Wayne family lineage. At the same time, Snyder adds a modern sensibility with elements like the Ukrainian mob, La Eme, and the Yakuza. What I appreciate most isn’t the strong characterization, the clever use of technology, or the drive toward new characters – all strong – but, the way that Snyder brings so much logic to the action. He understands about cause and effect storytelling. That when unexpected action sequences are rooted in the story, rooted in actual detective work, rooted in human motivations, the ultimate action has significance and consequence to it. It isn’t empty, but emotionally satisfying. “The Thirteenth Hour” is proof that Snyder and Capullo are putting in the work. If a bit slow at times, this issue shows that the prose is as rich as a novel, but moves with a visual pace as lively as a comic. Capullo is right there with him, delivering memorable images like that first shot of the owl suit hanging in the owl cave. This is quickly shaping up to be the best modern take on Batman, the thinking man’s superhero. Grade A.

Northlanders #46 (DC/Vertigo): As Brian Wood begins to wind Northlanders down, you get the sense that he wants to leave it all out on the field. The moment you see the Hauksson compound, you’re reminded that this is a generational legacy. It’s about building something, leaving a mark, addressing man’s existential crisis in a harsh and fleeting life. Deeper in the issue, when Lady Brida begins to enumerate the laws of the family, they’re really only about one thing – they’re survivors. They survive to build a better life, one that their children can carry on. I feel like it’s the dad in Wood coming out in the writing, tapping into that quintessential component of the American Dream, vis-à-vis Vikings in Iceland. Declan Shalvey can handle these immersive static shots (that gorgeous half page waterfall comes to mind), or things more complex. I like the transition between Brida explaining “law rock” to her half brother while we actually see it. It’s a nice sync between art and script. I don’t want to start lamenting the fact that there are only 4 issues of this book left. If anything, let’s encourage everyone to follow Wood, Cloonan, Stewart, and company to Dark Horse’s new Conan series to get their fix! Grade A.

Wonder Woman #3 (DC): There’s a lot to like in this book, but I think Hermes is quickly becoming a new favorite character. The smartest thing this creative team seems to have done up to this point was ramp up the mythological aspects of the character, while ramping down the superhero elements. We learn here that Diana wasn’t in fact made of clay, but the result of a dalliance between Zeus and Hippolyta. The ultimate push is then Diana crossing the Joseph Campbell threshold and venturing off on an identity quest of sorts. At times, it feels like there could be a little more exposition used here to fill in some gaps. Artistically, Chiang’s art doesn’t seem quite as soft around the edges as I’ve seen before, with some harder edged lines giving things a bit more aggression. In spite of the things I like, I can feel my attention starting to slightly slip away, so I think the next couple of issues will be key to determining my long term involvement. Grade A-.

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2011-11-16T08:20:00.001-08:00

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2011-11-15T08:54:00.001-08:00

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2011-11-14T09:18:00.001-08:00

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11.16.11 Releases

2011-11-14T08:50:00.001-08:00

The book I’m most looking forward to this week is a toss-up between Batman #3 (DC) from Scott Snyder & Greg Capullo and Northlanders #46 (DC/Vertigo) by Brian Wood & Paul Azaceta. I’ll also likely be picking up Wonder Woman #3 (DC) from Brian Azzarello & Cliff Chiang, and I might even check out Mudman #1 (Image). I was really into Jack Staff for a while, then it just sorta’ stopped coming out, but nevertheless new Paul Grist is always worth a look. It’s good to see DC keep up with reprints of some long-forgotten modern classics. DC Comics Presents Superman The Kents #1 (DC) is a mouthful of a title for a 12 issue maxi-series originally just titled “The Kents,” but it’s a good book all the same. John Ostrander & Tim Truman delivered a generational saga that chronicled a few generations of The Kents prior to the ones we know in the modern Superman mythos. It was so grand that it caused me to write (and pitch unsuccessfully) a series called “The Waynes” that chronicled their lineage beginning hundreds of years ago in Scotland with a young Ciaran Wayne, who was with William Wallace at the Battle of Stirling Bridge. It took his descendents to Denmark, Venice, saw Gotham City settled, introduced us to Judge Solomon Wayne, the construction of Wayne Manor, the amassing of wealth through Wayne Enterprises, saw Thomas give Martha the pearls as a Christmas present, and all the way up to the last page where baby Bruce is born in the hospital. I thought it was pretty rad, but I digress. Anyway, this new issue reprints the first 4 issues (of 12) of The Kents, and is well worth checking out if you like historical fiction tied to the DCU. The only book I can slightly recommend from The House of Ideas this week is Wolverine: The Best There Is #11 (Marvel) because of the luscious Juan Jose Ryp art. On the collected edition front, the winners this week are Scalped Volume 08: You Gotta Sin To Get Saved (DC/Vertigo) and Wasteland Volume 06: The Enemy Within (Oni Press).

Dreamcasting The New 52 (Again)

2011-11-11T10:21:00.000-08:00

Now that I’ve had a chance to sit with The New 52 for a while, I thought I’d try this again. When this list was originally created back in June, nobody had seen any of the books, so armed with my current knowledge, highly subjective personal taste, and the realization that I’ll probably only keep buying 3 of The New 52 as is (Batwoman, Batman, Wonder Woman), I’m going to revisit the list and make some tweaks for this fun dream-casting project. I think we’d all like to imagine ourselves as Omniscient Uber-Editor w/ Magic Wand. It’s scary to think that I’d be buying all of these books. I hope you enjoy it!

1) Action Comics by George Perez (sorry, but this would be one of just two titles not switching to the renumbering and allowed to continue for honorary purposes, we just have to get it to a “natural” #1,000, would alter the trade dress to look like all the other “new” titles though, love the idea of George Perez on the general property, but would switch him to this title instead of the main Superman book since we’ll have the need for plenty of guest stars in the Superman corner of NuDCU, Perez has been around long enough to warrant a stint as writer as well, this is an adventure book)

UPDATE: People seem to be enjoying Grant Morrison’s take, but it doesn’t do much for me. I still have a big yearning to see Perez’s art on a monthly basis, no matter how unfeasible it sounds. I also really want to keep Action and Detective on the old numbering, just for old times’ sake.

2) Detective Comics by Greg Rucka & Davide Gianfelice (see above re: numbering, must reach #1,000, this is a hard core crime book, loads of guest stars, the companion to the superhero Batman book, as Action Comics will be the companion title to Superman, think Rucka on Gotham Central and Gianfelice’s gritty style as seen in Northlanders and Greek Street)

UPDATE: This totally stays the same.

3) Superman by Brian K. Vaughan & Tony Harris (the big superhero book with primary focus on Kal-El, not the ensemble that Action Comics will be, big and iconic, the team is now free from Ex Machina duties and that 50 issue run)

UPDATE: Stays!

4) Supergirl by Brian Wood & Ryan Kelly (I know BW is no longer exclusive at DC and was worked out of the relaunch (lame!), but speaking purely as a fan, this project really needs to happen, so as long as we’re dream-casting I can do whatever I want, this will be accessible to young women, yet strong enough to contend with the big superhero titles the boys like)

UPDATE: Stays!

5) Batman by Joss Whedon & Carlos Pacheco Scott Snyder & Greg Capullo (prime time superhero book, no holds barred, Bruce Wayne as Batman, slick memorable lines with high gloss art)

UPDATE: While I still think Whedon would be an interesting choice, I’m totally happy with Scott Snyder and Greg Capullo’s work so far, so let’s keep it as is! I can admit when I’m wrong.

6) Batman Inc. by Grant Morrison & Chris Burnham (ok, I too want to see G’Mo finally wrap up his take on the character after 6 years or so, this should be the 12 issue maxi-series, ala All Star Superman, that finally is the definitive take on the character, if Burnham isn’t on board, then I’m not interested)

UPDATE: Stays!

7) Batman & Robin by Kurt Busiek & Scott McDaniel (kids book, Bruce as Batman, Damian as Robin, Talia shows up with Ra’s Al Ghul, lots of father and son stuff, high octane poignancy, see Busiek’s coming of age book Arrowsmith)

UPDATE: Stays! Not at all impressed with Peter Tomasi and Patrick Gleason’s boring attempt.

8) Red Robin & The Outsiders by Peter J. Tomasi & Kenneth Rocafort Suicide Squad by Joss Whedon & Carlos Pacheco (I sort of like Tim staying on as Red Robin since Damian will be regular Robin, Bruce will be Bats, and Dick will return to the Nightwing role, this should be the relatively dark and grim one, I actually kinda’ dug the whole Red Hood, Arsenal, Starfire casting of Red Hood & The Outlaws, but felt it needed some tweaks, should serve as the counterpoint to the relatively cheery Teen Titans)

UPDATE: It goes without saying that this was an unmitigated disaster, so let’s scrap it completely and plug in something totally new. Since we just freed up this creative team, we can let Whedon do his team thing and Pacheco’s clean style should be well suited to handle the diverse, rotating cast.

9) Oracle by Gail Simone & Carla Speed McNeil (sorry, but I think Babs is infinitely more interesting as Oracle, why have Batgirl when we’ll have a Batwoman?, would like to see her as the primary information broker in the DCU, story arcs with lots of rotating guest stars from all these other titles)

UPDATE: Stays! I would love to see this book!

10) Nightwing by John Cassaday (since DC wants to let artists wet their hands at writing, let him write it too, I actually don’t mind the costume redesign with the red parts, Dick Grayson is probably my favorite mainstream character, so don't fuck it up please)

UPDATE: Stays! I really want to see this. The new Nightwing book is so boring!

11) Batwoman by JH Williams III (duh)

UPDATE: This is one of the very few books that DC got right, funny since it pre-dated the whole initiative. It’s by far the best thing coming out of the mainstream DCU.

12) Justice League by Geoff Johns & Jim Lee Warren Ellis & Steven Sanders (still don’t think this creative team will last long, but fine, keep it, prove me wrong, Cyborg needs a redesign though, that’s horrible)

UPDATE: I gave this a chance but was not at all impressed with it, so let’s just get crazy with this creative team. I know Warren would have a hard time keeping a monthly schedule, but I’ve long wanted him to take on this property. Sanders’ style is highly divisive judging by his S.W.O.R.D. run, but I dig it. And it’s my list, so shut it.

13) Justice League International by J.M. DeMatteis & Kevin Maguire (love the idea of a JLI title, but the creative team really needed shaking up)

UPDATE: Stays! The current book is competent, but just so generic and boring, so let’s bring the funny.

14) Justice League: Dark by Brian Azzarello and Cliff Chiang (I’m ok with the title and think it makes sense to house all the “magic, science, and religion” types here, rotating cast depending on missions, Swamp Thing, Deadman, The Spectre, all those clowns, but Traci 13 must be the team leader forever or I’m out, gotta’ reprise the Dr. 13: Architecture & Mortality creative team too)

UPDATE: Stays! The current version has been a little slow for me, and the art ranges from good to wonky, I think these guys have more than proven themselves on Wonder Woman.

15) Teen Titans by Nick Spencer & Kevin O’Neill (Spencer is proving himself on team books and the gravitas of the art should sell this one, still need to work out the specific team members, but you get the idea)

UPDATE: Stays!

16) Planetary by Brian Wood & Danijel Zezelj (a long shot considering the property and creative team, but there’s nobody I’d rather trust with a Warren Ellis legacy property and with Zezelj’s murky style on art, and their proven collaborations, this would take it all new places, with the universes effectively merged, there’s no limit to what types of missions/investigations the team can have)

UPDATE: Stays! Out of this entire list, this is probably in the Top 3 of the ones I’d most want to see.

17) Wildcats by Christopher Priest & Eduardo Risso (yep, WildStorm in the house in a very noir way, Grifter, Voodoo, Spartan, Zealot, the whole gang, show 'em how it's done guys)

UPDATE: Stays!

18) Doom Patrol by Joe Casey & Sean Murphy (these two can go crazy in all the unexplored corners of the NuDCU, psychedelic pop comics in Murphy’s kinetic and dangerous style)

UPDATE: Stays!

19) Elongated Man & Plastic Man: Stretching Logic by Noah Van Sciver (kids book, title might still need some work, but these two need to team up for ridiculous adventures with this indie talent)

UPDATE: Stays! The sooner the planet realizes what an immense talent Noah is, the better off we’ll all be.

20) Kamandi: The Last Man on Earth by Paul Jenkins & Jae Lee Antony Johnston & Christopher Mitten (while everyone else has gotten younger in the NuDCU, Kamandi has been aging in the apocalyptic future, he is now the last MAN on Earth, reunite the Inhumans team of Jenkins and Lee for the right look and feel)

UPDATE: I had sort of an epiphany with this one. How cool would this be? Imagine the energy of Wasteland infused into the DCU. I think it would have to be in color too to help Chris stay on track, so let’s swing for the fences and get Laura Martin on that.

21) Solo II by Various (quarterly, lots of pages, creator spotlight just like the first, it will lose money, but it’s a commitment by DC to creators because the properties shouldn’t solely come first)

UPDATE: Stays! Get Mark Chiarello on the horn!

22) Wednesday Comics II by Various (weekly, ambitious, healthy mix of veterans, up-and-comers, and indie talent)

UPDATE: Stays! Ditto Chiarello!

23) Birds of Prey by Paul Cornell & Yanick Paquette (I’m a little dubious about the need for this book, but let’s give it a go, the roster needs work and Manhunter needs to be on the team, limit interaction with Oracle to distinguish titles, Cornell has been on my radar since Pete Wisdom and MI-13, and Paquette has done some good X-Men work)

UPDATE: Stays!

24) John Constantine by Kody Chamberlain & R.M. Guera (hot off of Sweets, DC should sign Chamberlain before Marvel does, and Guera has more than proven himself on Jason Aaron’s Scalped)

UPDATE: Stays!

25) Tiny Titans by Whoever Does It Now Batman: The Brave & The Bold by Sholly Fisch and Rick Burchett (if it ain’t broke…)

UPDATE: I was so impressed with Batman: The Brave & The Bold #13!

26) Aquaman by Geoff Johns & Ivan Reis (I could really care less, so we’ll let this one stand and see how she goes)

UPDATE: It’s really not my cup of tea, but people seem to be enjoying it, and it seems to be selling, so I’ll just leave this one alone.

27) Flash by Geoff Johns & Kyle Baker (hopefully Geoff can keep up on the writing chores of so many books and his executive duties, because I really want to see Baker pencil this in the style he used for Hawkman in Wednesday Comics)

UPDATE: Stays!

28) Green Lantern by Geoff Johns, Doug Mahnke & Christian Alamy Terry Moore (fine, I’m not changing this either, because apparently the market has spoken and will support such nonsense, but this should be the main Hal Jordan, primarily Earth-based book, because…)

UPDATE: Anyone who read Echo knows that this would be perfect! It would make a nice counterpoint to the insanity of...

29) Green Lantern Corps by Grant Morrison & Frank Quitely (swiped from some Wednesday Comics dreamcasting I did a while back, Drunken Scotsman will need something to do since I booted him off almost everything else, this should be bizarre psychedelic space adventure, ala John Stewart in Green Lantern: Mosaic, I expect it to cross paths with Paul Pope’s New Gods to get supremely weird)
UPDATE: Absolutely stays!

30) Wonder Woman by Brian Azzarello & Cliff Chiang (really the only keeper from the actual relaunch that I like the creative team and am excited to be purchasing, at least for three issues, can’t think of any other team that would really make me long for Wonder Woman)

UPDATE: One of the few that DC actually got right in my opinion.

31) Jonah Hex by Dan Abnett, Andy Lanning & Simon Gane (I’m as surprised as the next guy that there remains a market for Hex, but DnA are versatile and Jordi Bernet should be brought in for rotating arcs with Gane, his work on Northlanders was breathtaking)

UPDATE: Stays!

32) Blackhawk by Kevin Nowlan Dial H For Hero by Matt Fraction & Frazer Irving (he’s done just about everything else, so here’s another instance where we’ll let an artist try his hand at writing)

UPDATE: Had to scrap this altogether and go with this crazy duo, imagine the possibilities!

33) Shazam! by Neil Gaiman & Ryan Sook (not a kids book, Gaiman can sort out the magic bits no doubt and Sook will bring in the right gravitas)

UPDATE: Stays!

34) The New Gods by Paul Pope (self-explanatory, but let him run wild with weird Kirby style sci-fi futurism)

UPDATE: Definitely stays!

35) House of Mystery by Jimmy Palmiotti, Justin Gray & Tom Neely (infusion of indie art talent with reliable writing duo, throwing the old DC fans a bone, should have a very EC Comics feel, swiped from my recent Wednesday Comics dreamcasting)

UPDATE: Stays! More indie talent!

36) House of Secrets by Devin Grayson & Julia Gfrorer (infusion of indie talent with MIA female writer, expect The Endless to show up a lot here, more ethereal than the pragmatism of the above title, also swiped like the above idea)

UPDATE: Stays! More indie talent!

37) Atom & Hawkman by Karl Kerschl & Juan Jose Ryp (I actually like this character pairing, and it’s another example of trying to placate older fans who will complain that we’re ruining everything, The Atom portion was swiped from my Wednesday Comics idea, but I added Hawkman here to round out the use of characters)

UPDATE: Stays!

38) Zatanna by Darwyn Cooke & Riccardo Burchielli (rogue magi, she’s not interested in the team up of JL: Dark, lots of tension, crossovers with John Constantine)

UPDATE: Stays!

39) Firestorm by Chuck Dixon & Nathan Fox (loud crazy action, garish colors, he's friends with Blue Beetle, also… when not powered up, the new Firestorm is a wheelchair bound teenager, a gay Filipino kid from LA, parents have $, college educated, let’s just get all of the character diversity issues out of the way at once)

UPDATE: Stays!

40) Red Tornado by Warren Ellis & Jason Shawn Alexander (big red robot, crazy sci-fi, lots of time-jumping, also swiped from my ideas for a Wednesday Comics follow up)

UPDATE: Stays! I think this would be amazing, that it’s one of the best pairings I’ve created.

41) Legion of Super-Heroes by Paul Levitz & Amanda Conner (classic LSH writer with modernized artist, primary title)

UPDATE: Stays! I don’t think the current Legion books are really working.

42) Legion Lost by Mark Waid & Joe Quinones (really pushing for a reinvigoration of the Legion, nice to see NuDCU embrace the idea and while the “Legion Lost” title isn’t new, it’s a solid one, Waid has the chops to handle continuity and cast, and Quinones’ slick style should keep up nicely)

UPDATE: Stays!

43) Dr. Fate by James Stokoe (yes!)

UPDATE: Stays!

44) Hawk & Dove by Rafael Grampa (Rob Liefeld? Are you kidding?)

UPDATE: Stays!

45) Animal Man by Jeff Lemire, Travel Foreman & Dan Green (I have some issues with this, but we’re getting toward the end, so I’m just powering through)

UPDATE: Again, not my cup of tea, but people are raving about it so we’ll let it stand.

46) Mister Terrific by Scott Snyder & Sergio Cariello (I’m actually kind of interested to see what can be done with this character on a solo title, this is a proven writer, and Cariello is now free since his Dynamite book The Lone Ranger has wrapped)

UPDATE: Stays!

47) Static Shock by Sterling Gates & Scott McDaniel (good choice for artist, but needed to tweak the writer)

UPDATE: Stays!

48) Green Arrow by Peter Milligan & Matthew Southworth (I’m not sure why, but this creative team sells me on an otherwise uninteresting character)

UPDATE: Stays!

49) Captain Atom by Christos Gage & Travis Charest (the artist selection is a long shot, but if it could be done, would certainly be a destination book)

UPDATE: Stays!

50) Grifter by Jason Aaron & Mario Alberti (the choice of writer seems golden, though I’m not sure how you’d pull him from Marvel for a company owned property, and Alberti’s sly work on the X-Men/Spider-Man stuff was inspiring)

UPDATE: I think this would be a great book!

51) Voodoo by Dave Gibbons (hey, I have a soft spot for this Wildcat, was surprised to see DC giving it a go, but I’d let Gibbons write and draw it for as long as he wanted)

UPDATE: Stays! It sure as hell ain’t workin’ as is.

52) DC: Silver Age Adventures by Darwyn Cooke (the final bone I’ll throw to the whiners, endless mining of prior continuity, yes, those stories still “matter” and can be used for entertainment, think The New Frontier, only monthly)

UPDATE: Stays!

11.09.11 Reviews

2011-11-09T15:43:00.001-08:00

Batwoman #3 (DC): I’ll tell you right up front, this is about as perfect as a single issue comic can get. From the one page minimalist recap, to incidents from the first volume being mentioned, to JH Williams III pouring so much into every single page, to that immaculate final page (which I’ll get to in a second), it’s like everything he’s ever worked on prior has prepared him for this moment. It’s got the raw intrigue of Chase, the slick writing he got by osmosis from Warren Ellis on Desolation Jones, and the raw experimental design potential of his time with Alan Moore on Promethea. It’s all come together in this tapestry of style and his own trademark moves. It’s not repetitive, the moves I see, but there’s similar effort there in the way he keeps trying to break the traditional mold. Look at the way the panels form clusters of tertiary images on the double page spreads to formally choreograph the action sequences. Aside from Traci Thirteen, Cameron Chase and Kate Kane have got to be my two favorite women in the DCU, and Cam comes at Kate from all angles in this issue. I particularly liked the realism of Kate’s personal life (with Maggie, with Bette) seeming incompatible with her superheroism. I love how JH3 can bounce between styles, his own distinct style for the superhero scenes, and then a remarkably different cleaner look for the civilian throughline, which is like Jamie McKelvie meets Cliff Chiang meets Adrian Tomine or something. It’s just gorgeous. I loved the brilliant last page which succinctly bookends the safety and danger that Kate is trying to reconcile in her life; it’s the type of original art piece I’d want to own. I’m on the verge of gushing here, so I’ll just wrap this up by saying that this is smart, smart stuff, both visually and conceptually. Grade A+.

Uncanny X-Force #17 (Marvel): Rick Remender is sly with the script in this issue, playing with the existing canon by flashing back to earlier times with Warren and Betty, and Jerome Opena is in aesthetic lockstep with those decisions. It’s also clever the way Remender takes what initially looked like a negative cliffhanger in the last issue and turned it on its head, having Fantomex return with the proverbial cavalry. I enjoyed the old Bets costume, and it’s impossible to review this issue and not comment on Dean White’s ravishing colors, particularly in some of the match-ups, like Iceman vs. Sunfire. I have to caveat that this book offers so much more than action, but if action is what you’re after, then this issue won’t disappoint. It’s action galore, with Sabretooth and Logan vs. Warren, Fantomex and Phoenix vs. Betsy on the mental plane, and Nightcrawler jumping all over the place. The final showdown set up at the end contains probably my favorite three characters of the lot, so I can’t wait. It doesn’t get much better than this. Uncanny X-Force remains the best X-book on the stands. These guys are the dream team on an X-Men book. It’s got action, quips, gorgeous art, sharp crisp dialogue, and satisfying character moments. It’s everything you want from this property. Grade A.

11.09.11 Releases

2011-11-07T09:24:00.001-08:00

After a couple of crazy weeks contending with The New 52, things seem to have settled back into normal. This list is probably more representative of my typical buying habits. The gem of the week is Batwoman #3 (DC) from JH Williams III and company. I’m really enjoying this second season, particularly the inclusion of DEO Agent Cameron Chase. I also wanted to point out Vertigo Resurrected: My Faith in Frankie #1 (DC). This is hands down one of my favorite little mini-series of all time. It reprints all 4 issues (96 pages) for just $7.99. DC reprinted it once in a little digest-sized format, but that was in black and white and the lack of color really lost something, so I’d recommend this option. Mike Carey, Sonny Liew, and Mark Hempel delivered a self-contained story that is simultaneously adventurous, fun, dark, fits nicely in the Vertigo stable because of how it uses lesser deities, and is surprisingly frank about sexuality and non-traditional relationships. This was like Minx before they tried Minx. I’ll also be picking up Uncanny X-Force #17 (Marvel). On a related note, I’ll be sad to see Warren Ellis leave Secret Avengers, but I heard Rick Remender will be coming on board that title, so I’m glad to see Marvel using him more. Lastly, Terry Moore’s Rachel Rising #3 (Abstract Studio) is also out. I’m not as enamored of it as I was Echo, but it’s still worth checking out.

11.02.11 Reviews

2011-11-03T12:56:00.000-07:00

Ganges #4 (Fantagraphics): It’s the long-awaited continuation of Kevin Huizenga’s depiction of the dreary monotony of a seemingly endless sleepless night. What he does very well is capture the uncontrollable manner in which your mind wanders through fleeting imagery, stray incomplete lines of thought, worrying about our personal calendars, ideas literally trailing off the page and into the abyss before we can fully form them, jumping in and out of focused consciousness, and he relays this dynamic in clipped panels and short bursts of sentence fragments that can only be done in this medium. There’s a smart interactivity to what we witness happening to Glenn Ganges in these pages. When Glenn reads a book to deliberately try to fall asleep, we too experience a slow, monotonous, repetitive set of panels that start to bore us. Form and function are in sync. When he flips open an old philosophy book, we see him physically attempting to navigate the mental landscape of nonsensical confusing panels, with circular, impenetrable logic. It pushes you out as a reader, deliberately so, to great intended effect. We’re actually experiencing what Huizenga wants us to feel Ganges is experiencing. There are a few things I especially like about this issue. The immaculate use of negative space. The emotional power of a few stray facial lines. The way that two semi-circles around the eye can call to mind Charlie Brown’s exasperated grief. The attempt at depicting the weird flashes of light you see when you close your eyes. The way Glenn side-scrolls his way through decision diamonds with various Y/N choices along the way. The irony of actively over-thinking the type of book he should be reading to make him drowsy, rather than just grabbing one, the active thought itself keeping him up. The way that this endless night is a little microcosm of his entire life, touching on various relationships, experiences, jobs he’s held, and books he purchased with that disposable dot com money. The sense that the he’s caught between feeling like the whole world is sleeping but him, yet the rest of the world is going on without his involvement. Lastly, there’s a particularly interesting sequence that caught me, where his wife/girlfriend calls out to him, and he basically ignores her, almost willing her back to sleep. I like the uncertainly of that moment, how we can read into it. Did he just not want to wake her? Did he want to avoid a conversation to which there was no solution? Was he embarrassed? Ashamed? I don’t have much doubt that this book will be appearing on may critics best of the year lists. It’s interesting though, that such a book could do that, when it really only delivers one singular concept, but does so in such painstaking recreation of the emotion involved. It’ll be interesting to see where this goes, what happens next, how it resolves, and if there is more messaging than just amazing craft. Grade A.

Avengers: 1959 #3 (Marvel): Chaykin’s aesthetic is so visually arresting that I think it distracts you from noticing some of the slight weaknesses of the overall package. The double entendres are a little tired, names like “Penny Panzer” are just dreadful, the Cold War era Nazi holdover antagonist is *such* an overused concept. That said, I really do enjoy the Agents of Atlas style period superhero affair. The thing has flair, throwing down those same Cold War era politics, and a whole host of elements. We get more Mystic Arts this time, and so many Marvel U seeds. There’s Howard Stark, Dormammu, Madripoor, Wakanda, Latveria, and on and on and on. Chaykin is pouring everything he can into the script, making it feel rich and dense. I admire the aggressive storytelling ambition here, but with so many balls being hurled into the air, I’m left wondering if it’ll all congeal in just two more issues. No denying the book is beautiful, but I guess I’m cautiously optimistic about everything getting resolved an a satisfying manner. Let’s go with a Grade B.

Uncanny X-Men #1 (Marvel): There’s just a couple of things I like about this book, but overall I don’t understand why it needs to exist or what position it’s exactly taking. I like that it picks up in San Francisco, with Utopia, and The Dreaming Celestial, all modern landmarks that we recognize from the X-Men mythos. I also think it’s nice that people continue to use Agent Brand and S.W.O.R.D. out of deference to Joss Whedon’s Astonishing run and the canceled-too-soon S.W.O.R.D. mini-series. It kind of reminds me how everyone still used Agent Chase and the D.E.O. in the DCU after her little series was canceled. I thought Gillen got Magneto right, his line about his brain leaking from his eye sockets felt particularly inspired by Warren Ellis and hummed with a clear voice. I appreciate that it’s trying to be bold. For example, Scott’s zinger about “We’ve always been Earth’s Mightiest Heroes.” Unfortunately, the familiarity I mentioned leads to contempt, because it belies the flimsy excuse the title has for existing, and the attempts at being bold aren’t terribly clear or logical. So, let’s just run down the list of problems. I don’t understand why Colossus looks like Destro, Hulks out, and turns into Juggernaut. Something to do with Fear Itself? It just plays dumb. Continuity is a mess, for example, how in the hell can Psylocke be the head of security or whatever she is on Utopia, when right now she’s being turned into one of Apocalypse’s Four Horsemen in Uncanny X-Force? Speaking of, does Scott still not know that X-Force exists? That’s dumb. I guess Mister Sinister is just as good as the next cheesy villain you could use, but uhh, why does he like like Punjabi Pilgrim Abe Lincoln? That’s dumb. There’s disjointed jumps in the script, some odd choices visually from Pacheco’s fairly generic art, like Emma’s fivehead, and some particularly bad San Francisco geography skills. In a lot of places, the dialogue feels extremely stiff and expository: “I will now explain blah…” “The schism with the Westchester School…” Really? Did Scott really just announce that he was going to explain why this book is supposedly important by literally name-checking the last “event” book that created it? Gross. Most importantly, I just don’t understand the plan here. Scott says everyone hates us (so nothing has changed!). So the plan then is to, umm, “be the good guys,” but still scare them too…? Huh??? How the hell will that change anyone’s perception? It just doesn’t make any sense. Scott also never sufficiently addresses Storm’s concern regarding the branding nightmare of the name “The Extinction Team.” It’s actually totally backwards. It’s really “The Survival Team.” Totally illogical. The other thing that bothered me is that the whole Schism deal was billed as this course altering showdown between Scott and Logan where everyone dramatically “picked sides” and faced off. Well, Scott said twice that he would protect Logan’s school, so how the heck are they at odds ideologically? What exactly was the big dramatic fallout here? The only thing that changed in the X-Men universe is that Logan re-opened Xavier's school. It has little bearing on anything in this book. That’s just false advertisement for the latest big event, that really changed nothing. This might as well have been Uncanny X-Men #544 or whatever the next issue was supposed to be. It’s such a flimsy raison d’etre. I’ll give Wolverine & The X-Men an issue or two because that is truly something different, a different direction, with a distinct visual style. This book, on the other hand, is just marketing shuck and jive in a visually bland style that doesn’t withstand the scrutiny of reason. Grade C+.

Comics Archaeology: Paul Pope

2011-11-01T10:12:00.000-07:00

The Corruptor (Horse Press): Now, here’s something you don’t see every day. This is a quarter page mini comic from Paul Pope, circa 1993. The book is self-defined as a Russian “samizdat,” which basically translates to a “self-printed” publication, the types of which were often hand circulated in Moscow, and not officially permissible under authoritarian regimes. This copy is hand numbered and signed as copy 809/1,000. The way my friend Mike tells the story, when he loaned me this precious copy, is that he was wandering around San Diego Comic-Con one year and there was suddenly an unexpected announcement over the loud speaker that a creator named Paul Pope would be giving away free mini comics in Artists Alley at such-and-such table number. Mike had no idea who Paul Pope was, and at the time, I’m sure he wasn’t alone. But, he wasn’t about to turn down a free comic. He arrived at the table, all alone, and found Pope quietly sitting there, all alone. He also picked up some free postcards and a really interesting set of 6 trading cards advertising a new series called THB, which wouldn’t actually debut for another two years, until 1995.

1995 was also the same year that Pope was sequestered and began working for the largest manga publisher, Kodansha, on hundreds of pages of strips that would never actually see print. Coincidentally, these lost Kodansha strips WILL be published in a new edition of The One Trick Rip-Off + Deep Cuts recently announced by Legendary. While The One Trick Rip-Off itself was originally published in 1997, this is the first time these so-called “Deep Cuts” (the Kodansha material) will ever be seen. You can imagine how excited this makes us Paul Pope fans. Most of us are completists because the guy isn’t terribly prolific. You also have to realize how early this mini comic was. We’re talking 18 years ago. Sin Titulo was the only other book of Pope’s which he’d self-published at that point under his Horse Press imprint. The Ballad of Doctor Richardson wasn’t even out yet. This was two years before THB, as I said. Escapo wouldn’t arrive for another 6 years, until 1999, and these works are considered his early works! This mini predates what is considered Pope’s early period by roughly 5 years. THB and Escapo put him on the map, for me anyway. From there, it was on to Heavy Liquid and 100% at Vertigo. Those were the first books of Pope’s that I bought new singles of as they came out, instead of frantically chasing down out-of-print back issues. From there, he catapulted to stardom, receiving his first Eisner Award in 2006 for the Best Short Story “Teenage Sidekick,” appearing in Solo #3 (I actually own a piece of original art from this story, a full page of Robin being dragged by two of the Joker’s goons). In 2007, he took home double Eisner Awards for Best Writer/Artist and Best Limited Series for Batman: Year 100, a dystopian future tale set in 2039. The rest, as they might say, is a history we’re largely familiar with.

The Corruptor is an interesting artifact pre-dating nearly his entire body of work that contains seeds of some of his future themes and influences. Pope explains in the back matter that he was fascinated with didactic strips that illustrate singular notions which wouldn’t be perceived as artistically “wishy-washy.” This brief story combines two of his influences, the kind of romantic European comics he grew up reading, and hard-boiled crime stories. The 28-pager has a vaguely Eastern European aesthetic, and resembles the type of pamphlet that Thomas Paine would have circulated. The titular “corruptor” is about a man conspicuously disrupting authoritarian rule. It’s an odd corollary to think of this dynamic vis-à-vis the marketing exercise this was for Pope. He printed up 1,000 copies of this book, used these incredibly big letters to form PAUL POPE on the cover and overshadow the title, marketing himself when nobody knew who he was, and subversively gave them all away by hand. Thematically, the story itself is a direct example of freedom of speech, freedom of the press, and freedom of assembly. The story is told in very direct full page visuals with no text. It’s a pure message about breaking forth from the bonds of oppression suffocating the human spirit. It’s about a man wanting to find the freedom to live, love, laugh, and specifically explore art. We’re glad he did.

11.02.11 Releases

2011-10-31T10:36:00.001-07:00

I can’t say I’m terribly excited about many of the releases this week, as it’s mostly notables and items of interest vs. any sure buys. Perhaps the most critically anticipated book is Kevin Huizenga’s Ganges #4 (Fantagraphics) as the continuation of his sleepless escapades, which distills so many complex modern dynamics into an easily understood visual language. It’s not as exciting a creative pedigree as, say, Jason Aaron and Chris Bachalo for me, but I’ll probably give Kieron Gillen and Carlos Pacheco’s Uncanny X-Men #1 (Marvel) a fair shot. The aforementioned Wolverine & The X-Men #1 surprised me to the point I’ll give it another issue or two, so let’s hope the same applies to this title. Avengers: 1959 #3 (Marvel) is also out. Honestly, some of the dialogue is a little hoary and over-the-top, but the globetrotting mega-cast story is fun enough, and it’s difficult not to like Howard Chaykin’s art. I’ll be curious to flip through Heart #1 (Image) to see if Blair Butler can bring the magic. I gave up on this series probably 10 issues back due to severe delays between issues, but Fear Agent #32 (Dark Horse) is also out. This is listed as a part 5 of 5, and I thought I heard that Rick Remender might be wrapping up the series(?). I’ll give it a flip. Anyone enjoying Remender and Jerome Opena on Uncanny X-Force should check their issues of Fear Agent out. Lastly, I thought it was interesting that the League of Extraordinary Gentlemen Omnibus HC (DC/Vertigo) was being put out by Vertigo after the demise of WildStorm, and that it contains both the first and second series (that’s 416 pages!) for $49.99. If you purchased the Absolute Editions of these (like I did), that would have set you back $200. Sure the Absolutes are bigger and have extras, but if you just want the story content in a nice single edition hardcover, you can hardly go wrong here. Anyway, this is a great price, marking the only “good” LOEG stories in my opinion, before Alan Moore really went off the deep end and drowned in his own obscure Easter Eggery. What looks good to you?

Tormentor Comics @ Poopsheet Foundation

2011-10-28T08:41:00.001-07:00

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10.26.11 Reviews (Marvel Edition)

2011-10-27T08:50:00.001-07:00

I’d planned on putting these reviews up much sooner, but as soon as I was finishing them up, the hard drive on my laptop crashed! I lost the document, so here’s basically what I remember…

Secret Avengers #18 (Marvel): There are so many concepts in here that are trademark Warren Ellis. Things like “transmatter” retaining its illogical physical properties regardless of the universe it’s currently in, and “bad continua” spinning off from the crystalline entity that is the multiverse. For anyone who loved David Aja’s run on Immortal Iron Fist with Matt Fraction, you know he’s well suited to tell a story involving Shang-Chi. The line weight here is thicker, which adds more gravitas than the light popcorn entertainment disposable feel that earlier issues of this series have had. These guys have really mastered the art of the classic “done-in-one” story. Ellis is throwing in more rich storytelling shards here than most series see in their entire run. Hello, Warren Ellis is writing Avengers y’all, with some of the most interesting and underrated artists around, and nobody seems to be talking about it! Grade A.

Wolverine & The X-Men #1 (Marvel): I really like Chris Bachalo’s art here, which seems to be easier to parse than some of his more stylized work I’ve seen in the past, I’m thinking of things like DC’s The Witching Hour. Jason Aaron does a great job paying homage to many of the more popular runs of X-Men comics in the past, really bottling that energy, but then taking a huge bold forward-thinking leap forward in a move that could really be a continuity marker. I hope it sticks. The framing device of the state education inspectors plays a little heavy-handed and dense at times, but I’ll probably stick with this for a few issues. He really nails the portrayal of Kitty Pryde. This isn’t the Sprite or Shadowcat girl we grew up loving. This is Headmistress Pryde, standing right alongside Headmaster Logan at the Jean Grey School For Higher Learning. She’s all grown up, marked by her time in Astonishing X-Men. She’s an educated, experienced, and confident woman. Another treat is the backmatter, including an org chart of sorts that reminded me of this Game of Thrones visual. Grade A-.

Mediocre Narcotica: Greatest Hits Vol. 1 @ Poopsheet Foundation

2011-10-27T08:33:00.000-07:00

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10.26.11 Reviews (DC/Vertigo Edition)

2011-10-26T14:08:00.000-07:00

DMZ #70 (DC/Vertigo): [DMZ Countdown Clock™: 2 Issues Remaining] There’s a good riff in this issue warning that if you attempt to control chaos, it will basically eat you alive. If you’re still on board with the concept that Zee is a physical manifestation of NYC, then she explains that if you try to understand her, explaining how the city works, then you’ll just miss the magic. You just have to accept it as it is. Once you try to examine and explain, labeling and projecting your ideas onto her, well, that’s a form of control in itself and will be doomed to failure. Riccardo Burchielli has been destroying the city visually for so long, that it’s a hard trick to now show things stabilizing and making a comeback. Surprisingly, you do get that vibe from the art, that cautious optimism is on the horizon, and Jeromy Cox’s coloring choices support that feeling. It’s interesting to see Brian Wood get overtly cerebral now, subconsciously trying to figure out what the book has meant. It’s basically a framing device allowing an extended conversation between Zee and Matty as they see one example of war passing someone by who is failing to evolve with the times. It’s a scary thought that if the “New” New York isn’t of interest to some, then what was the point of trying to save it all? It’s that tender vulnerability that Zee mentioned. We learn through shots of The Empire State Building and the UN that “Midtown West” and “Midtown East” are the final two of The Five Nations of New York, in this fledgling peace attempt. Man, there’s this line: “What happens next is going to be written about, talked about, and analyzed for years to come. Don’t worry about that. You can’t control that.” I don’t think Brian tries consciously to get meta ever, but this type of thought just organically seeps into his writing. This line is like Brian Wood discussing the end of the series. Wondering about audience expectation and rejecting it. Just listening to his heart, his gut, and putting it out there. Maybe the character(s) we’ve come to love don’t all live happily ever after. Hey, as long as Zee is still kicking, NYC lives. For as much as I’ve written, this is really a quiet issue. But, I have a feeling it may grow to be a favorite, or one of the most memorable. It began last arc, but you can really see it here, the boy who entered the DMZ is no more. Matty is finally acting like a man. Grade A.

Don’t forget, LIVE FROM THE DMZ is your behind-the-scenes resource for all things DMZ. We’ve got interviews with Brian Wood up for the first 6 volumes of the series, and recently posted an interview with DC/Vertigo Senior Editor Will Dennis covering his thoughts on the series. Check it out!

Scalped #53 (DC/Vertigo): Whew! We finally get some resolution on that Shunka cliffhanger fake out from last issue. Here’s a dude resigned to duty in more ways than one, professionally and personally Shunka seems to accept his pre-determined path in the world, and it’s noble and sad all at once. When the hell did Sheriff Karnow become the unexpected star of this book?! I find myself enjoying his appearances immensely. It takes some really skilled creators to take a throwaway douchebag, turn him all around with growth and compassion and determination, and make us not only care about the dude, but actually like him a little. It just goes to show the realism at play here, how every character has so many facets to their personality. It also takes a skilled band of creators to take their lead character, Dash, and create a situation where he can’t talk(!) for multiple issues. Yet, he still “says” tons. It’s so deceptive, you almost don’t notice it’s been happening, but there it is. 50+ issues in, and Scalped is still unpredictable, full of surprises, and edge of your seat entertainment. There’s probably no other series in recent memory that consistently delivers, I’m talking every issue, such jaw-dropping, page-turning performances with grit and style. Grade A.

Spaceman #1 (DC/Vertigo): I’m always down for a dystopian futurescape, and I appreciate the attempt at evolving the language to include short clipped phonetically spoken pseudo words, but this was a little difficult to track at times. Brian Azzarello pours on a healthy dose of cultural commentary with a missing celebrity adoptee that the protagonist gets embroiled in. There’s also the deep dive theme of God vs. Nature, as primates are genetically engineered to be Spacemen, though it’s unclear if those are truly memories or maybe just hallucinations. Eduardo Risso’s art is as sharp as usual, but I’m not feeling very hooked by this story, just largely underwhelmed considering all the hype. Since I won’t be returning, this really makes you appreciate the no-risk $1 price on the first issue. If every #1 had such a price, I’d gladly be trying more even if it didn’t always work out long term. For that low price, I’m happy to participate even if it’s a “miss” for me personally. If not for that very agreeable $1 entry fee, this would have rated lower than Grade A-.

Crust Dog @ Poopsheet Foundation

2011-10-26T09:25:00.001-07:00

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Watermelon... And Other Things That Make Me Uncomfortable As A Black Person @ Poopsheet Foundation

2011-10-25T09:16:00.001-07:00

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10.26.11 Releases

2011-10-24T15:26:00.000-07:00

This could be a huge week for me if I actually purchased everything I was interested in, so let’s break this down from “definite purchases” to “just curious” and see what we can see. DMZ #70 (DC/Vertigo) is about as sure as a sure thing gets. I’m starting to freak out a little, the fact that the series is ending in just two more months is hitting me hard. If you haven’t been checking out LIVE FROM THE DMZ, please get yourself over there so we can end the year with a bang! Speaking of amazing books soon coming to a close, Scalped #53 (DC/Vertigo) is out this week as well. It’s set to wrap at #60, and while I’m happy that Jason Aaron has gone on to other (Marvel) work and made a career for himself in the industry, it is sad that we won’t get any other Vertigo work out of him, as DC seems to let another hot writer slip through their fingers. Really, what's left in the Vertigo stable that's going to fill the gaping hole left by these two books? Warren Ellis has been delighting us with Global Frequency In The Marvel Universe, with Secret Avengers #18 (Marvel) also coming out. The rotating artist concept means that things can get inconsistent, but few have mastered the art of the “done-in-one” as well as Ellis. It’s always entertaining. I’m curious to see what Brian Azzarello and Eduardo Risso will do with their Spaceman #1 (DC/Vertigo) collaboration. It’s set to be a 9-issue series. At full price, this might have been in the maybe pile, but at just $1 for the introductory issue, it’s a no-brainer. Azzarello has been tearing it up on Wonder Woman and I’d probably buy just about anything from Eduardo Risso.

On this next tier, these are books that I’m likely to purchase, but something might go wrong during the casual flip test that would derail my noble intentions. Wolverine & The X-Men #1 (Marvel) makes me a little crazy because of the whole “let’s just jigger our whole line so we can squeeze out as many new #1’s as possible, as often as possible, and over-expose Wolverine even more than he already is…” BUT, with Jason Aaron and Chris Bachalo on board, it’s liable to be a fairly taught and stylish package. I think Schism felt really plot hammery and contrived, while being devoid of plausible actions, but in theory I can warm to the idea of splitting ideologies between Scott and Logan, so I’ll likely check out at least the first issues of their respective new books. I was surprised to see Captain Swing & The Electrical Pirates of Cindery Island #4 (Avatar Press) in the solicits this week. Let’s see, the last issue came out in March, was late itself, and was fairly underwhelming. I still don’t understand why it takes two years to get a 4 issue mini-series out, but Warren Ellis is usually worth a look regardless. Maybe it’s time to put projects like this on the dreaded “wait for the trade” list though. I’m looking for something in Justice League: Dark #2 (DC) to catch my eye so that I can take it home. Not sure what it is, but I’ll know it when I see it. Speaking of interesting but habitually late creators, Jonathan Hickman’s The Red Wing #4 (Image) is also due out. Hickman’s creator owned stuff is better than his company owned work for my money, but even then can be hit and miss. I haven’t enjoyed this as much as, say, Pax Romana. It sucks to say, but honestly I might just thumb through this in the LCS and call it a day.

This last group is books that I’m pretty sure I won’t be purchasing, but I’ll give them a passing look to see if they can change my mind. Game of Thrones #2 (Dynamite Entertainment) will not make it home if it has the same cartoony, totally-missed-the-mark aesthetic to the art as the first issue. Really, short of Scooby-Doo showing up, you couldn’t have gotten the tone of the art more wrong on this book. It’s a shame too, because as someone who loves the HBO series and went on to read the novels, I’m basically the perfect audience for this, so if I’m not buying it, I really don’t know who else would. Butcher Baker Righteous Maker #7 (Image) is the latest issue in a series that I quickly grew tired of, but it’s fun to flip through the backmatter to see what type of faux egotistical rock star word vomit artistic manifesto call to arms Joe Casey will treat us to. The other Legion books in The New 52 have largely missed for me, but I’ll give this tweaking of their beginnings a quick look, with Legion: Secret Origin #1 (DC). Lastly, I think Avengers: Solo #1 (Marvel) has some potential. What looks good to you?

WILL DENNIS Now Broadcasting LIVE FROM THE DMZ

2011-10-24T10:56:00.001-07:00

Will Dennis is now broadcasting LIVE FROM THE DMZ. Please join us at the DMZ tribute site for our interview with Senior Editor Will Dennis. I’ve been a fan of Will’s editorial stewardship at DC/Vertigo for a long time on quite a few different books, so thanks to him and the PR folks at DC for approving his participation in our experimental project.

DMZ chronicles journalist Matthew Roth, stuck in an active war zone in a not-too-distant-future America plunged into the Second American Civil War. LIVE FROM THE DMZ takes a behind-the-scenes look at the creation of the series, volume by volume, with interviews, never-before-seen concept art, and more, as we count down to final issue #72 this December. There’s no other site like it and it’s done with the full cooperation of the creative team.

Jam Days @ Poopsheet Foundation

2011-10-24T09:39:00.000-07:00

Check out my latest mini-comic review over at Poopsheet Foundation.

The Chapel Chronicles: Volume One @ Poopsheet Foundation

2011-10-24T09:38:00.001-07:00

Check out my latest mini-comic review over at Poopsheet Foundation.

Submarine @ Poopsheet Foundation

2011-10-21T08:38:00.000-07:00

Check out my latest mini-comic review over at Poopsheet Foundation.

My Life In Records @ Poopsheet Foundation

2011-10-21T08:37:00.000-07:00

Check out my latest mini-comic review over at Poopsheet Foundation.

Gingerbread Girl @ Poopsheet Foundation

2011-10-20T13:40:00.000-07:00

Check out my latest small press review over at Poopsheet Foundation.

Two Italian Guys: Book 2 @ Poopsheet Foundation

2011-10-20T09:09:00.001-07:00

Check out my latest small press review over at Poopsheet Foundation.