, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

This is actually, kinda, sorta on time.

  • Mind MGMT #16 (Matt Kindt is the Thomas Edison of comics: he’s invented yet another way to make this book the most involved read on the rack.  As important as this story is to the world Kindt’s been building, it is a stand alone issue.  Do yourself a favor and pick it up, even if you’re not looking to add another title to your monthly haul; it’s a stunning example of what the medium can do.)
Mind MGMT #16

Mind MGMT #16

  • Velvet #1 (I like the bad-ass Miss Moneypenny angle from Ed Brubaker and Steve Epting.  The other angles–all of them right–come together to take the shape of an exceptionally executed exposition.)
  • Pretty Deadly #1 (Pretty underwhelming.  Not entirely Kelly Sue DeConnick’s fault, really.  Sure, I wasn’t particularly taken by the–perhaps purposely–juvenile poetry that frames the issue, and Emma Rios’s art was often tough to translate; but I think the main problem is with me–with my bag.  Not only am I already invested in wonderfully wild westerns–including BOOM!’s Six-Gun Gorilla, Image’s East of West, and Oni’s The Sixth Gun–I’m seeing similarities, which steal a bit from the experience.  Even if they’re complete coincidences, which I assume they are, they’re enough to affect my experience here.  To be fair, I’m going to meet #2 at high noon on or around Wednesday 11/27.  We’ll see who flinches first.)
  • Satellite Sam #4 (Had to spend extra time with it to suss out some of the dialogue.  Time well spent.  Who knew I’d be more interested in the early days of TV than I am in the recent exploits of Captain America and Superman?  It’s not what I came back to comics for, but it’s why I’ll be sticking around: an original voice affected effortlessly by Matt Fraction and ridiculously detailed black & white artwork from Howard Chaykin.)
Satellite Sam #4

Satellite Sam #4

  • Harbinger #17 (Wouldn’t have been so terrible if it were terrible, but it wasn’t.  Peter and friends live to see another What’s I&N Store post.)
  • Kiss Me, Satan #2 (Other things me, too, Satan.  And make it fast because, despite Juan Ferreya’s art, I’m not sticking around for #3.)
  • Rat Queens #2 (The joke ran the risk of getting stale–like a chunk of cheese on a ill-placed trap–but then came the end.  “[Fudge] buckets,” indeed.  At its best, like during the final two-page sequence, Kurtis J. Wiebe’s world spins not unlike something you’d see in Saga.  At its worst, it reads like Fraction’s cutting-room floor.  Here’s hoping for more of the best.)
  • Clone #11 (I wasn’t sure where we were headed after #10.  Now I know–and I’m stoked!  All the way around, a terrific issue.  The twriters [that’s tri-writers, to reflect the combined efforts of David Schulner, Aaron Ginsburg, and Wade McIntyre–did I just coin that?] continue to celebrate the unique experience that is the comic book page turn in this fast-paced effort; and the art from Juan Jose Ryp, with colors from Andy Troy, is at its detailed best.  Really, really good.)
Clone #11

Clone #11

  • Sex Criminals #2 (Even filthier than the first, which makes sense since we get the guy’s side here.  It goes without saying that I found it hard to relate to.  I have a friend, though, who found it remarkably resonant–especially the bit about the–umm–treasure in the woods.)
  • Daredevil #32 (Quite a ride.  Went from hard to diJester to frighteningly flavorful in a single course!  Who would’ve thunk it: Mark Waid twists the political slog from #31 into something fiendishly fun and then, just as quickly, into something D-D-deadly.  Two fantastic splashes from Chris Samnee, the best being the ironic “They’re not monsters!” monsterpiece.  Hard to believe we’re that much closer to the end of this glorious run.)
Daredevil #32

Daredevil #32

  • Ultimate Spider-Man #28 (Sad to say, I’m happy that this one’s done.)

Missed a few–The Massive, Numbercruncher, and Death Sentence–for one reason or another; but I won’t be without them for very long.

What did you think of this bag’s worth?

Turning pages,