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I&N’s Top Ten of 2013

31 Tuesday Dec 2013

Posted by ScottNerd in Uncategorized

≈ 27 Comments

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Abstract Studio, Adventure Time, Adventure Time with Fionna & Cake, Afterlife With Archie, Ales Kot, Archer & Armstrong, Archie, Austin Harrison, Bad Houses, Bandette, Battlefields, BOOM!, Brian K. Vaughan, Buzzkill, Clone, Daredevil, Dark Horse, Dark Horse Presents, DC, Dean Motter, Deathmatch, Dial H, Dynamite, Fiona Staples, Fred Van Lente, Fury: My War Gone By, Garth Ennis, Goran Parlov, Greg Rucka, Harold Gray, IDW, Image, Jeff Stokely, kaboom!, Lazarus, Manifest Destiny, Marvel, Mateus Santolouco, Matt Kindt, Michael Lark, Michael Walsh, Mike Raicht, Mind MGMT, Mind the Gap, Mister X: Eviction, Mister X: Hard Candy, Morgan Jeske, Nelson Daniel, Numbercruncher, Oni, Rachel Rising, Sabretooth Swordsman, Saga, Satellite Sam, Seth, Simon Spurrier, Six-Gun Gorilla, Star Wars, Terminator, Terry Moore, the Hernandez Bros, The Massive, The Sixth Gun, The Spirit, Thumbprint, Titan, Tradd Moore, Trillium, Valiant, Vertigo, Wild Blue Yonder, Will Eisner, Winsor McCay, Zach Howard, zero

Welcome to the 46th Annual I&N’s Top Ten Comics of the Year (aka “The Innies”)! Why it seems like just yesterday that a struggling little mag named “The Amazing Spider-Man” edged out “The Adventures of Jerry Lewis” for the top spot on our hallowed list, signaling the spectacular rise of one and the slow descent into obscurity of the other.

Each title below is testament to the fact that, even as conventional wisdom holds that print is dying, comics are in the midst of some kind of Renaissance. The persistent stereotype that this vibrant, global medium is followed by sad, middle-aged men who like to see men in tights beat each other up simply doesn’t hold water anymore, nor has it for quite some time. The fact is, the problem is no longer a lack of diversity in incredible material for any and all possible demographics; it’s that there’s too much of it to keep track of! No less than seven publishers are represented in our Top Ten, each producing catalogues of more great work than we could ever hope to encompass in our tiny alloted piece of the internet. (You’ll note we even had to expand our “Honorable Mentions” section to ten books apiece – and we could’ve used ten more!) Simply put: everyone should be reading comics.

As always, we here at I&N welcome debate – hell, that’s the whole point. Just be aware that results below have already been encrypted onto floppy discs and blasted into space for the benefit of our future alien overlords. (DM)

The List!

10. Archer & Armstrong (Valiant): When Valiant, earlier this year, began hyping up their new title Quantum and Woody as their foray into buddy-action slapstick comedy, I wanted to yell “Wait! They’ve already GOT one of those!” But Archer & Armstrong is much more than that. Fred Van Lente and Co. have taken the best of Lethal Weapon, The X-Files, ancient Sumerian mythology, Dan Brown-type conspiracy novels, Dr. Strangelove, and god knows what else, and concocted a world-spanning epic that despite its breakneck pace and impeccable comic timing, manages an intellectual underpinning that questions the very nature and origins of faith. Even at its most gleefully satirical, however, the sheer exuberance of the writing embraces an expansive view of humanity, in all its wonders and frailties. Fun in a bottle, folks. (DM)

Archer & Armstrong

9. Fury: My War Gone By (Marvel): Garth Ennis proves he’s one of the most incisive writers around (not just in comics) on the subject of war. His deconstruction of the Marvel soldier/spy icon (lately supercool due to Samuel Jackson’s sleek big screen portrayal) is the least of this title’s attributes (which is on our Top Ten for the second year running). Ennis’ story (rendered with appropriate, unblinking grit by Goran Parlov) also serves as an insider’s account through the anguished  litany of armed conflict of the second half of the 20th century. Most devastatingly, it portrays the effects of war, not on the nameless many whose lives are needlessly cut short, but on the wretched perpetrators who survive. Merciless and shattering. (DM)

Fury: My War Gone By

8. Zero (Image): Ales Kot, the enigmatic engineer behind the challenging Change (Image), a mostly on-time bullet train of thought fueled by a combustible blend of poetry and pictures, has heroically hit the brakes on the overplayed and over-parodied secret agent genre, expertly taking it from 007 to Zero in no time flat. He’s applied the same amount of poetic pressure here, but to a more successful–and coherent–end storytelling-wise: the danger is palpable, the emotion undeniable–thanks, in part, to the rather complex collaborative effort that has called for four different artists on the first four issues of the series–a move that has transcended gimmick and, instead, has proven invaluable, if only because the first four artists have been Michael Walsh (Comeback), Tradd Moore (The Strange Talent of Luther Strode), Mateus Santolouco (Dial H, TMNT), and Morgan Jeske (Change). My experience thus far: #1 hooked me with its perfect timing and left me lying in the gutter; #2 knocked me upside-down; #3 disarmed me; and #4 made me love it–made me punch-drunk love it, damn it! What makes the book even more exciting? It defies expectations. I expect that it’ll continue defying expectations as we move into 2014. And, in that, I expect Zero to be just as good as it’s been–if not infinitely better because we’re getting the best of Kot, who’s clearly giving us everything he’s got. (SC)

Zero #4

Zero

7. Lazarus (Image): Greg Rucka’s vision of a near-future oligarchic dystopia gets under your skin because, in the tradition of Huxley and Orwell, it seems an all-too-plausible extrapolation of our current reality. The story is made even more unsettlingly concrete by Michael Lark’s stark, photorealistic visuals. Contrast the plight of the teeming masses with the power-hungry family dynamic of the ultra-privileged few, and you have a potent, volatile mix. A comic for our times. (DM)

Lazarus #2

Lazarus

6. Wild Blue Yonder (IDW): Sure, it’s only three issues in, but what a three-issue ride it’s been!  We’ve celebrated this action-packed series from its radar-arousing takeoff, with each high-speed pass earning enviable I&N accolades along the way.  (Check out the love here, here, and here.)  Top Gunners Mike Raicht, Zach Howard, Nelson Daniel, and Austin Harrison have come together in classic diamond formation to deliver one superior salvo after another, each on its own–and as a whole–a blockbuster that would humble Hollywood’s own best of 2013. (SC)

Wild Blue Yonder

Wild Blue Yonder

5. Rachel Rising (Abstract Studio): Terry Moore presents a truly American horror story: witches, serial killers, and a resurrected figure of biblical origins seeking vengeance for the sins of our nation’s past. Oh yeah, and the Devil. Moore draws you in with the quiet beauty of his artwork; his snow-covered renditions of the sleepy town of Manson enveloping you like a down blanket in front of a fireplace, before the sharp spasms of bloodletting shock you right back into his nightmare. However terrible the events depicted though, Moore seems to suggest they pale against the cruelties of history. Speaking of cruelties, let’s hope a purported television adaptation staves off recent talk of this book’s imminent demise. Because the real horror story would be a world without Rachel Rising. (DM)

Rachel Rising

4. Saga (Image): Saga is a lot of things: a superlative satire, a side-splitting sci-fi romp, a heart-wrenching romance, a critique of fiction, a controversy magnet; but most of all, it’s extraordinarily consistent; and it’s that consistency that fosters a critical expectation: to expect the unexpected.  On a monthly basis, Brian K. Vaughan and Fiona Staples serve up sublime slices of a greater story–slices that showcase razor sharp dialogue, that pitch perfect pathos, that sell sure shocks; they wisely fool with the elements of fiction and, like confident alchemists, have come up with issue after issue of 22-page gold–and we’re all the richer for it. (SC)

Saga

Saga

3. Six-Gun Gorilla (BOOM!): In the biggest surprise of the year, Si Spurrier conducts a multi-layered masterclass in metaficiton and at the same time delivers a eulogy on the dying art of escapism.  From the existential exposition of this weird, weird western to its necessarily hopeful final act, Spurrier’s imaginative muse–the Six-Gun Gorilla, himself–becomes Blue’s, and then naturally becomes ours as we consent to the writer’s every insistence; as we gladly lose ourselves in this genre-bending–and never-ending–battle between reality and fiction, good and evil, and fate and freewill, which is brought to life by rising star Jeff Stokely, whose artwork crucially complements the conflicts at the core of the story.  At the same time a celebration of a culture’s vital literary legacy and a criticism of the current collective unconscious, Six-Gun Gorilla has earned its spot in the Western Canon of Comics–and our Top Ten–with a simple but oft-neglected gesture: by making and keeping a primal promise. (SC)

Six-Gun Gorilla #2

Six-Gun Gorilla

2. Mind MGMT (Dark Horse): Matt Kindt’s magical mystery tour de force Mind MGMT—our #3 book of 2012–continues to astound, especially as its crafty creator meticulously molds the medium to suit his carefully constructed conspiratorial agenda.  As the story of the eponymous enigmatic entity has evolved, so too has Kindt’s strategy for telling it: his precise, patient prose; his layouts, enlivened by some otherworldly calculus; and his innovative brushstrokes of genius merge miraculously and challenge us to think and to feel, to be active participants in the world in which we’ve been immersed: to put beautifully painted pieces together in order to experience–along with the impressive cast of characters–confusion and loss, the conflation of time, and a higher power drawing us somewhere unprecedented in breadth and scope–drawing us in to the mind of the medium’s finest manager. (SC)

Mind MGMT #13

Mind MGMT

1. Mister X (Dark Horse): There are many approaches to creating great comics. One of them is largely collaborative, in which the creative duties are are separated and clearly defined (writer, artist, colorist, letterer, etc). Through an amalgam of traditional, action-based American comics and the more leisurely paced, lushly visual influence of manga, this approach has evolved over the last twenty years or so into what could be called a “cinematic” style; a treatment of the comic book form that seems based in the ethos of filmmaking (Lazarus, above, is an excellent example of this). Then there is another approach (let us call it the “auteur’s” approach) in which the cartoonist (let us rescue this title from the cultural dung-heap) assumes all of the above creative responsibilities to produce narratives that are singular and personal in a way that no other visual medium, not even movies, can replicate. Since they control all aspects of the work – not just writing and drawing, but page design, panel lay-out, font style and placement and all sorts of graphic elements; in short the whole package – they can, at their best, perfectly marry content and form in a manner that is unique to the comics medium. It is an approach with a history that extends at least back to Will Eisner and The Spirit. Perhaps because it takes such a concerted effort by a single individual, this type of formal, experimental approach is most often seen in the realm of the “graphic novel”. Rarely is it employed in our beloved, stapled floppies (though glimmers of hope have begun to appear on the comic racks: see Matt Kindt, above and below). And then there is Mister X. Created by Dean Motter in the early 1980’s, (when “graphic novels” barely existed as an idea) the title has long been a touchstone among independent-minded cartoonists (early contributors include the Hernandez Bros and Seth). In its latest iterations, Hard Candy and Eviction, Motter continues to seamlessly wed both approaches: there is the clear stylistic influence of German Expressionism and film noir for which the comic is known, but there are also the aforementioned design choices that reflect the themes of the narrative itself. The story involves the mysterious architect of a city in which the very buildings (in all their art deco glory) seem to respond to, and adversely influence, the psyches of its very inhabitants. This theme, played out in yarns that are at once hard-boiled, surreal and whimsical, acts as a fitting metaphor for the experience of the reader, as they interact with the “architecture” of Motter’s intricate design. Further, Motter includes delightful homages to the likes of Harold Gray (“Little Urchin Andy”), Winsor McCay (“Dream of the Robot Friend”) and the aforementioned Eisner (see cover below) which pay tribute to the comics history of which Mister X is a part, while, again, also making sense within the story itself. The overall effect is immersive and beguiling. Some comics tell great stories. Some comics celebrate their history. Some comics continue to push at the boundaries of the medium. And then there is Mister X. Book Of the Year. (DM)

Mister X:Eviction

Derek’s Honorable Mentions: 20. Dial H (DC) 19.  Afterlife with Archie (Archie) 18. Manifest Destiny (Image) 17. Thumbprint (IDW) 16. The Massive (Dark Horse) 15. Battlefields (Dynamite) 14. Adventure Time (kaboom!) 13. Numbercruncher (Titan) 12. Trillium (DC/Vertigo) 11. Adventure Time with Fionna and Cake (kaboom!)

Scott’s Honorable Mentions:

20. Battlefields (Dynamite) 19. Daredevil (Marvel) 18. The Sixth Gun (Oni) 17. Deathmatch (BOOM!) 16. Satellite Sam (Image) 15. Clone (Image) 14. Numbercruncher (Titan) 13. Mind the Gap (Image) 12. The Massive (Dark Horse) 11. Trillium (DC/Vertigo)

Best Single Issue of the Year: Mind MGMT #17 (Dark Horse)

With #17, Kindt reaches new heights, goes to greater lengths–particularly in page-busting panels of crisply-crafted and concurrent continuous narratives–to exploit the power of the medium.   As promised by the clever cover–one awash in paranoia and paronomasia–the story moves at a breakneck pace: from a locked and loaded unhappy Home Maker to a veritable orgy of violent rivers running toward a simultaneous orgasm of double-page splashes–there goes the neighborhood, indeed!–to a crack shot Meru, who, with a twist of Lyme, is ready to take the reins and restore reason to the world one agent at a time.  The whole damn thing’s a miracle, really.  Hell, at this point, I wouldn’t be surprised if Kindt could turn his watercolors to wine; his work is that divine. (SC)

Mind MGMT #17

Mind MGMT #17

Publisher of the Year: Most comics-related outfits have finally caught onto Image Comics‘ trend-setting ways and already bestowed this honor upon them (no doubt, in no small part, due to our ahead-of-the-curve naming them Publisher of the Year in 2012 😉 And with stellar debuts like Lazarus and Zero (not to mention books like Manifest Destiny and Rat Queens) the accolades are hard to dispute. But let us do just that (contrary bastards that we are). Because 2013 was the year that a bevy of other publishers took a page from Image’s playbook and produced work, much of it creator-owned, that was just as innovative, idiosyncratic, and invigorating as Image’s output. BOOM!, IDW, Oni, Dyanmite – all produced titles of creativity, breadth and distinction. But there was one publisher that rose unexpectedly, like its namesake, above the rest: Dark Horse. While never taking their eye off their bread-and-butter licensed properties (like Star Wars and Terminator) Dark Horse branched out into new territory with exciting minis from largely unknown creators (Buzzkill), original graphic novels (Bad Houses), and printed versions of high quality digital comics (Bandette, Sabretooth Swordsman). And let’s face it, Dark Horse has been doing the creator-owned, independent thing for over twenty years, as evidenced by the revival of the premiere comics anthology, Dark Horse Presents. So while Image is the current industry darling (and deservedly so), we can’t ignore the evidence of our comic-lovin’ eyes: the best overall books of 2013 (including our Top Two titles) were published by Dark Horse Comics. (DM)

Looking forward to 2014,

Scott & Derek

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Top 5 Books of May: Cities, Dreams & Red Underwear

09 Sunday Jun 2013

Posted by ScottNerd in 5 Comics You Should Be Reading

≈ 2 Comments

Tags

Adventure Time with Fionna & Cake, Adventures of Superman, Battlefields, Battlefields: The Fall and Rise of Anna Kharkova, Brian Wood, Chris Samnee, Dark Horse, DC Comics, Dean Motter, Dream Thief, Dynamite Entertainment, Fatale, Garth Ennis, Greg Smallwood, Image, Jai Nitz, Jeff Lemire, Jeff Parker, Justin Jordan, kaboom!, Man of Steel, Matt Kindt, Mind MGMT, Mister X: Eviction, Natasha Allegri, New 52, Nowhere Men, Riley Rossmo, Russ Braun, Saga, The Bounce, The Manhattan Projects, The Massive

This was the toughest Top 5 list we’ve had to put together yet: ol’ reliables like Saga and Manhattan Projects didn’t put out an issue in May. And other stalwarts like Fatale and Nowhere Men, while solid, weren’t quite their usual, exemplary selves (hmm, looking at the above titles it seems we’re really putting the Image in images and Nerds). All these open spots generated much discussion from your intrepid reviewers about who should fill them. Change, of course, can be a good thing. Shake things up! Diversify! In the end, we’re pleased by the inclusion of three brand new #1’s on the list below, with all the promise they imply, even as we bid a fond adieu to one excellent title that seems to be ending its run.

5. Dream Thief #1 (Dark Horse): An undeserving lowlife is possessed by a mystical power that places him in hairy situations, seemingly in the name of justice. Jai Nitz’s tightly-structured occult noir hums like clockwork thanks in large part to Greg Smallwood’s beautifully designed graphic fireworks. After one issue, both of these gentlemen feel like creators to watch. And Dark Horse, with titles like this, Brian Wood’s The Massive, and Matt Kindt’s Mind MGMT (not to mention our #1 title below) is positioning itself to give Image a run for its money as the most exciting publisher around. (DM)

4. Battlefields: The Fall and Rise of Anna Kharkova #6 (Dynamite): It’s a bird!  In a plane!  It’s Anna Kharkova!  Garth Ennis and Russ Braun set the irrepressible Night Witch free with a Yeatsian final stanza that celebrates the unconquerable human spirit. (SC)

3. Adventure Time with Fionna and Cake #5 (kaboom!): The only regular on this month’s list, Natasha Allegri’s gender-switching fairy tale pulls off the neat trick of subtly subverting story-time expectations while also thrillingly living up to them. Truly a comic for “all-ages”. (DM)

2. Adventures of Superman #1 (DC): So what if this trio of short stories first appeared digitally? We first read them the old fashioned way – holding them in our grubby little hands as an actual comic book! Whatever the format, this is the best Superman title we’ve read in a while. Jeff Parker pens a classic story about an early Luthor encounter, made even more so by Chris Samnee’s utterly gorgeous art. We’re convinced: Samnee should draw Superman regularly. And every other superhero title. Justin Jordan and Riley Rossmo close the book with a fun Bizarro tale. But the star here is Jeff Lemire. Set in the vast expanses of rural Kansas, Lemire’s story and art are given the room to breathe that has been sorely lacking in some of his other superhero books. That may seem an odd comment for a story that’s all of ten pages, but Lemire fills them with the sense of imagination and wonder that are the essence of Superman. In the process, Lemire also reminds us what we love about him. This wonderful book has the cumulative, perhaps unintended, effect of making us long for the pre-New 52 Man of Steel. Long live the Red Trunks! (DM)

1. Mister X: Eviction #1 (Dark Horse): Amongst the standout books for the month, Dean Motter’s urbane banquet of urban anxiety stands out the most; in fact, it towers above the rest!  Mr. Motter is in complete control of the pagescape: he wields images and words with an imaginative precision that makes a penthouse reality out of street-level dreams.  All hyperbole aside, this, folks, is why we make our weekly pilgrimage to the comic shop. (SC)

The Biggest Dis(appointment): The Bounce #1 (Image):  If Joe Casey’s Sex is a tired, syphilitic muse, then his latest, The Bounce, is an adopted crack baby.  From the opening toke–a decision more desperate than daring–Casey wields his great power irresponsibly: he lazily and preposterously offers up a seemingly incorrigible pothead, one agonizingly alliterative Jasper Jenkins–an obvious Peter Parker analog–and then oddly recalls an irrelevant hero, Speedball–no, really, Speedball!–who himself was misguidedly modeled after Spider-Man, for goodness sake, all the while sticking too closely to the all-too-familiar amazing spiderweb, you know, because why futz around with a tried and true formula that’s caught villains and readers alike for fifty-plus years.  Speaking of villains: in the grandiloquent antagonist The Darling, Casey conjures his inner Mark Millar yet again (see Sex for more evidence of Casey’s indisputable infatuation with the obnoxious Scotsman); and in the Grand Design, he shows that he’s embarrassingly “behind the curve”–certainly behind Jonathan Hickman, whose The Manhattan Projects sports a curiously similar device.  Yeah: surprise.  If I’m being fair, The Fog, injected into the end of the book, does bring a tablespoon of originality to the flame; but whatever taste I’ve gotten is a bizarre, almost indescribable feeling that smacks of questionable calls–including having The Crush inexplicably use “tenacious” to describe the “pigs” that he assumes one sentence later will be “pissed” once they find out what he’s done–and tone deaf pseudo-intellectualism.  Maslow’s hierarchy of needs?  Really?  So, while I did say yes to the first issue, going forward, I’m going to listen to the small voice in my head, that of the former first lady who famously said that, when facing a choice such as this, I should just say no. (SC)

Turning pages,

Derek & Scott

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Top 5 Books of March 2013 – The Best of Times?

14 Sunday Apr 2013

Posted by dmainhart in 5 Comics You Should Be Reading

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Adventure Time with Fionna & Cake, Animal Man, Battlefields, Brian K. Vaughan, Buddy Cops, Dark Horse, DC, Ed Brubaker, Eric Stephenson, Evan Shaner, Fatale, Fiona Staples, Fonografiks, Garth Ennis, IDW, Image, J. Bone, kaboom!, My?tery Society, Natasha Allegri, Nate Bellegarde, Nate Cosby, New 52, Nowhere Men, Roger Langridge, Saga, The Answer, The Rocketeer: Hollywood Horror

Folks, if you don’t already know, it’s a great time to be reading comics. Take this month’s list for example: when stalwarts like Garth Ennis’s Battlefields and Ed Brubaker’s Fatale don’t even crack the top five (not to mention such left field surprises as My?tery Society and The Answer!) you know it’s been some good readin’. Dare I suggest we’re witnessing a second Golden Age?

5. Adventure Time with Fionna and Cake #3 (kaboom!): Natasha Allegri’s delectable delight is not exactly subversive, like a dessert laden with liquor, but it is a multi-layered cake. It can be gulped down, with childlike ravenousness, as the super-fun fairy tale that is. Or it can be slowly digested as a knowing commentary on gender roles. Or better yet, both. Bon Appetit. (DM)

4. Buddy Cops (Dark Horse): To kinda quote the Clan: “[Nate Cosby] be tossin’, enforcin’, [his] style is awesome/[Evan Shaner’s] causin’ more Family Feuds than Richard Dawson/And the survey said–[if ya didn’t think Buddy Cops was friggin’ hilarious,] ya [must be] dead.” (SC–with a little help from RZA)

3. The Rocketeer: Hollywood Horror #2 (IDW): Pulp heroes tearing it up in the golden age of Hollywood? Really, what more could you ask for? Roger Langridge and J Bone’s ode to nostalgia earns the label “classic” on every level. A dream for comics fans and movie fans. (DM)

2. Nowhere Men #4 (Image): Complex storytelling, beautiful art and sophisticated design: Eric Stephenson, Nate Bellegarde and Fonografiks’ tale of science gone awry in a retro-mod near future is a sleek, finely-tuned, precision vehicle. If “science is the new rock n’ roll” then this is the coolest book on the stands. (DM)

1. Saga #11 (Image): A stunning piece of storytelling from Brian K. Vaughn and Fiona Staples.  Over the course of eleven issues, they’ve managed to assemble the most relatable cast of characters in comics; and that unparalleled ensemble is put to the test in this emotionally charged issue of sex, love, sacrifice, and death.  There isn’t another book being published that can touch it.  I thank God I get to–every four weeks or so.  (SC)

The Biggest Dis(appointment): Animal Man #18 (DC) –  “The most tragic day in the life of Buddy Baker”?  OK.  If you say so.  In fact, you had to say so because, as the story unfolded, I felt absolutely nothing of tragedy–except maybe the very tragic pangs of disappointment.  In the end, my expectations for this title–which had been on life support after #17–were killed along with Cliff, himself a mini Animal Man, playing the role of the simply unnecessary sacrificial lamb. (SC)

But let’s accentuate the positive: this month’s Top 5 represent a wild variety of storytelling, genre and art that affirms and re-affirms our love of the medium. We share these books because they are the ones that excited us this month. So what’s your Top 5?  Share it with us. Or spread the word and tell a friend. Like we said, it’s a great time to be reading comics.

Turning pages,

Scott & Derek

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Back and Forth: Sex & Children’s Books

17 Sunday Mar 2013

Posted by dmainhart in Back and Forth

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Adventure Time, Adventure Time with Fionna & Cake, Animal Man, Aubrey Beardsley, Barnabas Collins, Batman, Batwoman, Bravest Warriors, Catwoman, Dark Shadows, DC Comics, Dynamite Entertainment, Ex Machina, Green Arrow, Hayao Miyazaki, Image, Jae Lee, Janet Lee, Jeff Lemire, Jim McCann, Joe Casey, kaboom!, Lost Vegas, Mike Raight, Nacho Tenorio, Natasha Allegri, New 52, Ocean's Eleven, Pendleton Ward, Piotr Kowalski, Return of the Dapper Men, Richard Corben, Rotworld, Scott Snyder, Sex, Swamp Thing, Watchmen, Winsor McCay, Yanick Paquette

Derek Mainhart: Provocative title, eh? Well, we’ll get to that in a minute. First to some (finally) finished business.

Scott Carney: Finished, indeed–at least as far as Animal Man #18 (DC) finishes anything.  And thank the good Lord, too.  The Rot was wearing on me, man.  It’s no secret: we didn’t care for the big two-part Rotworld finale for an unholy host of reasons.  Lucky for us, the finale was only the finale of the storyline as it takes place in the actual Rotworld; and by actual, I mean possible because, in the end, Baker and Holland were presented with the opportunity to keep it all from happening in the first place–and, boy, did they take it!  I can’t get into the nitty-gritty of the real finale, however, without first commenting on the ill-conceived cover.  Jae Lee’s anguished Animal Man is stunning; and the cover would’ve been, too, had it not been sullied by a tragically-placed assertion that spits vomits in the eye of subtlety:

I mean, come on!  Check out this art-only cover; it’s so much more effective:

Animal Man #18--Right?

Animal Man #18–Right?

Add the requisite logo and bar code and we’re still talking about an absolutely killer cover.

DM: Have to agree about the cover. Without the text, completely effective. With the text, it’s like that oft-parodied film cliche of the tragic hero falling to is knees while yelling “NNOOOOOOO!!!!” up at the sky. In other words: laughable. The early front-runner for worst cover of the year.

SC: Once inside, we’re treated to a quick little recap of the end of Swamp Thing #17 and then sucked into what Buddy refers to as “the most unsettling sensation,” while describing his return to the pre-Rotworld present.  I found the narration unsettling, as well; it seems to creep toward the edge of profundity, never quite making it there, and, as a result, festers in ineffectuality and leaves behind unintentionally laughable lines–and a hero for whom I had trouble hoping the very best.

(I don’t do this very often: spoiler alert!!!)

I did find a truly touching moment in Buddy’s remembering Cliff’s finger painting different animals when the latter was “a little boy.”  I’d have trouble, though, if you were to ask me to “flip the pages and point to another” such moment.  Couldn’t do it.  See: after that singular scene–in retrospect, the necessary father-and-son set-up for the end–the story dies as quickly and as unceremoniously as Cliff–who passes proudly as a “hero–just like [his father],” which, on a side note, is an interesting counterpoint to something Jeff Lemire’s developing in another one of his books, Green Arrow #18: Komodo, the Bullseye to Green Arrow’s Daredevil, has a daughter who–speaking of unsettling–plays the role of an evil apprentice, who also has a connection, story-wise to fingers, oddly enough; in this case, the little girl is used as a pointed threat against one of her father’s prisoners: “[…], or my daughter starts cutting off your fingers.”  (By the way, I’m still not too sure how I feel about it.  Kudos to Lemire for that!)

Back to Animal Man and the devolution of the story: with my own fingers dutifully turning pages, I found the dialogue disappointingly reminiscent of #17 (“So just die already!”).  And how strange was the splash on page 18, with the guys in the yellow suits shedding their rot?  At last!  Something interesting!  But, despite their presence on the page, neither Buddy nor Maxine react to the seemingly important revelation; and when Buddy finally does seem to notice them–several panels later–he doesn’t seem all that concerned!  It was all so very awkward and forced–well, Lemire did have to live up to the promise of the textually explicit cover, after all; couldn’t bring myself to care, though, even with the final splash–and just not what I’ve come to expect from the aforementioned esteemed writer, who is an absolute master at developing sympathetic characters and complex yet relatable relationships.  My expectations are still high for him and Animal Man, so I’ll be sticking around for more–especially since we’re headed in a new direction.

DM: Scott Snyder, on the other hand, in Swamp Thing #18 (DC), ties a bow on this story, and his run, in a manner that is satisfying and organic (pun intended–every time!). Amidst Yanick Paquette’s gorgeous leafmotif visuals is a story where the damsel becomes the hero, the demon is rent asunder, and our lovers have their stars well and truly crossed. But not before the creators generously allow them one last (first?) kiss, in which their passion literally burns. A fitting finale to a mostly excellent run.

But Swamp Thing and Animal Man aren’t the only hero-inhabiting-a-new-body-travels-to-a-dystopian-future-to-defeat-unearthly-evil-then-returns-to-the-present-in-order-to-prevent-it-in-the-first-place stories this week. That’s right! The same exact plot is featured in Dynamite’s Dark Shadows #14!

Dark Shadows #14

Dark Shadows #14

Ah well, no new ideas and all that; it’s how well you handle them. Writer Mike Raight’s vampiric version involves Gothic plot twists, backstabbing (with wooden stakes, natch!) and enough Grand Guignol action to satiate any horror fan. Artist Nacho Tenorio does a nice job orchestrating the gore, alternating between excess and restraint, the way any 1960’s-influenced horror should. This isn’t all superficial bloodletting however. (SPOILERS!) Raight infuses some depth and existential quandary as the evil that the hero, Barnabas Collins, must destroy in order to save his family, is himself. There’s also a well-wrought, even delicate twist, as Barnabas’ mysterious ally reveals that aiding him and taking revenge upon him are, in this case, one and the same. Solid and compelling, this book is one of the most reliable sources of monthly macabre that you’re likely to find.

So, having been hooked by our attention-grabbing title, you’ve made it this far through our post, and yet you find yourself disappointed by the lack of any content that could be considered truly eye-opening.

SC: Hey!  What about my–

DM: Well then, you’ve got an idea of the experience of reading Sex #1 by Joe Casey and Piotr Kowalski (Image).

SC: Oh, I see.  Clever.

DM: Mr. Casey means well. In a heartfelt (and rather breathless) afterword, he holds forth on the state of today’s comics; mainly the continued dominance of the Big Two despite the wild variety and quality of other work out there. Well hear, hear! And yet, what does he offer us? A wealthy scion reluctantly returns to run his vaguely defined corporate empire. A seedy underworld controlled by a grotesque mob boss. Words of wisdom from a trusted Man (or in this case, Gal) Friday. And, oh yeah, said wealthy scion is a former superhero. This set up bears any number of resemblances to Batman, the newfangled Green Arrow, Ex Machina (a much better melange of superhero/real world tropes from eight years ago), etc. But wait, this has superheroes and sex. Well Watchmen broke that seal long ago. It’s simply no longer a shocking conceit (I mean even Catwoman’s done it for chrissakes). Now, to Casey’s credit, when the naughty section does occur, despite its fairly graphic nature, it’s contrasted in such a way that it is robbed of nearly all prurient titillation. The participants even call out the reader’s presumed lasciviousness, in a clever use of breaking the fourth wall. Kudos to Casey for subverting the expectations set up by his conspicuous title.  But in the end, this is just another superhero comic. And what’s so sexy about that?

SC: I hear ya.  Image did have another release this week that I enjoyed more than Sex—

DM: (tee-hee!)

SC: Uh-huh. Anyway, it’s Jim McCann and Janet Lee’s Lost Vegas #1.  It came with a little less hype than Casey’s book did, but it was loads better.  Though engaging from the get-go, McCann’s writing does prove a bit hard to swallow at times, especially as the Ocean’s Eleven-esque scheme is laid out; but Lee’s artwork is enviably voluptuous, a stunning exercise in sensuality.

DM: Yes, Lee’s work is certainly the star for me thus far. She blew me away on Return of the Dapper Men a few years ago (also written by McCann). There she dazzled with an unorthodox process that combined vibrant expressionistic backgrounds with the sublime precision of Winsor McCay (if you don’t know who that is, look him up. Look him up now.) Here the chameleon-like Ms. Lee seems to be offering something of the sensual loucheness of Aubrey Beardsley, combined with the sci-fi sensibilities of Richard Corben, and even a dash of Hayao Miyazaki for fun.

SC: That’s some company she’s keeping.

DM: Indeed. Like Batwoman, this could become a book that I buy for the art alone.

SC: Well worth the price of admission.  I’m certainly up for round two.

DM: Now, returning to our theme, for a nuanced, astute, refreshing exploration of sex, one need look no further than Adventure Time with Fionna & Cake #3 (kaboom!):

Adventure Time: Fiona and Cake #3

Adventure Time with Fiona & Cake #3

Sex, in this case, denoting gender. ‘A childrens’ book?’ you say, eyebrow ever so arched? Well in its brief existence, Pendleton Ward’s magical juggernaut has tackled such concepts as abandonment, existential loneliness, first loves, the bonds of honor and friendship, pride, sacrifice, betrayal, the origins of myth, the nature of evil, the afterlife, determinism, fate, and nuclear annihilation to name a few. It never addresses these issues head-on however (it’s much too smart for that), but from rather more of a sideways angle, (and perhaps, blindfolded). Y’know, Stuff Happens. Each candy-colored episode is wide open to (and the subject of) much interpretation. It’s the type of show that dissertations will be written about someday(if that hasn’t already happened). I ask you, what better place to consider gender and identity issues than the sociological phenomenon that is Adventure Time?

For those who don’t follow the show (losers!) Fionna and Cake was a fan-favorite episode which featured alternate, gender-swapped versions of series’ stars, Finn and Jake. Now Natasha Allegri, who had a hand in that episode, gives the ladies a chance to shine in their own title. Issue 3 is the best one yet. The first two issues established the characters as well the epic, yet tongue-in-cheek tone that AT does so well. The third issue really delves into the gender stuff and shows why this is not your father’s (um, older brother’s?) AT. The story begins with Marshall Lee (the male version of the vampire Marceline from AT) suddenly appearing in the lead characters’ home in a state of distress. But unlike his female counterpart, who is decidedly bad-ass, this vampire is positively sparkly. Needless to say, Fionna has a crush (-and Cake does not approve!) It seems they need to rescue Prince Gumball, who is caught in a ridiculous trap, which I won’t ruin for you. Nor shall I spoil all the loaded symbols, pregnant pauses and hysterical double entendres peppered throughout the tale. These never come across as forced or excessive; they are, indeed the story’s raison d’etre. I will say that they culminate in a visual gag so audacious that I couldn’t believe it was in a children’s comic, even as I barked with laughter. And yet it perfectly encapsulates the major theme of this series. Sound dirty? Well, again, it’s not because all of the above is not so much dealing with sex, as it is gender and identity. I am not suggesting (as I have with AT’s sister book Bravest Warriors) that this title is inappropriate for children. Part of Allegri’s brilliance (in addition to the beautiful art) is that this book is, on the literal level that children tend to read, an exuberant, imaginative adventure/fantasy. It certainly can (and should, to some degree) be enjoyed that way. The storytelling is deft enough that whatever other meaning children take away from it is entirely up to them. And you. Book of the Week.

Turning pages,

Derek & Scott

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Back and Forth: Vs.

10 Thursday Jan 2013

Posted by dmainhart in Back and Forth, Microviews

≈ 1 Comment

Tags

Adventure Time, Adventure Time with Fionna & Cake, Albus Dumbledore, AvX, Bravest Warriors, Brian Michael Bendis, Cartoon Hangover, Colder, Courtney Crumrin, Dark Horse, Dark Shadows, Dave Stewart, Drago, Dynamite Entertainment, Ed Brubaker, Edgar Winter, Fatale, Francesco Francavilla, Fury: My War Gone By, Garth Ennis, Goran Parlov, Guiu Vilanova, IDW, Image, Joey Comeau, Jonathan Frid, Juan Ferreyra, Justin Ponsor, kaboom!, Mars Attacks Popeye, Martin Powell, Marvel, Marvel Max, Mike Holmes, Mike Raight, Natasha Allegri, Oni Press, Paul Tobin, Ray Dillon, Rocky, Sara Pichelli, Sean Phillips, Superman Vs. Muhammad Ali, Ted Naifeh, Terry Beatty, Ultimate Spider-Man, Warren Wucinich

Who doesn’t love a good fight? David Vs. Goliath! Rocky Vs. Drago! Lindsay Lohan Vs. Dignity! Comic books are replete with these classic donnybrooks, from the sublime (Superman Vs. Muhammad Ali) to the atrocious (Avengers Vs. X-Men). In that spirit, we present this weeks selections in a manner befitting the tenor of our times: steel-cage death-match! (Because, as we all know, art IS a competition!)

The Helter-Skelter Weight Bout: Dark Shadows #11 Vs. Fatale #11

Dark Shadows #11 (Dynamite): A relative unknown and the clear underdog in this match, going up against our #5 pick for the Top Books of 2012. But don’t underestimate this book – it’s got plenty of (ahem) bite! Both books involve occult forces, demonic possession and children in grave peril. But only this one has a werewolf in a cheap suit! Writer Mike Raight packs in plot twists aplenty, befitting the series’ soap operatic origins. But he wisely keeps the camp to a minimum, instead delivering genuine chills and moments of pathos. Guiu Vilanova’s art is properly moody and atmospheric. And how could you resist Francesco Francavilla’s classic cover, rendered in a style I like to call 1970s Gothic (and dedicated to Jonathan Frid, no less)? To all of this add not one, but TWO cliffhangers, and you’ve got one helluva horror book. (DM)

Fatale #11 (Image): I’ll tell you: I couldn’t be more thrilled by the fact that Ed Brubaker “started having ideas for more stories within this world” of Fatale because he hooked me hard–or maybe it was Josephine after all–and a limited series would’ve left me standing on the tracks like poor Officer Nelson.  Poor Officer Nelson, indeed: I love how he’s left stepping toward the tracks as the narrative shifts to Jo’s meeting with “the writer,” Alfred Ravenscoft.  His satanic tale of of innocence obliterated leaves Jo with more questions than answers, which leads her to push Alfred toward an audience with his mysterious, and ultimately monstrous, mother–and the book’s audience toward another Alfred and his mother: Hitchcock’s murderous matriarch from the classic thriller Psycho.  Jo gets her meeting, but it doesn’t go as she had planned.  Her escape lays the track for a terrific transition: as she speeds past a railroad crossing in search of an end to the madness, we come to find Officer Nelson, who’s looking to catch the next train in order to find an end of his own.  Unfortunately for him, he’s “saved” by a few fellas who are in hot pursuit of Jo–including a couple bespectacled brutes with whom we’re far too familiar.  At the end of the story, we’re left hanging with Alfred–only we’re still able to beg for more.  All told, Fatale #11 is a  perfectly constructed one-shot; in fact, it’s more than just a one-shot: it’s a damned deadly derringer.  And with it, looks like the aforementioned Brubaker, Sean Phillips, and Dave Stewart are aiming to have their ticket to next year’s top ten punched plenty early.  As one of the conductors of this little blog, I’m almost inclined to do it!  Or maybe–just maybe–it’s Josephine, after all… (SC)

This one’s closer than you might think, but the winner (and Book of the Week): Fatale

The Featherweight  Bout: Courtney Crumrin #8 Vs. Ultimate Spider-Man #19

Courtney Crumrin #8 (Oni): A couple of youngsters from our Junior Division, but what these two lack in experience, they make up for in chutzpah! Both series center around their teenage protagonists coming of age. Both feature fathers (or in this case father figures) who are not what their children thought they were. And both balance personal drama against a backdrop of conspiracy. Here, Courtney is on the run from her beloved Uncle Aloysius who just happens to be the most powerful wizard in her supernatural world. Creator Ted Naifeh nicely portrays Courtney’s world turned on its head as this once cocksure waif realizes how much she’d depended on her uncle and how his seeming betrayal has left her utterly lost. Her confusion and alienation mesh well with the larger story of adult compromise and corruption. Courtney’s world is getting more complicated and dangerous. Like the subtle color palette (employed by Warren Wucinich over Naifeh’s darkly expressive art) there are a lot of shades of grey. Naifeh’s compelling story depicts Courtney experiencing that common tragedy we all go through: becoming an adult. (DM)

Ultimate Spider-Man #19 (Marvel): OK.  You know how when your wife invites your mother-in-law over for a a couple of days and you’re not super thrilled about it, and you put up with it because, technically, you love your wife enough to deal with the–supposedly–short stay?  Yeah, that’s pretty much it–only it’s Venom who’s invading USM for Bendis knows how long.  Sure, Miles and Ganke are always good together, like Huck Finn and Tom Sawyer; and the intrigue surrounding Miles’ dad is, well, intriguing.  I even enjoyed J. Jonah Jameson’s defense of our post-Parker Spidey.  But the insinuation of Venom just doesn’t do it for me.  Sara Pichelli and Justin Ponsor’s splash on page 11, a startling disappointment considering their combined talents, pretty well sums the issue up for me: lackluster.  No, it’s not awful, like most of the United We Stand nightmare; it’s just, well, what it is.  Next please. (SC)

Courtney Crumrin has Aloysius, a cross between Albus Dumbledore and Edgar Winter. Ultimate Spider-Man has Venom. The winner: Courtney Crumrin 

The Maim Event: Bravest Warriors #3 Vs. Colder #3

Bravest Warriors #3 (kaboom!): What are these two doing in the same match? Well, for one thing, in a coincidence of Jungian proportions, BOTH feature a demonic presence  bursting violently out of someone’s body! See for yourself:

bw-pg11

Scenes like this do raise the question of why Bravest Warriors, as part of the kaboom! line of books, is being marketed to children. Not that there’s anything truly objectionable, but the animated series is being touted more for adults. There is a vibe (and occasional risque joke) in both versions that suggests “Not for Kids”. I get that it’s part of the Adventure Time brand, but it IS odd seeing the “Cartoon Hangover” masthead on the cover of what is ostensibly a childrens’ comic. Griping aside, this comic has Adventure Time’s patented tone of adrenalized slackerdom down pat; if anything, Bravest Warriors takes itself even less seriously. Writer Joey Comeau keeps the action and jokes coming at a furious pace. Mike Holmes’ art is the perfect compliment, staying within the Adventure Time “house style” while composing dynamic panels (see above) that highlight the bizarre story. Speaking of which, with this issue’s unrelenting sad-zombie-clowns, and last issue featuring Danny vomiting live spiders(!!!) this story line is like my 5-year-old nightmare from Hell. Add in the genuine laughs and this book can only be described as: hysterrifying. (DM)

Colder #3 (Dark Horse): Unlike Fatale, this series is probably better off that it’s limited to five issues.  The first issue was ice–with Paul Tobin’s inspired insanity and Juan Ferreyra’s stunning artwork–until Declan declares that “it’s time [he and Reece] had a talk.”  That worried me a bit; it seemed like a sure misstep into sanity.  The second issue had some bone-rattling moments, for sure–especially thanks to the perpetually frozen Ferreyra.  Unfortunately, I wasn’t so taken by Declan’s declarations–and there were many of them.  So, #3–well, at least we’re over the hump!  The creative team kicks things off well enough with a certifiably crazy contest of hide and seek, punctuated by Nimble Jack’s aforementioned shedding of someone else’s skin in an effort to win the game.  Inspired!  After that, however, the book babbles along, albeit beautifully, at a glacial pace.  Yup: Declan’s a drag.  But a bunch of arms dragging Reece through the roof of a taxi?  Now, that’s what I call ceiling the deal!  The odds of my missing #4?  Absolute zero. (SC)

One of these books is a horrific descent into madness. The other is Colder. The winner: Bravest Warriors

 Battle of the Sexes!: Fury: My War Gone By #8 Vs. Adventure Time with Fionna & Cake #1

Adventure Time with Fionna and Cake #1 (kaboom!): What do these books have in common? Absolutely nothing! They couldn’t be more polar opposites! Let’s pit the grizzled, one-eyed war veteran against the little girl with the magic puppy and see what happens! Like Bravest Warriors, this book is an extension of kaboom!’s successful Adventure Time franchise. Inspired by the fan-favorite gender-switching episode, this series puts a girl’s spin on what is ostensibly a boy’s enterprise. And, like that episode, it pulls it off with panache. Written and illustrated by Natasha Allegri (who also works on the show), the story doesn’t take the easy route of having its female characters appear strong simply by acting like boys. Instead, the characters are imbued with recognizably feminine personalities (especially the irrepressible Cake) without sacrificing one whit of action or humor. Indeed, Allegri begins the book with a story-within-a-story that, in a few brief pages, achieves the grandeur of myth. She then abruptly shifts tone toward the everyday low-brow (de rigueur for Adventure Time). She never loses sight of the fairy-tale wonder of her story, however, and her expansive lay-outs imbue the proceedings with a larger-than-life quality to match. The result? Out of all the books in Adventure Time‘s growing family of titles, this one feels the most EPIC. (DM)

Fury: My War Gone By #8 (Marvel): Fionna and Cake vs. Fury and Castle? That seems fair.  As I mentioned in my In Scott’s Bag post, I l-o-v-e the first page.  Goran Parlov’s splash carries quite a message: war ain’t black and white, brother; it’s shades–maybe fifty of ’em, but who’s counting–of gray shrapnel shredding men to pieces.  The narration casts a darker shadow, indeed, as the book’s–and Fury’s–antagonist explains–while Parlov shows–how Fury and Castle fell foolishly into his Viet Cong clutches.  And that’s just the first two pages!  As the story unfolds, General Ennis orders up an assault of ethical dilemmas and uncomfortable truths, all conveyed through perfectly calibrated conversations and culminating uncompromisingly in a multi-layered and minacious cliffhanger.  Will Fury do Giap’s bidding in order to end the war?  Will Castle do whatever it takes to keep the war from ending?  Will the Americans blow them all to hell?  Will Ms. Defabio blow them all to…?  Well, speaking of cliffs: the most memorable moment: Castle tosses a wounded enemy soldier off a cliff to test a potential escape route.  Fury concedes, “Not much of a splash.”  Castle replies, “No.  Only one way this can go now.”  And what a way it is. (SC)

The winner: Fury. Boys always win! HA! (except for Courtney Crumrin I guess. oh, and Fatale…)

Finally, given our premise, I’d be remiss if I didn’t at least mention the following:

(written by Martin Powell with art by Terry Beatty)

Is it Shakespeare? No, it’s Popeye beating up Martians. If the concept alone (or the cover by Ray Dillon) isn’t enough to make you giddy with excitement then we is emenies and I challenges you to steel-cage fiskicuffs.

(Don’t worry. You’ll win.)

Turning pages,

Scott and Derek

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