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Tag Archives: Before Watchmen

Back and Forth: Warriors and Witches

23 Saturday Feb 2013

Posted by ScottNerd in Back and Forth

≈ 2 Comments

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Alan Moore, Archer & Armstrong, Archimedes, AvX, Batman, Battlefields, Before Watchmen, Brian Azzarello, Brian Michael Bendis, Chris Bachalo, Comedian, Cyclops, DC Comics, Dynamite Entertainment, Ed Brubaker, Emanuela Lupacchino, Fatale, Fred Van Lente, Fury: My War Gone By, Garth Ennis, Gene Luen Yang, Goran Parlov, Grant Morrison, Greg Capullo, Guillermo Ortego, Harper Row, Heart of Darkness, IDW, Image, J.G. Jones, Jack Kirby, Joe Sacco, Joker, Josephine Baker, Larry Gonick, Mad Magazine, Marvel, Matrix, New Gods, Olive Oil, Popeye, Punisher, Rambo, Roger Langridge, Russ Braun, Samuel Jackson, Scott Snyder, Sean Phillips, Uncanny X-Men, Vince Musacchia, Watchmen, we, white man?

Scott Carney: The year’s most highly anticipated book–Batman #17–danced its way onto shop shelves, into our bags, and into our hands; and with every page turn, the story stumbles, trips and tumbles, and falls–along with the intolerably loquacious and ultimately uninspired Joker–from that lofty height of over-hyped expectations into a chasm of mediocrity–into a downright forgettable yawn. You know exactly what I mean. This stunningly inconsequential storyline–with a title that serves only to describe metaphorically what has befallen the Batfamily–delivers a punchline so impotent that I’m left wondering whether or not I will bother with the next arc; and, to be honest, the decision may not be very hard at all: the promise of more Harper Row has me thinking, No. What is it about this issue, in particular, that has left me even less than lukewarm about where’s Scott Snyder’s headed with Gotham’s grim guardian? Well, let’s start at the beginning. Snyder kicks things off by sloughing subtlety–because the Joker ain’t subtle, son–and serving up an overly vomitous villain, which may be a simple send-up of the blathering bad guy or may be a misstep, allowing the Joker’s words to speak much louder than his actions, which amount to pretty much nothing–unless, of course, you count the Joker’s failed attempts to kill the Batfamily as a success because the Batkids, after recovering from their harrowing ordeal (during a real gassy meal!), make transparent excuses not to meet with Batdad. Ugh! That’s right: in the end–which is also where it seems the Joker wanted it the whole time, if we’re to buy the unnecessary homoerotic insinuations, anyway, all implying, and insultingly so, that the psychotic killer’s insanity is somehow tied to his crush on the Caped Crusader–what’s the big change that was promised from the beginning? When all is said and, well, said, is the Joker any different? I guess we’ll find out when he makes his inevitable return, eh? Is Batman any different? Was he tested anew? Not really. Did he have to solve a mystery or do anything clever to overcome insurmountable odds? No. But one thing–one thing!–is different: Dick, Tim, Jason, and Barbara have been infected with an acute case of moroseness, perhaps a side effect of–ahem–hahnium poisoning. Yeah. Hilarious. Sure, the last page is cute, but it’s also pretty telling: as the story laughs its way to the final panel, it’s clear that the joke, friends, is on us.

Batman #17

Batman #17

Derek Mainhart: That’s a bold statement. My reaction was perhaps both less visceral and more at the same time. Less, because I didn’t hate this conclusion. This issue certainly had any number of cop-outs: after the Joker spent the previous few issues amping up the atrocities to truly absurd levels, why in the world wouldn’t he go the distance now? Twice? And good lord, how many times is this character going to fall off a high ledge? Having said that, even with the eventual cop-out, in those first few pages Snyder builds up a palpable tension. And then he delivers a genuine jolt. In a mainstream superhero comic, chronicling a multimillion dollar franchise no less, that’s no small thing. It was enough to remind me why I like Snyder to begin with. And enough to hope that he’ll rekindle the ol’ Bat-magic soon.

SC: All that said, I can’t wait for my American Vampire trades!

DM: Right. There actually were some good books this week so let’s get the rest of the dreck out of the way. My Book of the Weak: Uncanny X-Men #1 (Marvel NOW!). The plot: there’s a group of mutants with unheard of power levels posing a threat to humanity. Cyclops, a messianic zealot, is their leader. Someone very close to Cyclops is set to betray him. Sound familiar? It should. I’ve just described the plot of Avengers Vs. X-Men, easily the worst book of 2012. Looks like the powers that be aren’t done abusing Cyclops yet. But wait! Maybe this is about his redemption! Doubtful. And considering how Bendis and Co. have woefully mishandled the character up until now, I’m not sticking around to find out. Chris Bachalo’s art is great tho’.

Uncanny X-Men #1

Uncanny X-Men #1

SC: I’m not as down on it as you are. But that’s not saying much. I understand–and agree–with your point about its parallel to the abysmal AvX and Bendis’s epic mishandling of Cyclops. I also didn’t care for the fact that the first issue’s framed by this rather sudden betrayal angle. Why not build toward it a bit, for goodness sake? And the reveal at the end? That was an Ugh moment for me, not unlike–but not as apocalyptic as–the end of Superior Spider-Man #1. Hmm. An ironic turncoat? Whatever. That being said, I’m going to ignore all of that and pick up number two. Why? I don’t know. Well, I guess I know: I think, it’s, in part, because I can’t conceive of a world in which I’m not picking up a single X-book. (As it is, I’m already living in a world in which I’m picking up one–only one of the billion Avengers books; and it’s one without Captain America, for crying out loud!) Another part: this is called my not learning my lesson: I’m giving into the siren song that is Bachalo’s artwork. Yes, I remember what happened with Wolverine and the X-Men. He fell off the book after I got hooked; and it took me twenty-plus issues to realize I had been rooked. We’ll see what happens. But for now, I’m calling this a trial run.

DM: While we’re on the topic of “dangerous undesirables,” there is a book out this week that skillfully tackles one of our country’s most hot-button issues: illegal immigration. The threat of deportation, onerous paths to citizenship, official corruption, placing a greater value on certain immigrants over others; all these are handled with a deft hand therein. What’s that you say? Joe Sacco must have a new book? Or perhaps Gene Luen Yang? Nope, it’s Popeye #10 (IDW):

-Popeye #10

That’s right; Popeye. Here’s the scoop: Toar, a behemoth of a man and good friend of our favorite sailor-man, is being threatened by an unnamed government agency that strongly suggests the Dept. of Homeland Security. In order to stay in the good ol’ U.S. of A. Toar must prove he possesses a valuable skill that no other American has. Panicked, and none too bright, he blurts out “TOAR ONLY FELLA WHO KIN BEAT POPEYE IN FIGHT!!”. A rare gift indeed. The government agent in charge of his case fairly salivates over “the potential military applications” of Toar’s boast. Sound a little too heavy-handed (pun intended) for a Popeye comic? Fear not! Writer Roger Langridge has been working wonders with this title, and this installment has all the jokes, antics, roughhousing and romantic misunderstandings (via Olive Oyl) any Popeye fan could want, all in a scant fifteen pages. His light touch seamlessly interweaves the social with the shenanigans. And Vince Musacchia’s retro stylings keep the tone at a safe, 1930’s remove. Most satisfyingly, although Toar is clearly the sympathetic character here, Langridge refuses to be one-sided in the debate. In fact, it is ultimately the viewpoint of the government agent, unsavory though he most certainly is, that carries the day. There are some forces, it seems, even Popeye can’t vanquish.

A bunch of ruffians fighting against menacing global powers though they’re desperately outmatched? That’s Archer and Armstrong‘s bag baby!

Archer & Armstrong #7

Archer & Armstrong #7

Archer, a recently un-brainwashed religious militant, and Armstrong, an immortal lout, have teamed up to save the world from…nothing. That is, an ancient secret sect (aren’t they all) called the Null that has been working for centuries to return reality to the mathematical purity of nothingness. Issue 7 (Valiant) finds that our heroes have been joined (or thrown together more like) by the Eternal Warrior, who happens to be Armstrong’s straight-arrow (pun intended) killing machine of a brother, who’s also a bit of a pill. These two take sibling rivalry to mythic proportions. Rounding out our group is a Geomancer, a sort of earth-goddess-wizard-type. In a delicious twist, the latest incarnation of the Geomancer is a young corporate shill, the type that would be at home as a talking head on Fox News, who’s chosen by Mother Nature (a monkey, natch) for her excellent P.R. skills. Fred Van Lente’s whip-smart writing riffs on a wide swath of sources, both pop cultural and historical: the Anti-Life Equation from Jack Kirby’s New Gods, the Matrix films, ancient Roman history, Archimedean mathematics and World War II espionage, among others. For all its erudite underpinnings, the book maintains a breezy tone, ably abetted by the crisp artwork of Emanuela Lupacchino and Guillermo Ortego. Van Lente’s writing is the star here though, equal parts Grant Morrison, Larry Gonick and Mad Magazine, as he gleefully skirts the line between high adventure and high satire.

SC: Umm, I liked it, too. And, wouldn’t you know, for all of those exact same reasons.

DM: Interesting Factoid Dept.: Both Archer and Armstrong #7 and Comedian #5 make use of the old “We, white man?” joke in the same week.

But there the similarities end. If you want to talk similarities however, it has been fascinating to concurrently read Comedian (DC) and Fury: My War Gone By (Marvel Max). Both books take firmly established characters and place them in the cross-hairs of war and the realpolitik considerations thereof. Comedian would seem the better fit, given Alan Moore’s deliberate infusion of 20th century history into Watchmen (does it need to be said that this was a watershed series at this point?). Nick Fury, on the other hand, carries decades of comic book baggage. And while his origins are tried-and-true war comics, his character has become so diluted and utilitarian over the years that I can’t even tell what he looks like in the Marvel U anymore (classic cigar-chomper or head-shaven Samuel Jackson?). Well, trust Garth Ennis to remedy that. Ennis, simply put, is the best writer of war comics around. (Hey there’s a reason this book was #9 on our Top Ten of 2012). This series, with appropriately visceral visuals by Goran Parlov, puts Nick right in the middle of some of the most nefarious military imbroglios of the last sixty-some years, from the Bay of Pigs to Vietnam. The intrigue abounds as Nick is placed in situation after impossible situation due to sordid behind-the-scenes machinations that he knows all too well, but has little influence over. As such, an appropriate fatalistic air hangs over the series. In fact in the latest issue, (in which our suspension of disbelief is unfortunately tested by the inclusion of the Punisher doing his best Rambo impression) Ennis suggests that Fury wouldn’t change things even if he could. As he descends upon his target, a Vietnamese commander, we’re left wondering who the “bad guy” really is. And if, in Fury’s world, such questions aren’t strictly academic.

SC: Wasn’t my favorite issue of Fury, probably because it was more of a shoot-’em-up this time around. Oh, and because of one of the more awkward time-collapse transitions–signaled more arrogantly than cleverly by Fury’s “No time to f___ around”–I’ve experienced of late. (Sneaky suspicion: a page or two had to be lost in the final edit, and chopping this scene seemed the safest bet.) I do appreciate, however, the fact that Ennis drives home the point–especially in the two scenes with the smug Pug McCuskey–that Fury’s true nemesis isn’t to be found on foreign shores at all. In those scenes specifically, the real war–a war of words reminiscent of Othello–is waged; and, for now, anyway, Shirley DeFabio and Fury are left on the losing side. No matter: as long as Ennis forges ahead with this book, we’re all winners.

DM: For the Comedian, questions of morality don’t even exist. In issue 5 Brian Azzarello and J.G. Jones go straight into the Heart of Darkness. Again, the setting is the Vietnam War. As events spiral out of control, the Comedian takes matters into his own deadly hands. As he does, he bluntly explains the rationale behind his actions. It is a belief system that will support any violence, excuse any atrocity done in its name. It’s easy to imagine something similar going through the minds of soldiers of any stripe, in any conflict, as they perpetrate acts of gross inhumanity. It is simple and it is chilling. And the Comedian makes the Punisher look like a saint.

The whole Before Watchmen franchise has been largely, and justly, maligned. The titles suffer most from a quivering fealty to the source material (much as the movie did) that results in highlighting the most superficial aspects of the original, thus rendering the unique, cliche. But Comedian is the exception. Azzarello and Jones have crafted a book that can stand on its own. And a damn good one at that.

But the best war comic being produced these days is undoubtedly Battlefields (Dynamite)– again, by Garth Ennis (surprise!). Issue 4 begins a new arc entitled The Fall and Rise of Anna Kharkova, in which Ennis returns to the title character, a WWII female Russian fighter pilot (from a previous arc, The Night Witches) and one of his most winning creations. This issue presents the Fall as Anna’s plane is brought down behind German lines. She is taken prisoner, but due to circumstances that Ennis skillfully explains, she is being cared for by Chris Cohen, a medic, a British officer, and a Jew. This issue is largely a character study of the two, taking place in a single room during Anna’s long convalescence. Ennis’ writing is wonderful as the characters get to know each other; one could almost imagine this as a one-act play. He suggests the passage of time merely through tonal shifts in the dialogue. His immense knowledge of history is on full display, but never overwhelms. And then there is the dialogue itself: natural, revealing, funny, angry, human. The tragic Russian and the reserved Brit do occasionally talk like avatars of their respective cultures and historical circumstance. But wouldn’t war naturally engender such conversations amongst its combatants? (Kudos must also be given to Russ Braun: no harder task in comics than drawing pages and pages of two characters talking to each other in the same room.) Given the ending, I suspect we’re going to see a bit more Fall for Anna next issue before her Rise.

Battlefields #4

Battlefields #4

Dare I Hope? Dept.: With Ennis, along with Azzarello, producing such stellar work, could we be witnessing a Renaissance of that classic genre, the war comic?

From Night Witches to real witches: Fatale #12 (Image). I’ve simply run out of superlatives to describe this book. Would you care to take a shot?

SC: A shot? Heh. You motif monger! In this case, how about a stab?

Fatale #12

Fatale #12

Of all the books this week, nothing stands out more than Fatale #12–and not just because of Sean Phillips’ gorgeous cover. Yeah, it’s becoming a bit of a routine now: read Fatale, write about Fatale and name Fatale Book of the Week and then, eventually, Book of the Month. You’d think we’ve been paid to praise it! (Disclaimer: we haven’t been paid to praise it–not that we’d be against such an arrangement.) This time around, Ed Brubaker and the aforementioned Mr. Phillips cement their status as the hands-down Masters of the One Shot. I mean, it’s no secret: #11 was our Book of the Month for January and a stunning example of single-issue storytelling. While that storytelling skill is on full display in this issue as well, the creators take a bit of a risk here: they break from Josephine’s journey and jump across the ocean and back in time to 1286 A.D. Our heroine, Mathilda’s got what Josephine’s got: a mojo she can’t quite explain and that men can’t resist. Bearing this cross, she’s branded a witch and suffers for it–suffers but never dies. She meets Ganix, a kindly old cyclops–one actually worth caring about!–who cares for her, who fights for her, and who ends up suffering for her. Mathilda races to save Ganix and embraces her power over men as she descends upon those who have “come to drag the demon witch away.” Sure, she takes them all down–just as we expected her to; but Brubaker’s better than that: he knows what we’re expecting–because he’s made us expect it! Instead, we’re left with a Wow!, which is exactly what we want to walk away with after the final panel–which is exactly what we expect from Brubaker, a writer at the very top of his game. So, to make it official: Book of the Week.

Turning pages,

Derek & Scott

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Back and Forth: A Stitch in Time

16 Sunday Sep 2012

Posted by ScottNerd in Back and Forth, Microviews

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Tags

Adam Glass, Alberto Ponticelli, AvX, Batman, Before Watchmen, Brian Azzarello, Butch Guice, Charles Dickens, Chris Bachalo, Chris Samnee, Comedian, Cyclops, Dark Horse, Dark Shadows, DC Comics, Dynamite Entertainment, Ed Brubaker, Frankenstein, Gene Ha, Greg Rucka, Guiu Vilanova, Hal Foster, Harbinger, IDW, J.G. Jones, James Robinson, Jason Aaron, Jeff Lemire, Lee Garbett, Mark Waid, Marvel, Mateus Santoluoco, Matt Kindt, Matthew Southworth, Mike Mignola, Mike Raight, Oni Press, Oscar Wilde, Prince Valiant, Professor X, Punk Rock Jesus, Rico Renzi, Robert Venditti, Rocketeer, Sandman, Sean Murphy, Stefano Gaudiano, Stumptown, Suicide Squad, The Shade, Valiant, William Shakespeare, Winter Soldier, Wolverine and the X-Men, X-O Manowar

Scott Carney: With a first page that leaves two-thirds of We3 in pieces on lab tables, Frankenstein: Agent of S.H.A.D.E. #0 skulks its way toward a violent origin, one that plays out–thanks to the way Frank is depicted–like the birth of a pre-Atomic Age Hulk.  What a fun book!  Just turn to page 11.  I know what you’re hearing while looking at that scurvy bunch: you’re hearing a salty Obi-Wan Kenobi say forcefully: “Mos Eisley spaceport. You will never find a more wretched hive of scum and villainy. We must be cautious.”  Glorious!  The rest of the story reads well enough.  Necessary comment: Kindt’s father-son showdown–an expected but wholly appropriate climax–makes the mutant patricide of AvX look pedestrian in execution.  Just sayin’.  And, come on: a Nazi robot spider?  That’s right up there with gorillas with guns.  I’d like to also celebrate Ponticelli’s cover, which is my favorite of the zeroes.  Every time I look at the damn thing, I feel like that sword’s gonna come down and cut off something I might need.

Frankenstein: Agent of S.H.A.D.E. #0 Cover

Derek Mainhart: Yeah that cover is really something. Best use of the whole “tearing through the page” conceit. For a book that initially seemed like it was going to be DC’s version of the Mike Mignola’s B.P.R.D., this title has really established itself as one of the most fun corners of the DCU. Jeff Lemire’s initial run was characterized  by  a wanton sense of absurdity, grounded (well, semi-grounded) by Frankenstein’s grave demeanor (pun intended!). Frank’s unwavering character anchored the stories allowing Lemire to introduce whatever wild sci-fi / horror tropes he could come up with. Matt Kindt’s run has continued in that vein but, in exploring the monster’s past, has introduced a level of pathos to the proceedings. This extra wrinkle, combined with Kindt’s refined appreciation of the ridiculous, have produced stories that thrill on a level that I would call epic, if “epics” didn’t take themselves so seriously. (To wit: your apt contrast of this with the “epic” AvX, which is simply awful. But that is perhaps grist for another discussion.) Alberto Ponticelli has visually really made this book his own. Some standout scenes, in addition to the ones you mentioned: page 6 as the freed mental inmates tear through the mansion past the Doctor’s poor sainted wife; and the palpable, kinetic action of the big fight scene in pages 17-20. I’ll be sad to see him go, as he moves over to Dial H (I’m also sorry to see Mateus Santoluoco leave that book). My one quibble about this issue was that it really should have ended at page 26, with the line “You can call me Father”. How apropos, no? The final two pages seemed tacked on for the benefit of new readers, I guess. Still, I’ll forgive it since those last pages include the aforementioned GIANT NAZI SPIDERS! Book of the Week.

A close second however was Rocketeer: Cargo of Doom #2 by Mark Waid and Chris Samnee (IDW). After a shaky first issue, Waid really seems to have found his footing here. There isn’t a wasted moment as the story propels from one improbable action scene to the next. Samnee draws a particularly effective sequence right away on pages 2-3 as the villain of the book is shown incapacitating the dangerous cargo of the title without revealing what the cargo actually is; a neat visual trick. Samnee’s visuals perfectly complement Waid’s retro tone, which is a gleeful combination of Indiana Jones, King Kong and perhaps a touch of Looney Tunes. Like Indy, its an homage to the propulsive movie serials of old, complete with the requisite, exquisitely unbelievable cliffhanger. Don’t miss it.

SC: I liked Winter Soldier #10, too.  Loved Guice’s layouts from the get-go; he gives stunning and shadowy life to the Widow’s unexpected awakening and to Jasper’s selfless final act.  Brubaker brings Captain America, Wolverine, and Hawkeye to Bucky’s side, creating a formidable cavalry to face down an increasingly formidable foe.  The romantic Parisian flashback, juxtaposing the rain and the pain, is tenderly rendered, and rounds out a seriously solid issue.  If this storyline  is Brubaker’s kiss goodbye to Marvel, it’s a French kiss, indeed.

DM: Big fan of Butch Guice’s artwork as well (this book has been blessed with some stellar artists), but this issue just seemed to be treading water to me. Brubaker spends the first nine pages rehashing events that the reader could have surmised from last issue (including a beloved SHEILD agent getting killed a la The Avengers movie). Then some expository dialogue explaining her brainwashing in more detail than is needed. And then the guest stars show up. (Wolverine seems kinda forced. Doesn’t he have enough to do?) It even ended on an awkward beat. Hopefully things will pick up next issue.

SC: Wouldn’t you know, with Wolverine and the X-Men #16, Aaron has pulled another one out of the Phoenix fire.  This time, he’s out of the damn crossover frying pan and into the Hellfire.  This Kilgore kid is bad-ass and has a killer back story to prove it–specifically a black and white one that Bachalo just absolutely blows up.  This is wicked fun that seems to be headed in the right direction–back to where it all started; back to what drew me to the book in the first place.

DM: Glad AvX didn’t ruin this book for you. (Did I mention it was awful?)

SC: The Shade #12 isn’t bad for a final issue.  Too often exceptional story arcs fall apart at the all-too-crucial end; but not this one.  Robinson mixes up some magic with an Oliver twist.  The art’s no joke: when the Scrooge-lookin’ Simon summons Scathach, Ha hits a high note driving the darkness into Dick.  Oh, I’m sure–well, I hope I’m sure–this isn’t the last we’ll see of the good Mr. Swift.  I mean, where else is Robinson going to shine but in The Shade?

DM: I’m going to miss The Shade. If the final two issues weren’t completely satisfying, it’s only because Robinson set the bar so high with the first ten. The roster of artists has been stellar, but the star of this series was the writing. Something about playing in the Starman universe seems to bring out the best in Mr. Robinson, and here we were treated to roguish imaginings in various eras filtered through the arched eyebrow of an Oscar Wilde dandy. Interesting that for this last issue the Shade’s teamed up with Charles Dickens. (It brought to mind the final issue of Sandman featuring William Shakespeare, right down to the lush period illustrations of Gene Ha.) My main quibble is that this didn’t feel like a last issue. The reintroduction of Simon Culp as his arch-nemesis, the mystery of why the goddess chose the Shade to receive his powers, the friendship with Dickens; all of these seem like plot threads of a series in mid-stride, not one that is winding down. Let’s hope you’re right and Robinson returns to this material soon. It’s the best stuff he’s written in years.

SC: The Valiant books were all right.  I wasn’t too impressed by the introduction of Ninjak in X-O Manowar #5.  But I did enjoy Aric’s arrogance; it reminds me so much of myself.  Harbinger #4 was a bit better with Pete’s almost losing Faith and then his really losing it over Joe.

DM: As someone who was, shall we say, less than enthused about the whole Valiant relaunch, I gotta say X-O is growing on me. I’m enjoying the artwork by Lee Garbett and Stefano Gaudiano (a touch of Hal Foster, no? A little Prince Valiant in Valiant?  Have I taken things too far?). And Robert Venditti’s tale of Roman slaves, time travel and pseudo-religious space invaders has never been less than a good time. (The grenade bit on page 12 alone was worth the price of admission)

SC: I may be done with Comedian after #3.  I may be nuts, too, but is there any doubt that Azzarello’s been dropping little hints about how he feels about this whole Before Watchmen venture.  The first hint pops up in Rorschach #1, when “Crime” tells Rorschach that he doesn’t quite live up to the myth.  Here, it’s not-so-hidden on pages 22-23, where Blake watches a dog take a dump on the sidewalk and then tosses a piece of crap at a police chief’s face.  Is it possible Azzarello’s not doing this on purpose?  Is it?  No, really, is it?

DM: Comedian was a bit of a letdown for me as well, though I think I liked it a little more than you. I enjoyed his moral ambivalence as he played all sides against each other simply because, well, he could. (And the art by J.G. Jones certainly doesn’t hurt.)  Having said that, I was disappointed that this is starting to read like an overly comprehensive flashback – “this happened, then this happened, then this, and so on” – an aspect that has been endemic in all of the Before Watchmen books. How about focusing in on just one compelling story and seeing what it reveals about the character?

SC: I am done with Suicide Squad after #0.  My soft spot for the book killed itself a few pages in.  That’s right: the Glass has finally cracked.  What a disaster.

Re: Batman #0: When does #13 come out?

DM: Yeah, what was the point of this issue again? After the laser-like focus and highwire tension of the Court of the Owls arc, this issue and the last one (which was better, a little) have meandered into territory that seems trivial at best. A lost opportunity for a zero issue.

To end on a high note I’d like to show some love to the following:

Stumptown: The Case of the Baby in the Velvet Case #1. (Oni Press) The title alone grabbed my attention. In his end piece, writer Greg Rucka extols the pleasures of the 70’s PI show, highlighting The Rockford Files. This first issue shares that show’s laconic tone and wry humor. No end-of-the-world stakes here. Just a seemingly routine mystery that begins with a missing guitar. Solid art by Matthew Southworth and Rico Renzi. Fans of detective fiction should check it out.

Dark Shadows #7. Speaking of the 70’s, Guiu Vilanova’s art, with it’s shaggy hair, handlebar mustaches and big-honkin’ police cars, captures the era of this book perfectly (This is a compliment. Really). Unlike the recent Tim Burton movie, writer Mike Raight, focuses less on the camp (which is inherent) and more on the horror. Fans of Dark Horse’s line of arcane horror books (Hellboy, et al.) should give this a try. Another solid book from Dynamite.

And finally, Punk Rock Jesus #3, the story of Christ’s second coming via cloning (story and art by Sean Murphy.) The art features a harsh, expressionistic (but never unreadable) line well-suited to its punk rock ethos. The character development and pacing may be a tad forced (I think this is Murphy’s first crack at writing), but this is more than made up for by the anarchic energy and send-up of modern society that the title so ably suggests. Definitely worth a look.

SC: Hmm.  You’re inspiring me to think outside my bag.  (I could hate you for it; but I don’t.  Not yet, anyway.)  Just when I thought it was safe to go back to the comic shop.

Turning pages,

Scott & Derek

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