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Tag Archives: Fonografiks

I&N Scott’s Bag (8/14)

19 Monday Aug 2013

Posted by ScottNerd in I&N Scott's Bag

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Ales Kot, Archer & Armstrong, Barry Kitson, Batman, Becky Cloonan, BOOM!, Breath of Bones: A Tale of the Golem, Brian K. Vaughan, Brian Michael Bendis, Carlos Magno, Dark Horse, Dave Wachter, DC Comics, Deathmatch, Fiona Staples, Fonografiks, Frazer Irving, Fred Van Lente, Gerard Way, Ghosted, Goran Sudzuka, Greg Capullo, Harbinger, IDW, Image, Janet Lee, Jeff Stokely, Jim McCann, Joshua Dysart, Joshua Williamson, Lost Vegas, Marvel, Mind the Gap, Miroslav Mrva, Paul Jenkins, Pere Perez, RIck Leonardi, Saga, Sami Basri, Scott Snyder, Simon Spurrier, Six-Gun Gorilla, Steve Niles, Suicide Squad, The True Lives of the Fabulous Killjoys, Uncanny X-Men, Valiant

Buying comics shouldn’t be so darned complicated!  Or maybe it should be.  Maybe therein lies the worth.

  • Saga #13 (Read it!  This thirteenth impression’s a pretty damn good one, proving that, yes, even after a few months off, this baby–despite its modesty, this “sacred text”–has still got legs.)
  • Suicide Squad #23 (Read it!  Really, really not good.  Ales Kot–scribe of the magnificent mindf___ Change–clearly wasn’t suited for the book.  But that’s OK: he’s got a couple of promising books in the Image pipeline; and Matt Kindt, who’s got even more irons in the fire, is the new god of the Squad.  Can’t wait to see how that pans out.)
  • East of West #5 (Read it!  Hickman’s hitting the “Wow!” button and making it look easy!  Some writers out there should be taking notes.)
East of West #5

East of West #5

  • Breath of Bones: A Tale of the Golem #3 (Read it!  It was OK; I mean, it certainly is what I was hoping for from the get-go: the golem finally kicks some serious Nazi hintern.  But, in the end, I was left a bit flat–kind of like my own hintern–perhaps because the grandfather, who was the source of most of the emotional punch, is replaced by the brutish golem, whose punch is of a more physical sort.  Wait a sec.  Hmm.  Suddenly I ain’t feelin’ so flat anymore.  Clever, Mr. Niles.  Very clever.)
  • Batman #23 (Read it!  Starts off well enough–very well, in concept, anyway.  Execution-wise, it’s a bit clunky.  This is supposed to be the moment in Bruce’s life; instead, it feels like a moment–one that’s not nearly the same caliber as Red Hood’s gun.  As the story crawls its way toward Bruce’s Batpiphany, Snyder struggles with drawing out the psychological side of the journey.  In fact, he would’ve been better off letting Capullo carry it through to the end without the weight of his burdensome words.  That would’ve been something.)
Batman #23

Batman #23

  • Uncanny X-Men #10 (Read it!  Gonna be honest: I liked it.  Oh, how I’ve longed to say it!  I want to say it again: I liked it!  I especially enjoyed Frazer Irving’s work this time around; it’s the first time he’s left me feeling like he owns the characters.)
Uncanny X-Men #10

Uncanny X-Men #10

  • Deathmatch #8 (Read it!  Two monster matches!  Each fight hits the right notes, reaching the height of harmony between the physical and the psychological.  Plenty brutal, sure; but emotionally engaging, as well.)
Deathmatch #8

Deathmatch #8

  • Lost Vegas #4 (Read it!  A satisfying conclusion.)
  • Ghosted #2 (Read it!  Not bad.  Feels a lot like Revival.  I’ll try another.)
  • Mind the Gap #12 (Read it!  A really good read.  Like the issues come before, this one peels back another layer and brings, however briefly, a feeling of satisfaction–of “almost there.”  Thing is, it’s all a tease: we’re dealing with a “one step forward, two steps back” narrative; and wouldn’t you know, as frustrating as it is, the experience is all the better for the strategy.  Kudos to Mr. McCann–for effing with our minds and making it feel oh so good!)
  • Harbinger #15 (Read it!  Sneaky, sneaky.  Dysart sets a trap early on with the title–“Perfect Day”–and a general feeling of frivolousness, and then he springs it with a crazy ending.  My only wish: that the final page followed a page turn.  That would’ve delivered a bigger punch.  And as it turns, Kitson’s art isn’t much of a drag here as it was on Bloodshot.  See, folks: I can be fair, after all.)
Harbinger #15

Harbinger #15

  • Archer & Armstrong #12 (Read it!  As solid as always.  Fred Van Lente’s got it down to a science, and Pere Perez’s art is the perfect complement.)
  • The True Lives of the Fabulous Killjoys #3 (Read it!  An odd experience.  Feels scattered and tidy all at the same time.  Not sure how much value there is in this story or in the storytelling, but I’m going to ride it out, nevertheless; it’s only a six issue series, for goodness sake.)
  • Six-Gun Gorilla #3 (Read it!  So good.  Spurrier adds another dimension as he builds upon Blue’s background as a librarian: in doing so, he joins Saga‘s Vaughan by plowing into the power of fiction.  Monkey bar raised yet again!)

Turning pages,

Scott

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Microviews: Viewer Discretion Advised

27 Saturday Apr 2013

Posted by ScottNerd in Microviews

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Batman, Batman and Red Robin, Batman Incorporated, Brad Simpson, Brian K. Vaughn, DC Comics, Eyes Wide Shut, Fiona Staples, Fonografiks, Grant Morrison, Joe Casey, Pat Gleason, Peter J. Tomasi, Piotr Kowalski, Prince Robot IV, Saga, Scott Snyder, Sex, Stanley Kubrick

Saga #12: Well, wouldn’t you know, some silly willy–some sucker–rolled out the red carpet of controversy for this issue–and Prince Robot IV relishes the impromptu marketing moment: he stomps fiercely: from his blog-busting fantasy-in-a-dream sequence, which jerks things–I mean, kicks things–off, to his arrogantly ironic prediction.  (Phew, that’s a mouthful!)  The glorious Inglorious Basterds comes to mind as the Prince works over Heist, a principled cyclops, an author who is more than meets the eye and the screen: he’s Vaughn, telling it like it is, isn’t he?  And how about the final page?  Getting there was a treat, even if the turn was as expected as a sunset.  While not as remarkable as #11, this issue still stands as an example of what Vaughn and Staples are capable of: uncompromisingly taut storytelling that swallows certain homogeneous conventions while spitting out a fabulously fresh narrative.  I’m not ashamed to say I raced out to buy this book; nor am I ashamed to say its clearly Book of the Week.

Saga #12

Saga #12

Sex #2: After a month-long refractory period, Joe Casey’s Sex returns without a bang.  It’s no surprise, really: Casey’s erecting something here, and it’s apparent that he’s going to take his time; I mean, why wouldn’t he, right?  (Makes this whole exercise–two issues in, at least–a tad more masturbatory than congressional, no?)  Problem is, seems as if Casey’s going to take more time than I’m willing to endure.  And the Batman analog?  The Millaresque villain?  Turn offs each.  Overall, the darn thing doesn’t come off as sex at all.  Let’s be honest: there’s nothing particularly penetrating here; hell, the story’s about as sexy as Kubrick’s castratingly antierotic Eyes Wide Shut.  It’s not even foreplay, for goodness sake.  If anything, it’s flirting–uncomfortable, unrequited flirting. So, to save myself from possible–more so, probable–regret, I’m going to do the responsible thing: I’m going to say, flatly and forcefully, “No!” to Mr. Casey–I’m going to pass on issue #3.

Batman and Red Robin #19: OK, so, I bought the book primarily to see what Peter Tomasi was going to do with Carrie Kelley, she of DK2 fame–or infamy, which is more like it, I suppose.  Yes: this is further evidence of what I’ve become: I’m a shameless comic book john, looking for cheap thrills under colorful covers every Wednesday afternoon.  Well, as it turns out, the insinuation of the Frank Miller creation was more novelty than anything else: her wearing the Robin costume–in the context of a superhero-themed costume party–was equal parts fun and frivolous, leaving me with the smile of one who knows he’s been worked over.  As it turns, however, that story–as unsubstantial as it may be–acts eagerly as a matted frame for another, much more vital and relevant story–an adventure, for sure–in which Batman goes Batmad.  Tomasi has taken the tack, has made the wise choice, of having Batman become a darker knight in response to Grant Morrison’s unflinchingly fatal and much ballyhooed move over on Batman Incorporated, one that immediately placed Scott Snyder–the crowned king of the colony of Bat books–and his impotent gesture (see: “Death of the Family”) in checkmate.  This Batman is focused; he’s desperate: he’s “a man racked with pain [looking] for light in a world gone dark”; and he does so by, quite literally, tearing an ally apart at the seams.  Poor Frankenstein!  Now, it’s true: Batman promises Red Robin that he has “every intention of putting [the monster] back together”; but that isn’t nearly enough of a salve to heal over the image of Batman as Dr. Mengele using violent science to, in this case, “find a way to bring Robin back.”  That’s right: this isn’t Snyder’s brooding Batman–one who, in Batman #19, seems like a calculated and arrogant protest against Morrison’s competing plot line; this is a father–an understandably rabid Batman–who’ll do anything for his son.  And this is a comic that cannot be judged by its gimmicky cover alone: it has to be held to the ear in order to hear the fierce beat of its broken heart.  Hold it closely enough and you just might hear your own heart keeping the same fractured time.

Batman and Red Robin #19

Batman and Red Robin #19

Turning pages,

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 & Forth: Hail the Future Heroes of Yesteryear!

26 Tuesday Mar 2013

Posted by dmainhart in Back and Forth

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2001: A Space Odyssey, 48 Hours, Adventure Time, Archer & Armstrong, Betty Page, Bravest Warriors, Buddy Cops, Chris Samnee, Cliff Secord, Dark Horse Comics, Darwyn Cooke, Dave Stevens, Dirty Money, Emanuela Lupacchino, Eric Stephenson, Evan Shaner, Fab Four, Fantastic Four, Fonografiks, Fred the Clown, Fred Van Lente, Guillermo Ortego, IDW, Indiana Jones, J. Bone, Jack Kirby, Jeff Smith, Joey Comeau, Jonathan Hickman, Jordie Bellaire, kaboom!, Lethal Weapon, Lisa Moore, Mark Waid, Michael Caine, Mike Holmes, Nate Bellegarde, Nate Crosby, Nick & Nora, Nowhere Men, Robert Osborne, Roger Langridge, Rush Hour, Ryan Pequin, Snarked, Stan Lee, Stanley Kubrick, Starsky and Hutch, TCM, Terry Pratchett, The Beatles, The British Invasion, The Da Vinci Code, The Rocketeer, The Rocketeer: Hollywood Horror, The Rocketeer: The Cargo of Doom, The Thin Man, The Thing, Uranus, Valiant, Wu-Tang Clan

Derek Mainhart: Friends, mutants and aliens, lend me your ears! Join us as we travel back to the future, to a time when heroes roamed the sky and science paved the way for a better tomorrow! A time of ancient robots and futuristic gladiators! Atomic monkeys and electric guitars! Beckoned by the spark of a holographic welder’s torch, we hurtle forward into history to meet our retro-destiny! Like sands through the hourglass, so are the Days of Our Future Past…

A 1930s pulp hero created in the 1980s and revived in the 2000s? Who better to exemplify nostalgia for an innocent era that never was than The Rocketeer? Like his contemporary Depression-era adventurer, Indiana Jones, Dave Stevens’ legendary creation peddled in, and paid homage to, the wanton exuberance of classic B-movie serials. Stevens’ buoyant, uncynical cliffhangers (hell, the lead character’s name is Cliff) combined with his lush illustration (its classic draftsmenship itself like a relic from a bygone era) to inspire a devoted cult following. And let’s not forget his masterstroke; making pin-up queen, Betty Page, Cliff’s girlfriend. Stevens’ work was so accomplished, it seemed superfluous for anyone else to try their hand at the character, even after his untimely death in 2008.

Some characters however, are simply too good to fade away. Happily IDW has relaunched The Rocketeer, giving the hero his due: first in an anthology series featuring top-flight creators, then in a four-issue mini by creative team par excellence, Mark Waid and Chris Samnee. Now we have Roger Langridge and J Bone on The Rocketeer: Hollywood Horror. Folks, this may be the best new Rocketeer yarn yet. The previous stories tried (and succeeded to various degrees) to recapture the inherent nostalgia of the character via an innocent, never-say-die tone indicative of 1930s and ’40s Americana, perhaps casting it against a major historical backdrop like, say, WWII. Well Langridge goes five steps further and fully immerses him in the era. This should perhaps come as no surprise from a writer whose past work has encompassed everything from the slapstick of early cinema (Fred the Clown, hysterical) to Carrollian nonsense (Snarked!, inspired) to his current work, the vaudevillian, high-seas adventures of Popeye (a gift to anyone with an appreciation for the history of the medium). For The Rocketeer, he’s not satisfied to present his tale in a typical one-size-fits-all B-movie slang; rather he seems conversant in a variety of era-specific patois and idiom. Further, he entangles our hero with fictional characters specific to that time: first, the minions of Doc Savage (that greatest of pulp heroes), and then, seemingly apropos of nothing, Nick and Nora (and Asta!) from the venerated Thin Man film series. Between this and the multitude of references to old movies and forgotten actors (the narrator himself seems to be one), this book is a dream for lovers of pulp and classic Hollywood. It would be right at home being introduced by Robert Osborne on TCM. And let’s not forget J Bone’s pitch-perfect art. His bold, cartoony rendering immediately cues dirigibles, De Soto’s and dames. His work stands well with Darwyn Cooke and Jeff Smith (one wishes he was handling the covers as well; nothing against the legendary Walt Simonson, but his style, all harsh angles and frenetic line, is simply a poor fit – my one quibble). All in all Langridge and Bone are crafting a Rocketeer comic that is not only worthy of its legacy, but builds on it. Somewhere, I daresay, Dave Stevens is smiling.

Scott Carney: Geez, yeah, all that and–  OK, who am I kidding?  I’m not as tuned  into the history of The Rocketeer as you are.  (Is anyone?)  In fact, my first experience with the character was The Cargo of Doom.

DM: Oh, trust me; there are people who know way more about The Rocketeer than I do. What about the movie? Ring a bell?

SC: There was a movie?

DM: I can’t even.

SC: No, really, I liked what Waid and Samnee did in their mini.  If I’m being honest, I bought the series for them; and for the most part, I wasn’t disappointed; but I wasn’t all of a sudden a Rocketeer fan.  As far as I was concerned, it was an act of loyalty–to the creators; and if they were to take on the character again, I’d be there.  Wasn’t planning on ever following the further adventures of Cliff Secord.  In fact, I passed on this one–initially, anyway.  You recommended it–emphatically, if I’m remembering correctly–so I picked it up.  Dude, you were so right.  What a good time!  Through two, I’m thinking, like you, that Hollywood Horror is at a whole other level, thanks to Langridge’s vision and Bone’s fleshing it all out.

DM: Next up in our Canyon of Heroes is Archer and Armstrong #8 (Valiant). Their centuries-spanning pseudo-epic is rich in taste but refreshingly light in calories. Part buddy-story, part sibling-rivalry, part worldwide-conspiracy, this frothy fable features improbable adventure and high satire. It’s like The Da Vicni Code as written by Terry Pratchett. Writer Fred Van Lente (with solid art by Emanuela Lupacchino and Guillermo Ortego) garnishes the high-octane action with Big Ideas and comedic flourish, never failing to entertain. His one misstep here though; in an attempt to counter the usual lighthearted tone with some emotional heft, he has the villain speak of his role in an event that is very like a recent national tragedy. My immediate reaction, for what it’s worth, was a discomfiting “too soon.”  Again, this is a quibble, lasting as it does for all of one panel. Month in, month out, we write about the pleasures delivered by Van Lente & Co.’s work on this book. So pick the damn thing up, if you haven’t already.

Scott Carney: I know you’re glad I picked up Buddy Cops (Dark Horse) for you after your initial pass.

Buddy Cops #1

Buddy Cops #1

DM: Yeah it was all right I guess…

SC: “All right”?  That’s quite an understatement, my friend!  Sure, Buddy Cops–an hilarious one-shot from a publisher that has been making its name seem more and more ironic with each passing week–seemed to come out of nowhere.  In fact, it was an “Oh, and by the way” recommendation from one of my shop guys.  (That’s right: I have more than one.)  There was room enough in my bag and a few bucks still smoldering in my pocket, so I went for it; and I was not disappointed.  As promised, Nate Crosby and Evan Shaner deliver “da muthaf***in’ ruckus” in this crack-a-panel homage-slash-send up of the buddy cop genre.  The ready-to-rumble, Wu-Tang spoutin’ Uranus and the electrode-in-the-mud T.A.Z.E.R. are on the case–three of ’em, in fact–and take on outrageous creatures (including, a ninety-foot-tall orangutan in a monk’s robe, who professes precariously, “da lord iss my sligshot,” while sitting atop a church) and social issues (Gay marriage!  Arbortion!) in one giant “monsterswat!”  They are Riggs and Murtaugh from Lethal Weapon; they are Carter and Lee from Rush Hour; they are Hammond and Cates from 48 Hours; they are Starsky and Hutch from, well, Starsky & Hutch–the T.V. show, dammit!  But despite their being so obviously and so proudly derivative, they’re the freshest pair to hit the funny pages in recent memory.  I laughed out loud and profess my love for this book even louder!  And, borrowing from George Costanza, I say this with an unblemished record of staunch heterosexuality: I hope this isn’t the last I’ll get to see of Uranus.

DM: Ok, ok, it was funny. Yeesh!  Even so, it wasn’t even the funniest book this week, at least for my money.

SC: Keep your dirty money!

DM: Would that I could. But the biggest barrel o’ laffs this week was Bravest Warriors #6 (kaboom!). This time out, our future science heroes are knee-deep in bazookas, beauty pageants and brain transplants; and that doesn’t even scratch the surface. Joey Comeau’s story takes beloved sci-fi tropes and makes mincemeat out of them. And having his hysterically depraved scenarios drawn by Mike Holmes in the faux-naive, child-friendly style of Adventure Time (saturated in pretty, pretty colors by Lisa Moore)  just makes the whole thing seem so, so wrong. (Ditto Ryan Pequin’s giggle-inducing back-up story). The absurdity in this book is so ridiculous, it’s almost profound.

Of course the book that did more than any to bring science adventurers to the modern era was Jack Kirby and Stan Lee’s Fantastic Four. Emphasis on mod. After fifty-plus years of history, it’s easy to forget that these staples of the spinner rack were once downright cutting edge. As Pop Art was breaking the boundaries between ‘fine’ and ‘low’ art, Kirby was exploding the restrictive design of the comics page. In the midst of the Space Race, the costumed quartet were frequent fliers. And at the height of the British Invasion, Lee and Kirby gave comics its own Fab Four. Those early issues still crackle with energy and freshness. As the years wore on however, FF inevitably transitioned from zeitgeist to nostalgia, revolutionary to venerable.

Now Eric Stephenson and Nate Bellegarde have dusted off the elements that made FF great and reconfigured them (along with a whole bunch of other stuff) to create Nowhere Men (Image), a decidedly 21st century comic. The story (with the tagline ‘Science is the New Rock-N-Roll’) concerns four celebrity scientists (bearing more than a passing resemblance to The Beatles) who banded together in the ’60s, forming a mega-conglomerate called World Corp dedicated to the betterment of mankind. In the present however, they’ve long since gone their separate ways, due to ego clashes, differing visions, (sound familiar?) as well as mysterious circumstances that haven’t been fully revealed yet. One or all of them are also somehow involved in the fate of a space crew whose mission has somehow gone seriously awry.

Here the comparison to FF is particularly instructive: where Kirby and Lee, reflective of their age, presented a utopian faith in scientific progress, Stephenson and Bellegarde present a view that is, not cynical exactly, but knowing, tempered by an awareness of human weakness and fallibility. The innocence of scientific discovery for its own sake has been replaced by the reality of serving corporate profit. Technological advancement is understood as at least as destructive as it is creative. For example, in FF the group is testing an experimental rocket when they are struck by ‘cosmic rays’ endowing them with superpowers, which they promptly use to protect humanity (with the monstrous Thing serving as tragic, though still noble, counterpoint). In Nowhere Men, we have a group of scientists quarantined in a space station due to a ‘sickness’ they’ve contracted under mysterious circumstances. The effects of the sickness affect each individual randomly, even capriciously, as some are granted ‘abilities’ (as opposed to ‘superpowers’) while others undergo grotesque transformations that make the Thing look like Michael Caine in comparison. And some are in between (one of the more appealing characters seems to combine the brute strength and appearance of the Thing with the intellectual remove of Mr. Fantastic). Where one offered limitless promise, the other deals in disillusionment; even the title seems to suggest it.

This is far from a hopeless affair however. For one, the sheer inventiveness of the storytelling will not allow it. In addition to alternating between the past and present, Stephenson’s elliptical narrative is fragmented amongst various viewpoints. Only now, in this fourth issue, are its non-linear elements beginning to coalesce (I didn’t even feel comfortable reviewing the thing ’til now). But that’s not all. The very presentation of information is unorthodox. In the current issue for example, Stephenson thinks nothing of inserting three pages of prose – an excerpted ‘chapter’ from a tell-all history of World Corp – right in the middle of the action. This not only serves as a clever transition, but adds visual depth to the story, as the chapter is presented in a specific graphic style that convincingly suggests the late ’70s / early ’80s. Where FF‘s brash, boundary-breaking style was in keeping with the modern sensibilities of its era, Nowhere Men‘s approach is distinctly postmodern, befitting our own fractured time.

Which brings us to perhaps the most notable aspect of the book: its design. FF had the kinetic genius of Kirby’s art. Nowhere Men instead employs the principles of sophisticated modern graphic presentation. The clean, cold concision of Bellegarde’s art is impressive enough. But it is packaged, along with the aforementioned textual pieces, faux ads and information graphics, in a carefully considered manner that takes into account the comic book as an object. The refined aesthetic has been compared, aptly, to Stanley Kubrick’s 1968 masterpiece, 2001: A Space Odessey.  Fonografiks, the company responsible for the look of the book, is really to be commended; I only wish the name of the specific designer was credited. The inside covers, the selection of fonts, the credits; all act in concert to create a visually immersive experience that reinforces the incidents of the story. When was the last time the design of a comic played such a concerted, integral role in the narrative?

FF has had any number of interesting runs over the years (Jonathan Hickman just finished up a pretty good one at that). But the true successor to Kirby and Lee’s vision, innovation and cultural relevance is Nowhere Men.  Book of the Week.

 Turning pages,

Derek & Scott

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