Tag Archives: Jeff Lemire

Back and Forth: Infernal Affairs

26 Saturday Jan 2013

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Batman #16 Cover

Scott Carney: I kinda feel like I’m about to break the law or punch my ticket to hell or something with what I’m about to say about Batman #16 (DC); but I’m going to say it anyway because it’s my honest-to-goodness opinion, and that’s what Images and Nerds is all about; so here it goes: dude, I ain’t feelin’ it.  And what I am feeling–if this qualifies as a feeling–feels forced, kind of like “How can I take a character who is so far over the top by nature–and by cinematic nurture–that even he can’t see the top anymore and make him over-the-top-er?”  Maybe it has nothing to do with Snyder’s storyline at all.  Maybe it has nothing to do with his take on the Joker.  Maybe it has everything to do with the over-the-top expectations–especially after the revelation that was The Court of Owls arc.  Well, whatever it is, Death of the Family has been decidedly underwhelming.  This issue, in particular, seems to be all about the shock value–and knowingly so–all the way to the electrifying final panel of the story proper, where Batman plays the role of a Tesla plasma lamp.  (He sat so quickly that he must have a trick up his sleeve–or rubber drawers on.  I’m leaning toward the latter; I mean, you know he’s prepared for this; he had amazingly absorbent balls in his belt, apparently, which he used to rescue the Arkham Asylum Dancers.  By the way: I did like the dancers, so it wasn’t a total disappointment!)  How does Batman get there in the first place?  Simple: he fights his way through a bunch of armed inmates over the course of three less-than-spectacular–more so muddled and surprisingly, for Greg Capullo, meager–pages; he “RRRAAAAAHHHH”s his way past a royally horrific–in concept, but, sadly, not in execution–tapestry depicting a history of Bat-tragedies and comprised of, umm, well, people sporting PEG-tubes, which is clearly meant to ratchet up the creepiness, all of them stitched together by the Dollman and rendered–ironically–lifelessly by Capullo and–to be fair–inker Jonathan Glapion and colorist FCO Plascencia, who collectively fail to provide the “pop” as promised while the Joker waxes nostalgic about his equal parts woeful and awful living “love letter” to Batman; he walks through three Rogues (Mr. Freeze, Clayface, and Scarecrow) with ridiculous–almost pointless–ease, as if he’s being guided expertly by some geek through yet another level in some Batman/Arkham video game, and knocking off sub-bosses on his way to the final boss, the Joker, who is flanked, unnecessarily, as it turns, by three more anemic antagonists: the Penguin, the Riddler, and Two-Face; he seems to lose his will to live after watching video footage of the members of the Bat-family getting their Bat-butts handed to them; and, finally–maybe even mercifully–he sits.  Yup: that’s how it goes; and I couldn’t care less–especially since the back-up story just inexplicably continues the primary story, but with a co-writer and a different artist, who nudge the hanger back up onto the cliff for a few pages, only to confuse him by offering him another chance to test his grip.  Oh no!  What’s under the cloche?  Come on: does it really matter what’s on the platter?  Credit where credit is due: Jock’s Joker is exceedingly more terrifying than Capullo’s; and, wouldn’t you know, the story’s undeniably better, perhaps thanks to James Tynion IV’s hand in the telling.  That ain’t how it should be, but that’s how it is.  And here’s another “how it is”: as good as Owls was, its end was pretty darned awful.  So, color my expectations low for the conclusion of this claptrap.

Phew.  OK, well, I guess I’m ready for the comic Geekstapo to come cuff me and cart me away.

Derek Mainhart: Yeah, I’m completely with you here. The whole point of this seems to be Snyder turning the Joker dial up to 11. Between the human tapestry bit (which I was even less impressed with; what’re we, drawing inspiration from Human Centipede now?) and the goofy Bat-gadgets for every occasion, this whole exercise is steering dangerously close to camp. This makes Alan Moore’s The Killing Joke (its claim to definitive Joker story still unchallenged) seem positively restrained by comparison. (Perhaps such comparisons are unfair, but when your publicity machine ramps up expectations this high, they’re inevitable.)

Frankenstein: Agent of S.H.A.D.E. #16 (DC): Now here’s a book that could’ve used some publicity. (Hey, we tried.) This comic is not only the latest casualty of the New 52, but also the second Jeff Lemire-related book we’ve lost in the last couple of weeks (after the elegaic Sweet Tooth). If you wanted over-the-top action mixed with a generous amount of high camp, then this book was for you (emphasis on “was“). Series writer Matt Kindt (like Lemire, an emigre from the indy world) brought a distinct, knowing sensibility to the proceedings; this was well-orchestrated chaos. That being said, this issue seemed a bit of a rush; understandable given that it’s the final issue. Still, Kindt gives fans of the book everything they’ve come to expect: arcane conspiracies, outlandish tech with ridiculous acronyms (B.I.G.F.O.O.T. – you’ll have to read it), explosive violence, and wading through it all, the tragicomic figure of Frank, equal parts determination and reluctance. Kindt frames the story from the point of view of a garden variety secret agent from Homeland Security who witnesses Frank and his fellow monsters wreak havoc upon his well-laid plans. At first I thought this was annoying, even superfluous, taking away precious space in what is, after all, a last issue. Then, at the end, said agent submits his account of the action to his superiors. They recommend he take a leave of absence. Further, they inform him they will be editing his report because it is too “…insane”. Could this be sly commentary on the book’s premature cancellation? Either way I’m saddened that this ragtag misfit of a book, like Frankenstein himself, couldn’t find a place in the world. I’ll miss Alberto Ponticelli’s visceral renditions of viscera. I’m glad to see him on Dial H, a book even odder and better than this one. I hope it doesn’t soon suffer the same fate.

Goodbye Frankenstein!

Goodbye Frankenstein!

SC: Yeah, this is a major loss–not just because we’re losing a consistently clever book, but because we’re also losing another forum for the considerable talents of Matt Kindt.  Was I happy with this hastily-stitched-together goodbye?  Not really.  While I liked Frank’s matter-of-fact well-timed bomb–“That’s why I brought explosives”– and a depressed Frank’s knowing countenance as carved out by Ponticelli in the first panel of page 11, I was put off–as you were initially, anyway–by the insinuation of Agent Martin.  Unfortunately, unlike you, I wasn’t able to analyze my way toward any sort of appreciation.  But, ultimately, that’s my fault and my right, right?

DM: Or maybe you’re just lazy.

SC: Luckily, Frankenstein, the character, isn’t suffering the same fate as the monthly that carried his name: according to Lemire, he’ll be a part of the “core” four of Justice League Dark.  So, in a way, he’s Hrrm-ing his way home.

DM: JLD? Color me less than excited.

SC: But if you like your heroes big and green, they don’t come much bigger or greener than the big green guy in Indestructible Hulk #3 (Marvel).  What a smash hit this series has been through its first three issues!  Looks like Mark Waid has found another perfect partner in Leinil Yu.  But while Chris Samnee, Waid’s daring better half on DD, finds success in humorous subtlety, Yu is all about power–both the potential for and the expression of.  The Hulk’s rage has never been captured as well as when Yu unleashes it in massive splashes–in this case, two ridiculously outrageous splashes: one, page 13, will be a classic rendering of S.H.I.E.L.D.’s newest W.M.D.; and two, page 23, Hulk’s Shining moment: Heeeeeere’s Hulkie!  Great stuff.  But that’s all fluff compared to my favorite part of the book: I mean, I could be wrong, but it looks like Waid’s taking a page from the prescription pad of television’s recently retired Dr. House.  By building a team of quirky scientists around Banner, Waid is, like Yu, playing with potential: the door is now open for witty dialogue–one of Waid’s strengths–and complex human interaction, which will most assuredly balance out–or, more likely, outclass–the inevitable monster moments that may tend to ring hollow no matter how spectacular the visuals are.  (See Bendis’s Miles-heavy issues of Ultimate Spider-Man for the ultimate example of  secret identities besting their costumed alter-egos when it comes to compelling narratives.)  And even though the final few panels petered out with an all-too-familiar–and much too goofy–punch to the gob of R.O.B.–a silly Skeets wannabe and instantly obsolete version of a monitoring device assigned to Banner–this is the superhero book I’m most excited about right now.  

Indestructible Hulk #3 Cover

Indestructible Hulk #3 Cover

DM: From superheroes to the supernatural: Rachel Rising #13 (Abstract Studio).  Okay, so I’m late to this party. But I’ve been hearing the accolades (not to mention your constant badgering, Scott), so I gave in and picked up the first trade. Then the second. And now I’m picking up the single issues, such is my craving for this unholy thing. And unholy really is the word. Creator Terry Moore (of Strangers in Paradise fame) has concocted an intoxicating brew of simmering supernatural suspense set against the seemingly quaint town of (the tellingly named) Manson. The story follows Rachel, a young woman who was recently murdered, and who has since, inexplicably, risen from the grave. Not quite alive, not quite dead, Rachel searches for answers behind her death and current state. She doesn’t have to search very far though, because the answers are also looking for her.

The story has a leisurely, atmospheric pace, with entire passages told wordlessly, that owes something to manga. But the narrative itself is firmly rooted in Americana. Rachel’s predicament has some connection to horrific witch trials that took place in Manson 300 years past. Biblical figures (who often play an outsize role in the American imagination) such as the Devil (or a devil) and Lilith are invoked. And then there’s that most American of fiends (judging from TV and movies), the serial killer.

The current issue (13, how apropos) widens the scope of the mythology with the inclusion of Charles Perrault and the “true” story of Sleeping Beauty (you’ll never look at the fairy tale the same way again). Meanwhile Lilith’s dread agents begin putting  her nasty plan for the town in motion, in revenge for the witch trials. The reader may ask, as Rachel does in an earlier issue, what relevance could such long ago events have on the present? In fact, one of Moore’s themes is the insidious way acts of violence reverberate down through history. Furthermore, the type of violence he’s exploring is specifically, intimately, brutally, violence against women. Just a cursory glance at our world of honor killings and gang rape will show that this theme could hardly have more currency.

Sound too heavy? In lesser hands it might be. But Moore displays a light touch; first in his art, with its delicate interplay of line and texture, positive and negative space, and perfectly balanced use of black and white (I wouldn’t want to see a color version of this book). And, just as importantly, in the relationships of his characters: the warmth, resiliency and wry humor of Rachel’s makeshift family, so reminiscent of Strangers in Paradise, offers a refreshing, necessary tonic to all of the awful things that happen to them.

As I said, I’m late to this party. But, as Rachel herself is ample proof of, better late than never. Needless to say, Book of the Week. And one of the best books being published period.

Rachel Rising #13 Cover

Turning pages,

Scott & Derek

Back and Forth: The More Things Change…

18 Friday Jan 2013

Posted by in Back and Forth

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(From On the Road to The Road in one comic review? Read on…)

Scott Carney: Two pages in, I knew that Change #2 (Image) would be my favorite book of the week. This trippy little thing is big on bouncing to the beat of an earlier generation. Oh, we’re on a road, all right; I’m just not entirely sure where that road–or where writer Ales Kot–is taking us, and I’m pretty sure that Google Maps isn’t going to help me.  And, you know what? That aspect, which could easily be a deal breaker, is actually one of the endearing qualities of this enigmatic issue–along with the poetry that pulses like poisoned blood through the veins of the sharply shifting vignettes, which all lead back, apparently, to the newly-revealed lungs of the book: New Atlantis. Another draw comes in the form of the fresh characters, whom I still hardly know two issues into the series, but about whom I care more than the hopeless heroes of of the Avengers Arena and more than the trite assemblage of assassins in the frivolous Thunderbolts.  (Each of those NOW! titles is now a THEN!  That’s right: El Droppo.  Would you say I’ve dropped a plethora of books?)  Sure, yeah, I felt lost; but isn’t that what I’m supposed to feel?  (Isn’t that what the characters feel?)  Damn it!  Isn’t that what I want?  Isn’t that what I’m paying for?  For an escape from the grind?  For a change of pace?  Appropriately, “YESSSSssss.”

Derek Mainhart: I agree that this is one idiosyncratic little book. The analogy you make to beat poetry is good one; this book has an evocative, rambling cadence that seems as much the point as the actual events that take place (whatever they are). The experience of reading an experimental, seemingly stream-of-conscious work like this can be an engaging, highly personal one. Like beat poetry, I appreciate the unorthodox immediacy of it (not to mention Morgan Jeske’s Paul Pope-inflected artwork). But it is simply not my groove. (Or maybe between this, Fatale and Locke and Key, I’ve just reached my quotient of Lovecraft-inspired comics.)

The Superior Spider-Man #1 (Marvel)

Speaking of change, this was billed as a BIG one. As regular readers are aware, I’m among those who are appalled by Spidey’s recent history. So when the rumors started flying about this book’s premise, I started picking up Amazing Spider-Man again for the first time in years. And I have to say, I was intrigued by Dan Slott’s story: having ol’ Doc Ock mind-swap with Peter Parker, then letting Parker die in Ock’s enfeebled body did, in fact, feel like a shake-up of the status quo. Letting a megalomaniac muck about in the life of an icon seemed to have potential (It says volumes about the mess Marvel’s made of Peter Parker that killing him could actually improve the book). So I was on board. And for the first twenty-one pages I was not disappointed (SPOILERS!): Doctor Spider-Pus fighting the new Sinister Six, not so much out of moral obligation but because he’s indignant that they’re sullying his legacy. Then, in true supervillain fashion, he defeats them by leading them into a meticulously prepared, elaborate deathtrap. With great ego, it would seem, comes great responsibility. That ego is again on display in a scene in which the brilliant Doctor starts fraying at the edges with the knowledge that all of his future accomplishments will be credited to Peter. And finally, in the best sequence in the book, Otto Parktavius goes on a date with Petey’s beloved Mary Jane. In a hilarious tour de lettering, Otto’s self-absorbed narration is “pasted” over MJ’s dialogue while he blithely ogles her (I assume this was Slott’s decision, but kudos to letterer Chris Eliopoulos anyway for an effect I’ve never quite seen before).  Ryan Stegman’s aggressive artwork, all sharp angles, blocky shadows and speed-lines, perfectly matched the irreverent tone of a story that held the promise of deconstructing super-hero tropes by turning them on their head (not that this is Watchmen or anything, but there is a gleeful audacity in doing this sort of thing to Spider-Man).

And then page twenty-two. Who should show up to ruin the fun? Why, Peter Parker of course! (or his ghost, or whatevyawn…) Now, I’m not naive; we’re talking about a super-hero comic. Of course Peter’s coming back. Nobody stays dead, silly! But so soon? The first issue of the much hoopla-ed big change? Maybe it was Slott’s plan all along, but this reeks of corporate hand-wringing: God forbid Peter Parker doesn’t appear in a Spider-Man comic for even one issue. (Slott even goes to the extent of having Petey verbalize the Game Plan: “I am Peter Parker. And I swear I will find a way BACK!“) Never mind that this retroactively robs AMS #700 of even the illusion of poignancy less than a month after its publication; in one fell swoop, an edgy, promising, even satirical premise has been rendered safe, predictable and pedestrian – the very opposite of a change in status quo. I, for one, am not looking forward to watching Peter play Lily Tomlin to Otto’s Steve Martin. (Name That Reference! Win a prize!) I haven’t been this deflated by an ending since A.I. Artificial Intelligence.

SC:  Yeah.  Me, too!  No, really: you took the web right out of my shooter.  But I–may I vent?  Come on!  They couldn’t’ve given us three issues–just three issues!–to savor this stroke of genius.  No, sir!  Gosh, I wish I were a spider on the wall during the pitches and the planning and any of the other processes that led to–to–this!  I mean, seriously: was this Slott’s plan all along?  Was there some directive from on high to not let this linger too long?  I’ll tell you what I wasn’t thinking after reading the page that shall remain numberless: Oh boy, I can’t wait to see how Peter comes back!  So, yeah, it’s quite possible that as quickly as they won me over, they’ve lost me.  I’m not too sure how far I’ll follow this not-so-superior turn.

OK, then, well, really speaking of change (you’d think it’s a theme or something): a big change is coming for one of our favorite titles.  And, it’s a bag-shattering change, too.  That’s right: Scott Snyder’s almost done with his run on Swamp Thing (DC); so I guess that means I’m almost done with my run, too.  Aye, and it was a good one.

DM: Yeah, talk about change you can’t believe in. It really is a shame; with issue 16, Snyder has recaptured some of the aura of the first year of the book. The extended build-up to the current Rotworld storyline distinguished itself with a steady baseline of unease, intermittently punctuated by surreal spasms of horror (especially when rendered with skin-crawling effectiveness by sometimes-series artist, Yanick Paquette). The series began to lose a little mojo with the introduction of Anton Arcane as the villain of the piece. The terror went from chillingly existential to almost cartoonish super-villainy (Anton would twirl his mustache if he had a face.) When Rotworld kicked into high gear a few months ago, the book seemed to further strain under the expectations of “epic” storytelling. But here Snyder once again hits his stride with a tale split between the struggle of the past to prevent the nightmarish present. The two strands also serve as emotional counterpoint, traversing the oh-so-short distance between hope and despair. In the (alternate?) present, Swamp Thing valiantly struggles to save, not the world, nor reality itself, but the only thing that matters to him in the end; his love, Abigail. More’s the pity then that Abigail’s quest in the past seemingly renders Swampy’s  heroics utterly futile. This is the stuff of tragedy–and of terror: without giving too much away, let’s just say that when Snyder promises a shock (unlike Superior Spider-Man), he doesn’t back down.

Only two more issues of Snyder and Paquette? Now that’s tragic.

SC: Hell yeah it is!  But, come on: do you really think Abigail’s gone for good?  I have a sneaky suspicion that Mr. Thing is going to use some of his bio-restorative formula to bring her back to life–to some form of life, maybe even as a Swamp Thingess.  That’d be a fitting finale, wouldn’t it: another out-of-step ending for the otherwise superior Scott Snyder.  (See the end of his Batman: Court of Owls arc if you don’t believe me.)

Moving on, I’m willing to admit it: I’ve changed my mind about Shadowman (Valiant) with #3.  A little background: I don’t have any background with Shadowman as a book or as a character.  I figured I’d give it a whirl since Valiant’s revamp was 4-for-4 with two home runs (Archer & Armstrong and Harbinger) and two triples (X-O Manowar and Bloodshot).  The first issue really didn’t do it for me, and I pretty much called it quits there.  Then, during a trip to a more well-stocked shop than my home base, I saw #2 and decided to pick it up because I had a few bucks left over.  (Yeah, I’m still working on the whole willpower thing.  Getting better, though!)  I still wasn’t too taken by it.  Flash forward to another trip to my shop on the side: the proprietor offered up #3 as one of his favorite covers of the week.  Yup.  That was enough for me.  And wouldn’t you know: I really liked it: I finally bought Mr. Twist as a terrifying villain.  I dug the descent into the Deadside; more specifically I was taken–along with Jack–by Jaunty, the talking monkey with the sweet hat and the sweeter Cajun ‘tude.  I appreciated the obvious allusion to King Arthur: Jack, in this case recognizing his responsibility, his destiny, draws the scythe from the shadow and becomes the new Shadowman.  And with that, Justin Jordan and Patrick Zircher have earned a new Shadowfan.  Bring on the big baddie: bring on Master Darque!

DM: And finally (and finally), Sweet Tooth #40 (DC/Vertigo), a book that’s all about change. Throughout it’s run this book has always seemed an odd, at times ill-fitting addition to the post-apocalyptic literary landscape. Jeff Lemire’s take on the end of man seemed to lack the visceral drive of The Walking Dead, the gravitas of I Am Legend, or the pointed political commentary of Y: The Last Man (to name but a few well-known exemplars of the genre). The story seemed to have a narrow focus: the young hybrid boy/deer, Gus and his grizzled protector, Jepperd fight to survive against malevolent pursuers, endlessly chasing them through the woods, determined to discover the mystery of Gus’ creation and, they hope, the key to mankind’s survival. And though the cast expanded, the scope of the narrative was never itself expansive in the way stories like this generally are. The same, however, cannot be said of the art. Nobody does desolate landscapes like Lemire (praise must also be heaped upon series colorist par excellence, Jose Villarrubia, he of the muted earth tones and washed out firmament). The setting and spare nature of much of the writing created a lyrical tone of atmosphere and ache. This restrained aesthetic, which is Lemire at his best (see Essex County) is ultimately what separates this book from the rest of the genre. In fact, with its devotion to craft, the work it most resembles is perhaps Cormac McCarthy’s The Road. Both are about fathers and sons (a recurring theme in Lemire’s work, from The Underwater Welder to Animal Man). And both find hope in the passing of the torch to the next generation. But whereas McCarthy’s hope is a flickering candle in unremittant darkness, Lemire’s is a bonfire of celebration. Though the territory covered by the series may not have broad, this generous, and alas, final issue is expansive in perhaps its most important measure: its heart. Book of the Week. Good Night, Sweet Tooth.

Sweet Tooth #40 Cover

Sweet Tooth #40 Cover

Turning pages,

Scott and Derek

In Scott’s Bag (1/2)

02 Wednesday Jan 2013

Posted by in I&N Scott's Bag

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It’s a classic story: Boy gets bag.  Boy looks into bag.  Boy finds all the books he was hoping to find.  Boy closes bag.  Boy opens wallet.

B to the A to the G

  • Colder #3 (Another gorgeous cover from Juan Ferreyra.  And just underneath, a little hide and seek with Nimble Jack.  I’ve been starving for this one, so it’ll be my primo for the evening.  I mean, why wait?)
  • Fatale #11 (Gosh, I don’t think I’ve given enough credit to the colorist, Dave Stewart.  Friggin’ brilliant.  He’s just as much a part of setting the tone for this Top Ten book as the superstars whose names adorn the cover.)
  • Fury: My War Gone By #8 (Kicks off with a killer splash and a deadly hook: “You should have killed the little boy.”  Best first page of the year–so far, anyway.)
  • Justice League Dark #15 (Janin’s back and, thoughtful as always, brought a lot of Zatanna with him.   And, umm, Lemire’s got a co-writer: one Ray Fawkes.  I hope that doesn’t Fawke up the flow.)
  • Ultimate Spider-Man #19 (I just don’t care about Venom.  Thumbed through.  Still don’t care about Venom.  Potential saving grace: more Miles than Spidey-Miles.)
  • Daredevil: End of Days #4 (The promise of Bullseye is enough for me.)
Daredevil: End of Days #4 Cover

Daredevil: End of Days #4 Cover

Not a bad batch.  Might as well get to it.

What did you get in your bag today?

Turning pages,

Scott

What’s Up?

01 Tuesday Jan 2013

Posted by in What's I&N Store?

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To heck with the fancy shmancy ball: we all know that the new year doesn’t officially start until the books drop into our bags on Wednesday.  Here’s what I expect to find:

  • Colder #3 (Dark Horse): I’ve really enjoyed the first two issues–both the nimble storytelling by Paul Tobin and the crazy-good art by Juan Ferreyra.  Can’t wait to bust it out of the bag.
Colder #3 Cover

Colder #3 Cover

  • Justice League Dark #15 (DC): Jeff Lemire’s shining on the Dark.  And this arc sounds downright magical–illegally so!  Happy to know that Frankenstein has found a home, too, after his–our #6 title of 2012–was, sadly, shuttered.
  • Fatale #11 (Image): Our #5 title of 2012!  It’s showing no signs of slowing down, either.  Looks like Ed Brubaker’s going to share some secrets about Josephine.  I’m listening.
Fatale #11 Cover

Fatale #11 Cover

  • Daredevil: End of Days #4 (Marvel): It’s Daredevil, so I’m down–even if I’m not blown away by it.  I don’t think I’m too far off: the whole “Mapone” thing may be the least compelling mystery of the year.  Yet I buy, and I read.
  • Fury: My War Gone By #8 (Marvel): Our #9 title of 2012!  Garth Ennis is comicdom’s reigning war general; and he’s got two super soldiers primed to punish the Viet Cong.  Can’t go wrong.
  • Ultimate Spider-Man #19 (Marvel): After a long, hard slog through the United We Stand storyline, #18 finds Brian Michael Bendis finally returning to what makes this title swing: Miles sans mask.  (My favorite panel–wonderfully wordless–only works because we can see his face.) While I’m excited that #19 promises the return of the terrific Sarah Pichelli, I’m not exactly thrilled that it also threatens a potentially poisonous villain: the one-note Venom.  We’ll see what happens.

That ought to do it.  However…

Like most of you, I’ve read quite a few Top Ten Comics of 2012 lists over the last few days.  Now, thanks to my comrades-in-comics, I’ve got a lot of other bag-worthy books to consider.  Looks like I’ll be rackin’ it on Wednesday.

Let me know if there’s something I shouldn’t pass up.

Turning pages,

Scott

The Top Ten Comics of 2012

29 Saturday Dec 2012

Posted by in 5 Comics You Should Be Reading

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Welcome to the 27th Annual Edition of the Top Ten Comics of the Year! What began as two educators blogging in obscurity about their love affair with comics, has grown to become the most highly-anticipated event of the year amongst trend-setters, industry-watchers and that most idolized of velvet rope celebrities, the comic book creator. Why it seems like just yesterday that a little book called Sandman made the list (No. 7, 1991) giving birth to a worldwide phenomenon (we just received our yearly gift of one dozen black roses and homemade crumpets from Neil in eternal gratitude).

A note to the naysayers who complain about end-of-year lists: comics and numbers go hand-in-hand like old movies and cigarettes. If you say the number 27, what serious comics fan wouldn’t think Detective? Or 252, Spidey’s black costume? Why do round-numbered “anniversary” issues always sell higher? From what dark recesses of the mind  doth spring the obsession for a new Number 1 (as this past year surely demonstrates)? Fighting it is like the Kingpin fighting his urge for a donut: counter-intuitive and pointless. So to the list-cynics I say: go make a Top Ten List of your Least Favorite Top Ten Lists and be done with it. You’ll feel better.

The rules: As always, 80% (or 8) of our choices are books that Scott and Derek both read. We each get one alternate to round out the list (see if you can guess which ones these are! Correct answers will get a prize!). For limited series, the lion’s share of the story had to have seen print this year to be eligible (for instance, although Severed finished in 2012, most of the story was published in 2011. Similarly, Garth Ennis’ latest run on Battlefields, which tend to run in nine-issue installments, is only two issues in – and is already a strong contender for next year’s list). There are also no graphic novels on the list. There is no shortage of exciting work being done in a longer format, but this list, like the website itself, is dedicated to those wonderful monthly, folded-and-stapled periodicals which compel us to make our weekly Wednesday trek to the local comic book store for fear of missing something. (Having said that, congrats to Chris Ware on the inclusion of Building Stories on the NY Times own list of Top Ten Books of the Year. Check it out. It is a piece of work.)

What unites most of the books on the list I think, is an expansive approach to storytelling; a willful cherry-picking of literary devices from various genres, gleefully mashing them up against each other and seeing what happens. The playfulness in the examples below is infectious but not inchoate; they are produced by masters of their craft. Each creator involved has hit some kind of stride in the past year. Each comic is a breath of fresh air in our four-colored medium. We are the lucky recipients.

We here at Images and Nerds, of course, welcome debate (as long as you realize the futility of it, as all results are final, having been engraved in a cave wall for posterity.)

Without further eloquence, here’s our Top Ten:

ST_Cv0_ds10. Animal Man/Swamp Thing (DC) – OK, so this is our sneaky way of cramming eleven titles into our top ten list, but these two books really need to be considered as one. The amount of planning and coordination done by respective writers Jeff Lemire and Scott Snyder could serve as a template for the proper way to do that most fraught of endeavors: the crossover. These two clearly share a vision and it’s been thrilling to watch two creators at the top of their game working in such organic concert. Though the story has bogged down somewhat now that we’re in the middle of the epic proper, it’s been one of the surprising delights of the past year to watch their little corner of the DCU grow into its most compelling destination. (DM)

9. Fury: Myfury max War Gone By (Marvel) – I hope you didn’t let your year go by without your grabbing Garth Ennis’s take on Marvel’s eternal warrior, Nick Fury, the only cyclops worth a good Goddamn in the Marvel Universe, anymore, be it NOW! or MAX or whatever.  Fury’s certainly the star here as he boozily–and honestly–reflects upon some of the secret missions he undertook after WW II to ostensibly make a difference in a dangerous world.  But this title is more so everything we love about Ennis: perfectly composed conversations amongst expertly crafted characters (like the deliciously deep Shirley Defabio and the larger-than-life–and classic Ennis creation–Sergent Chef Steinhoff), all before a backdrop of war, with stops in Indochina, Cuba, and Vietnam, where the book will continue–at a punishing pace–in 2013.  But if Fury’s too hero for you, check out Ennis’s latest Battlefields saga, Battlefields: The Green Fields Beyond; it’s through two–a Top Ten worthy two–of six.  Either way, you can’t go wrong; in this guy’s hands, war is heaven. (SC)

shade8. The Shade (DC) – Once upon a time their was a writer of enormous range and nuance; one who easily blended genres and had an uncanny ability to capture the untidy, individual voices of each of his many characters in service of stories both grand and intimate. His name was James Robinson and the exemplar of his craft was a series called Starman. Now in the years since the end of that remarkable book, there has been a writer named James Robinson working on various super-hero books, but the quality of them has been so wildly inconsistent and lacking in authorial voice that it can scarcely seem possible that it is the same writer. Interesting then, that it took a return to the Starman universe to bring about a return to form. In The Shade, Robinson returns to his most compelling creation; a character both physically and morally in the shadows, one whose dandyish affectations and droll, Oscar Wilde-inflected narration serve as perfect counterpoint to the pulpy theatrics of a host of skillfully handled genres and subgenres. Welcome back Mr. Robinson. Stay awhile, please do. (DM)

dd127. Daredevil (Marvel) – Even a blind person who hasn’t had his other senses enhanced by exposure to radioactive material could see that this title has been Marvel’s best for over a year now.  Aside from the seemingly endless Omega Drive arc, which was a series of wrong turns–including a pointless crossover with Spider-Man and The Punisher–with a few delectable diversions dribbled in, specifically issue #12, Daredevil has been the model book in terms of how to marry mirth and mystery.  Mark Waid, Chris Samnee, and Javier Rodriguez had Daredevil dance with Doom for a couple of sensational issues and then created something strange and beautiful with the Coyote storyline, one that had me, at times, wondering if it were headed anywhere–and, in the end, boy, was it!  Damn my dubiousness!  There are a few creators worth our blind trust and our limitless patience, and Waid is without a doubt one of them.  (Speaking of, have you noticed the tone Waid’s establishing over on Indestructible Hulk?)  Similarly, there are many heroes whom we hold dear, but none as dearly as The Man Without Fear. (SC)

FRSH_Cv06. Frankenstein: Agent of S.H.A.D.E. (DC)  – What could easily have been a Hellboy rip-off instead turns out to be an exuberant melange of Universal Monsters from the 1930s and James Bond tropes turned on their head. Jeff Lemire (see #10) got the ball rolling (along with Alberto Ponticelli, whose pitch-perfect art will be missed when he leaves shortly – see #1) with a commitment to unrelenting, over-the-top action. The extraordinary Matt Kindt (see #3) continued the run by focusing on Frankenstein’s tragic history, without sacrificing a whit absurdity or epic carnage. If anything the hint of pathos serves to ground the general giant-monster frenzy, making the book even stronger.  Another oddball (and alas, soon to be late and lamented) winner from DC. (DM)

Fatale-Cover-Image-Comics5. Fatale (Image) – Sure, Ed Brubaker seemed to give up on Captain America in an uninspired final run; and he ran a minimalist route as he turned Winter Soldier into a must-read–and, unexpectedly, a top Marvel book for 2012.  It’s clear, however, where he was focusing his energies: Fatale is Mr. Brubaker at his brutal best.  If you have enjoyed his iconic work with the spectacular Sean Phillips on such titles as Criminal and Incognito, then you’ve most assuredly found Fatale to die for.  A dangerous dame, herself in danger; a fistful of dupes, their freewill twisted as if by magic; some crooked cops and crazy cultists; buckets of blood and nightmarish monsters: all of it comes together to set a terrifying tone and to mold and unfold a complex and compelling mystery–one that insists upon your complete attention.  And how about Phillips’ covers?  Stunning.  Yes, indeed, this is a book that stands out from the rest–in more ways than one. (SC)

ZaucerofZilk_Image4. The Zaucer of Zilk (IDW)  – Brendan McCarthy and Al Ewing’s mini-masterpiece is also perhaps the hardest book on the list to define. Carrollian fantasy, 1960’s psychedelia, and high-flying adventure crash together in a two-issue candy-colored phantasmagoria of a tale. The all-too-brief narrative packs in a lot of story but never feels weighed down by its creators everything-and-the-kitchen-sink approach. Indeed the sheer scope of imagination on display – conceptually, thematically, incidentally even –  breathes such voluminous life into the thing that it threatens to take flight right out of your hands and soar into the ether. It would take most comics years to build a universe as enthralling as this. I, for one, am hoping for a return trip. (DM)

190133. Mind MGMT (Dark Horse) – This is one sexy book.  Matt Kindt–a creator on the cusp of greatness–is doing what he’s so very good at here: telling a taut tale at a brisk pace, one supported by humble yet gorgeous artwork, with colors you just want to drown in.  Go ahead: open any issue to any page; I guarantee you’ll gasp for air–and it’ll feel exhilarating.  I love the concept: Mind MGMT is like the Bush-era Office of Strategic Influence on steroids.  The execution is flawless: the story starts with a startling scene of murderous rage, which, teasingly lacks motive and context, and then segues into a cloudy memory of Amnesia Flight 815, which, in turn, sets the stage for Meru, who sees her next bestseller in the mid-air mystery.  But it’s all just foreplay, friends.  Once Meru meets Henry Lyme, the narrative explodes with the latter’s back story, which is awe-inspiring in its inventiveness and hellishly heart-wrenching, especially as we learn how the rogue operative had a hand–or, more accurately, a mind–in the opening sequence of ultraviolence.  Simply masterful.  The extras are fun, too, especially the bonus stories, which help to build this brilliantly intricate new mythology of men and women who are dangerously and desperately more than their fellow man.  Through seven issues of Mind MGMT and with his fantastic work on Frankenstein: Agent of S.H.A.D.E., Kindt’s proving that he’s more, too–that he’s undoubtedly fit to comfortably sit in the pantheon of present day comic book gods. (SC)

saga-12. Saga (Image) – Combine Star Wars with Romeo and Juliet. Douglas Adams with Meet the Parents. Heavy Metal with The Wonder Years. Brian K. Vaughan and Fiona Staples are pushing against all kinds of boundaries here in a comic that truly has the air of limitless possibility about it. They are also unafraid of testing the preconceptions of their own readership (not to mention their intestinal fortitude – I personally can’t wait for Fard the Ogre’s 2012 Pin-Up Calendar, in all its scrotal glory). But for all this, in the end their story is about one family’s struggle to survive. In this day and age, what could be more resonant? (DM)

DIALH_Cv41. Dial H (DC) – Who knew that it’d take a “Second Wave” to shore up our faith in The New 52?  Well, it did: and said wave, which rolled in during low tide–with even lower expectations–deposited this unexpected treasure from novelist China Mieville and artist extraordinaire Mateus Santolouco at our feet; but once in hand, it was clear: this weird and wonderful story of a regular schmoe who dials up heroes from different worlds is a tsunami of creative vision.  Sure, the first few issues are tough to follow, but it’s in a manner reminiscent of the best of Grant Morrison, where perplexity percolates into something akin to pleasure.  And there’s plenty of pleasure to be had here, especially in the surprises born of Nelson’s turning the dial: there’s the unforgettable first, Boy Chimney, conjured in a stunning sequence of soot and smoke by Santolouco; and there’s the brilliantly satirical Chief Mighty Arrow, depicted bravely by guest artist David Lapham in an issue that just missed being named our Best Single Issue of the Year.  No hero, however, was as inspirational as Rescue Jack: with the dial down, Nelson finds the hero within and saves the day–if only for a moment.  Looking forward, 2013 promises an exciting turn: former Frankenstein: Agent of S.H.A.D.E. artist Alberto Ponticelli has been tapped to take on the challenge of bringing the magic of Mieville’s mind to the page.  We know he’s up for it.  Let’s hope that the readership is, too.  While Dial H has survived the Fourth Wave–sadly, the same can’t be said of Frankenstein–who knows which books the inevitable Fifth and Sixth Waves will wrest from our hands.  So, we say, with the volume dial cranked to 11: buy this book! (SC)

Derek’s Honorable Mentions:

5. Wonder Woman (DC) 4. Snarked! (kaboom!) 3. Stumptown: The Case of the Baby in the Velvet Case (Oni) 2. Popeye (IDW) 1. Tales Designed to Thrizzle (Fantagraphics)

Scott’s Honorable Mentions:

5. Winter Soldier (Marvel) 4. Wonder Woman (DC) 3. Harbinger (Valiant) 2. Archer & Armstrong (Valiant) 1. Rachel Rising (Abstract Studio)

Best Single Issue of the Year: Adventure Time #10 (kaboom!) – “Choose Your Own Adventure Time!” by Ryan North, Shelli Paroline and Braden Lamb. This 15 page story is: An entertaining juggling act of any number playful narratives. A nostalgic, tongue-in-cheek callback for Gen Xer’s and one of their quaint, decidedly analog forms of interactive experience. A meditation on the control we have over our lives (or lack thereof) invoking the Free-Will vs. Determinism debate. A formalistic tour de force where story and design combine seamlessly in an innovative fashion that seems to expand the very  possibilities of the comic book medium. A children’s book with fart jokes. You choose.

Publisher of the Year: This is easy. With four out of the top ten spots (including No.1) it’s gotta be DC right? Wrong. If the first full year of the New 52 relaunch was able to till some fertile ground where the above books were allowed to grow, we are grateful. But each of these books are outliers in the DCU (or in the case of Animal Man/Swamp Thing, at least started as such). Much of their appeal lies in how they’re straining against and redefining the very super-hero mold that they are a part of. Because that of course was the focus of the New 52: superheroes. Retrenching, dusting off the icons and giving them a makeover for the 21st century. In 2012 however, that seems a backward-looking editorial mandate. Artistically, comics as a medium have long since proved capable of encompassing any genre or subject under the sun (or behind it. or beyond it.)  But what our medium still suffers from (and this is why the general public remains unconvinced about the viability of comics as a legitimate entertainment source) is a lack of the sheer amount and variety of product that you see in other formats (TV, movies, books, etc). Like it or not, when most people think comic books, they still think superheroes. Well the company doing the most change that, to fill the void on a week-by-week basis is: Image Comics (knew I’d get there eventually, right?) Go ahead, check out their catalog on any given week: crime, sci-fi, espionage, historical fiction, horror, comedy (and yes, some capes too). And all creator-owned. Are they all hits? Of course not. But Image is doing more than any publisher to create a culture that cultivates young talent while also attracting established creators, united by this one overarching philosophy: create any damn comic you can think of. Smells like the future–or at least 2013.

Turning pages,

Derek & Scott

Back and Forth: One Sided

16 Sunday Dec 2012

Posted by in Back and Forth, Microviews

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Scott Carney: Not gonna lie, Derek: the last couple of weeks haven’t really blown me away.  In fact, they’ve left me pretty cold.

Derek Mainhart: Dude, it’s the weather.  It’s December.

SC: I know it’s December, wise ass.  The fact that it’s December has just made it friggin’ colder.

DM: No, that’s Paul Tobin and Juan Ferreyra.  They made it–colder, I mean.  Colder #2.  Remember?  You were actually looking forward to it.

SC: So this is how it’s gonna be?

DM: Yup.

SC: Fantastic.

DM: What’s the matter with you?

SC: Nothing. Why?

DM: ‘Cause your face is all red.

SC: F you.

DM: FF you.

SC: Nah.  I can’t do this.  I’m outta here.  Gonna watch some TV or do something less productive.

DM: So you can rot your brain?

SC: You’re not funny.

DM: Oh, and you’re some sort of furious comedian?  There are a lot of books worth talking about, man.  Just accept it.  I’ll even get the action started if you want.

SC: What I’d like you to do is dial it down a bit.  I’ll–damn it.

DM: I knew you had it in you.

Colder #2 Cover
—Colder #2 Cover

SC: Yeah, so, why don’t I just get to it, then.  I really liked Colder #2. It took me a while to find it, but it was certainly worth the effort.  Ferreyra’s art is absolutely gorgeous.  Did you notice how the characters wore the shadows from the leaves as they were walking beneath the trees?  What attention to detail!  And it complements Tobin’s creepy-ass story so very well–whether it’s the precipitous present or the fiery return to the institution or the wickedly-rendered Hungry World; it’s all so good.  Hell, I’m certainly hungry for more!

DM: What else you got?

SC: Well, how about FF #1?  I know you like Mike Allred’s work a lot; but I’ve had trouble getting into it.  His guest turns on DD and on Wolverine and the X-Men weren’t my favorite.  But there was something about the way he conveys his characters that meant something to me.  Something I couldn’t quite grasp.  Something very distant.  Too distant.

DM: This is getting really heavy all of a sudden.

SC: And wouldn’t you know, I couldn’t tell what it was until this book–until his stunning take on She-Hulk.  You know what it is?  His style–his very distinct style–reminds me of Colorforms.  Boy, did I love Colorforms.  So, it makes sense I’d dig Allred.  His work is super solid here, especially as it carries Matt Fraction’s father-to-father tete-a-tete and the silly recruitment of the “new” Fantastic Four, which will stand in place of the family Fantastic for all of four minutes.  Four minutes?  I’m sure.  And I’ve probably mentioned it before: I’m not a big fan of Fraction.  In fact, I’ve probably liked about half of what I’ve read of his.  But I like how he’s set this up.  I particularly enjoyed the photo booth-like strips of the kids’ teaching Ant-Man about the foundation, which comes into context on the last page.

DM: I smell a segue here.

SC: Boy, it’s like you know exactly where I’m headed.

DM: You can can say that.  Back to it.

SC:  OK.  Well, both Swamp Thing #15 and Animal Man #15 play up the power of the final page turn with semi-surprise endings.  I won’t give them away–

DM: Wow.  When have you ever missed an opportunity to spoil an ending for an unsuspecting reader?

SC: I don’t know what to tell you.  I’m feeling stingy.  Must be the holidays.  Anyway, if I may?  I won’t give them away, but, tell me, would it really matter if I did?  This Rotworld storyline, while relatively well done, especially for a crossover, is essentially a possible future, right?  In that, I’m left wondering, does it count?  Kinda like with Spider-Men, you know?  But then I’m like, does it really matter if it counts?  Does it matter if it doesn’t?  A dumb debate, I know.  Pushing that aside, it’s worth noting that it’s clear that Snyder and Lemire are, quite literally, on the same page here: they’ve created almost perfectly parallel experiences that don’t suffer for the similarities.  In that, I feel like they’re doing something special.  This time around, Lemire’s side of the story stands out, especially with Lemire’s bringing his former charge, Frankenstein, into the fray.  Don’t get me wrong: Snyder definitely doesn’t disappoint.  I like how he’s teasing us with the probably-not-dead Abby Arcane narrative.  However, I wasn’t as impressed with his use of William this time around.  In fact, Lemire used the tricky little bastard to greater effect over on AM.  Oh, and I can’t forget: Marco Rudy’s layouts are pretty stellar.   What a ride, right?  Until, of course, the final page–a clean splash where–

DM: Hey!  I thought you weren’t going to spoil the, what did you call it, “semi-surprise.”

SC: Oh, all right.  Maybe I’ll just mention that Fury Max #7 was terrific.  I love the layers Ennis builds into this issue; it feels like a mini-series in and of itself!  And wouldn’t you know, Comedian #4 came out on the same day.

DM: Yes, it did.

SC: Yeah, unfortunately: for me and for it.  Azzarello’s take on Blake couldn’t chew Fury’s cigar.  Ms. Defabio, on the other hand…

DM: Va-va-voom!

SC: I’d like to see Defabio Max. But that’s another story entirely.  Another story worth noting, by the way: Grant Morrison’s fresh take on Mr. Mxyzptlk in Action Comics #15.  Page after page of space/time wackiness!  Here’s Morrison proving that he sees and writes in more dimensions than anyone else.  As always, I’m left thinking, What the hell is going on here? and That’s so, so good! at the same time.  But what I did understand–and love–is the idea of “taking revenge on [Superman’s] whole life at once–”  How ridiculously great is that?  What a way for Morrison to make his way!  Gosh, I’m gonna miss him.

DM: Of course you will.  But you won’t have to miss him for too long: Multiversity is right around the corner.

SC: Yeah, I guess.

DM: Hey, now!  Why not move on to something that definitely made you happy–and I’m not talking about Morrison’s Image mini.

SC: Dial H #7?  That made me happy.

Dial H #7 Cover

Dial H #7 Cover

DM: See!  I knew it.  Go on.

SC: It’s non-stop wacky fun!  I love that Nelson and Roxie are sharing the single dial and the fact that Nelson’s “losing track” of who has turned into whom.  Mieville’s been developing the danger of the dial for a while; it’s a brilliant angle, really.  Oh, and can I get an “Amen!” for the creator of this peerless comic’s conjuring the cult of the dial and his clever turn in having the “Angel of the Dial” turn out to be a “super-woodlouse who talks like a 3-year-old”?

DM: Amen!

SC: You’re a good friend.

DM: Yes, I am.

SC: Well, friend, Mieville doesn’t stop there!

DM: Testify!

SC: Sure, his heroes are typically of the hit-and-run variety.  But you know one idea that definitely has legs?  The Centipede.  Love David Lapham’s final splash, by the way.  In fact, he’s done a fine job since taking over the duties from Mateus Santoloucco.  I’d go as far to say that the storytelling is sharper as a result of his more straighforward style.  Speaking of splashes: my favorite sequence in the book is when Manteau becomes The Planktonian and encounters an “old nemesis.”  So, so good–especially when the “multitude” takes the form of a humanoid and shouts, “And you will sing no more!”  It’s a memorable moment: like Gandolf’s commanding, “You shall not pass!”  Epic.

DM: Sounds like someone’s looking forward to The Hobbit?

SC: Not as much as I’m looking forward to Jack Reacher.

DM: Really?

SC: No.

Turning pages,

Scott & Derek

In Scott’s Bag (12/5)

05 Wednesday Dec 2012

Posted by in I&N Scott's Bag

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I’m proud of myself.  So very, very proud of myself–mainly for what I didn’t leave with.  That, of course, doesn’t mean I got all of the books I wanted.  Here’s the super skinny:

The Gift of Bag

  • Action Comics #15
  • Animal Man #15
  • Dial H #7 (Looks like Lapham’s still on art duties.  Nothing wrong with that–especially after last month’s home run.  I thumbed through it and found some serious smile material.  Oh, Mr. Mieville, what pray-tell are you on?)
  • Swamp Thing #15 (Marco Rudy’s layouts look crazy!  I wonder how well they carry the story.)
  • Comedian #4 (Ugh.  Looks like it survived the pull list purge.  There’s a $4 oops.)
  • Fury Max #7 (Ennis shows ’em–including Azzarello on Comedian–how it’s done.)

Counterpicking

  • Daredevil: End of Days #3 (Worth the purch–if only for the spread across pages 2-3.  I’m such a slut for Elektra.)
  • Thunderbolts #1 (See previous comment.  Plus, I told Derek I’d probably buy it if, while thumbing through, I came to find Elektra stabbing someone in the face with her sai.  How about in the back of the head and out the forehead?  How about–on the same page as the aforementioned skewering–through one temple and out the other?  Close enough!)

Shelf Love

  • Adventure Time #10 (Derek really liked it, and, fortunately, my guy still had a copy sittin’ on the shelf.  Looks like a lot of fun.)
Adventure Time #10 Cover B

Adventure Time #10 Cover B

I missed Amazing Spider-Man #699 (sold out–already!), Colder #2 (none ordered for the shelf), and Secret Service #6 (possible non-ship?).  You know what that means: Fourth World here I come!  (It’s becoming a weekly thing.  Yikes!)

Oh, yeah: I passed on Avengers #1 and All-New X-Men #3.  Go me!

What did you get in your bag?

Turning pages,

Scott

In Scott’s Bag (11/28)

28 Wednesday Nov 2012

Posted by in I&N Scott's Bag

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My bag was so light, I had to add a couple bricks to keep it from blowing away.

Bag Buddies

  • Justice League Dark #14 (Uh oh.  The art’s different!  Arrrrrgh!  It’s not Mikel Janin.  Hmm.  One of the selling points on this book: Janin’s ladies.  Woman oh woman oh woman.  Not a good sign.  I hope this doesn’t turn into Justice League Jetsam.)
  • Fatale #10 (A page turn or two…  OK.  Its papers seem to be in order.)
  • FF #1 (Took a friggin’ flier on it.  Could be fabulous.  Could be a fail.)

A Brick for My Baby

  • My Little Pony: Friendship Is Magic #1 (Like I said: IT’S FOR MY DAUGHTER!)

My Little Pony: Friendship Is Magic #1 Cover

Just Another Brick in the Bag

  • All-New X-Men #2 (I had no desire to purchase this.  None.  But as it turned out, my guy didn’t have a couple of books I wanted, and I had some room on my $20 as a result.  So…  I gotta get some credit, though: at least I passed on Uncanny Avengers.)

Guess a Little Trip’s in Order

  • Bedlam #2 (I was actually looking forward to it.  That’s right: I’m giving Nick Spencer another shot.  Just might take me a while to give it to him.)
  • Nowhere Men #1 (It was nowhere to be found.  Oh, well.)

What did you get in your bag?  What did you miss?

Turning some pages,

Scott

What’s Up?

27 Tuesday Nov 2012

Posted by in What's I&N Store?

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After some serious cover-to-cover comic gridlock, this week–so very welcomed, indeed!–is the equivalent of a rest stop–a sweet, sweet rest stop.  I’m takin’ the exit, baby.

Who kNOWs?

  • FF #1: I’m willing to give it a shot–if only to find an offbeat replacement for Wolverine and the X-Men.  Mr. Allred may be the man for the job.

FF#1 Cover

Definitely Choosy

  • Justice League Dark #14: Lemire’s keeping it unreal–and it’s fun!  And, yes, this is the only DC book I’m definitely picking up this week.  I’m done with Batman Incorporated and The Flash.  I’m also not entirely sold on Lot 13.  But who knows: I may suffer a rack attack with so few books in my bag and may grab for a stray or two.

Image–ine That!

  • Bedlam #2: Earned another issue with a wildly violent and mildly mysterious #1.
  • Fatale #10: Where Brubaker’s been doin’ his thing–a really good thing.
  • Nowhere Men #1: If it actually goes somewhere, all the better!

Did you happen to notice?

  • Marvel=1 book
  • DC=1 book
  • Image=3 books

Huh.  Look at that.

What are you looking forward to this week?

Turning pages,

Scott

In Scott’s Bag (11/7)

10 Saturday Nov 2012

Posted by in I&N Scott's Bag

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Two of the biggest weeks in a while collided–as a result of Super Storm Sandy–and blew up into a Super Bag, which I call Candy, ’cause this haul is pretty sweet.

I’m going to keep it simple so I can get to reading.  I pray you’ll understand.

A Little Heavy Reading

  • Colder #1 (This book looks hot!  No, really: it starts off with a fire, for goodness sake.)
  • Winter Soldier #12
  • Ultimate Spider-Man #16.1 (What’s the point, Mr. Bendis?  I mean, really.)
  • Swamp Thing #14 (Flipped through.  Some far-out layouts.)
  • Swamp Thing Annual #1 (Bogged down by Swampy, but in a good way–I think.)
  • Animal Man #14
  • Dial H #6 (Very different look on the book thanks to Dave Lapham.  I wonder if I’ll be so free with my thanks after reading it.)
  • Deadpool #1 (Shh.  Don’t tell DerekNerd.)
  • Batwoman #13 (A reorder.  A beautiful reorder.)
  • Fatale #9
  • Bedlam #1 (Not high on Nick Spencer, but figured why not?  I’ve come to learn from some why they did not, from others why they shouldn’t’ve.  I’ve also read a Tweet or two celebrating it.  We’ll see.)
  • Happy #2 (There’s potential here: potential for really good or for really awful.  I’m not sure Grant Morrison’s allowed this book any middle ground.)
  • The Rocketeer: Cargo of Doom #3 (I don’t care what you’re holding.  This pair–Waid and Samnee–beats it.)
  • Wolverine and the X-Men #19 (The mutant of all the mutant books: it’s actually good.)
  • Action Comics #14 (Hoping for another perfect moment.  Not expecting.  Just hoping.)
  • Shadowman #1 (Are you down with the Zirch?  I am.)

Valiant Entertainment’s Shadowman #1

  • Daredevil: End of Days #2 (We’re still at the beginning of the End, so I guess it’s OK that I’m not too sure what’s going on.)
  • Justice League Dark Annual #1 (Oooh, Frankenstein!  Back in Jeff Lemire’s hands!  Now I really want to see how this war plays itself out!)
  • Action Comics Annual #1 (Oooh, Sholly Fisch.  Not Grant Morrison.  Yeah, looks like I used up all my exclamation points on the last entry.)

What did you get in your bag?

You know what?  You probably didn’t get anything in your bag.  Why?  Because I got it all.  By God, I got it all.

Turning pages–lots and lots of pages,

Scott