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Tag Archives: Lee Loughridge

The Top 5 Books of July

31 Sunday Aug 2014

Posted by ScottNerd in Top 5 Books of the Month, Uncategorized

≈ 4 Comments

Tags

9/11, Ales Kot, Archie Comics, Bodies, BOOM!, Bosnian War, Cap'n Dinosaur, Chris Miskiewicz, Constantine, David Mazzucchelli, David Quantick, DC, Dean Ormston, Glenn Whitmore, Hellblazer, Image, Jim Amash, Jordie Bellaire, Joshua Dysart, Kek-W, Lee Loughridge, Life With Archie, Mandrake the Magician, Meghan Hetrick, Michael Kupperman, Mike Allred, Palle Schmidt, Pat Kennedy, Paul Kupperberg, Phil Winslade, Shaky Kane, Si Spencer, Silver Surfer, That's Because You're a Robot, Thomas Alsop, Tim Kennedy, Tonci Zonjic, Tula Lotay, Unknown Soldier, Vertigo, zero

This was one stacked month of comics. Consider: our #1 book from last month (Silver Surfer), despite another strong outing, didn’t crack the Top 5 this time out. Also, only one of the titles below has been featured on our hallowed list before (having been, at different times, praised and damned – see below). This speaks to the veritable title wave of new, quality work being produced in this, the New Golden Age of Comics.

#5. Bodies #1 (DC/Vertigo): Brit scribe Si Spencer–whose ambition is clearly as vaulting as a well-known Shakespearean Thane-in-the-neck–has brazenly pieced together a primo pastiche of disparate eras and artists–including a Murderers’ Row of Meghan Hetrick, Dean Ormston, Tula Lotay, and Phil Winslade–and in doing so has Doyle-d up a Holmes-ian mystery multiplied by four.  Sure, the transitions from one time period to the next are as harsh as a head on collision, but it’s entirely understandable because so is the seemingly singular homicide that links one Longharvest Lane crime scene to the next.  Lee Loughridge’s colors, too, help to both draw a distinction and create a connection among the settings, the latter established by his use of a clichéd shade of red, which is hinted at by the blood splatter on Fiona Stephenson’s vintage–and ironically vivacious–cover.  Bodies #1 is a killer first issue that executes an experimental exposition that could’ve easily succumbed to redundancy, but instead rises effortlessly to the level of required reading. (SC)

Bodies #1

Bodies #1

#4. Cap’n Dinosaur (one-shot) (Image): MORE! FUN! COMICS! Cap’n Dinosaur is just what any jaded comic book reader needs: sublime silliness distilled through a love of classic super hero tropes. A synopsis of the plot would be futile, and pointless besides (just take a gander at the cover!) Suffice it to say that writer Kek-W and artist Shaky Kane have cooked up a kooky confection of pure comic-y goodness. Kane’s absurdist Silver-Age aesthetic seems to bring out the best in his collaborators (as evidenced by another recent Image one-shot, That’s Because You’re a Robot, with writer David Quantick – also worth a look). In particular, Kane seems to inspire writers to release their buried id in order to keep up with his lunatic visions, in much the same way that Mike Allred does. In fact, with his timeless, retro style, anarchic non-sequiturs and surreal approach to pop culture, I’d say that if Mike Allred and (comic genius) Michael Kupperman had a baby, it would be Shaky Kane. So I guess what I’m saying is: Mike Allred and Michael Kupperman should have babies….Oh, just buy this book! (DM)

Cap'n Dinosaur

Cap’n Dinosaur

#3. Thomas Alsop #2 (BOOM!): The Mage. The Mystic. That mysterious Master of the Dark Arts, guarding the thin veil that protects our reality from the nefarious nether-worlds. Such figures have constituted their own archetype in comics since at least Mandrake the Magician. Curious then, that they have been underrepresented in the current comics scene since the demise of the venerated Hellblazer (What’s that you say? There’s a comic called Constantine featuring the same character? Sorry, never heard of it.) Poised to step into those considerable loafers is one Thomas Alsop. And by “step” I mean “stagger, covered in his own vomit.” Conjured from the aether by writer Chris Miskiewicz and artist Palle Schmidt, the titular magician (and voracious abuser of all sorts of substances), possesses a nice insouciance, equal parts debounair and depraved, that provides a necessary (gin and) tonic to the severity of the grave matters at hand (all puns and in-jokes are very much intended). Calling himself a “Supernatural Detective”, he shills his skills on his own reality television show (what else?). This however, is largely a cover (albeit one that pays handsomely) for his more serious work as protector of New York City. But that is not all the creators have up their sleeves; adding complexity is the story of Thomas’ ancestor Richard, the first magical protector of New York, and the dark secret that links past and present. And more still: this being very much a tale of New York, Miskiewicz has, very bravely I think, interwoven the 9/11 tragedy into his story. No small risk that, especially amidst all the fun and games. But he and Schmidt have, so far, accorded it the respectful tone it requires. All in all, this brew, seemingly light and frothy, is a lot more heady than at first it seems. Another round! (DM)

Thomas Alsop #2

Thomas Alsop #2

#2. Life With Archie #36 (Archie): Paul Kupperberg and Co.’s chocolate soda brought all the boys and girls–including yours truly–to the comic shop, and damn right it’s better than than all but one of July’s releases.  Yeah, this book–with the help of mainstream media coverage–absolutely blew up.  And I–like many other non-Archie readers–was caught in the blast radius; so even though I hadn’t touched as much as an Archie Comics Digest in 30-plus years, I just had to have it!  Mind you, this was no ordinary ordinance; this was a nostalgia bomb–one that made me feel welcome in Riverdale despite my being, for all intents and purposes, a complete stranger.

Writer Kupperberg and artists Pat and Tim Kennedy (pencils), Jim Amash (inks), and Glenn Whitmore (colors) put Archie on a path through his past, present, and future–in a lead up to the not-so-shock ending–and as I followed I was struck by just how good Archie is; in, fact, he’s not unlike Superman in his Boy Scout-ish goodness.  In the end, however, he is simply a man: he can’t fly or see through walls; he’s not bulletproof; and his sacrifice leaves us all lamenting the death of that perfect innocence embodied by Archie Andrews–which is made more affective not by the amount of blood about Archie’s body but by the final image of a chocolate soda with three straws having been knocked over during the fracas, its figurative innocence–established on a playful first page–left to melt and spill to the floor.

More that that, really, I was surprised by how good the journey through Archie’s life made me feel.  Gosh, it made me wish more than once that we could all be Archies and Jugheads and Bettys and Veronicas–that all joy could be shared and problems solved over a chocolate soda with three straws. What a world it’d be!  It was an experience I did not expect.  I had initially planned to thumb through the thing and stick it in a bag.  Who knew that “every bit of it [would] just [feel] like home”? (SC)

Life With Archie #36

Life With Archie #36

#1. Zero #9 (Image): Sonuvabitch. As you might have surmised, we here at I&N read a LOT of comics. With so much new product coming out each month, we not only have to decide which titles are worth our time, but also which titles are no longer cutting the mustard. Zero, Ales Kot’s minimalist gut-punch of a spy thriller, in particular has been quite the roller coaster ride, and not always in a good way. After naming it one of our Top Ten Books of 2013 for its innovation and unpredictability, it promptly took a nosedive, as unpredictability gave way to incoherence. In fact, it was only a couple of months ago that the previous issue (#8) was named our Biggest Dis(appointment) of the month. So yeah, this book was on the chopping block.

And then Kot does this. Set in the midst of the Bosnian War, Zero #9 tells a tale from Roman Zizek’s past. Zizek is Zero’s mentor, an American black ops agent, and a war profiteer. Unsurprisingly, he’s a double-dealer of the first order. Already knee-deep in subterfuge and complicit in some of the worst atrocity in recent history, he also has a Bosnian girlfriend who is pregnant, victimized by the war. And things go from there.

Artist Tonci Zonjic deserves special mention as his storytelling manages to be atmospheric, clean, and cartoony (in the classic sense), perfectly setting the tone with a style reminiscent of early Mazzuchelli. And Jordie Bellaire’s muted hues, perfectly navigating between harsh reality and precious memory, are, as always, flawless.

A cursory look at the news will tell you that the world is rife with new, terrible things happening every day. So much so, that the horrors of even the recent past quickly get buried. Rare is the comic that can successfully mine such tragic events for its own fictive purposes, while also shining a light on those so easily forgotten or ignored (Joshua Dysart’s Unknown Soldier comes to mind). Rarer still, one that can do so with such spare, awful beauty. With this issue, Kot and Co. have not only banished any thought of dropping this vital book; they’ve produced one of the most powerful, resonant stories of the year. (DM)

Zero #9

Zero #9

The Biggest Dis(appointment): Robin Rises: Omega #1 (DC): I’ve been pretty vocal in my support of Peter J. Tomasi’s Batman and Whoever, especially in light of its being overshadowed by the over-hyped and underwhelming Snyder books.  (I even told Mr. Tomasi as much when I met him at the 2013 NYCC.  He seemed mildly appreciative.)  Tomasi did a commendable job of following in Grant Morrison’s footsteps, when it seemed that others had no use for them–until now, that is.  Ah, and therein lies the disappointment.  This book, which starts off well enough with a Damien-Robin retrospective, descends into a chaotic disaster of day-old dialogue and stumbles–despite some solid work from Andy Kubert, Jonathan Glapion, and Brad Anderson–into a terminally anemic battle scene–an epic game of casket keep away–that only ends because it eventually reaches its $4.99 price-point page limit.  To make matters worse, it turns out that Batman’s going to have to go BOOM! if he wants to get Robin back; that’s right: he’s headed to DC’s dark side–and, boy, I’d punch Tomasi in his pursed Mother-Boxing Apokolips if I were to ever see him again for going so against the Wayne with his choice of settings for the next rung on the way toward Robin’s return.  (Heck, whom am I fooling?  I’d probably say, “Hey, Mr. Tomasi!  Love your work!  I can’t wait to see what you have in store for…Superman/Wonder Woman!”  And he’d probably be mildly appreciative.)  The New God-darned piece of shard is so distressingly disappointing that I’m seriously considering giving up entirely on Batman and Robin–no, seriously–which would leave me Bat-less for the first time since I jumped into The New 52.  Well, there’s always Moon Knight…(SC)

Robin Rises: Omega #1

Robin Rises: Omega #1

Turning pages,

Derek & Scott

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I&N Scott’s Bag (8/7)

11 Sunday Aug 2013

Posted by ScottNerd in I&N Scott's Bag

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Alberto Ponticelli, All-New X-Men, Ben Templesmith, Brian Bolland, Brian Michael Bendis, Buck Rogers, China Mieville, Cullen Bunn, Dan Green, Daredevil: Dark Nights, David Lafuente, David Lapham, DC Comics, Dial H, Ed Brisson, Ed Brubaker, Fatale, Helheim, HiFi, Howard Chaykin, Image, J. Michael Straczynski, James Asmus, Jeff Lemire, Joelle Jones, Johnnie Christmas, Jonathan Hickman, Jordie Bellaire, Justin Jordan, Lee Loughridge, Lee Weeks, Marvel, Mateus Santoluoco, Matt Fraction, Neil Edwards, Nick Filardi, Nick Pitarra, Oni Press, Quantum and Woody, Roberto De La Torre, Satellite Sam, Sean Phillips, Sergio Cariello, Shadowman, Shari Chankhamma, Sheltered, Ten Grand, The Manhattan Projects, Tom Mandrake, Tome Fowler, Trillium, Valiant, Vertigo

Another Wednesday in NYC meant another trip to Midtown Comics–and another week of plucking top-shelf books from the middle of the Great Wall O’Comics.

  • Fatale #16 (Read it!  Solid, sure, but not as transcendent as it’s been.  No real missteps, just didn’t get the feeling I typically get during and after reading.  Hey: it’s bound to happen–especially with the titles that kill it from issue to issue.)
Fatale #16

Fatale #16

  • Dial H #15 (Read it!  A crazy, convoluted concoction–everything we’ve come to love about this misfit book!  Too bad it couldn’t really find its place in the DCU–or an audience.  We sure as heck did our best to promote it; but, alas, it wasn’t enough.  From the get-go, however, it was clear: Dial H wasn’t a terribly accessible title.  Thank you China Mieville, Alberto Ponticelli, Dan Green, Mateus Santolouco, Dave Lapham, and Brian Bolland for dialing me dizzy for fifteen fantastic issues.)
  • Buck Rogers #1 (Read it!  Howard Chaykin’s always worth a shot.  Here, though, probably just this one.  While it read well enough, it didn’t quite clear the bar, which is set pretty darned high–especially for outliers like this.  Hey: as much as I’d like to, I can’t read everything!)
  • Sheltered #2 (Read it!  A very strong follow up to a superb opening act.  Looks like Brisson might really have something here.)
Sheltered #2

Sheltered #2

  • Daredevil: Dark Nights #3 (Read it!  Some impressive twists weighed down just a bit by some inevitable schmaltz, especially related to what’s been driving DD to complete his mission of mercy.)
  • Ten Grand #4 (Read it!  Glad I’ve stuck around.  I’ve found myself drawn to Joe and to how Joe’s been drawn–and colored–by the terrific Ben Templesmith.)
Ten Grand #4

Ten Grand #4

  • All-New X-Men #15 (Read it!  Once again, an issue that accomplishes very little.  Feels like we’re just killing time leading up to the big crossover event.  Has felt that way for a while, actually.)
  • Sidekick #1 (Read it!  I liked it more than I didn’t.  What kept me from loving it?  It’s the battle that rages amongst the pages: a battle for the ages between clever and cliche.  Kudos to DerekNerd for noticing that this reads like a Mark Millar book.  If you didn’t think of it before, I bet you’re noticing it now.)
  • The Manhattan Projects #13 (Read it!  Same old, same old.  And by that, I mean super good.  Hickman, Pitarra, and Bellaire never take a month off.  Oh, and how about that JFK?)
  • Helheim #6 (Read it!  Everything you’d expect from a Cullen Bunn book.  Pretty terrific final page, no?)
  • Shadowman #9 (Read it!  Another solid issue.)
Shadowman #9

Shadowman #9

  • Quantum and Woody #2 (Read it!  Really liked the beginning.  Asmus kicks off the second installment with a clever conversation–between Woody and me!–and some intelligent humor.  In fact, I was thinking top of the pile for the week.  However, it got a bit sophomoric–and jokingly homophobic–as the issue progressed.  I get it: it’s meant to amplify Woody’s immaturity; but I think, in the end, it detracted from the development of the story.)
  • Trillium #1 (Read it!  One word–for now anyway: finally.)
Trillium #1

Trillium #1

  • Satellite Sam #2 (Read it!  Issue #1 was one of my favorites for July, and there’s no let up here.  Fantastic follow up from Fraction and Chaykin.  So fabulously different from everything else.)

What a way to kick off the month!

What did you get in your bag?  Anything worth checking out?

Turning pages,

Scott

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What’s I&N Store (8/7)

06 Tuesday Aug 2013

Posted by ScottNerd in What's I&N Store?

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Alberto Ponticelli, All-New X-Men, Ben Templesmith, Brian Michael Bendis, China Mieville, Christmas, Cullen Bunn, Daredevil: Dark Nights, DC Comics, Dial H, Ed Brisson, Ed Brubaker, Fatale, Helheim, Howard Chaykin, Image, J. Michael Straczynski, Jeff Lemire, Joelle Jones, Jonathan, Justin Jordan, Lee Loughridge, Lee Weeks, Matt Fraction, Nick Pitarra, Oni Press, Quantum and Woody, Satellite Sam, Sean Phillips, Shadowman, Sheltered, Sidekick, Stuart Immonen, Ten Grand, The Manhattan Projects, Trillium, Valiant, Vertigo

The weekly feature that was once known as What’s Up? is now more shamelessly titled. The content, however, is as subjective as ever.

  • Dial H #15 (DC): Ladies and gentlemen, this is it: the finale of one of the finest series around. Just the thought of its missing from my monthly haul makes me want to curl up and dial.

    Dial H #15

    Dial H #15

  • Trillium #1 (DC/Vertigo): Jeff Lemire’s back where he belongs: doing double duty. Very excited for this. As much of a must buy as a book can be.
  • Fatale #16 (Image): Speaking of must buys: Brubaker and Phillips have been nothing short of brilliant.
  • The Manhattan Projects #13 (Image): Last issue didn’t close with a cliffhanger; nope: it ended with a chainsawer. So good, ever since, I’ve been imagining myself as a branch. Come get me, Einstein, you crazy motherphysicist!
  • Satellite Sam #2 (Image): #1 was a perfect opening act. I hope Fraction and Chaykin can keep it up here. And so does she…
Satellite Sam #2

Satellite Sam #2

  • Sheltered #2 (Image) Brisson did a heck of a job building up to the end of #1. Anything familiar about the premise was put to rest with a resounding “BANG” on the final page. And the snow was left stained with high expectations. Comeback didn’t carry on well after the first issue; I hope Brisson’s better here and going forward.
  • Ten Grand #4 (Image): JMS has won me over. Glad I stuck around.
  • Sidekick #1 (Image): It’s Ten Grand‘s sidekick, innit? Always willing to give JMS a shot.
Sidekick #1

Sidekick #1

  • All-New X-Men #15 (Marvel): Wow. Where have we really gotten after fourteen issues? This could be the longest leash I’ve ever allowed–and it’s all a matter of trust: trust in the characters and trust in Bendis. Something has to happen eventually, right?
  • Daredevil: Dark Nights #3 (Marvel): Loved #2. Lee Weeks is owning DD on both sides of the pen. Remarkable, really.
  • Helheim #6 (Oni Press): This is a book that has really come together after five issues. Cullen Bunn’s got a knack for this type of tale (see: The Sixth Gun); and, true to form, he’s unfolding this one well.
Helheim #6

Helheim #6

  • Quantum and Woody #2 (Valiant): The first issue was fun enough. Unfortunately, it’s up against an almost perfect in-house buddy book: Archer & Armstrong. How unfair is that?
  • Shadowman #9 (Valiant): Quietly, a really solid monthly.

What are you looking forward to this week?

Turning pages,

Scott

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Microviews: Winning Over Hearts and Minds

26 Friday Jul 2013

Posted by ScottNerd in Microviews

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Batman Incorporated, Bob Crane, Chris Burnham, Chris Samnee, Daredevil, Daredevil: Dark Nights, Daredevil: End of Days, Dark Horse, Dean Motter, Family Guy, George Reeves, Grant Morrison, Howard Chaykin, Image, Lee Loughridge, Lee Weeks, Mark Waid, Marvel, Matt Fraction, Mister X: Eviction, Satellite Sam

Unless you’re blind to what’s been going on in the world of comics lo these past two years, you know that Daredevil’s kind of a big deal: thanks to Mark Waid–and at present, the superb Chris Samnee–the sightless savior of Hell’s Kitchen–and Marvel’s very own messiah–is as must-see as ever. Aside from the flagship series–which has recently earned a number of Harvey nods–ol’ Hornhead has found a home in a couple of minis, including the recently wrapped up–and surprisingly effective–Daredevil: End of Days and the current Daredevil: Dark Nights (Marvel). The former has an all-star team of DD vets attached to it, both on the writing side and the art side; the latter, too, boasts a DD vet, artist Lee Weeks, who, this time around, takes quite a leap by wielding two pens: he’s the hand behind the images and the words. Daring, right?

Daredevil: Dark Nights #2

Daredevil: Dark Nights #2

Issue #1, a serviceable offering on its own, suffered a bit for a couple of reasons, neither necessarily related to the issue itself: for one, it came out on the same day as the final issue of End of Days; and two, it’s yet another DD story predicated upon a potentially fatal medical condition. (Get well, Foggy!) In terms of the story itself, Weeks certainly delivers the danger: thing is, the danger’s doubled: yes, there’s the obvious concern for the young girl who is in need of a new heart; but a more pressing danger rears its deadly head: is Weeks tugging too hard on the ol’ heartstrings here?

With #2, we learn that the answer is a firm no: it’s clear that Weeks was simply setting us up for this fearless issue–one in which the Man Without Fear races selflessly against two indefatigable foes: time and the elements. Weeks himself wastes no time establishing an integral element to his story: Daredevil will not bet deterred. He can’t stop; he can’t help poor Jonny–“Not today”; he’s “made [his] choice”: he’s focused on “precious cargo”–on a heart with a little girl’s name on it. Art-wise, Weeks conjures up a Daredevil who is perpetual motion: as the hero strains against the snow, we feel every muscle, each a snow plow, pushing forward, beating like blood through occluded veins back to the heart; as he hangs on a light post, we sense that the post is hanging on just as tightly as he, and both are profoundly exhausted; as he swims in frigid waters, we feel the cold, the desperation, and we hold our collective breath in hopes of his finding “Hannah’s hope.” With heart in hand, Daredevil continues his treacherous trek, stopping only to clean up a small mess in his Kitchen; see: “[s]ome things can’t be ignored.” And one of those things is: he’s a hero. His choice to save the young woman from an attacker–perhaps the easiest challenge he’s faced this night–comes with a price, however; undoubtedly worn from the effort that got him this far–and so agonizingly close to his goal!–he collapses, leaving him defenseless against time, a tireless antagonist–and he’s in no shape to hold back the hands that so heartlessly hold Hannah’s fate with every tick, tick, tick.

Sure, a cliche hangs over this arc like a threatening cloud, but Weeks transcends it with solid storytelling and gorgeous artwork (with an assist from color artist Lee Loughridge) and guides us on a wintery journey into the heart and mind of a true guardian angel.

In Batman Incorporated #12 (DC), Gotham’s guardian–the still grieving Batman–“SSKKKRRRIIIIIII”‘s himself back into the fray, and he’s unstoppable: he’s heartbroken and breaking heads–more accurately, a figurehead. Busted! Sure, it takes a while to get to that point; in fact, the extended fight sequence is not unlike the classic Family Guy battle between Peter and an ill-tempered chicken; but there’s a clear method to Grant Morrison’s madness: it showcases Batman’s untameable rage, which is as honest a response as one might expect from a father who is facing down his son’s killer; and which is only tempered by a startling revelation: his son’s killer is–“Urr.  God.  No”–his son! Well, kind of. And as startling as that is, another scene comes out ahead: Talia decapitates her monstrous progeny and then detonates him, bringing about the literal “fall [of] the house of Wayne.”

Batman Incorporated

Batman Incorporated

Despite the previously mentioned protracted sky-scraping scrap, this issue feels somewhat rushed, especially as the final page plays out. However, Morrison’s the master of making an awkward narrative come off as elevated; and, it’s no surprise, he hits the mark here in the series’ penultimate issue, as well. As he brings his own creation to an abrupt end, with an assist from the always effective Chris Burnham, we’re treated to a ballsy Batman story that continues to defy expectations–which is exactly what we expect from the enigmatic–and unapologetically unstoppable–Mr. Morrison.

A series that, sadly, does come to an end this week is Dean Motter’s brilliant Mister X: Eviction (Dark Horse). Oh, we’ve extolled the many virtues of the first two issues in previous posts: here and here; and now with #3, we’re ready to extol some more. I mean, look at this cover, for crying out loud! Pretty grate, isn’t it?

Mister X: Eviction #3

Mister X: Eviction #3

Part A of the Conclusion cock-a-doodle-doos with a robot painting a wall–yet another clever way of insinuating the title of the book into the story itself–and wakes with Rosetta’s reminding us of “the quest for” Mercedes, who is still holed up in the Municipal Purgatorium.  Motter makes his way through the remainder of the the first half of the finale by employing inventive panel-to-panel transitions, witty banter, a pair of well-placed stories (a fun one about the Ajax and a philosophical one about anatomically-themed tattoos), and by closing the the whole puppet show with a some silly symmetry: Mister X breaks the fourth wall–not the freshly painted one, much to the relief of a certain robot–as he explains how he “just happened to bring cable cutters” to the Purgatorium: he slyly states, “They were useful some pages back.”  I mean, duh.  Oh, and, uh, he and Rosetta get captured, so…

After a trippy–and an all sorts of creepy–little interlude, Motter jumps into Part B by jumping forward in time: two-thirds of the extraction team–the adult portion–face “one slight problem”: they’re bound to tables and about to be broken by “Heartbreak.”  Thing is, Rosetta knows him; in fact, “at one time, [she] called him ‘Sweetheart'” because they “dated years ago–until he fell in with the wrong crowd.”  She uses this “in” to facilitate her getting out: he satisfies her request for a drink and a smoke and ends up with a fireball to the face.  A simple “Thank you” would have sufficed!  From there, Andy, who had avoided apprehension, sets his teammates free, and the three of them liberate Mercedes and the tattooed Mr. Smith–the former, convinced that Mister X has more of a heart than he cares to advertise; and the latter, revealed to be a “doppelgandroid,” who helps Mr. X bring down the Purgatorium.  The reason for the impromptu renovation remains a mystery to Rosetta–so too do the whereabouts of Mister X–but the results are clear: things have changed in Radiant City.

And with a final toast, it seems everything’s all right–even on the aforementioned last page, where Motter juxtaposes the junked–and right-handed–Fasces of Power with Smith’s left hand, a symbol of sacrifice that rests atop some rubble and answers Mercedes’ question with an appropriately “WRONG” answer.

On its own, the issue stands as a testament to Motter’s mastery of the medium; as a part of a whole, it’s a perfectly executed exodus that leaves Mister X–and me–looking toward the future of Radiant City.

But, gosh, as much as I loved Mister X, I enjoyed Matt Fraction and Howard Chaykin’s Satellite Sam #1 (Image) a touch more.  Let’s consider the cover, shall we?

Satellite Sam #1

Satellite Sam #1

What better way to break in the first issue of a series that proudly promises sex and death?  Chaykin essentially treats us to a curiously clad couple’s “first time”: in this case, however, it’s the woman–whoever she may be–who has made the man bleed, and she’s got the smoking phallus–er, gun–to prove her primacy.

Once inside–the comic, sicko–Chaykin thrusts us back in time to the ’50s with his glorious black and white artwork, which sets the stage for Fraction’s simmering television studio.  The intercourse amongst the many characters–equal parts playful and intense–is reminiscent of Fraction’s fantastically busy FF and his endearingly cavalier Hawkeye.  It works especially well here as the writer takes us behind the scenes of a live television show–in this case, one thrown for loop because of a missing star; and then he pulls the curtain back further to show us what goes on behind those scenes: not surprisingly, what ultimately makes its way into America’s living rooms is a means to an end: it’s all about politics, power, and lining the pockets of custom-made suits.

What’s made its way into our hands is a terrific pilot episode.  Fraction and Chaykin have manufactured a murder mystery worth solving–one that borrows from real-life mysteries surrounding the deaths of television personalities, including the pervy Bob Crane (Hogan’s Heroes) and the steely George Reeves (Superman)–and have introduced a sympathetic character worth following in the reluctant protagonist Michael White, a Clark Kent lookalike and heartbroken son of the deceased, and decidedly depraved, Carlyle White.  Like Michael–who extemporaneously stands in for his dad on the set of Satellite Sam and who, in the final panel, exasperatingly sits on his father’s floor with a Pandora’s Box of pop tarts–I want to know “what the hell [Carlyle] was into.”  Here’s something I do know, however: they’ve won me over: Satellite Sam‘s my Book of the Week (7/3)!

Turning pages,

Scott

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In Scott’s Bag (7/3)

05 Friday Jul 2013

Posted by ScottNerd in I&N Scott's Bag

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Tags

Alberto Ponticelli, Avatar, Batman Incorporated, Ben Templesmith, BOOM!, Canaan White, Carlos Magno, China Mieville, Chris Burnham, Dan Green, Daredevil: Dark Nights, Dark Horse, DC, Dean Motter, Deathmatch, Dial H, Emily and the Strangers, Grant Morrison, Howard Chaykin, Image, J. Michael Straczynski, Justin Jordan, Kieron Gillen, Lee Loughridge, Lee Weeks, Marvel, Matt Fraction, Mister X: Eviction, Neil Edwards, Paul Jenkins, Roberto De La Torre, Satellite Sam, Shadowman, Ten Grand, Uber, Valiant

Stuck to the script: showed love to the list and said ciao to Green Arrow and Suicide Risk.

I’m getting better at good buys.

  • Deathmatch #7 (Read it!  As I mentioned: it’s no longer a guilty pleasure: it’s a solid book that borrows often–and well–to its own end.  Without being obnoxious about it, Jenkins reveals what he needs to and teases what he wants to.  Sounds easy, but it’s not.)
  • Dial H #14 (The end is closer and, as a result, much more real–especially now that we’re an issue away from hanging up on Mieville, Ponicelli, and Green for good.)
Dial H #14

Dial H #14

  • Shadowman#8 (Read it!  Pretty much an issue’s worth of set up.  Roberto De La Torre’s work–his deathly dark Deadside–is the highlight here.)
  • Ten Grand #3 (Hoping that this one’ll win me over.)
  • Satellite Sam #1 (Looks like a book that I should like, mostly because of Howard Chaykin’s terrific black and white work.  We’ll see.)
  • Emily and the Strangers #3 (Striking the final chord.)
Emily and the Strangers #3

Emily and the Strangers #3

  • Mister X: Eviction #3 (Quick flip: yeah, I think we have our book of the year.)
  • Batman Incorporated #12 (Read it!  No one can rush his way to the end like Grant Morrison.  He’s so damn good.)
  • Daredevil: Dark Nights #2 (Read it!  Much better than I expected it to be.  Lee Weeks and Lee Loughridge push Daredevil to his limits and bring an certain elegance to his exertion–even on page 6, a snow-blind splash where DD is but a red speck on a bluish-white background.)
Daredevil: Dark Nights #2

Daredevil: Dark Nights #2

  • Uber #3 (Read it!  Glad I gave Gillen another chance.  For one, his Hitler is effing crazy!  I’m definitely sticking around for more.)

What did you get in your bag?

Turning pages,

Scott

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