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Tag Archives: Mike Mignola

What’s I&N Store (4/1)

01 Wednesday Apr 2015

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

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Alex De Campi, Alex Maleev, Avatar, Blackcross, BOOM!, Carla Speed McNeil, Colin Lorimer, Colton Worley, Convergence, Dan Jurgens, Dark Horse, DC Comics, Diego Bernard, Dynamite Entertainment, Feathers, G.I. Joe, Garth Ennis, Hellboy and the B.P.R.D., IDW, Image, Iron Fist: The Living Weapon, Jamie S. Rich, Jason Aaron, Jason Latour, Joe Harris, Joelle Jones, John Arcudi, Jonathan Hickman, Kaare Andrews, Lady Killer, Marvel, Mike Mignola, Millennium, My Little Pony: Fiendship Is Magic, Neverboy, No Mercy, Robert Venditti, Shaun Simon, Southern Bastards, The Dying & The Dead, Tyler Jenkins, Valiant, War Stories, Warren Ellis, X-O Manowar

& now 4 the abbr ver o’ ur fav wkly rundown:

  • Hellboy and The B.P.R.D. #5 (Dark Horse)
  • Lady Killer #4 (Dark Horse) I&N Demand Has been so very good.  How good?  #1 was our #4 Book of January.  #3 will probably end up in our Top 5 for March, what with that stair-raising page turn and all.  (I love how serpentine Josie looks as she’s about to slither up the stairs.)  With this month’s offering and one more to go, Jones and Rich’s Lady Killer sure is “going somewhere”–straight toward our Top Ten for 2015!  High heels down, it’s been the year’s best mini.
Lady Killer #4

Lady Killer #4

  • Neverboy #2 (Dark Horse) I&N Demand I was surprised by how much I enjoyed the first one.  At first I found it kind of annoying; I was really ready to race through it just to get it over with.  When I got to that moment–if you read it, you know the moment–I was like “Wow!” and, wouldn’t you know, not put off by the –ugh!–police force, which reminded–and not in a good way–of the Sex Police from Sex Criminals; and as I ultimately finished–not in a manner that reminded of Sex Criminals, mind you–I felt compelled to give it another go.  That’s right: I read it again, right then and there, displaying a rather impressive rereading refractory period, if I do say so myself.  Yeah, that doesn’t happen often.
Neverboy #2

Neverboy #2

  • Convergence #0 (DC)
  • G.I. Joe #7 (IDW)
  • Millennium #3 (IDW)
  • The Dying & the Dead #2 (Image) I&N Demand Really liked #1.  It had the potential of collapsing under its own weight–and weighty it was in more ways than one; but it held up well, delivering those heavy Hickman notes that, when they’re right, are as good as it gets.
The Dying and The Dead #2

The Dying & The Dead #2

  • Southern Bastards #8 (Image) I&N Demand Aaron and Latour deserve a championship ring for almost every issue of Southern Bastards--but particularly for Coach Boss’s backstory, which has been executed like the perfect game plan.
Southern Bastards #8

Southern Bastards #8

  • No Mercy #1 (Image)
  • Iron Fist: The Living Weapon #11 (Marvel) I&N Demand So, whatever Daddy Rand has brought to NYC is clearly the mother of all mistakes.  But what Kaare Andrews has brought Iron Fist–hey. and to comics, in general–is a the most kinetic visual narrative this side of Kindt’s perpetually energetic Mind MGMT.  I mean, come on: in #10, Andrews destroys the staple-bound rules of space and time by having Danny punch his way across six pages–three double-page spreads of strike and follow-through that come together as a bone-and-nut-and-bolt crushing six-page spread–in a striking scene that leaves Danny, despite his best shot, at the mercy of his maniacal–and mechanical–father.  Sure, Iron Fist may be The Living Weapon, but Iron Fist: The Living Weapon is about as close to a living, breathing comic book as you’re gonna get.
Iron Fist: The Living Weapon #11

Iron Fist: The Living Weapon #11

  • Blackcross #2 (Dynamite)
  • War Stories #7 (Avatar)
  • X-O Manowar #35 (Valiant)

Avery’s Picks of the Week

  • My Little Pony: Fiendship Is Magic #1 (IDW)
  • Feathers #4 (BOOM!): Avery loves following the adventures of Poe and Bianca!  Aw, heck: so do I!
Feathers #4

Feathers #4

What are you looking forward to this week?

Turning pages,

Scott

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What’s I&N Store (3/18)

18 Wednesday Mar 2015

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

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Ales Kot, Alex + Ada, BOOM!, Burning Fields, Cap Sone, Christina McCormack, Cullen Bunn, Dark Horse, David Lapham, DC Comics, Divinity, Frankenstein Underground, Geoff Johns, Howard Chaykin, IDW, Image, Invisible Republic, Joe Harris, John Romita Jr., Jonathan Hickman, Jonathan Luna, Kevin Eastman, Klaus Janson, Liam Sharp, Magneto, Marvel, Matt Fraction, Matt Kindt, Mike Mignola, Millennium, Mind MGMT, Moon Knight, Nick Pitarra, Outcast, Robert Kirkman, Sarah Vaughn, Satellite Sam, Secret Identities, Stray Bullets: Sunshine and Roses, Superman, Teenage Mutant Ninja Turtles, The Manhattan Projects: The Sun Beyond the Stars, Titan, Tom Waltz, Valiant, zero

Am I behind in my reading?  Yes.  Is this post late?  Umm, yeah.  Has the comic book world gone insane this week?  Crazier than Moore’s Joker, that’s for sure.

  • Frankenstein Underground #1 (Dark Horse): Anything with Mignola’s name tied to it screams…  Well, yeah: it screams.  Been around the catacomb a time or two with Frankenstein’s monster, haven’t we?
  • Mind MGMT #31 (Dark Horse): I&N Demand #30 was easily our #1 book of January.  Damn thing erased everything and rewrote it even more painfully.  There’s something Stray Bullets-ish about Kindt’s attention to detail across the series, in the impact of each issue; in this case, however, every round is a shot to the head.
Mind MGMT #31

Mind MGMT #31

  • Superman #39 (DC): Geoff Johns’ Superman sounds like Superman, and I’m a super happy man as a result.  Who cares if the storyline didn’t develop as well as it could’ve and if Romita and Janson’s artwork appeared faster than a speeding bullet and about as powerful as Mister Roger’s Neighborhood Trolley.
  • Millennium #2 (IDW): I’m hooked!  Joe Harris and Colin Lorimer have captured the creepy, tense, and schizophrenic tone of the TV show–or has the tone captured them?
  • Teenage Mutant Ninja Turtles #44 (IDW): As much as I’ve enjoyed my stay–starting with “City Fall”–I think I’m gonna sai goodbye–I’m gonna katana and run.  I’m gonna nunchuk TMNT off of the ol’ pull list; I’m gonna bō out after this arc.
  • Alex + Ada #13 (Image): I&N Demand This book is a whisper–the breath of a lover that fills your ear and sets off a silent storm that races up your spine, steels your muscles,  and makes your skin scream.  Yeah, that’s exactly what it is.
Alex + Ada #13

Alex + Ada #13

  • Invisible Republic #1 (Image): Leaning toward passing.  I’ll thumb through it and see if something strikes me.
  • The Manhattan Projects: The Sun Beyond the Stars #1 (Image): Hoping that the new format is the key to recapturing the science behind this once superior series.
  • Outcast #7 (Image): Pretty close to exorcizing this one from the list, as well.  Despite some interesting moments, I haven’t developed a connection to Kyle–at least one that has me caring enough to carry on with this very wayward son.
  • Satellite Sam #12 (Image): I&N Demand The best TV show in comics.  Each episode/issue is a sprawling mosaic of self-interest that reads–unlikely–like a long-story-short told round the water cooler.  Love it.
Satellite Sam #10

Satellite Sam #12

  • Secret Identities #2 (Image): I was kind of hung up on the untransitions from one character’s secret story to the next.  It was a odd choice for a first issue–unless, of course, it was done to emphasize the separate personal spheres, which are such an integral part of the story. Hmm.  The twist at the end: ho-hum.  Had me thinking Deathmatch in spots.  Maybe that’s why I’m on to #2.
  • Stray Bullets: Sunshine and Roses #2 (Image): I&N Demand Spanish Scott is a galleon of gold, and #1 let him shine: his pistolet-à-tête-à-pistolet with Beth and Kretch ranks as one of my favorite panels of the year.
Stray Bullets: Sunshine & Roses #2

Stray Bullets: Sunshine and Roses #2

  • Zero #15 (Image): I&N Demand #14 could’ve easily ended the series, right?  Can’t not speak of the protracted fight scene, which had its moments–including an stare down that jumped off of the page; otherwise, it seemed unnecessary, almost lazy storytelling-wise, which contradicts most of what Kot’s done since #9, our top book of July 2014.  It’s been a remarkable run, one that was due a hiccup.
Zero #15

Zero #15

  • Magneto #16 (Marvel): Magneto’s a badass.  And that’s all ye need to know.  Wondering what “Secret Wars” is going to do to the mighty Magneto.
  • Moon Knight #13 (Marvel): Wood and Smallwood’s run–which rounded out 2014 on a high note–stumbled across the finish line with an inexplicably weak resolution to an otherwise compelling story.  Now Bunn takes over–with artist Ron Ackins–with expectations unexpectedly lower.  Lucky Bunn.
  • Burning Fields #2 (BOOM!): I thought #1 was pretty solid.  I mentioned that it was like Homeland and The Killing.  #2 had me thinking The Bridge.  Also kind of lost me a bit.  I considered just letting it go, but still I buy.
  • Cap Stone #4 (Titan): Has been OK through three issues.  Certainly hasn’t lived up to the promise of the poetic and beautiful–and near miraculous–first issue.  Had Moore in mind; ended up Less.  Don’t get me wrong: I appreciate Sharp’s vision.  Page to page, the narrative’s like nothing I’ve ever seen.  At times, however, the disjointedness causes the narrative to stall.
  • Divinity #2 (Valiant): I liked #1.  I’m a big Kindt fan, but I’ve struggled to find a series outside of Mind MGMT that works for me.  Sure, I’ve enjoyed The Valiant, but he’s sharing writing duties with Jeff Lemire on that one.  While not mind-blowing by any stretch of the imagination, #1 hit some Kindt-ian notes that rang true, that carried consistently through the issue, leaving me far more satisfied than I was after reading Rai and Ninjak.  I certainly hope that #2 transcends to the divine.

What are you looking forward to this week?

Turning pages,

Scott

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What’s I&N Store (3/4)

03 Tuesday Mar 2015

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

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Action Labs, Alan Moore, All-New Hawkeye, Avatar, Blackcross, BOOM!, Brian Buccellato, Brian K. Vaughan, Chris Burnham, Crossed +100, Danger Zone, Dark Horse, DC Comics, Descender, Detective Comics, Dry Spell, Dustin Nguyen, Dynamite, Feathers, Fiona Staples, Francis Manapul, G.I. Joe, Grant Morrison, Hellboy and the B.P.R.D., IDW, Image, Iron Fist: The Living Weapon, Jamie S. Rich, Jeff Lemire, Joelle Jones, John Arcudi, Kaare Andrews, Karen Traviss, Ken Krekeler, Kieron Gillen, Lady Killer, Larry Hama, Laura Allred, Mark Waid, Marvel, Mike Mignola, Miracleman, Nameless, Neverboy, Princess Leia, Ramon Perez, Robert Venditti, Saga, Shaun Simon, Terry Dodson, Tyler Jenkins, Uber, Valiant, Warren Ellis, X-O Manowar

(Sing along.  Go on.  You know how it goes.)

There’s a hole in my heart that can only be filled by comics.

No, really.  I’ve got a hole in my heart.  As of right now, however, my cardiologist is pretty firm in his opinion that comics are not the best option with which to fill it.

I’m in the market for a second opinion.

  • Hellboy & The B.P.R.D. #4 (Dark Horse): Hellish back-grenading, murderous monkey monsters, “insane Frankenstein crap,” and an ominous mound of bones–if that’s not enough to bring a reader back for more, I don’t know what is!
  • Lady Killer #3 (Dark Horse) I&N Demand #1 was one of our Top 5 books of January.  It announced its arrival: “Killer comic calling!” and left quite an impression.  #2 didn’t have the same effect–mostly because there was no surprise this time, and expectations were high going into it–but it certainly didn’t disappoint.  Joëlle Jones’ artwork is the big draw here–it’s elegantly aggressive and sells Josie’s separate spheres very well.  (Doesn’t hurt that it’s polished off to murderous–and motherly–perfection by Laura Allred’s color palette time machine.)  Story-wise: despite Josie’s denial, there’s definitely trouble on the horizon–yeah, Jones and Jamie S. Rich aren’t kidding around with the dilemma that’s driving the plot into #3.
Lady Killer #3

Lady Killer #3

  • Neverboy #1 (Dark Horse): Shaun Simon and Tyler Jenkins are blurring the lines “between the real and the imaginary.”  That’s right up my alley, gents!  (Consider how blown away I was–still am–by the lengths Matt Kindt went to tearing down the aforementioned lines in Mind MGMT #30, our favorite book of January.  Now, that’s how you do it!)  Oh, I’ll bite all right.  Professional prognostication: I’m thinking that this particular pick’ll be positively Pan-ed!
  • Detective Comics #40 (DC): All of a sudden, my Bat-book of choice is Manapul and Buccellato’s Detective.  How the heck did that happen?  The world’s gone mad!  It’s–it’s–Anarky!
  • G.I. Joe #6 (IDW): Through #4, I was all in.  I was like, “Yo Joe!”  I was 13 again–except for the fact that this wasn’t your grandHama‘s G.I. Joe; this was an elevated–and engrossing–approach from novelist Karen Traviss.  Again, through #4.  #5?  A rather muddled mess.  Damn thing’s literally all over the place!   Suddenly, I’m left wondering how much more I can take.
  • Descender #1 (Image) Just I&N and I&N Demand Lemire’s Descender is only the second title to earn both designations!  (The first: last week’s Mister X: Razed from master builder Dean Motter.)  The blurb on previewsworld.com has me thinking Blade Runner meets Essex County.  Yes, please.  Is there any doubt that this’ll ascend to the top of our list for the month of March?  Yeah.  Didn’t think so.
Descender #1

Descender #1

  • Nameless #2 (Image): If it weren’t Morrison, I’d be off after one.  I mean, I’m totally occulted out at this point.  If this issue isn’t particularly tight, I’m going to review it this way: Morrison’s occult/sci-fi mash up is Thomas Alsloppy.
  • Saga #26 (Image): Revolution calling!
  • All-New Hawkeye #1 (Marvel) I&N Demand Hoping that Lemire is fully invested–that he’s not going to be working at a fraction of his capabilities, especially now that he’s spreading himself as thin as a bowstring.  Boy, does he have a huge quiver to fill!  Also hoping that he doesn’t miss the mark as he did with Green Arrow.
All-New Hawkeye #1

All-New Hawkeye #1

  • Iron Fist: The Living Weapon #10 (Marvel): I&N Demand #9 was another explosion of kinetic cartooning from Kaare Andrews.  Great splashes, great layouts–the art as a whole elevates an already solid story, solid writing.  Reads with an energy similar to Kindt’s Mind MGMT.  “Ha-ha-hee!”  That’s high praise around these parts!
Iron Fist: The Living Weapon #10

Iron Fist: The Living Weapon #10

  • Miracleman #16 (Marvel) I&N Demand Classic isn’t strong enough a word to describe #15.  There are moments–impossible moments amplified by impossible choices–still gnawing at me.  It’s angels hurling mountains at each other; it’s George pulling the trigger.  It’s Alan Moore firing a canon at the superhero and building him anew. 
Miracleman #16

Miracleman #16

  • Princess Leia #1 (Marvel):  I don’t know.  I don’t really need it.  I don’t even want it.  But it is Waid and the Dodsons.  Ugh.  I haven’t loved Star Wars.  I’m even kinda cool on Darth Vader.  But it’s Waid and the Dodsons.  Damn it.  Go ahead Mr. Comic Shop Owner Guy: please ring it up.  Grumble, grumble.  Rebel scum.
  • Blackcross #1 (Dynamite): This is an Ellis buy. Recent résumé: Moon Knight was one of our Top Ten Books of 2014.  Trees, however, has been freakishly frustrating.  (He’s got to know that–he’s got to!  So there’s got to be a reason for his frustrating the hell out of us, right?  Am I too trusting?)  Even though I don’t have any experience with Project Superpowers, I’m going to give it a try.
  • Crossed +100 #3 (Avatar): I’m skulling Moore crossed with Burgess, which feels equal parts awkward and elevated. Pony me, malchicks?
  • Über #23 (Avatar): Gillen Hitlered a bunch of high notes in the most recent act of his Wagnerian war story.  “Capitulation or immolation,” indeed!
  • X-O Manowar #34 (Valiant): Remains one of the most consistent monthlies.  Never reaches rarefied air, but doesn’t need to to be effective.  The book’s biggest strength remains Aric, who has remained true to himself–and to us–thanks to Venditti’s thoughtful approach to his plight and his power.

I&Ntelligent Pick

  • Dry Spell TP (Action Labs/Danger Zone): Ken Krekeler and his brilliantly broken down Black Baron demand your attention.  Why?  Read our write up: the #3 Book of 2014.  Buy it, read it, and come back and thank us.
Dry Spell TP

Dry Spell TP

Avery’s Pick of the Week

  • Feathers #3 (BOOM!): My daughter is definitely down with Feathers!  Luckily, she’s not quite old enough to be down on puns.
Feathers #3

Feathers #3

What are you looking forward to this week?

Turning pages,

Scott

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What’s I&N Store (2/18)

18 Wednesday Feb 2015

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

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All-New Captain America, Autumnlands: Tooth & Claw, Batman and Robin, Ben Wolstenholme, Bitch Planet, BOOM!, BPRD, Brian Michael Bendis, Brian Wood, Burning Fields, Cap Stone, Chris Bachalo, Christina McCormack, Colin Lorimer, comics, Cullen Bunn, Dan Slott, Dark Horse, Dark Horse Presents, DC Comics, Dynamite Entertainment, Gabriel Hernandez Walta, Grant Morrison, Greg Rucka, Greg Smallwood, Guiu Vilanova, Image, Iron Fist: The Living Weapon, J. Michael Straczynski, Jay Faerber, Jeff Lemire, Joe Rivera, John Arcudi, Kaare Andrews, Kelly Sue DeConnick, Kurt Busiek, Lazarus, Liam Sharp, Magneto, Marvel, Mastermen, Matt Kindt, Michael Lark, Michael Moreci, Mike Allred, Mike Mignola, Mono, Moon Knight, Paolo Rivera, Patrick Gleason, Peter J. Tomasi, Quentin Tarantino, Raze, Rick Remender, Secret Identities, Silver Surfer, Stuart Immonen, The Multiversity, The Twilight Zone, The Valiant, Tim Daniel, Titan, Uncanny X-Men, Valiant, Zoë Bell

Wednesday’s forecast for the weather outside of my local comic shop is pretty much the same as its been: as cold as can be.  (I guess someone’s gone and ticked off Elsa again.)  The forecast for inside, however, is hot hot hot!  (That’s right: the way to thaw a frozen heart is with an act of true love–in this case, a perfectly pulled bag of comics!)  Speaking of hot books: our Top Ten Books of 2014 is well represented this week.  Take a peek:

  • BPRD: Hell on Earth #128 (Dark Horse): Has been good–not great.  Definitely glad I jumped on board, though.
  • Dark Horse Presents #7 (Dark Horse): DHP has been great–especially at the new price point.  This month’s edition offers up a little Matt Kindt–and Mignola, Van Lente, Aragonés, and more!  Talk about bang for your buck!
  • Batman and Robin #39 (DC): The Action-packed cover’s very clever:
Batman and Robin #39

Batman and Robin #39

I know better, though: B&R‘s been a huge disappointment for months now.  In fact, I finally got around to dropping it from my pull list last month.  No longer under any obligation, I should leave it on the shelf and fill the void with something new.  God knows there will be plenty of players for the spot.  Image alone has a thousand new titles coming out in the next few months, so…

  • The Multiversity: Mastermen #1 (DC) Just I&N Morrison’s Multiversity has been a metafiction metahuman masterwork!  And now, Mastermen–with every-panel’s-a-pinup Jim Lee on art duties.
Multiversity: Mastermen #1

Multiversity: Mastermen #1

  • Autumnlands: Tooth & Claw #4 (Image): I can’t be the only one who’s noticed: the current arc of Astro City‘s been a bit blah; but this has been really, really good.  Coincidence?
  • Bitch Planet #3 (Image): I enjoyed #1 for all sorts of reasons (exploiting exploitation, lots of Tarantino, hints of Fraction, etc.).  Hey: borrowing works well when it works well.  Oh, but when it doesn’t…  #2 lost me from the get-go–especially as I was taken immediately to a low budget modern-day exploitation flick that I caught one night on one of the Showtime or HBO channels: Raze, starring Tarantino darling Zoë Bell.  Coincidence?
Raze (2013)

Raze (2013)

I’ll try this one and see where it takes me.

  • Lazarus #15 (Image) I&N Demand Our #2 book of 2014!  It’s what we’ve been waiting for for like, well, forever: Forever in a Trial by Combat against another Lazarus!
Lazarus #15

Lazarus #15

  • Secret Identities #1 (Image): Jay Faerber’s earned Must Try status with Copperhead.
  • All-New Captain America #4 (Marvel): I know, I know.  But it hasn’t been terrible.  And this time out, Remender’s dusting off the Armadillo!  Gotta wonder, though, what effect Secret Wars is going to have on this little experiment–and if it’s worth following a dead title shelf-sitting.
  • Iron Fist: The Living Weapon #9 (Marvel): I love what Kaare Andrews is doing with Danny Rand.  In fact, Iron Fist was my #16 book of 2014–and my third-favorite superhero monthly after Silver Surfer and Moon Knight.  High praise, indeed!
  • Magneto #15 (Marvel): Bunn’s done a nice job of telling stories from issue to issue.  He’s delivered some nice twists along the way, too.  #14 ended with Magneto’s giving himself up to S.H.I.E.L.D.  Wonder what his endgame is…
  • Moon Knight #12 (Marvel) I&N Demand Our #8 book of 2014!  #11 ended on a bit of a down note–you know, with Marc Spector falling out of a flying detention facility and all.  (Wood and Smallwood must’ve watched–and liked–Stallone’s waterlogged–yet undeniably watchable–prison break bingo, Escape Plan, as they delivered quite an homage with Spector in Stallone’s role and Khonshu in Schwarzenegger’s.)  Not looking forward to saying goodbye to Wood and Smallwood, but I am looking forward to seeing how they end their arc–and how they leave things for Cullen Bunn and Ron Ackins.  Maybe they’ll reach back to Bullet to the Head.  Or Avenging Angelo…
Moon Knight #12

Moon Knight #12

  • Silver Surfer #9 (Marvel) I&N Demand Our #4 book of 2014!  Well orchestrated fun from Dan Slott and Michael Allred!  The biggest–and best–superhero monthly around–and this issue promises to be HUGE!
Silver Surfer #9

Silver Surfer #9

  • Uncanny X-Men #31 (Marvel): Bendis is on his way out.  That promises some real havoc in the X-Universe.  No, really–look:
Uncanny X-Men #31

Uncanny X-Men #31

  • Burning Fields #2 (BOOM!): Kinda like a cross between The Killing and Homeland.  Not a bad thing.
  • Cap Stone #3 (Titan): Some real high points: the conversation between Charlie and her mom; the wild shifts in Sharp’s artwork.  Some low points, too: the conversation between Charlie and her mom; the wild shifts in Sharp’s artwork.  I loved #1.  #2, however, exposed a serious flaw: inconsistency.  Still intriguing enough, though.
  • Mono #3 (Titan): Another book from Liam Sharp that took a step back after a very promising premier.  What spoiled the sophomore offering: the conversation–coincidence?–between Heinrich and Isabella, which acts as a dragline on the storyline.  Also seems waaaaaay too serious for a book about an ape-man secret agent and assassin for the Queen, doesn’t it?  It’s so goddamned dour!  I do like the layered approach that Sharp’s taking to create the Mono myth, however.
  • The Valiant #3 (Valiant) I&N Demand I liked #1 enough–but I absolutely loved #2!  I was particularly struck by the artistic collaboration between Lemire and Kindt on the storybook section.  Sure, many of the notes that are struck remind of Lemire’s run on Animal Man; but what the hell–they work well here, so all the better!
The Valiant #3

The Valiant #3

  • The Twilight Zone #12 (Dynamite) I&N Demand Our #10 book of 2014!  This issue ends an extremely powerful arc and Straczynski and Vilanova’s superior run.  So sad to see this go.  Hmm.  Maybe–just maybe–I could travel back in time and kill another series–Dream Police, for instance–in its place…
The Twilight Zone #12

The Twilight Zone #12

What are you looking forward to this week?

Turning pages,

Scott

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In Scott’s Bag (3/13)

13 Wednesday Mar 2013

Posted by ScottNerd in I&N Scott's Bag

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Ales Kot, Archer & Armstrong, Batman, Bloodshot, Buddy Cops, Change, Dark Horse, Dave Stewart, Duane Swierczynski, Emanuela Lupacchino, Emily and the Strangers, Emily Ivie, Eric Stephenson, Evan Shaner, Fred Van Lente, J. Bone, Jason Latour, John Arcudi, Jordie Bellaire, Ken Kristensen, luke Ross, M.K. Perker, Manuel Garcia, Mariah Huehner, Mike Mignola, Morgan Jeske, Nate Bellegarde, Nate Cosby, Nick Spencer, Nowhere Men, Rob Reger, Roger Langridge, Scott Snyder, Secret Avengers, Sledgehammer 44, Sloane Leong, The Rocketeer: Hollywood Horror, Todd the Ugliest Kid on Earth, Uncanny X-Men

No time to dilly-dally.  Well, maybe just some dilly.

Bag in the Saddle Again

  • Uncanny X-Men #3: This isn’t Bachalo’s best.  Ugh, indeed.
  • Emily and the Strangers #2: Cute.
  • Nowhere Men #4: Layers a la Mind MGMT.  Nice.
  • Sledgehammer #1: Mike Mignola’s latest, recommended by the shop guy.
Sledgehammer 44 #1

Sledgehammer 44 #1

  • Buddy Cops #1: Another rec from the shop guy.  Worth the one-shot.
Buddy Cops #1

Buddy Cops #1

  • Todd, the Ugliest Kid on Earth #3: Still strikes me as trying too hard to be clever.
  • Change #4: I’m not ready to say goodbye.  Flip tells me there’s gonna be plenty of sweet sorrow.
  • The Rocketeer: Hollywood Horror #2: May actually like this more than the Waid/Samnee collab.
  • Secret Avengers #2: This may run the same track as Thunderbolts and Avengers Arena: no more than four.
  • Bloodshot #9: Been crushin’ on Gamma.  Looks like she’s doin’ some crushin’, too–just not on me.  So jealous!
Bloodshot #9

Bloodshot #9

  • Archer & Armstrong #8: A whole lotta nothing!  No, that’s a good thing.
  • Batman #18: I still can’t get over it: “Fan favorite.”  Someone please tell me why.

And lucky me: I got my copy of The Sixth Gun Vol. 1 in the mail today!

It’s a good day.

What did you get in your bag today?

Turning pages,

Scott

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MARVEL: NO!

24 Saturday Nov 2012

Posted by dmainhart in Uncategorized

≈ 8 Comments

Tags

Adventure Time, Al Ewing, Alison Bechdel, All-New X-Men, Asgard, Avengers Vs. X-Men, AvX, AvX #11, Baltimore, Barnaby, Battlefields, BOOM!, Brendan McCarthy, Brian Azzarello, Brian K. Vaughan, Brian Michael Bendis, Bush administration, Captain America, China Mieville, Chris Claremont, Chris Ware, Civil War, Courtney Crumrin, Cyclops, Daniel Indiro, Daredevil, Dark Horse, Dark Reign, DC, Dial H, Donald Rumsfeld, Douglas Wolk, Dynamite Entertainment, Ed Brubaker, Eric Trautmann, Fantagraphics, Fatale, Fear Itself, FF, Fiona Staples, Flash Gordon: Zeitgeist, Garth Ennis, graphic novel, Green Lantern, Greg Rucka, Hawkeye, Hellboy, House of M, Hulk, IDW, Image Comics, Iron Man, Iron Man 2, Jack Kirby, Jason Lutes, Jean Grey, Jeremy Renner, kaboom!, Mark Waid, Marvel, Marvel Bullpen, Marvel NOW!, Marvel Super Heroes Secret Wars, Marvel Universe, Matt Fraction, Matthew Southworth, Michael Kupperman, Mike Allred, Mike Mignola, Miles Morales, New 52, Norman Osborn, Oni Press, Peanuts, Phoenix, Popeye, Professor X, Robert Downey Jr., Roger Langridge, Saga, Scarlet Witch, Scott Summers, Sean Phillips, Secret Invasion, Sentry, Siege, Skrulls, Snarked, Spider-Man, Stan Lee, Storm, Stumptown, Superman, Tales Designed to Thrizzle, Ted Naifeh, The Avengers, The Zaucer of Zilk, Thor, Tony Stark, Ultimate Spider-Man, Universal Studios, Void, Watchmen, Wolverine, Wolverine and the X-Men, Wonder Woman, X-Men, Zero Hour

“I’m worried about what’s going to happen next. I’m worried that the power they are holding is more than they can handle. In fact I know it is…What happens when they aren’t able to hold it any longer?” – Captain America, AVsX #11

Captain America is right to be worried. The Marvel Universe is facing a dire threat to its very fabric. It’s not from Thanos, Galactus or even Scott Summers, but from an unexpected quarter. The people in charge.

Every comics fan has one – that comic book that hooked them, that opened their mind to the nigh-limitless possibilities offered within its four-colored, dog-eared pages. For me, as I suspect it was for many boys of my generation, that book was Marvel Super Heroes Secret Wars. Here it was, an entire, well-defined universe, brimming with larger-than-life heroes and villains with a shared history, tackling a new, unimaginable threat.  This was my entry point into the master-narrative (a term used by Douglas Wolk, as good a writer on comics as you will find) into the Marvel Universe. And as a primer, it did its job beautifully. My ten-year-old mind was set a-buzz: gods, super-soldiers, mutants, and especially Spider-Man. For the next ten years or so, I would eagerly devour their exploits, breathlessly anticipating each month’s installment, as the previous ones were carefully bagged and filed, to be revisited easily and often.

And then, like many comcis fans, I drifted away. I was in college, reading, creating and experiencing things that made those larger-than-life characters seem more and more inconsequential. This was also a period (the early-mid nineties) that saw some headline-grabbing shake-ups of some of comics’ most iconic characters: Superman was killed! (and then came back), Batman was crippled! (and then came back, like in the movie), and Peter Parker was “revealed” to be a clone! (until he wasn’t). Whatever the merits of these stories, they did, to my mind, have the whiff of desperation. And once the status quo was (inevitably) re-established, there seemed to be no place new for these characters to go. Like never before in my comics-reading experience, a sense of “spinning their wheels” set in. And so I moved on.

I never completely dropped my comic habit, picking up the odd graphic novel or trade paperback (there is a distinction, which I’ll get to later). But for years, I gave up my Wednesday habit (if you don’t know what that is, I both pity and envy you.)

The comic that brought me back into the (stapled) fold was Civil War. Here at last was a super-hero story that had captured the zeitgeist. In the midst of the second term of the Bush administration, we had a story involving heroes fighting passionately over the central debate of the era: To what extent were we willing to sacrifice our rights in the name of security? Like the country, it split the costumed community down the middle. On one hand we had Captain America and his followers, on the side, not surprisingly, of preserving our freedoms. On the other, somewhat more surprisingly, was Iron Man (not yet a movie star) and company taking the security side as a practical manner, with the resources of the U.S. government behind them. Cap and crew, presented as underdogs, were perhaps more sympathetic. But the creators, to their credit, took pains not to take sides; each view was presented as legitimate. Echoes of the real world abounded: people were branded traitors, paranoia reigned, inhumane detention centers were quickly established and filled. Spider-Man, the eternal Everyman, was caught in the middle; he first sided with Iron Man, then switched over to Cap’s team. It was an even bolder move then, when Marvel had Iron Man’s side ultimately claim victory. Iron Man was placed in charge of the country’s security, with all grey ethical dilemmas that implied.

The ending was unconvincing (after seven issues of vicious fighting, Cap, on the brink of victory, surrenders because he’s suddenly worried about losing the moral high ground). But I was thrilled by events (current events, no less!) that truly seemed to shake the good ol’  Marvel U down to its core. That, and (youthful power fantasies aside) there’s just something cool about watching all these super-types get together and throw down. (There’s a reason The Avengers movie made a hundred-gajillion dollars). And so I resumed my Wednesday habit.

With said resumption I quickly learned some things about the Marvel U that had occurred in my absence. It seems the powers that be had, at some point, decided to shift the focus away from the X-Men franchise and toward the Avengers. To speed this along, the X-men’s most popular character, Wolverine, was now an Avenger, as well as the company’s flagship hero, Spider-Man.  All well and good. But at the same time there was a conscious effort to de-emphasize the X-Men.

Now the X-Men had long been fan favorites. Much of their popularity stemmed from their role as perennial underdogs. As mutants, they were heroes who were born different, forced to deal with a world that feared and hated them. This was a simple, brilliant paradigm (especially during Chris Claremont’s unparalleled run) that could encompass any number of themes on a societal or personal level; civil rights, sexual orientation (as seen in the X-Men movies) or just the onset of adolescence. Many was the comics fan who could identify with such feelings of alienation. Well, in the X-Men’s world, the Xavier School for Gifted Youngsters was a learning institution filled with such outcasts.  And the X-Men, more than being just super-heroes, were their role models, what they could aspire to be. This mixture of melodrama, family dynamic (often dysfunctional), social consciousness, and of course all-out action enthralled fans and kept the X-Men at the top of the sales chart, virtually unchallenged, for twenty years.  The decision by the powers that be to give a major push to the Avengers at the expense of the powerhouse X-Men seemed curious. But that’s just what they did in House of M.

House of M was the epic event prior to Civil War; the previous chapter in the Marvel master-narrative, if you will. It centered around the Scarlet Witch, a mutant B – lister who was previously best known for being married to a robot (now that was a comic with potential!) In HoM, her ill-defined hex power was suddenly and without explanation boosted exponentially. Mentally unbalanced at this point in her life, she first creates an entire alternate universe to escape her torment. When that doesn’t work she famously (and somewhat bafflingly) utters the phrase “No more mutants.” And – poof! – 99% of the world’s mutants instantly lose their powers. X-Men de-emphasized. This was actually the first manifestation of the Scarlet Witch’s most advantageous superpower: what I like to call the power of editorial dictum. In other words, why was she able to accomplish these great feats? Because the story needed her to.

Anyway, in the aftermath of Civil War a couple of things happened. Captain America was killed (very temporarily). And Spider-Man (I still can’t believe this, even as I type the words) sold his marriage to the devil. Why? Because it was suddenly decided that it was uncool for him to be saddled with a wife. So instead of having him get a divorce like a normal person, they had their flagship character, Marvel’s most selfless, noble hero, make a deal with the devil to erase his marriage (the devil has always, in literature, had the power of editorial dictum). In what warped view is a Faustian bargain a more palatable option than just ending a marriage? In any case, the result? The adventures his readers had been following for twenty years? Irrevocably altered. A disastrous decision from which Marvel’s most beloved character still hasn’t recovered.

Returning to the overarching master narrative, Civil War was followed by Secret Invasion, a series in which shape-shifting aliens, called Skrulls, had meticulously planted themselves in all levels of society in order to conquer humanity from within. This series was undeniably entertaining for a number of reasons. The Marvel writers (most notably Brian Michael Bendis) had been peppering their stories for years with clues that something was seriously amiss. This story was the culmination of all that impressive, meticulous planning; part of the fun was going back and finding the clues, and being rewarded for your patient detection. Like Civil War, this story pit hero against hero, but this time not because of ideology, but because of paranoia; anyone could be a Skrull. While this was all a lot of fun, it was difficult, in light of Civil War, not to see this in the parameters of society at large. The enemy was among us. It was not much of a leap to replace “Skrull” with “Terrorist” (indeed the Skrulls’ mission was recast in extremist, quasi-religious language). By the logic of the story then, the infringement of rights to ensure security was entirely justified. In fact it didn’t go far enough, since the Skrulls were so successful. In short, the master narrative of the Marvel U had taken a hard turn to the right.

Secret Invasion resulted in a couple of developments. First, Iron Man was fired as head of US security. The reason given in the comic was that the Skrull invasion had happened on his watch. The real reason of course was that Marvel had an unexpected blockbuster on its hands in the first Iron Man movie (largely due to Robert Downey Jr.’s magnetic performance; so magnetic that Marvel gave Tony Stark’s personality and appearance a subtle makeover in the comics to try to match it). With Iron Man suddenly a hot property it wouldn’t do to have him in the unpopular, compromising position of being The Man. But apparently removing him from power didn’t go far enough in redeeming his character. No, Marvel actually took the extraordinary step of having Tony Stark erase his memory (in a story by Matt Fraction, that was actually pretty compelling in an old-movie-serial kind of way). He then rebooted his brain (he’d been saving it on a hard drive. No, really.) But, conveniently, his rebooted memories stopped just before the events of Civil War. Character instantly absolved of all guilt and messy moral quandary! Ready for Iron Man 2! Here we have another disturbing example (along with Spidey’s erased marriage) of selective retcon-ing in order to free a character (and lucrative property) of being dragged down by any undesirable story lines (you know, the stories the fans have been following for years).

The second development was Iron Man being replaced in his national security position by Norman Osborn (aka The Green Goblin). The narrative rationale for handing control of our national security apparatus to a proven maniac was wholly unconvincing (he took the shot that killed the Skrull Queen), though, I must admit, Norman Osborn was certainly a better approximation of Donald Rumsfeld than Tony Stark was.  In any case, this had the sum effect of removing all the grey areas of the previous couple of years. Moral complexity be damned! It was Good Vs. Bad. And the bad guys were in charge. The story title? Dark Reign. The heroes were once again the underdogs.

This was certainly safer from a narrative standpoint. And it did set up a compelling showdown between the forces of Norman Osborn and the newly resurrected Captain America (he’d managed to stay dead for eighteen months!) And that’s what was promised in the next Big Event in the master narrative: Siege. But that’s not what we got.

The conflict in Siege is fairly preposterous: Osborn decides to attack Thor’s home of Asgard (which is floating over Oklahoma for some reason) on the pretext that it’s an incursion on U.S. soil. Whatever, it gets the action going. Osborn’s vaunted forces are fairly quickly (and anti-climatically) dispatched by Cap’s crew (the whole thing lasts just four issues), but Osborn has an ace in the hole; a character called the Sentry.

The Sentry was a fairly new character, whose history had been ret-conned (don’t ask) to establish that he had at one point been the greatest hero of the Marvel Universe, and certainly the most powerful. Someone they all looked up to and admired; sort of their Superman. But he had a dark side/nemesis called the Void, which threatened to take over his psyche. Hence he was highly unstable and easily manipulated by Osborn. Siege culminates with the Sentry losing control, and becoming the Void. The Sentry briefly regains control and begs the Avengers to kill him. Thor obliges, striking him down with a lightning bolt (it appears Thor, too, can wield the power of editorial dictum).

So Siege ends with the Avengers killing one of their own. Not just that, but supposedly their greatest hero. Perfectly understandable right? Had to be done. There was no other way.

Except…isn’t that why we admire these characters? The best of them, like Superman and Captain America, no matter the odds, no matter how hopeless things get, always find a way. Isn’t that why they inspire?

Siege then, seems like a means to an end. Like the decision to kill the Sentry, it was expedient; driven by the need to get from Point A to Point B in a way that was cold, calculated, and dare I say, corporate? This seems to be the new mindset of the Marvel offices and sadly, the Marvel Universe. Now Marvel is, of course, a business. Like any other major publisher, they have to make decisions based, at least partially, on their bottom line; it would be naive to imagine otherwise. But never before has this attitude manifested itself so baldly in the stories, even in the characters themselves. It seems we are a long way from the legendary, free-wheeling Bullpen days of Stan Lee and Jack Kirby.

(The next big event after Siege was something called Fear Itself, a story so bereft of purpose, cohesion and narrative logic, that it made Siege seem like Watchmen.)

Which brings us to the latest chapter in the Marvel master-narrative: Avengers Vs. X-Men. (Deep breath) Like Civil War, AvX features an old-fashioned throw-down between two groups of Marvel heroes. Unlike Civil War, one of the groups is clearly presented as being in the right. The Avengers, having been re-positioned over the previous few years to the center of the Marvel U (and newly-christened as box-office champs) are The Good Guys. The X-Men, overlooked for years, are repaid by being re-introduced into the master narrative not simply as mistaken or misunderstood, but as a threat to the earth’s very existence. And at the center of this folly stands the abused figure of Cyclops.

Now Cyclops is, of course, the X-Man. Central to their mythos, their alpha dog, their leader, their best (not that you’d know it from the movies.) He is their Captain America,  the man with the plan, the one who will always, as I have said, find a way. Destroy his character and you delegitimize the worldview that the X-Men have represented over the last 30 years.

Let us skip the preliminaries and head straight to the nadir of the story (and indeed of the master-narrative in general): AvX #11. This particular issue is worth special consideration, emblematic as it is of the current state of the Marvel Universe. Cyclops has been infused with the power of the Phoenix, an unpredictable cosmic force capable of destroying existence (and which, years ago, caused the death of his true love Jean Grey – but not to worry! No compassion here.) Our issue begins with Captain America making an entreaty for help in the fight against Cyclops from an unknown source (the quote that began this unwieldy diatribe is taken from this plea.) Here are some choice nuggets from Cap’s opening address:

“…I am at the end of my rope.”

“…We just cannot win the fight in front of us.”

“We can’t win it.”

Again, this is Captain America. The man who never lost hope in the depths of World War II. (The fact that he’s supplicating himself to the Hulk, whose strength would be negligible against a force that could destroy the universe, is beside the point.) He may be wearing the flag, the big “A” and the little wingtips on his head, but I do not know who this character is.

To the ignominious climax. The Avengers have Cyclops surrounded, alone and raving, like some rabid dog (spittle, literally flying from his mouth). So I suppose it should come as no surprise when one of them, Hawkeye (y’know, Jeremy Renner in the movie) shoots him in the neck. Another Avenger callously observes, “Nice shot.” I’m sorry, since when do the Avengers resort to attempted murder to solve their problems? Much less the killing of a hero? (Oh that’s right. Since Siege.)

When this fails, Cyclops yells, “You see that?…They’re trying to assassinate us!!” If this is some kind of meta moment, where the character becomes aware of his creators’ intentions, then it is brilliant. Yes, Cyclops, they are trying to assassinate you, or worse, your character.

Storm, Cyclops’ former teammate (and at this point, like Wolverine, an Avenger, I guess?) pleads “Stay down Scott. I beg you.” Good ol’ Captain America adds “I don’t.”, in a misguided attempt to sound, I don’t know, bad-ass? (Maybe he’s a leftover Skrull…)

Cyclops, of course, doesn’t stay down. He is confronted by Professor X, who is, in every way that counts, his father. And then the moment that set the internet a-buzz, (and is possibly the lowest point in Marvel history): Cyclops kills Professor X.

X-Men destroyed. In one fell swoop.

Let’s be clear: it is not the death of Professor X that rankles; this is a character, after all, that has died and come back a lot, even by comic book standards. No, what is galling is the act of Cyclops murdering his father. There are some things even a comic book character can’t recover from. (DC tried a similar tack with Green Lantern nearly two decades ago in a story called Zero Hour. It took the character years to recover, and all he tried to do was destroy the space/time continuum; fairly standard super villain operating procedure. Killing Dad? Not so much.)

So take heed all you outcasts and undesirables! Professor X had a dream. And now it’s over. Society was right to fear and hate you. It turns out you were a menace after all.

(Want further proof that the X-Men worldview has been vanquished? The one holdover X-book, Wolverine and the X-Men, whatever its merits, is virtually a parody of everything they have stood for over the last thirty years. Comic books, too, repeat themselves, first as tragedy, then as farce.)

In the wake of AvX (oh yeah, Cyclops is finally put down when a mutant named – I would argue ironically – Hope, and again, the Scarlet Witch [ah that all-purpose power of Editorial Dictum] double-punch him. Game over!) we have been promised a shiny, sorta-newish Marvel Universe. It is being called Marvel NOW! and its coming has been foretold by months of advertisements which prominently feature Cap, arrogantly posed and smugly staring out at the viewer (who is this dick?) surrounded by various cohorts. These ads are further festooned with thick red-borders and imperative statements in bold, block lettering and resemble nothing so much as poorly-designed Soviet propaganda posters. Some coming highlights: Lot of Avengers books (featuring a bunch of former X-Men – I mean, where else were they gonna go?), a new, darker Spider-Man (oy vey) and, for the beleagured mutants, something called All-New X-Men. The concept: with the current X-Men in disarray, the original X-Men, still teenagers, are zapped to the present (y’know, bypassing all that messy civil rights stuff) as a way to hit the refresh button. The conceit: they are horrified by the current state of the Marvel Universe (well on that we can agree).

Which brings me to a Helpful Suggestion. The Marvel Now! initiative was done largely as a response to DC’s hugely successful New 52! relaunch of last year, in which they wiped the narrative slate clean and rebooted their entire universe from scratch. DC has a habit of doing this sort of thing every so often. A point of pride at Marvel is that they have never taken this approach. The stories you’re reading today are, ostensibly, a continuation of the stories begun by Stan and Jack over fifty years ago. Marvel has taken great pains to explain that Marvel Now! is…um…well, I’m not sure, but it is emphatically not a DC-style reboot. My question is, given the above snapshot of the Marvel Universe, why the hell not? Instead of just playing musical chairs with your established cadre of creators and using that as an excuse to haphazardly introduce some new #1 issues, why not just start the whole damn thing over? You don’t have to abandon your veteran creators, but bring in some fresh blood! Put them on your major books! The ship is sinking! History be damned!

Now. The above should not be interpreted as so much inchoate Marvel-bashing. (Just the fact that I’ve read these comics should tell you something.) They do, in fact, produce a number of very good books (just scroll down and see!) This is meant to suggest however, in the view of this lifelong fan and observer, that the master narrative (last time I’ll use the term, I promise) has been heading in an untenable overall direction for quite some time, and that those in charge (are they still called architects?) are ill-suited keepers of the flame.

So, does this mean that, once again, I’ve been disillusioned? That I’m about to give up my Wednesday habit a second time? Of course not. Having been reintroduced into the four-colored realm, I have surveyed the landscape. And I am excited by what I see. More than that; I’m convinced. The comic book medium has always had the same potential as any other narrative form (films, novels, television, etc.); that is to say, limitless. A casual glance will show that the sheer breadth of talent, diversity, subject matter (of which super heroes are an ever shrinking genre) and experimentation happening now (right NOW!) proves beyond any doubt that they are finally fulfilling that potential. It is my argument, my thesis, my conviction, that there has never been a better time to read comics. Saying you don’t like comics is like saying you don’t like movies. If you think they aren’t for you, you aren’t looking hard enough. A small sample of evidence:

Image Comics: currently the most exciting publisher around. Initially a boutique for a handful of superstars, their current mixture of established names and active scouring for new talent makes them comics’ equivalent of that cool indy music label (back when there were music labels) that is trend-setting by virtue of being fearless. Standout titles include the rollicking, sci-fi space opera, Saga by Brian K. Vaughan and Fiona Staples, and the neo-noir terror of Fatale by Ed Brubaker and Sean Phillips.

Not far behind is Oni Press, with its line of intriguing creator-owned work, such as Ted Naifeh’s moody, supernatural coming-of-age tale, Courtney Crumrin, and the laid-back, funky detective work found in Stumptown by Greg Rucka and Matthew Southworth.

Like a modern-day incarnation of Universal Studios from the 1930’s, Dark Horse Comics has a wide-ranging catalog, but their specialty is horror. And nobody does it better. The cornerstone of their house of horrors is Mike Mignola’s line of books (Hellboy, Baltimore, etc.) that combine a healthy respect for the history of the genre with the cold, unblinking eye of an auteur. They manage to feel classic and edgy at the same time.

The “ID” in IDW might well stand for “idiosyncratic”, as their eclectic range of titles include Roger Langridge’s retro, thoroughly excellent Popeye series as well as the Carrollian psychedelia of The Zaucer of Zilk by Brendan McCarthy and Al Ewing.

Dynamite Entertainment does some wonderful things with the heroes of yesteryear, whether they be of the pulp variety (the exuberant fun of Flash Gordon: Zeitgeist by Eric Trautmann and Daniel Indiro) or more historical in nature (Garth Ennis’ superlative Battlefields series; not only one of the best war comics ever, but also one of the best comics being produced right now, period.)

Speaking of history, Fantagraphics does truly commendable work reprinting the classics of funny pages past (Peanuts, Barnaby, etc). They also publish the funniest comic book on the planet, Michael Kupperman’s Tales Designed to Thrizzle.

How about something for the kiddies? kaboom! (BOOM!’s all-ages imprint) provides a healthy does of childlike wonder with the comic version of Adventure Time! as well as Roger Langridge’s (him again) inspired nonsense in Snarked!.

I haven’t even mentioned the rich world of graphic novels – not trade paperback collections of ongoing titles, but singular, literary works expressly conceived in the comic book medium. There just isn’t enough space to even scratch the surface of the wide array of practitioners of – oh, here’s three: Chris Ware, Alison Bechdel, and Jason Lutes. Go discover.

And, not to leave out the so-called Big Two: DC publishes some fine work, such as Brian Azzarello’s revisionist take on Wonder Woman and especially China Mieville’s nigh-undefinable Dial H. And finally, bringing things full circle, over at Marvel: Mark Waid’s award-winning run on Daredevil justly deserves the accolades it’s been receiving. And Brian Michael Bendis’ bold, risky choices on Ultimate Spider-Man have led to the introduction one of the most engaging new heroes in years, in young Miles Morales. (Hell, I’ll even cop to my excitement over one of the Marvel NOW! titles – Mike Allred drawing a goofy cast of B-listers in FF? Yes please.)

Marvel Comics will always hold a special place in my heart for igniting my love for the medium in the first place, and then again for bringing me back into the fold when I had strayed. And who knows? Perhaps their new initiative will produce some fun comics. But now, given the state of things as I continue to indulge my Wednesday habit, and peruse the embarrassment of riches that today’s comics have to offer (of which the above is only the smallest fraction), I am more likely than ever to say, “Marvel? Nah…”

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Back and Forth: A Stitch in Time

16 Sunday Sep 2012

Posted by ScottNerd in Back and Forth, Microviews

≈ Leave a comment

Tags

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Turning pages,

Scott & Derek

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