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Tag Archives: New 52

Top 5 Books of June 2013: Dig Comics!

23 Tuesday Jul 2013

Posted by ScottNerd in 5 Comics You Should Be Reading

≈ 4 Comments

Tags

American Vampire, Batman, Batman: Gates of Gotham, BOOM!, Brian Wood, Dark Horse, Dave Johnson, Dean Motter, Dig Comics!, Fleischer Brothers, Fury: My War Gone By, Garth Ennis, German Expressionism, Goran Parlov, Greg Rucka, Harold Gray, IDW, Image, Jason Ciaramella, Jeff Stokely, Joe Hill, Katsuhiro Otomo, Lazarus, Marvel, Michael Lark, Mister X: Eviction, New 52, Severed, Simon Spurrier, Six-Gun Gorilla, Superman Unchained, Swamp Thing, The Massive, Thumbprint, Vic Malhotra, Zero Year

Three stellar debuts and one astonishing finale. And the latest Mister X. Even as folks breathlessly scramble to prevent the Death of Comics, the medium is producing a broader range of excellent material than at any time in its history. Spread the word true-believer: everyone should be reading them. The List:

5. Lazarus #1 (Image): This book immediately stakes its ground alongside Brian Wood’s The Massive as a vital, involving piece of speculative science fiction. Whereas the former primarily deals with the effects of all-too-credible environmental disaster, Lazarus extrapolates our current economic debacle by asking ‘What happens when the 1% becomes the .0001%?’. Greg Rucka’s vision of a tech-saturated medievalism is compelling not only because of the verisimilitude of Michael Lark’s art, but precisely because it doesn’t feel as far-fetched as perhaps we’d like. A gripping debut. (DM)

Lazarus #1

4. Thumbprint #1 (IDW): Jason Ciaramella’s and Vic Malhotra’s excellent adaptation of Joe Hill’s novella involves a disgraced female soldier whose return home from Abu Ghraib is disturbed by an apparent stalker with knowledge of her dark past. Even as her privacy and safety are compromised, the reader is left to wonder who the real monster is. Adaptations of other media are tough to do; what works well in prose doesn’t always necessarily translate to comics. So far, Ciaramelia and Malhotra are pulling it off with aplomb. (DM)

Thumbprint #1

3. Mister X: Eviction #2 (Dark Horse): Hands down the most stylish book on the stands: retro-futurist, German Expressionist, neo-noir, New Wave, Pop Art. Dean Motter makes it ALL work, and then gives comics nostalgists an unexpected gift in the backup feature “Little Urchin Andy”, which is like Harold Gray’s classic as re-imagined by Katsuhiro Otomo and filmed by the Fleischer Bros. To call it a ‘mash-up’ would be to trivialize it. It is rather, a glorious orchestration, with Motter holding the conductor’s stick. Or is it a magic wand? (DM)

Mister X: Eviction #2

2. Fury: My War Gone By #13 (Marvel): A fitting finale for a series that has gone by far too quickly.  In this issue of reconciliation and resignation, the point of Garth Ennis and Goran Parlov’s hard-hitting history lesson–as seen through the aged eye of Nick Fury–is hammered home by George Heatherly’s grand-daughter during a conversation with the weathered warhorse: “most of it had been completely pointless.”  Our experience, however, tracing all of the lines on Fury’s face (see Dave Johnson’s terrific cover below), has been anything–everything–but. (SC)

Fury: My War Gone By #13

Fury: My War Gone By #13

1. Six-Gun Gorilla #1 (BOOM!): Easily our favorite book of the month.  And to think I thought it’d be no more than a one-note guilty pleasure!  Silly me.  In all actuality, Simon Spurrier and Jeff Stokely have cooked up something far more complex.  From one panel to the next, I was awed; I oft guffawed; and each turn of a page–and commensurate peel of a layer–cemented this sucker as a Book of the Week.  And as the month played out–and it was a heck of a month–what was left standing head and hairy shoulders above the rest?  A gorilla with a gun and a come hither “Howdy.” (SC)

Sixth-Gun Gorilla #1

Sixth-Gun Gorilla #1

Biggest Dis(appointment): Scott Snyder

Severed.  American Vampire.  Gates of Gotham.  Most of Batman‘s Court of Owls arc.  Most of his run on Swamp Thing.  Great stuff.  No hesitation at all: Scott Snyder’s the goods.  But as good as he’s been, he’s been pretty underwhelming of late.  Yup: he’s shown some cracks in the ol’ armor–especially with the superhero books he’s headlining.

Now, I don’t know how to explain it; I mean, I’m just the consumer; I don’t claim to have the answers.  But he seems to have become a victim of his prior success–success that translates directly–fairly or not–to expectations.  Super high expectations.

This is how I envision it:  Snyder’s a damsel in distress tied to the tracks, and the hype train that bears his name is bearing down on her–err, him.  And, you know what?  He needs a hero!  He’s holding on for a hero till the end of the night.  Sadly, neither Batman nor Superman was able to save him.

Just think about it for a minute.  Wash the hype from your eyes.  You know–you know it in your bones–that Batman #21 isn’t what you were hoping for when you first started salivating over the ubiquitous Zero Year adverts.

Batman #21

Batman #21

Really, now: what does it offer?  Another Death of the Family scenario?  Instead of the Batfamily, we’re looking at a Kane/Wayne war?  And the antagonist this time?  No, not the Joker: it’s the Riddler!  Really?  The Riddler?  There’s something funny about that, isn’t there?  Ugh!  Doubtless, we’ve seen Snyder borrow effectively from his previous work.  But this?  Come on!  This is almost insulting to us readers!  We deserve better, don’t we?

Well, we sure as hell didn’t get better with Superman Unchained #1.

Superman Unchained #1

Superman Unchained #1

Sure, the thing sold a ton; but what does that really mean?  I’ll tell you one thing it doesn’t mean: it doesn’t mean that the book is good–because it isn’t.  It’s a muddled mess that recalls the awkward wordiness of George Perez’s New 52 Superman and, inexplicably, the frivolousness of Scott Lobdell’s.  You know what it is?  It’s a special-effects laden blockbuster that, for all it’s blockbusting, fizzles out once the smoke clears.  (I am still talking about the comic, by the way.  No, really, I am.)  We all know that Scott Snyder’s better than this, don’t we?

Isn’t he?

Turning pages,

Derek & Scott

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Top 5 Books of May: Cities, Dreams & Red Underwear

09 Sunday Jun 2013

Posted by ScottNerd in 5 Comics You Should Be Reading

≈ 2 Comments

Tags

Adventure Time with Fionna & Cake, Adventures of Superman, Battlefields, Battlefields: The Fall and Rise of Anna Kharkova, Brian Wood, Chris Samnee, Dark Horse, DC Comics, Dean Motter, Dream Thief, Dynamite Entertainment, Fatale, Garth Ennis, Greg Smallwood, Image, Jai Nitz, Jeff Lemire, Jeff Parker, Justin Jordan, kaboom!, Man of Steel, Matt Kindt, Mind MGMT, Mister X: Eviction, Natasha Allegri, New 52, Nowhere Men, Riley Rossmo, Russ Braun, Saga, The Bounce, The Manhattan Projects, The Massive

This was the toughest Top 5 list we’ve had to put together yet: ol’ reliables like Saga and Manhattan Projects didn’t put out an issue in May. And other stalwarts like Fatale and Nowhere Men, while solid, weren’t quite their usual, exemplary selves (hmm, looking at the above titles it seems we’re really putting the Image in images and Nerds). All these open spots generated much discussion from your intrepid reviewers about who should fill them. Change, of course, can be a good thing. Shake things up! Diversify! In the end, we’re pleased by the inclusion of three brand new #1’s on the list below, with all the promise they imply, even as we bid a fond adieu to one excellent title that seems to be ending its run.

5. Dream Thief #1 (Dark Horse): An undeserving lowlife is possessed by a mystical power that places him in hairy situations, seemingly in the name of justice. Jai Nitz’s tightly-structured occult noir hums like clockwork thanks in large part to Greg Smallwood’s beautifully designed graphic fireworks. After one issue, both of these gentlemen feel like creators to watch. And Dark Horse, with titles like this, Brian Wood’s The Massive, and Matt Kindt’s Mind MGMT (not to mention our #1 title below) is positioning itself to give Image a run for its money as the most exciting publisher around. (DM)

4. Battlefields: The Fall and Rise of Anna Kharkova #6 (Dynamite): It’s a bird!  In a plane!  It’s Anna Kharkova!  Garth Ennis and Russ Braun set the irrepressible Night Witch free with a Yeatsian final stanza that celebrates the unconquerable human spirit. (SC)

3. Adventure Time with Fionna and Cake #5 (kaboom!): The only regular on this month’s list, Natasha Allegri’s gender-switching fairy tale pulls off the neat trick of subtly subverting story-time expectations while also thrillingly living up to them. Truly a comic for “all-ages”. (DM)

2. Adventures of Superman #1 (DC): So what if this trio of short stories first appeared digitally? We first read them the old fashioned way – holding them in our grubby little hands as an actual comic book! Whatever the format, this is the best Superman title we’ve read in a while. Jeff Parker pens a classic story about an early Luthor encounter, made even more so by Chris Samnee’s utterly gorgeous art. We’re convinced: Samnee should draw Superman regularly. And every other superhero title. Justin Jordan and Riley Rossmo close the book with a fun Bizarro tale. But the star here is Jeff Lemire. Set in the vast expanses of rural Kansas, Lemire’s story and art are given the room to breathe that has been sorely lacking in some of his other superhero books. That may seem an odd comment for a story that’s all of ten pages, but Lemire fills them with the sense of imagination and wonder that are the essence of Superman. In the process, Lemire also reminds us what we love about him. This wonderful book has the cumulative, perhaps unintended, effect of making us long for the pre-New 52 Man of Steel. Long live the Red Trunks! (DM)

1. Mister X: Eviction #1 (Dark Horse): Amongst the standout books for the month, Dean Motter’s urbane banquet of urban anxiety stands out the most; in fact, it towers above the rest!  Mr. Motter is in complete control of the pagescape: he wields images and words with an imaginative precision that makes a penthouse reality out of street-level dreams.  All hyperbole aside, this, folks, is why we make our weekly pilgrimage to the comic shop. (SC)

The Biggest Dis(appointment): The Bounce #1 (Image):  If Joe Casey’s Sex is a tired, syphilitic muse, then his latest, The Bounce, is an adopted crack baby.  From the opening toke–a decision more desperate than daring–Casey wields his great power irresponsibly: he lazily and preposterously offers up a seemingly incorrigible pothead, one agonizingly alliterative Jasper Jenkins–an obvious Peter Parker analog–and then oddly recalls an irrelevant hero, Speedball–no, really, Speedball!–who himself was misguidedly modeled after Spider-Man, for goodness sake, all the while sticking too closely to the all-too-familiar amazing spiderweb, you know, because why futz around with a tried and true formula that’s caught villains and readers alike for fifty-plus years.  Speaking of villains: in the grandiloquent antagonist The Darling, Casey conjures his inner Mark Millar yet again (see Sex for more evidence of Casey’s indisputable infatuation with the obnoxious Scotsman); and in the Grand Design, he shows that he’s embarrassingly “behind the curve”–certainly behind Jonathan Hickman, whose The Manhattan Projects sports a curiously similar device.  Yeah: surprise.  If I’m being fair, The Fog, injected into the end of the book, does bring a tablespoon of originality to the flame; but whatever taste I’ve gotten is a bizarre, almost indescribable feeling that smacks of questionable calls–including having The Crush inexplicably use “tenacious” to describe the “pigs” that he assumes one sentence later will be “pissed” once they find out what he’s done–and tone deaf pseudo-intellectualism.  Maslow’s hierarchy of needs?  Really?  So, while I did say yes to the first issue, going forward, I’m going to listen to the small voice in my head, that of the former first lady who famously said that, when facing a choice such as this, I should just say no. (SC)

Turning pages,

Derek & Scott

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Top 5 Books of March 2013 – The Best of Times?

14 Sunday Apr 2013

Posted by dmainhart in 5 Comics You Should Be Reading

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Adventure Time with Fionna & Cake, Animal Man, Battlefields, Brian K. Vaughan, Buddy Cops, Dark Horse, DC, Ed Brubaker, Eric Stephenson, Evan Shaner, Fatale, Fiona Staples, Fonografiks, Garth Ennis, IDW, Image, J. Bone, kaboom!, My?tery Society, Natasha Allegri, Nate Bellegarde, Nate Cosby, New 52, Nowhere Men, Roger Langridge, Saga, The Answer, The Rocketeer: Hollywood Horror

Folks, if you don’t already know, it’s a great time to be reading comics. Take this month’s list for example: when stalwarts like Garth Ennis’s Battlefields and Ed Brubaker’s Fatale don’t even crack the top five (not to mention such left field surprises as My?tery Society and The Answer!) you know it’s been some good readin’. Dare I suggest we’re witnessing a second Golden Age?

5. Adventure Time with Fionna and Cake #3 (kaboom!): Natasha Allegri’s delectable delight is not exactly subversive, like a dessert laden with liquor, but it is a multi-layered cake. It can be gulped down, with childlike ravenousness, as the super-fun fairy tale that is. Or it can be slowly digested as a knowing commentary on gender roles. Or better yet, both. Bon Appetit. (DM)

4. Buddy Cops (Dark Horse): To kinda quote the Clan: “[Nate Cosby] be tossin’, enforcin’, [his] style is awesome/[Evan Shaner’s] causin’ more Family Feuds than Richard Dawson/And the survey said–[if ya didn’t think Buddy Cops was friggin’ hilarious,] ya [must be] dead.” (SC–with a little help from RZA)

3. The Rocketeer: Hollywood Horror #2 (IDW): Pulp heroes tearing it up in the golden age of Hollywood? Really, what more could you ask for? Roger Langridge and J Bone’s ode to nostalgia earns the label “classic” on every level. A dream for comics fans and movie fans. (DM)

2. Nowhere Men #4 (Image): Complex storytelling, beautiful art and sophisticated design: Eric Stephenson, Nate Bellegarde and Fonografiks’ tale of science gone awry in a retro-mod near future is a sleek, finely-tuned, precision vehicle. If “science is the new rock n’ roll” then this is the coolest book on the stands. (DM)

1. Saga #11 (Image): A stunning piece of storytelling from Brian K. Vaughn and Fiona Staples.  Over the course of eleven issues, they’ve managed to assemble the most relatable cast of characters in comics; and that unparalleled ensemble is put to the test in this emotionally charged issue of sex, love, sacrifice, and death.  There isn’t another book being published that can touch it.  I thank God I get to–every four weeks or so.  (SC)

The Biggest Dis(appointment): Animal Man #18 (DC) –  “The most tragic day in the life of Buddy Baker”?  OK.  If you say so.  In fact, you had to say so because, as the story unfolded, I felt absolutely nothing of tragedy–except maybe the very tragic pangs of disappointment.  In the end, my expectations for this title–which had been on life support after #17–were killed along with Cliff, himself a mini Animal Man, playing the role of the simply unnecessary sacrificial lamb. (SC)

But let’s accentuate the positive: this month’s Top 5 represent a wild variety of storytelling, genre and art that affirms and re-affirms our love of the medium. We share these books because they are the ones that excited us this month. So what’s your Top 5?  Share it with us. Or spread the word and tell a friend. Like we said, it’s a great time to be reading comics.

Turning pages,

Scott & Derek

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Back and Forth: Sex & Children’s Books

17 Sunday Mar 2013

Posted by dmainhart in Back and Forth

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Adventure Time, Adventure Time with Fionna & Cake, Animal Man, Aubrey Beardsley, Barnabas Collins, Batman, Batwoman, Bravest Warriors, Catwoman, Dark Shadows, DC Comics, Dynamite Entertainment, Ex Machina, Green Arrow, Hayao Miyazaki, Image, Jae Lee, Janet Lee, Jeff Lemire, Jim McCann, Joe Casey, kaboom!, Lost Vegas, Mike Raight, Nacho Tenorio, Natasha Allegri, New 52, Ocean's Eleven, Pendleton Ward, Piotr Kowalski, Return of the Dapper Men, Richard Corben, Rotworld, Scott Snyder, Sex, Swamp Thing, Watchmen, Winsor McCay, Yanick Paquette

Derek Mainhart: Provocative title, eh? Well, we’ll get to that in a minute. First to some (finally) finished business.

Scott Carney: Finished, indeed–at least as far as Animal Man #18 (DC) finishes anything.  And thank the good Lord, too.  The Rot was wearing on me, man.  It’s no secret: we didn’t care for the big two-part Rotworld finale for an unholy host of reasons.  Lucky for us, the finale was only the finale of the storyline as it takes place in the actual Rotworld; and by actual, I mean possible because, in the end, Baker and Holland were presented with the opportunity to keep it all from happening in the first place–and, boy, did they take it!  I can’t get into the nitty-gritty of the real finale, however, without first commenting on the ill-conceived cover.  Jae Lee’s anguished Animal Man is stunning; and the cover would’ve been, too, had it not been sullied by a tragically-placed assertion that spits vomits in the eye of subtlety:

I mean, come on!  Check out this art-only cover; it’s so much more effective:

Animal Man #18--Right?

Animal Man #18–Right?

Add the requisite logo and bar code and we’re still talking about an absolutely killer cover.

DM: Have to agree about the cover. Without the text, completely effective. With the text, it’s like that oft-parodied film cliche of the tragic hero falling to is knees while yelling “NNOOOOOOO!!!!” up at the sky. In other words: laughable. The early front-runner for worst cover of the year.

SC: Once inside, we’re treated to a quick little recap of the end of Swamp Thing #17 and then sucked into what Buddy refers to as “the most unsettling sensation,” while describing his return to the pre-Rotworld present.  I found the narration unsettling, as well; it seems to creep toward the edge of profundity, never quite making it there, and, as a result, festers in ineffectuality and leaves behind unintentionally laughable lines–and a hero for whom I had trouble hoping the very best.

(I don’t do this very often: spoiler alert!!!)

I did find a truly touching moment in Buddy’s remembering Cliff’s finger painting different animals when the latter was “a little boy.”  I’d have trouble, though, if you were to ask me to “flip the pages and point to another” such moment.  Couldn’t do it.  See: after that singular scene–in retrospect, the necessary father-and-son set-up for the end–the story dies as quickly and as unceremoniously as Cliff–who passes proudly as a “hero–just like [his father],” which, on a side note, is an interesting counterpoint to something Jeff Lemire’s developing in another one of his books, Green Arrow #18: Komodo, the Bullseye to Green Arrow’s Daredevil, has a daughter who–speaking of unsettling–plays the role of an evil apprentice, who also has a connection, story-wise to fingers, oddly enough; in this case, the little girl is used as a pointed threat against one of her father’s prisoners: “[…], or my daughter starts cutting off your fingers.”  (By the way, I’m still not too sure how I feel about it.  Kudos to Lemire for that!)

Back to Animal Man and the devolution of the story: with my own fingers dutifully turning pages, I found the dialogue disappointingly reminiscent of #17 (“So just die already!”).  And how strange was the splash on page 18, with the guys in the yellow suits shedding their rot?  At last!  Something interesting!  But, despite their presence on the page, neither Buddy nor Maxine react to the seemingly important revelation; and when Buddy finally does seem to notice them–several panels later–he doesn’t seem all that concerned!  It was all so very awkward and forced–well, Lemire did have to live up to the promise of the textually explicit cover, after all; couldn’t bring myself to care, though, even with the final splash–and just not what I’ve come to expect from the aforementioned esteemed writer, who is an absolute master at developing sympathetic characters and complex yet relatable relationships.  My expectations are still high for him and Animal Man, so I’ll be sticking around for more–especially since we’re headed in a new direction.

DM: Scott Snyder, on the other hand, in Swamp Thing #18 (DC), ties a bow on this story, and his run, in a manner that is satisfying and organic (pun intended–every time!). Amidst Yanick Paquette’s gorgeous leafmotif visuals is a story where the damsel becomes the hero, the demon is rent asunder, and our lovers have their stars well and truly crossed. But not before the creators generously allow them one last (first?) kiss, in which their passion literally burns. A fitting finale to a mostly excellent run.

But Swamp Thing and Animal Man aren’t the only hero-inhabiting-a-new-body-travels-to-a-dystopian-future-to-defeat-unearthly-evil-then-returns-to-the-present-in-order-to-prevent-it-in-the-first-place stories this week. That’s right! The same exact plot is featured in Dynamite’s Dark Shadows #14!

Dark Shadows #14

Dark Shadows #14

Ah well, no new ideas and all that; it’s how well you handle them. Writer Mike Raight’s vampiric version involves Gothic plot twists, backstabbing (with wooden stakes, natch!) and enough Grand Guignol action to satiate any horror fan. Artist Nacho Tenorio does a nice job orchestrating the gore, alternating between excess and restraint, the way any 1960’s-influenced horror should. This isn’t all superficial bloodletting however. (SPOILERS!) Raight infuses some depth and existential quandary as the evil that the hero, Barnabas Collins, must destroy in order to save his family, is himself. There’s also a well-wrought, even delicate twist, as Barnabas’ mysterious ally reveals that aiding him and taking revenge upon him are, in this case, one and the same. Solid and compelling, this book is one of the most reliable sources of monthly macabre that you’re likely to find.

So, having been hooked by our attention-grabbing title, you’ve made it this far through our post, and yet you find yourself disappointed by the lack of any content that could be considered truly eye-opening.

SC: Hey!  What about my–

DM: Well then, you’ve got an idea of the experience of reading Sex #1 by Joe Casey and Piotr Kowalski (Image).

SC: Oh, I see.  Clever.

DM: Mr. Casey means well. In a heartfelt (and rather breathless) afterword, he holds forth on the state of today’s comics; mainly the continued dominance of the Big Two despite the wild variety and quality of other work out there. Well hear, hear! And yet, what does he offer us? A wealthy scion reluctantly returns to run his vaguely defined corporate empire. A seedy underworld controlled by a grotesque mob boss. Words of wisdom from a trusted Man (or in this case, Gal) Friday. And, oh yeah, said wealthy scion is a former superhero. This set up bears any number of resemblances to Batman, the newfangled Green Arrow, Ex Machina (a much better melange of superhero/real world tropes from eight years ago), etc. But wait, this has superheroes and sex. Well Watchmen broke that seal long ago. It’s simply no longer a shocking conceit (I mean even Catwoman’s done it for chrissakes). Now, to Casey’s credit, when the naughty section does occur, despite its fairly graphic nature, it’s contrasted in such a way that it is robbed of nearly all prurient titillation. The participants even call out the reader’s presumed lasciviousness, in a clever use of breaking the fourth wall. Kudos to Casey for subverting the expectations set up by his conspicuous title.  But in the end, this is just another superhero comic. And what’s so sexy about that?

SC: I hear ya.  Image did have another release this week that I enjoyed more than Sex—

DM: (tee-hee!)

SC: Uh-huh. Anyway, it’s Jim McCann and Janet Lee’s Lost Vegas #1.  It came with a little less hype than Casey’s book did, but it was loads better.  Though engaging from the get-go, McCann’s writing does prove a bit hard to swallow at times, especially as the Ocean’s Eleven-esque scheme is laid out; but Lee’s artwork is enviably voluptuous, a stunning exercise in sensuality.

DM: Yes, Lee’s work is certainly the star for me thus far. She blew me away on Return of the Dapper Men a few years ago (also written by McCann). There she dazzled with an unorthodox process that combined vibrant expressionistic backgrounds with the sublime precision of Winsor McCay (if you don’t know who that is, look him up. Look him up now.) Here the chameleon-like Ms. Lee seems to be offering something of the sensual loucheness of Aubrey Beardsley, combined with the sci-fi sensibilities of Richard Corben, and even a dash of Hayao Miyazaki for fun.

SC: That’s some company she’s keeping.

DM: Indeed. Like Batwoman, this could become a book that I buy for the art alone.

SC: Well worth the price of admission.  I’m certainly up for round two.

DM: Now, returning to our theme, for a nuanced, astute, refreshing exploration of sex, one need look no further than Adventure Time with Fionna & Cake #3 (kaboom!):

Adventure Time: Fiona and Cake #3

Adventure Time with Fiona & Cake #3

Sex, in this case, denoting gender. ‘A childrens’ book?’ you say, eyebrow ever so arched? Well in its brief existence, Pendleton Ward’s magical juggernaut has tackled such concepts as abandonment, existential loneliness, first loves, the bonds of honor and friendship, pride, sacrifice, betrayal, the origins of myth, the nature of evil, the afterlife, determinism, fate, and nuclear annihilation to name a few. It never addresses these issues head-on however (it’s much too smart for that), but from rather more of a sideways angle, (and perhaps, blindfolded). Y’know, Stuff Happens. Each candy-colored episode is wide open to (and the subject of) much interpretation. It’s the type of show that dissertations will be written about someday(if that hasn’t already happened). I ask you, what better place to consider gender and identity issues than the sociological phenomenon that is Adventure Time?

For those who don’t follow the show (losers!) Fionna and Cake was a fan-favorite episode which featured alternate, gender-swapped versions of series’ stars, Finn and Jake. Now Natasha Allegri, who had a hand in that episode, gives the ladies a chance to shine in their own title. Issue 3 is the best one yet. The first two issues established the characters as well the epic, yet tongue-in-cheek tone that AT does so well. The third issue really delves into the gender stuff and shows why this is not your father’s (um, older brother’s?) AT. The story begins with Marshall Lee (the male version of the vampire Marceline from AT) suddenly appearing in the lead characters’ home in a state of distress. But unlike his female counterpart, who is decidedly bad-ass, this vampire is positively sparkly. Needless to say, Fionna has a crush (-and Cake does not approve!) It seems they need to rescue Prince Gumball, who is caught in a ridiculous trap, which I won’t ruin for you. Nor shall I spoil all the loaded symbols, pregnant pauses and hysterical double entendres peppered throughout the tale. These never come across as forced or excessive; they are, indeed the story’s raison d’etre. I will say that they culminate in a visual gag so audacious that I couldn’t believe it was in a children’s comic, even as I barked with laughter. And yet it perfectly encapsulates the major theme of this series. Sound dirty? Well, again, it’s not because all of the above is not so much dealing with sex, as it is gender and identity. I am not suggesting (as I have with AT’s sister book Bravest Warriors) that this title is inappropriate for children. Part of Allegri’s brilliance (in addition to the beautiful art) is that this book is, on the literal level that children tend to read, an exuberant, imaginative adventure/fantasy. It certainly can (and should, to some degree) be enjoyed that way. The storytelling is deft enough that whatever other meaning children take away from it is entirely up to them. And you. Book of the Week.

Turning pages,

Derek & Scott

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Top 5 Comics of Feb 2013 – Wtf Certifiable!

11 Monday Mar 2013

Posted by ScottNerd in 5 Comics You Should Be Reading

≈ 2 Comments

Tags

Alberto Ponticelli, Batman, Batman Incorporated, Brian K. Vaughan, China Mieville, Chris Burnham, Chris Samnee, Dan Green, Daredevil, DC Comics, Death of the Family, Dial H, Ed Brubaker, Fatale, Fiona Staples, Grant Morrison, Image, Jason Masters, MacGuffin, Mark Waid, Marvel, Mateus Santoluoco, New 52, Pop Art, Requiem, Saga, Sean Phillips, Wtf Certified

So DC Comics has reconsidered its rather, um, innovative marketing strategy of appealing to the youth demographic by adorning the covers of its iconic heroes with a texting-based expletive acronym. Well BS I say! Stick to your ill-conceived guns! However, despite backing away from the edgy, DC did provide us with a true Wtf moment this month (here meaning “Why the fuss,” of course). To wit:

5. Batman Incorporated #8 (DC): In one brilliant stroke, Grant Morrison delivers on the promise that was left utterly unfulfilled by the much ballyhooed Death of the Family event (see below). With little fanfare (initially), Morrsion provides a satisfying climax to his long run on Batman. The death of a major character like Robin (um, spoiler alert?) is usually an overblown, portentous affair (as the follow-up story, Requiem, promises to be). But the irrepressible Mr. Morrison refuses to be such a downer (he may, to his credit, be genetically incapable of it). This issue is nearly non-stop, thrillingly orchestrated action. (Artist Chris Burnham – with an assist by Jason Masters – really outdoes himself here.) And yet, in typical Morrsion fashion, despite the breakneck speed, the story is packed, packed, with references, riffs and homages to Batman’s illustrious history. From the title (“The Boy Wonder Returns”), to the not-so-throwaway background details, even down to the goofy Pop Art sound effects, we are treated to an expansive embrace of the Batman mythos that has been the hallmark of Morrison’s run (one that, by its very nature, was undercut by the ill-timed exigencies of the New 52 relaunch). His approach is perfectly encapsulated on page 19, the climax of the issue, and perhaps, the series – the battle between Robin and his Adversary (in the truest sense of the word). A sequence that could have taken up the entire book is instead presented in a stunning, 20-panel kaleidoscope (again kudos to Mr. Burnham) of action, tribute and, finally, pathos. When the moment of truth does arrive, Morrison and Co. don’t skimp on the emotion of the event as the book closes with a poignant image that recalls the birth of Batman himself. (DM)

Batman Incorporated #8

Batman Incorporated #8

4. Daredevil #23 (Marvel): An opening sequence for the ages–one that twists the title character’s origin story (often a cliche issue-starter) into something radioactively sinister–would’ve been enough on its own to land this book in our esteemed Top Five for the month.  This comic is so much more, however: Mark Waid–with stunning assistance from Chris Samnee–brings a certain clarity to Matt and Foggy’s relationship that becomes even more profound and pitiable with the painful revelation at issue’s end.  Remarkable work from Marvel’s best. (SC)

Daredevil #23

Daredevil #23

3. Dial H #9 (DC): After a down month, our #1 book of 2012 is back with a glimpse of what makes this book great: China Mieville’s seemingly boundless imagination–especially as it relates to his effortlessly sussing out superhero after glorious superhero.  Also worth celebrating is the fact that Alberto Ponticelli (with inks by Dan Green) has without a doubt found his groove; he’s taken ownership of Nelson and Roxie and the rest with his signature style–one reminiscent enough of Mateus Santolouco to make the series feel whole again. (SC)

Dial H #9

Dial H #9

2. Fatale #12 (Image): Our only carryover from last month, January’s best book takes a tiny step back on the list despite taking a giant step forward while taking its own giant leap back in time.  This second Fatale one-shot is yet another taut tale, one  that plays with our expectations–expectations expertly manufactured for us by a clever Ed Brubaker (with evocative art by Sean Phillips) during our torrid affair with Josephine Baker.  As consistent as this book is, it never fails to surprise–and that is the mark of a creative team at the very top of its game. (SC)

Fatale #12

Fatale #12

1. Saga #10 (Image): Claiming the top spot for the month is our #2 book of 2012.  Brian K. Vaughn and Fiona Staples continue to intoxicate with their heady brew of space opera, screwball comedy and  familial intrigue. The sheer verve of the storytelling, filled to the brim with imagination and heart, makes this issue such a joy to read that (as with the aforementioned Batman Inc.) when tragedy does occur (and it does), the effect is not depressing. No, the effect of reading this wonder of a book is exultant. (DM)


The Biggest Dis(appointment): Batman #17 (DC) – We’ve already expressed our dismay of the story itself – this Joker tale to end all Joker tales was instead all sound and fury, signifying nothing. But given the events and the excellence of the aforementioned Batman Inc. #8, the existence of the whole “Death of the Family” story line is even more baffling.  Someone up the chain of command at DC must have known that this “epic” would conclude just before the publication of Morrison’s completely unrelated masterstroke (y’know, the one where someone actually dies.) Was “Death of the Family” then, spanning as many titles as it did, one giant MacGuffin (and a rather expensive one at that)? Was the relevance of Batman Inc. #8 toned down so as not to overshadow the Big Event (and possibly hurt sales)? Then, when Batman Inc. did come out, accompanied by a flurry of news coverage (‘natch!) who got left holding the bag? Sorry retailers who didn’t order nearly enough copies to satisfy the sudden demand! Sorry regular readers who couldn’t get their hands on the immediately-sold-out issue (unless they wanted to pony up $20 for a brand new comic). This whole farce had the neat effect of rendering Batman #17 even more irrelevant than it already was. It seems that, in the end (as Scott so eloquently put it in his initial review), the joke of “Death of the Family” was not on Batman, but on us. (DM)

Turning pages,

Scott & Derek

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Back and Forth: Red, Green & Blue

16 Saturday Feb 2013

Posted by dmainhart in Back and Forth

≈ 1 Comment

Tags

Alberto Ponticelli, American Vampire, Andrea Sorrentino, Animal Man, Brian Bolland, China Mieville, Dan Green, DC Comics, Dial H, Essex County, Green Arrow, Jar Jar Binks, Jeff Lemire, New 52, Rotworld, Sarah Connor, Scott Snyder, Severed, Swamp Thing, Sweet Tooth, Terminator

Scott Carney: While never done in a ceremonial manner–certainly never hand to heart–I think it’s safe to say, as evidenced by my weekly What’s Up? posts, that I have publicly pledged allegiance–in a case or two, unabashedly blind allegiance–to an exclusive club of comic creators.  Two fellas who fall into that illustrious legion of superscribes are Scott Snyder (Severed, American Vampire) and Jeff Lemire (Essex County, Sweet Tooth).

But I fear–as I do fondly while reading the best of Snyder–that I no longer hear the deliciously shuddersome voice that drew me to him in the first place.  Certainly not in Swamp Thing #17.

Swamp Thing #17

Swamp Thing #17

And, I no longer hear Lemire’s refreshingly veracious voice, either, if I’m being honest–as heartwrenchingly honest as he is when he’s at his best.  Certainly not in Animal Man #17.

Animal Man #17

Animal Man #17

It seems, here, in the two-book Rotworld finale, that each–a true master of his craft–has been thwarted by a wholly unexpected villain: the run-of-the-mill comic book hero.  (Don’t get me wrong: on both fronts, the build up to the finale was just fine.  If I’m being fair, however, Snyder’s work on Swamp Thing was more effective than Lemire’s on Animal Man–most assuredly because Snyder was living closer to home: the terrifying creatures littering the landscape of Rotworld are natural notes for him to play; and he played them well enough–again, until the end of this corrosive crossover.)  What irony, eh?  After laying a foundation–spanning several solid issues– upon which the defenders of fauna and flora fight alongside a surviving set of superbeings, what happens to Snyder’s signature horror?  It’s foiled by the hero.  What happens to Lemire’s signature honesty?  It, too, is foiled by the hero.  Foiled by the heroes’ hailstorm of shockingly silly lines–one more horrifically ridiculous than the next.  Foiled by the heroes’ lack of believable layers, leaving them flat and cold, leaving them decidedly devoid of emotion; leaving them an unbridgeable distance from the ones they supposedly love–and from us.

So, as each creative team shoves its protagonist closer to the end–in this case, toward a portal to the past, which will allow the pair “to stop Arcane” from establishing Rotworld in the first place, kind of like a couple of Terminators after Sarah Connor–the cracks widen, deepen; and the finale collapses under the weight of the concept, resulting not in the presumably successful symphony for which we paid admission, but, instead, in a cacophony of defeat.

Derek Mainhart: I have to agree. What was so interesting about these two titles was  each writer applying their own distinctive voice to the superhero trappings;  Snyder’s almost clinical way with horror and Lemire’s naturalistic rendition of family dynamic amidst trying times. That they were able to do this while simultaneously working different sides of the same story was even more impressive. Now though, both of those strengths have been subsumed by the perceived requirements of epic storytelling: wooden dialogue, numbingly explosive action, and awful sidekicks (in particular, the character of Shepherd suggests Lemire is a part of that small, but distinctive demographic: the Jar Jar Binks fan). Yes, Animal Man has fared worse. As you say, Rotworld is more in Snyder’s wheelhouse; in fact, as I’ve said, the previous issue of Swamp Thing was quite good. And so, despite the unholy mess that was these two issues, I still have (some) faith that Snyder might be able to tie this all up with some sort of fitting coda, in what will be, after all, his last issue. Now that our heroes our back in the present, I hope that Lemire, who is continuing on Animal Man, will return to his strengths as well, tripping the light fantastic between the everyday and the extraordinary. Because the overweening superhero stuff is simply not him.

To wit: Green Arrow #17. This was billed as “jumping on point” due to the new creative team of Lemire and Andrea Sorrentino. And it delivers, in a ‘by the book’ (‘buy the book’?) sort of way: the hero’s status quo is violently dismantled by a new villain who seems to know everything about him. A new mystery is introduced regarding said hero’s past. Confidantes are killed, and cryptic utterances, uttered. All the notes are hit. And yet, to continue your musical metaphor, it doesn’t sing. It’s like a robot playing Beethoven; a rote exercise. Now I’m obviously not a regular reader of Green Arrow. Perhaps to fans of the emerald archer, this issue provided a new direction, a sense of excitement. But I picked it up because it was a Jeff Lemire book. Sadly there is nothing of his voice in this. Anyone could’ve written it.

SC: I hear you, sir! If anything, it’s a three chord ditty: it’s listenable, sure–likeable, even, for what it is; but in the end, what is it, really?  One thing’s for sure, it’s not what we love from Lemire.

DM: What we love, indeed. But what’s all this talk of “voice” and “music”?  In a superhero comic? We’re expecting too much you say? Shame on you, you should know better by now. Any genre can achieve stirring crescendo given the right creator.

I submit: Dial H #9. This issue, indeed the entire series, has served up an aria of imagination by writer China Mieville. His unending cavalcade of absurd, sublime heroes is itself worth the price of admission–not to mention this ridiculous cover by Brian Bolland:

Here, we are treated to the monstrous Minotaura, and her singular method of ensnaring her prey.  (Kudos also to artists Alberto Ponticelli and Dan Green who are quickly finding their feet on this title.)  And then there is The Glimpse, a hero whose inspired power is to stay forever at the periphery of your vision. You see a glove here, a boot there, but the hero himself is just beyond your reach, always teasing you with his promise, but ultimately leaving the panel empty. If there’s a better metaphor for the never-ending, epic-obsessed, hype machine that is the current state of the superhero industry, I’ve yet to find it.  Want to say it together?

SC: Sure! Yeah!  Let’s harmonize. Ready, on three.  One…Two…

SC & DM: Book of the week!

Turning pages,

Scott & Derek

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Back and Forth: The More Things Change…

18 Friday Jan 2013

Posted by ScottNerd in Back and Forth

≈ 3 Comments

Tags

A.I. Artificial Intelligence, Ales Kot, Amazing Spider-Man, Animal Man, Archer & Armstrong, beat poetry, Bloodshot, Change, Chris Eliopoulos, Cormac McCarthy, Dan Slott, DC Comics, Essex County, H.P. Lovecraft, Harbinger, I Am Legend, Image, Jeff Lemire, Jose Villarrubia, Justin Jordan, Lily Tomlin, Marvel NOW!, Morgan Jeske, New 52, On the Road, Patrick Zircher, Rotworld, Ryan Stegman, Scott Snyder, Shadowman, Steve Martin, Superior Spider-Man, Swamp Thing, Sweet Tooth, The Road, The Underwater Welder, The Walking Dead, Valiant, Vertigo, Watchmen, X-O Manowar, Y: The Last Man, Yanick Paquette

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

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

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

The Superior Spider-Man #1 (Marvel)

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

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

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

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

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

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

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

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

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

Sweet Tooth #40 Cover

Sweet Tooth #40 Cover

Turning pages,

Scott and Derek

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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: Dialed In

10 Wednesday Oct 2012

Posted by ScottNerd in Back and Forth, Microviews

≈ Leave a comment

Tags

Action Comics, Animal Man, AvX, Bill Sienkiewicz, Brad Anderson, Brian Michael Bendis, Bullseye, China Mieville, comics, Daredevil: End of Days, David Mack, Dial H, Grant Morrison, Jeff Lemire, Kingpin, Klaus Janson, Mateus Santoluoco, Matt Murdock, New 52, Rorschach, Scott Snyder, Spider-Men, Steve Pugh, Swamp Thing, Travel Foreman, Yanick Paquette

Scott Carney: Where to start, where to start?  I know where I’m not going to start; I know where I’m not going to go period: to AvX #12 or Rorschach #2.  Each reads like a refund.

I guess I’ll start with a couple of books that were rotten as a rule: Swamp Thing #13 and Animal Man #13.  Mirror images of one another, these two books build the foundation for Rotworld–the former focused on the Green, and the latter, its locus, the Red.  Even though the stories follow almost identical arcs, in round one (as if this is a boxing match between flora and fauna), I’ve got to give the edge to the walking compost heap.  Scott Snyder’s story grows a bit more organically; and Yanick Paquette’s art–especially the layouts–is at its series best.  In terms of where each ends–a decided difference, indeed–it’s an absolute fact: I’m more interested in Abigail’s fate than I am in Ellen’s.  I’m pretty sure Abby’s not dead, despite what the Parliament professes; but I’d still like to see how the situation plays out.

Derek Mainhart: I had a mirrored reaction to yours: I liked Animal Man better. The endangerment of Buddy’s family seemed to raise the stakes higher than in Swamp Thing (though I could have done without the return of Shepherd, the Red’s answer to Jar Jar Binks). But then it almost seems odd to contrast the two books, since they really are different chapters of the same story. I admire the level of craft going into the writing, as the books are nearly symmetrical; a level of synergy rarely seen in crossovers. “Organic” applies in every sense of the word.

SC: Thanks to the last two pages of Daredevil: End of Days #1, I’m pretty sure I don’t know if Daredevil’s a dead devil or not.  I mean, the dude should be dead: Murdock’s murdered in full view of a mob of indecent flashers; and it’s the mob of Awful Samaritans’ impotent images that bring the bloody end game to life, providing the proof of Bullseye’s coring of ol’ Hornhead.  So who the hell is that at the end?  Does the Hand have a hand in this?  (I deserve a high-five for that one!)  The big four hands involved with putting this tale together have crafted something graphic and gritty: Klaus Janson and Bill Sienkiewicz deliver on the viscerals–I mean, visuals; and Brian Michael Bendis bends DD backward–essentially turning a blind eye to what Waid’s doing right now on Marvel’s best book, hands down–toward the the darker tone of his own successful run on Daredevil (Vol. 2).  Where’s David Mack’s hand in all of this?  It’s not where I was hoping it would be, that’s for sure.  I guess this storyline isn’t exactly where I was hoping it would be, either: it seems to rest outside of continuity.

DM: Yeah this seems superfluous. It read like “What If…..Brian Michael Bendis continued writing Daredevil????” It’s a shame because the ending that Benids did supply to his run was just perfect. I was also expecting some David Mack art. As it was, the art seemed as muddled as the story. Klaus Janson is a wonderful artist, but generally stronger as an inker in my view. Bullseye? The Kingpin? In light of Waid’s current, excellent work, this reads like a re-run.

SC: Even still, I’m prepared to give it another issue or two.  I mean, I was down on the idea of Spider-Men, and, boy, did I end up with web on my face with that one!  Time to dial up the expectations!

Dial H #5 certainly lived up to expectations–expectations that were sky high after a dialed in #0.  China Mieville continues to untangle the wires, allowing us to learn along with Nelson about his dial–one without a phone, without a booth; one he dials while calling on “a Superman.”  Even Superman, however, couldn’t have seen this one coming: Cock-a-Hoop?  I was cock-a-hoop myself as I witnessed this next round of wackiness, this epic battle–drawn up epically by Mateus Santolouco–that leaves some victims in its wake and presents a new challenge for our hero and his elderly sidekick Manteau.

DM: I still can’t believe this freak show of a comic is a DC book. The New 52 can be marked a success if for nothing else than this book’s existence. Mieville’s writing, though occasionally hard to follow, is never less than inspired. To wit: “When nothing eats nothing? It leaves anti-nothing behind. Somethingness.” Brilliant? Claptrap? Whatever man, I’m lovin’ the ride.

SC: Indeed. Mieville’s got it goin’ on–and he knows it: as Nelson remarks on how the shadow “used its dial…like it’s supposed to be used,” Mielville slyly whispers that he’s writing comics like they’re supposed to be written–that he’s writing them like Grant Morrison on Action Comics.

Action Comics #13 Cover

Action Comics #13 certainly doesn’t–it couldn’t possibly–meet the otherworldly standard set by #0.  It does, however, have an exciting–if not slightly confusing–reimagining of the Phantom Zone, with phantastic art from Travel Foreman, who set a phreakin’ high bar over on The New 52’s Animal Man–one not yet met, despite some good work from Steve Pugh et al.

DM: It was good to see Foreman’s work again. He does a nice job. But given the sparsity of the interdimensional setting, I think the colorist, Brad Anderson, deserves a lot of the credit for the overall look of the book.

SC: Noted.  But what really struck me–what drew a tear of joy from me–was the page turn from page 23 to 24: there’s Krypto, who “waited and waited for what felt like a thousand years–for Kal-El, his Kal-El, [I’m tearing up just typing this] had promised he would return”; and–turn the page–wouldn’t you know, “Kal-El never broke a promise.”  No, he doesn’t break promises.  That’s what makes him Superman.  That’s what makes us love him–whether we’re 9 or 90.

DM: Don’t hold back man! It’s ok! I’m right there with you. Morrison, more than any writer in recent memory, knows what a Superman story is supposed to be. Month-to-month continuity concerns, cosmetic changes, new villains, etc.; all of that is secondary. Superman exists for the big, goose-bump inducing, awe-inspiring moments. And that’s what we get here.

SC: Morrison is making magic–and is conjuring up a showdown with Mr. Mxyzptlk to prove it–which makes his impending exit all the more difficult to deal with.  Maybe if we get him to say his name backwards…

Turning pages,

Scott & Derek

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