• The Big Picture
  • Here’s ScottNerd…
  • Here’s DerekNerd…

Images and Nerds

~ We're turning pages–and writing about them!

Images and Nerds

Tag Archives: Peanuts

What’s I&N Store (6/25)

24 Tuesday Jun 2014

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

≈ Leave a comment

Tags

Abstract Studio, Adrian Alphona, Armor Hunters, BOOM!, Brian K. Vaughan, Brian Wood, C.O.W.L., D'Israeli, Danijel Zezelj, Dark Horse, David Lapham, F. Scott Fitzgerald, Fiona Staples, G. Willow Wilson, Geoff Johns, Image, Innie Awards, John Romita Jr., Kyle Higgins, La Femme Nikita, Marvel, Matt Kindt, Mind MGMT, Ms. Marvel, Ordinary, Outcast, Peanuts, Peter Milligan, Rachel Rising, Rob Williams, Robert Kirkman, Robert Venditti, Ryan North, Saga, Shadowman: End Times, Star Wars: Rebel Heist, Stray Bullets: Killers, Superman, Terry Moore, The Massive, The Midas Flesh, Titan, Trees, Valiant, Warren Ellis, X-O Manowar

On paper–where else, really–this is easily the best week of books of the year.  (Not hyperbolic.)  Maybe ever.  (Still not.)

We’re looking at three–count ’em: three–Top 5 books from last month.  Seven titles that have been recognized as Top 5 books at some point.  Three titles that earned Top Ten honors for 2013.  Two 2014 Innie Award nominees for Best Ongoing Series, two for Best Writer, and three for Best Artist.  (Totally not!)

Maybe I’ll buy this bunch and then call it quits–you know, quit comics on the highest of notes and start saving some money.  (Duh.)

  • The Massive #24 (Dark Horse): The Massive is on quite a roll!  It’s an epic of biblical proportions, and since February we’ve celebrated it religiously as a Top 5 book!  Here’s why we loved #23.
  • Mind MGMT #23 (Dark Horse): Another book worth celebrating!  Sure, it earned our Biggest Dis(appointment) of April; but Matt Kindt rebounded with a terrific #22, which, you guessed it, bounced back into our Top 5 for May.
Mind MGMT #23

Mind MGMT #23

  • Star Wars: Rebel Heist #3 (Dark Horse): Leia’s turn wasn’t as strong as Han’s, but who expected it to be?  Han’s the man, and Kindt got Carraway-ed as he covered F. Scott Fitzgerald to tell his story.  Leia’s chapter was a bit more La Femme Nikita.  Next up: Chewbacca.  I’m sure Kindt will put him in some sort of hairy position.
  • Superman #32 (DC): Could this be the Superman we’ve been waiting for?  With heavies like Geoff Johns and John Romita, Jr. on board, I’m thinking yes–hoping yes.  I mean, come on: they’ve only got the weight of the DC Universe on their shoulders.
Superman #32

Superman #32

  • C.O.W.L. #2 (Image): #1 was O.K.  If this one isn’t significantly better, I’m O.F.F.
  • Outcast #1 (Image): An ironic title–only because it’ll probably be included in just about every buyer’s bag.  Wondering: will we the buyers be buying this because we’re zombies–keyed on Kirkman and slaves to shiny number ones?
  • Saga #20 (Image): #19 didn’t excite in the way we’ve come to expect from Saga.  Taint a big deal.  Or should that be: A big taint deal.  Or: A big deal taint.  Ah, it’s one of those.  Previews’ preview promises: “Something terrible happens.”  Not to the taint, I hope.
  • Stray Bullets: Killers #4 (Image): #1 set the world on notice: David Lapham and his Bullets are back!  Since, his bullets have strayed a bit, reminding me why I loved #1 so much.  I’d love to love this one:
Stray Bullets: Killers #4

Stray Bullets: Killers #4

  • Trees #2 (Image): Warren Ellis is growing something with Trees.  I want to be there when it blooms–whatever the hell it is.
  • Ms. Marvel #5 (Marvel): #4 ended on a terrific note.  I mean, who wears an “Ima Bad Guy” tank top?  The bad guy, of course!  Can’t wait to see how things play out.  And, yes, I’m willing to admit it: I love Kamala Khan! (Don’t tell my wife.)
  • The Midas Flesh #7 (BOOM!): The series started off with such promise, didn’t it. Ryan North seemed to lose his way with the ethical dilemmas at the heart of the book. The narrative ground to a near halt with redundant, drawn out dialogue that read less like gold and more like lead.
  • Ordinary #2 (Titan): Wouldn’t you know: Ordinary #1 proved to be extraordinary–and earned a spot in our Top 5 for May.  Hoping with all my heart that #2 doesn’t choke on the promise that Rob Williams made with his initial offering. If you enjoyed Montynero’s Death Sentence, also from Titan, you’ll definitely dig this.
Ordinary #2

Ordinary #2

  • Rachel Rising #26 (Abstract Studio): Terry Moore cast a spell on us last year–one that influenced us to include his American horror story in our Top Ten of 2013. Since then, however, the spell has worn off, specifically after the last two issues, which have been, well, not good.
  • Shadowman: End Times #3 (Valiant): The end. The end.
  • X-O Manowar #26 (Valiant): Armor Hunters is in full effect!

Avery’s Pick of the Week:

  • Peanuts #19 (BOOM!): Avery loves her some Snoopy!  Don’t we all?
Peanuts #19

Peanuts #19

What are you looking forward to tomorrow?

Turning pages,

Scott

 

Share this:

  • Click to share on Twitter (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Tumblr (Opens in new window)
  • Click to share on Reddit (Opens in new window)
  • Click to email this to a friend (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

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…”

Share this:

  • Click to share on Twitter (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Tumblr (Opens in new window)
  • Click to share on Reddit (Opens in new window)
  • Click to email this to a friend (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Back and Forth: The Long Goodbye

26 Wednesday Sep 2012

Posted by dmainhart in Back and Forth, Microviews

≈ 2 Comments

Tags

Alexis E. Farjado, Animal Man, Batman, Batwoman, Bob Scott, Brian Azzarello, Brian Bolland, Brian Michael Bendis, Charles Schulz, Charlie Brown, Charlie Chaplin, Chris Samnee, Cliff Chiang, Courtney Crumrin, Daredevil, David Marquez, David Mazzucchelli, DC, E.C. Segar, Eisner Award, Evey Hammond, Flash Gordon, Fleischer Brothers, Fred the Clown, Grant Morrison, Greg Rucka, IDW, J.H. Williams III, Jeff Lemire, Kevin Maguire, Kevin Nowlan, Laurel and Hardy, Lewis Carroll, Mark Waid, Marvel, Merciless: The Rise of Ming, Mike DeCarlo, Monty Python, Neil Gaiman, P. Craig Russell, Paige Braddock, Peanuts, Popeye, Rocket: Cargo of Doom, Roger Langridge, Ron Adrian, Sandman, Sara Pichelli, Scott Beatty, Shane Houghton, Snarked, Spider-Men, Superman, Ted Naifeh, The Shade, Ultimate Spider-Man, United We Stand, V for Vendetta, Vicki Scott, W. Haden Blackman, W.C. Fields, Wonder Woman

Derek Mainhart: So this week was marked by the end of three series I enjoyed (in addition to The Shade from last week – sniff!) Let’s start with the one I liked in spite of myself:

Spider-Men #5: I was all set to not like this series. It seemed pointless – why kill Peter Parker if you’re going to introduce Miles Morales to…Peter Parker? (The fact that he’s from an alternate reality just seemed like splitting hairs.) The only reason I picked it up was that Brian Michael Bendis has created a compelling character in young Miles. And then, about midway through, I found myself getting caught up in it. One of the things that make for a good story are memorable moments. And this series, especially in the last two issues, was full of them. The scenes with Peter “reuniting” (for the first time?) with Aunt May and Gwen Stacy were touching and understated, the reactions of all involved perfectly calibrated. Mysterio almost willing himself to be defeated was wry and knowing. (By pointing out the cliche, Bendis milks it for humor turning a potential weakness into a strength.) And it ended on a wonderful note: a cliffhanger that was organic, inevitable and completely earned. The art by Sara Pichelli was knockout; a touch of Kevin Maguire in the facial expressions, some Brian Bolland in the refined linework. (Yes, she’s keeping that kind of company.) I was still left with a slight, nagging feeling of “having your cake and eating it too” by the whole concept. But when that concept gives rise to a series this good, my reservations (unlike this book, as it turned out) were pointless.

Spider-Men #5 Cover

Scott Carney: Yeah: I agree.  I, too, was lulled into a sense of “Who shoots a web?” about this series.  I jumped into it for a pair of reasons: the creative team–as you’ve said–is top-notch; and wouldn’t you know, I’m kind of caught up in Miles, clearly the most compelling character kicking around any of the Marvel universes.  After the first couple of issues, I wasn’t very impressed.  To be honest, I stuck with it only because it was a five-issue run.  And I’m glad I did: as I’ve described at length in a “Scottlight on” post, I absolutely loved #4.  Oh, I could’ve called it quits there, at the highest of highs, but there was only one chapter left; so I picked up #5 with amazingly low expectations.  And, as one might–and as I did–imagine, those expectations were met–until the end, of course.  What a final page!  Peter’s searching for Miles on the–ahem–World Wide Web–is pitch perfect and honest.  Plus, I think Bendis is making the ultimate statement here: that even Peter Parker–the Marvel hero–is interested, just as much as we are, in Miles Morales, the spiderling who would replace him, more or less.

DM: Which brings us to Miles’ regular book Ultimate Spider-Man #15. As mentioned above, Bendis has more than justified the decision to kill off Ultimate Peter by crafting such a refreshing character in Miles. This book shines when it concentrates on its young protagonist’s private life; his interactions with his best friend (the irrepressible Ganke), his chilling interactions with his murderous uncle (quite a change from Ben!) and especially the ever-growing complexity of his relationship with his father. In Miles’ Dad, Bendis has created a character that is completely decent, full of integrity, and utterly fallible. (It’s a shame that Mom is still a bit of a cipher). The interactions between father and son have been the highlights of the series. Methinks tragedy lies ahead, and not the simple kind caused by burglar’s bullet. Paradoxically, the least compelling scenes are the ones with Spider-Man. The wisecracks seem to have come too easily to Miles and make it difficult to discern any difference between him and Peter Parker, at least when he’s in costume. So if I have on a quibble here, it’s that developments from the “UNITED WE STAND” crossover (there it is, stamped right on the cover, see?!) seem to be pushing the book in a direction of less Miles, more Spider-Man. Hopefully I’m wrong. (Crossovers. Ugh.)

SC: I feel your pain when it comes to crossovers.  I think it’s time to look at any “stamp” or banner or threat of a crossover or tie-in as a sign–a desperate warning sign, like, I don’t know, Bridge Out.

In terms of USM #15, I couldn’t have said it any better.  The book itself is better when Miles is just plain Miles–and when he bands together with his super-free coterie–Ganke and the family–to take on the wicked, and infinitely patient, antagonist Adolescence.  I mean, come on: Ganke’s premature discharge (art by the solid David Marquez)–with Peter’s web shooters in hand–is a all-too-relatable teenage tragedy that calls down the comedy with every web cast toward the ceiling.  With a chunk of ceiling dangling from a strand in his hand, Miles admits, “I gotta have my webs”; but he’s had plenty from the get-go, including the stickiest one–how his dad feels about Spider-Man–which plays out here some, but to no great effect.  Speaking of no great effect: if Spider-Men #5 has a perfect ending, this one has, well, not that.

DM: As good as USM has been, Marvel’s best book (with the Eisners to prove it!) has been Daredevil. Mark Waid has infused, not only the character, but the entire series with personality and style to spare. In this he’s been abetted by some stellar artists including Chris Samnee this issue (Waid and Samnee are quickly becoming the new team supreme – check out Rocketeer: Cargo of Doom). Issue 18 though, is a bit of a letdown. What bothers me, I think, is the shift in tone. Waid’s run has distinguished itself (mostly) from DD’s usual morose proceedings by injecting a good dose of healthy, swashbuckling fun. The somewhat forced conflict between Matt and Foggy in this issue, and now the re-introduction of a tragic character from the ol’ gloom-and-doom, pre-Waid days, is threatening to let the air out, sending DD back into the deep, dank basement from which he so recently escaped. Ah well, Samnee’s art, as I said, is fantastic, with the best bits having to do with DD riding up and down an elevator.

SC: OK, so, I think I know what you’re saying without your saying it outright.  Hidden there in your pristine prose is exactly how I felt about this issue, too: it’s boring.  Like you, I didn’t buy the B.S. rift between Matt and Foggy as it was “developed” in #17, and I certainly am not reaching into my pocket this time around–except, obviously, to pay for the book.  I will say that my spirit was lifted as I turned to page 8, which is where I found Matt and Kirsten, thank God, outside of Matt’s apartment.  Their conversation–two panels’ worth, anyway—whisked me back to the wonderful DD #12; unfortunately, I wasn’t left there very long.  I’m blindly banking on the fact that this issue is a transition into something decidedly more daring and devilish.  If it’s not, I’m going to be darned disappointed.  Despite my display of displeasure, I assure you that I’m not down on the artwork.  Samnee is one of my favorites right now, and I’m happy to see him back here, no matter how dank this month’s delivery may be.

DM: Speaking of dank places: Batwoman #0. The story by J.H. Williams III and W. Haden Blackman is wildly uneven. It further explores our hero’s origin and begins with some quite insightful, sensitive reminiscences of her sister and especially her father. This section fleshes out her character’s past motivations while exploring her bond with her father (lots of Daddy issues – get it? issues? – this week!) We then get an extended Kate-in-training montage. Here the writing goes from heartfelt and specific to numbing and cliche’.  This is followed by an elaborate exercise in cruelty that, it turns out, was a final test of her readiness set up by – SPOILER ALERT! – her father. First problem – this reads like a second-rate version of Evey Hammond’s transformation in V for Vendetta (right down to Guy Fawkes-like devil mask that dad is sporting). If this reference is intentional, it’s a mistake. You shouldn’t highlight a work that is superior to yours; it can only suffer by comparison. (Do you hear me Jeff Lemire on Animal Man? Leave Grant Morrison’s run alone! – ahem.) The second, and larger problem, as far as this book goes – the premeditated masochism of the plan not only runs counter to what we’ve seen earlier in this very issue, it defies everything we know about her father’s character dating back to Greg Rucka’s original, excellent conception. To say his actions are out of character is an understatement. It reads like a friggin’ supervillain origin. The ending however, is a partial return to sanity, and William’s art, it must always be said, is just gorgeous. He employs the same David Mazzucchelli-inspired style he used for the flashbacks during Rucka’s run, and he nails it. He can pretty much just do anything, art-wise. Take page 13 – he utilizes both the simpler flashback style and his more lush, rendered technique in the same splash page. The visual tension between the two is a show-stopper.

SC: Without question: Williams III’s art is the thing here.  But even though his shift in style provides an unexpected and equally as stunning anchor for the pieces of the past, I found myself still somewhat lost in the origin story–and not in a good way.  I may as well have been blindfolded like Kate when she first became involved with the “Murder of Crows.”  What I was reading, for the most part, meant nothing to me.  Could’ve been the Perez-esque (circa New 52 Superman) wordiness of the captions, or the layout of the captions, which was unnecessarily awkward at times; in fact, the gorgeous splash to which you referred is marred only by an almost unreadable caption–red writing on a gray background–to the left of the beautifully rendered Batman.  I had to tilt and turn the book; I had to move into the light and out of it again in order to follow the damn narration!  That’s unacceptable!  It’s something I’d expect from a Marvel book, for goodness sake!  I don’t know.  It could’ve been–as you stated–that the story of how she came to be a hero is an all too familiar one.  Hey, it happens–unless, of course, you’re Azzarello on Wonder Woman #0.

DM: You hit the nail on the head.  With Wonder Woman #0, we have a writer in full command of his craft; not surprising when that writer is Brian Azzarello. Check out how he effortlessly establishes theme and tone on just the first page: We see a pubescent Diana climbing to reach a giant egg while the accompanying caption box announces: “The monthly monster strikes again!” This ostensibly refers to comic book deadlines (wink, wink) but offers, of course delicious counterpoint to the image. We are then informed of the conceit that this is a reprint of that classic (apocryphal) series, “All-Girl Adventure Tales for Men”! So there you have it: a tongue-in-cheek, coming of age tale tackling gender issues through the retro paternalistic tone of a comic of yesteryear. Again, that’s just the first page! This is simply writing on another level. (Cliff Chiang’s art complements the tone with bombastic panel compositions, though perhaps not the retro style that the story seems to call for. Oh well, we can’t all be J.H. Williams.) So, young Diana manages to steal the egg from a shrieking harpy (‘natch!) in order bake a cake (‘natch!) for her birthday. After an altercation with one of her Amazon sisters, she runs off feeling misunderstood and isolated (that common teenage malady) She even asks, weeping, (in a panel worthy of Lichtenstein) “Why must I be different?” A god suddenly appears proclaiming in most manly fashion “I be blood! I be iron! I be guts! I be WAR!” (That he does so while wearing what appears to be an outfit from an S&M flick just adds to the fun.) He offers to train her to be the world’s greatest warrior, once a month, under the full moon (‘NATCH!) By now you may be thinking, “Gender issues? Old-fashioned dialogue? S&M outfits?! Maybe I’ll steer clear of this one…” But NO! Here there be battle! Here there be the Minotaur! And despite the inherent irony in the writing, here there be…pathos. As Diana, in the end, must defy her bloodthirsty trainer, Azzarello defines, with utmost sincerity, the essence of his rendition of Wonder Woman: not her strength, not her prowess in battle, but her compassion, her mercy, her love. That he ties this in implicitly with her womanhood might seem, itself, paternalistic, even condescending. I call it revelatory.

SC: I found Wonder Woman #0 to be a clever combination of a writing style that is clearly aware of itself and a retro art style that proudly profits from its roots.  Overall, I liked it a lot, perhaps more than USM.  I particularly liked the relationship between Diana and Ares, despite its being one we’ve seen a thousand times.  Every panel in which we find them together reflects their powerful connection–until, of course, on page 27, when Ares lets Diana have it after she defies him.  That connection, however, is never actually severed: the Minotaur is obviously a doppelganger for Ares.  (Check out the final panel of page 21 and the first panel of page 26.  How about the last two panels of page 27?  Accidents?  I think not.)  And, in that, it’s clear that Diana, in being merciful, has passed Ares’ test after all.  Ah, the “Merry Men” have done it again–even if it is for the first time.

DM: Another book conjuring impressive literary tricks is Courtney Crumrin #5. This issue takes some time to explore the Crumrin ancestral tree. It does this by employing a story-within-a-story-within-a-story; no mean feat and Ted Naifeh pulls it off with aplomb. With its mixture of folklore and personal history, it put me in the mind of some of Neil Gaiman’s  work, especially the great Sandman (though less subtle, and perhaps not quite as precious). The atmospheric artwork; some Kevin Nowlan influence I think, with just a dash of P. Craig Russell (though I hate the way Naifeh draws hands). If the writing lacks some of its usual irreverent buoyancy, it’s only because the title character takes a necessary back seat this issue. So all in all, another impressive effort in a title that is YA in name only.

Moving further down the age bracket, we have Peanuts #2 from kaboom!, BOOM’s excellent all-kids imprint. I have mixed feelings about the existence of this series. Should the exploits of Charlie Brown et al., be understood as highly individual vehicles of personal expression for their creator, the master, Charles Schulz? Or do they, like Disney characters, now belong to the world, necessitating new stories for a new generation of readers? It’s a matter for legitimate debate. But it makes it harder to complain when the stories (by Alexis E. Farjado, Shane Houghton, Vicki Scott, Bob Scott, Mike DeCarlo and Paige Braddock) are as charming as they are in this issue.

And now, returning to the aforementioned goodbyes, Merciless: The Rise of Ming #4 (by Scott Beatty and Ron Adrian) brings the Flash Gordon spinoff to a close (sidebar – I get annoyed when limited series like this aren’t explicitly advertised as such. I had no idea this was the last issue. Maybe it was mentioned in Previews or elsewhere, but it should be right on the front cover. Perhaps not listing it allows for some editorial wiggle room if something is a hit, or not, but as a customer I like to know what I’m getting into (grumbled the old man)). While I do think more of his depraved rise to the top could have been explored, it was still great fun watching Ming go from backstabbing prince to Despot of the Universe through sheer ambition, callousness and relentless force of will. A true Randian hero.

And finally Snarked! #12 (another unexpected last issue, grumble grumble!). This well-deserved Eisner-Award winning series represents comics at their most exciting; idiosyncratic work by a cartoonist (the inimitable Roger Langridge) at the height of his powers, putting them in the service of a singular, fantastic vision. In this case that vision is a heady brew of Lewis Carroll, W.C Fields, Laurel and Hardy, the Fleischer Bros., Segar’s Popeye, and…and I don’t know what else. This book had it all: high adventure, slapstick comedy, classic art and undeniable heart. If, over the course of twelve issues, some of the comedic bits fell a little flat, it’s only because Langridge’s previous work set the bar so high (What? You haven’t read Fred the Clown, equal parts Charlie Chaplin and Monty Python? One of the funniest comics ever. Get it. Get it now. And while you’re at it, pick up his current Popeye series by IDW. And, oh, just get anything with his name on it!) The final issue of this crown jewel of the aforementioned kaboom! imprint provides a fitting close to the yarn, full of suspense, laughs and a lump in the throat (who knew the sentence “I like bananas.” could be so touching?) In a comic strip afterword, the lead character Wilburforce J. Walrus states that you should always leave them wanting more. Mission accomplished. Book of the Week. Well done sir, and good night.

Share this:

  • Click to share on Twitter (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Tumblr (Opens in new window)
  • Click to share on Reddit (Opens in new window)
  • Click to email this to a friend (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

In Scott’s Bag (9/19)

20 Thursday Sep 2012

Posted by ScottNerd in I&N Scott's Bag

≈ Leave a comment

Tags

bag, Batwoman, Brian Michael Bendis, Charles M. Schulz, Chris Samnee, Cliff Chiang, comics, Dare, J.H. Williams III, Mark Waid, Peanuts, Spider-Men, The Ultimates, Ultimate Spider-Man, Wednesday, Wonder Woman

A rare week: I picked more books off the shelf than I had in my bag.

100% Pulled

  • Wonder Woman #0 (Love the retro look from Cliff Chiang!)
  • Ultimate Spider-Man #15 (Quick flip: mostly Miles out of uniform.  Probably means it’s going to be Bendis at his best.)
  • Daredevil #18 (Owoooooooooooooooooooo!  Chris Samnee’s back!)

100% Picked

  • Batwoman #0 (Mr. Williams III promised us that “[i]t’ll read unlike any previous chapter of Batwoman so far.”  Gave it a little look-see.  I was not expecting a shift in style like that!  Can’t wait to read it.)
  • Spider-Men #5
  • The Ultimates #15 (You heard about it in the news, too, right?  Ugh.  I’m a sucker.  There’s no way around it.  Question is: will I read it or will I just bag it?)

Baby Girl’s Pick of the Week

Peanuts Vol. 2 #1 Cover

  • Peanuts #1 (Last month’s, but we couldn’t pass it up–especially after watching the surfers out at Montauk on Sunday afternoon.)

Looks like a solid week.  Just wish I had some time in my bag, too.

What did you get in your bag today?

Turning pages,

Scott

Share this:

  • Click to share on Twitter (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Tumblr (Opens in new window)
  • Click to share on Reddit (Opens in new window)
  • Click to email this to a friend (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

The Nerds

  • dmainhart
  • ScottNerd

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 1,149 other followers

An Amazing Comic Shop

Wiggle Room

It's just the beginning...

Tag Salad!

Ales Kot All-New X-Men Animal Man Archer & Armstrong Avatar Batman Batwoman Bloodshot BOOM! Brian Azzarello Brian K. Vaughan Brian Michael Bendis Brian Wood China Mieville Chris Bachalo Chris Samnee Clone comics Cullen Bunn Daredevil Dark Horse DC DC Comics Dial H Dynamite Dynamite Entertainment Ed Brubaker Fatale Fiona Staples Fred Van Lente Garth Ennis Goran Parlov Grant Morrison Greg Rucka Harbinger IDW Image Image Comics J.H. Williams III J. Michael Straczynski Jason Aaron Jeff Lemire Jonathan Hickman Jordie Bellaire Joshua Dysart Kevin Eastman Kieron Gillen Kurt Busiek Lazarus Mark Waid Marvel Matt Fraction Matt Kindt Mike Allred Mind MGMT Nick Spencer Oni Press Rachel Rising Robert Venditti Saga Scott Snyder Sean Phillips Swamp Thing Teenage Mutant Ninja Turtles Terry Moore The Massive Titan Uber Ultimate Spider-Man Uncanny X-Men Valiant Vertigo Wonder Woman X-O Manowar zero

Archives

  • March 2022
  • February 2022
  • December 2021
  • August 2020
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • August 2017
  • September 2016
  • August 2016
  • July 2016
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013
  • November 2013
  • October 2013
  • September 2013
  • August 2013
  • July 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • February 2013
  • January 2013
  • December 2012
  • November 2012
  • October 2012
  • September 2012
  • August 2012

Features

  • 22 I&N 22
  • 5 Comics You Should Be Reading
  • Back and Forth
  • Derekommendations
  • I&N Print
  • I&N Review
  • I&N Scott's Bag
  • I&N Store
  • I&N the Gutter…
  • I&N's Top Ten
  • I&Nsight
  • I&Nterview
  • Innie Awards
  • Microviews
  • Scottlight on…
  • Superhero Friday!
  • Top 5 Books of the Month
  • Uncategorized
  • What's I&N Store?

Recent Posts

  • The Best Comics You’re Not Reading
  • Pick of the Week
  • Best Comics of 2021
  • Worth Your Time
  • I&N Store 11/7

Real Nerdy Stuff

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Twitter Updates

  • Derek opens the Vault: comics you should be reading: #RadioApocalypse, #DarkInterlude, & #TheRush! @thevaultcomics… twitter.com/i/web/status/1… 2 months ago
Follow @imagesandnerds

Top 3 Posts & Pages

  • The Best Comics You're Not Reading
  • Pick of the Week
  • Best Comics of 2021

Finders Keepers

Create a free website or blog at WordPress.com.

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Follow Following
    • Images and Nerds
    • Join 1,149 other followers
    • Already have a WordPress.com account? Log in now.
    • Images and Nerds
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...
 

    loading Cancel
    Post was not sent - check your email addresses!
    Email check failed, please try again
    Sorry, your blog cannot share posts by email.
    %d bloggers like this: