Tag Archives: Saga

Back & Forth: Gorilla/War

04 Thursday Jul 2013

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Derek Mainhart: One of the things about the current comics landscape that we here at I&N are really excited about is the sheer variety of material being produced: comedy, drama, memoir, romance, crime, horror, etc. I’ve said it before: if you can’t find something that appeals to you, it’s because you aren’t looking. Having said that, given the reality of the world since 2001, it’s perhaps surprising that there’s been a relative dearth of one particular genre: war comics. So, as we celebrate the birth of our nation, we thought it appropriate to revisit this neglected corner of the comics store.

The heyday of war comics naturally began with WWII. Captain America famously punched Hitler in the face. The heroic exploits of our men in uniform filled the pages of titles like Fightin’ Marines and Sgt. Fury and his Howling Commandos (that’s right; long before Samuel Jackson’s ultra-cool portrayal of the man at the helm of flying CGI aircraft carrier, Nick Fury was a regular-army fightin’ grunt.) Through the ’50s and ’60s newsstands were replete with tales of grit, patriotism and sacrifice. Their popularity waned however to the point that in the ’70s the most notable war book was almost unrecognizable as such: Weird War Tales (emphasis on the Weird). It was perhaps inevitable that the genre should fade under the shadow of Vietnam. It is somewhat ironic then that the one significant war comic of the ’80s was The ‘Nam. Doug Murray’s fictionalized account of the Vietnam War, drawn partially from his own experiences, was remarkable both for the way it tackled its difficult subject matter as well as for being published by a mainstream publisher like Marvel, of all places. Lately, as we’ve previously noted, Garth Ennis seems to be single-handedly reviving the genre with his superlative Battlefields series, as well as his surprising Fury: My War Gone By, in which he brings the aforementioned Nick Fury back to his combat roots and then proceeds to make him witness and participant to the litany of American military misdeeds following “the good war”.

Well, happily, if this week’s books are any indication, Ennis has some company in the trenches:

We begin, not surprisingly, in WWII, our most eulogized of conflicts, where the lines of good and evil were, it seems, so clearly delineated. This contrast is literally, beautifully rendered in black and white in Breath of Bones: A Tale of the Golem #1 (Dark Horse) by Steve Niles and Dave Wachter.

Breath of Bones: A Tale of the Golem #1

Breath of Bones: A Tale of the Golem #1

Scott Carney: Yeah, the storytelling here is a cut above.  The aforementioned pair–and it’s a magical pair, indeed–harvests horror and hope in an temperately-paced issue that plays out as a promise: evil will get its comeuppance.  Noah and his grandfather–generational bookends–are another magical pair, one that personifies the perpetual struggle between wonder and wisdom, which plays out tenderly–affected by the soft lines Wachter employs throughout, especially to craft the grandfather’s expressive countenance–during the debate over what to do with the downed RAF pilot and as the grandfather entrusts the means to salvation to his grandson with an aphorism that teaches the boy a grim reality: “sometimes it takes monsters to stop monsters.”

DM: Niles, best known for clever, over-the-top horror fare such as 30 Days of Night and Criminal Macabre, here displays a more heartfelt touch, especially, as you mention, in the boy’s relationship with his grandfather, but also in his stoic denial, and then acceptance, of his father’s fate. This is echoed by the quiet dread of a village that fears it is doomed by the encroaching forces of war – a fear that, sadly, always has currency, somewhere in the world. And Wacher’s truly remarkable art recalls not only the great Will Eisner’s later work, but even work from further afield – dare I mention Noel Sickles?

SC: While The Manhattan Projects (Image) delivers a tender turn in issue #11, in #12 masterminds Jonathan Hickman and Nick Pitarra return tender to sender and unleash the monster–the one that has been exploiting Enrico Fermi’s identity all this time in order observe humanity–particularly to discover its capabilities as it pertains to some “out of this world things.”

The Manhattan Projects #12

The Manhattan Projects #12

Throughout the book, we’re treated to “drone” Enrico’s backstory, which, outside of how he came to be, clues us into the “other side” of scenes we’ve already encountered; I particularly enjoyed the flashback decked out with a dialogue overlay, which adds a dimension to the drama that unfolded during the scout team’s assault on the Siill, as initially seen in issue #5.  (For those keeping score: a similar strategy was recently employed–effectively so–by Brian Michael Bendis in a mini-crossover of sorts between All-New X-Men #10 and Uncanny X-Men #4.)  As the tragic tale of Enrico Fermi comes to a close, it’s worth noting that, despite the drone’s programmed prerogative, there remains a hint of humanity in the monster; but all the apologies in the world cannot save it from the monster meant to mete out final justice in this instance: a marvelously maniacal Einstein with a chainsaw cleverly tagged with E=MC^2.  My goodness!  Has the Cold War ever been any hotter than this?

Thumbprint #1 (IDW), based on Joe Hill’s novella of the same name and brought to the page by Jason Ciaramella and Vic Malhotra, is a well wrought thriller that exploits the more recent and far more politically polarizing Iraq War–specifically the moral suicide that was Abu Ghraib–as a backdrop for one vet’s struggle to reacclimate herself to her far less complicated life in New York, where the problems she’s facing are almost farcical considering what she dealt with and what she did in the infamous prison.  Yeah, it’s all par for the course for someone in her situation, really–until she receives by mysterious means a couple of thumbprints: one that triggers a flashback of a routine “soften[ing] up” of a prisoner at Abu Ghriab and another that really seems to soften her up a bit.

DM: Hill, who’s already proven his horror chops in comics (Locke and Key) and prose (Heart Shaped Box) here combines both worlds via an excellent adaptation by Ciaramelia and Malhotra. He’s taken the horror trope of the single, isolated damsel in distress and successfully turned it on its head; readers’ natural predisposition to root for her are tempered, if not wholly undercut, by the knowledge of her wartime actions. She may very well deserve whatever’s coming to her! Talk about “sometimes it takes monsters to stop monsters”!

SC: She responds to this faceless intimidation by carelessly casting threats to the wind–threats that she may very well be able to back up with the gun she’s got; I mean, she handles herself well enough with the all-too-handy John Perry, right?  But it’s clear: her bluster belies her vulnerability; it screams she’s scared.  Hell, after that last page, I know I am!

Thumbprint #1

Thumbprint #1

SC: But as good as those books are–and they’re really good–not a one can stand up to Six-Gun Gorilla #1 (BOOM!).  I’d be lying if I said I expected that to be the case.  I pretty much picked it up because of its being a #1 and, well, yeah, that and because of the promise of the title; I mean, let’s be honest, great apes and guns are the Reese’s of comics.  Yes, the prospect of some sort of shenanigans starring a side-armed simian guided my first few page turns.  But I found myself going bananas over one primate-free panel after another; and in that, it became clear: killa gorilla or no, this book is as fun as a bored-out barrel full of monkeys!

DM: The whirling dervish of a plot, from the mind of Simon Spurrier, involves a soldier, known only as “the Librarian,” who’s volunteered for a suicide mission on a faraway desolate planet. The Deal? He and the other members of his unit have been promised a big pay-out to their loved ones back on earth if and when they die in battle. The Twist? (SPOILER ALERT!)  They’re not fighting for freedom, national defense or any other noble cause; the entire enterprise is being broadcast back home as a reality show, with all the demographic pandering and ad revenue that implies. That’s right, they’re dying for ratings. Now that’s a 21st century war! Spurrier’s story, with its multilayered mishmash of wartime violence, science-fiction conceit, and sharp-eyed satire brings to mind some of Kurt Vonnegut’s work. But thanks to Jeff Stokley’s expansive art, it’s Vonnegut as stylistically filtered through Steven Spielberg in army mode (a chaotic early sequence recalling the opening of Saving Private Ryan) and the desolation of Sergio Leone’s spaghetti westerns. The Result? The most promising sci-fi opening these eyes have seen since Saga. And I haven’t even mentioned that damn, dirty ape…Book of the Week.

Sixth-Gun Gorilla #1

Sixth-Gun Gorilla #1

You’ll have to pry this comic out of our cold, dead hands,

Scott & Derek

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

09 Sunday Jun 2013

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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

Top 5 Books of April

07 Tuesday May 2013

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5. Mind MGMT #10 (Dark Horse): Matt Kindt manages the impossible–with a twist of Lyme.  His artwork is incomparably kinetic.  His use of the margins–especially in the first half of this issue–is brilliantly thoughtful.  He is in total control: every mark on the page serves its master and, in that, is played “for the greater good.”  Nothing is left to chance, even as Meru rolls the dice in order to undo Duncan’s predictable advantage.  Sure, Mind MGMT has been solid of late; and for most titles that’d be a label to celebrate.  But for this book, solid is pretty much a euphemism for I expected more.  With #10, however, Dark Horse’s thoroughbred leaves a rather pedestrian solid in the dust and sprints toward utterly transcendent as it most assuredly must. (SC)

Mind MGMT #10

Mind MGMT #10

4. Adventure Time # 15 (kaboom!): Far from being a mere comic simulacrum of Pendleton Ward’s lauded TV series, this title has emerged as a monthly laboratory of formalistic innovation. Wry self-commentary, plots that collapse inwards, playing with the comic book format itself; one truly never knows what to expect. The semiotic experimentation in this particular issue does have precedent (specifically in Andy Runton’s adorable Owly) but, man, do Ryan North, Shelli Paroline, Braden Lamb and (series letterer) Steve Wands run with it! (DM)

Adventure Time #15

3. Saga #12 (Image): Rocking out with its whatchamacallit out–in more ways than one.  I mean, sure, there’s a one-eyed monster that Prince Robot IV jerks around for most of the issue; but that monster is D. Oswald Heist, author of the inflammatory “piece of s—” A Nighttime Smoke, which, Prince suspects, had a page in bringing Alana and Marko together.  All the talk leading up to this in-your-face–and cleverly self-aware–release, by the sagacious Brian K. Vaughn and the sagalicious Fiona Staples, probably “only boost[ed its] sales,” and left everyone thinking of this terrific treatise on the weight of images and words. (SC)

Saga #12

Saga #12

2. Fury: My War Gone By #11 (Marvel Max):  Garth Ennis’ revisionist examination of Marvel’s famous super-spy is the best exploration of the intersection of pop culture and real-world violence since Joshua Dysart’s late, lamented Unknown Soldier. Or is it exploitation? By removing the title character from his familiar milieu of superheroes and inserting him into some of the darkest corners of American military history, the story inherently raises questions about the boundaries between tragedy and entertainment (in much the way the recent Zero Dark Thirty did). Ennis navigates this terrain (illustrated with appropriate ruthlessness by Goran Parlov) partially by taking the core of the character – grizzled war hero – at his word. To his credit, as he shines a light on the all-too-real atrocities committed in the name of God and Country (as in the last, devastating panel in the book) neither Nick nor Ennis look away. (DM)

Fury: My War Gone By #11

Fury: My War Gone By #11

1. The Manhattan Projects #11 (Image): Then: I held The Manhattan Projects #1 in my hands.  Hmm.  Hickman?  Thumbed through.  Art: Pitarra?  Who?  Seemed, I don’t know, shaky.  Said to self, No, as I returned it to the shelf, so…  Now: Two trades and a single issue in, I’m completely sold on the project–particularly on the twists, both brutal and risible.  This issue, “Building,” while not as tied to the twist as previous issues, is a masterclass in storytelling on par with what Vaughn and Staples have been constructing over on Saga.  Hickman, Pitarra, and Bellaire–whose colors are indispensable in the development of the narrative–balance the past and present with remarkable ease; and, in doing so, they build the relationship between Enrico and Harry in such a heartwarming manner that it’d take exposure to plutonium to warm the heart any more.  Also at play here is the Cold War between the simple and the complex, highlighted by Enrico and Harry’s initial conversation–which culminates in a sweetly incomplex “I just wanted some ice cream”– and then hammered home by the juxtaposition of Oppenheimer’s three–“I think he means…four!”–terribly complicated plans for conquering the heavens and the natural simplicity of being someone’s friend.  As close to perfect as can be. (SC)

The Manhattan Projects #11

The Manhattan Projects #11

The Biggest Dis(appointment): Jupiter’s Legacy #1 (Image). The title, which manages to be both portentous and pretentious, pretty much sums up the whole book. The latest entry in Mark Millar’s self-christened Millarworld, this books seems like a stab at seriousness after the bawdiness of Kick-Ass and Secret Service (both coming soon to a theatre near you!) The set-up: the larger-than-life heroes of yesteryear now have children who are forced to exist in their sizable shadow. This is a theme that has been explored, at different levels, in such books as Infinity Inc., Runaways, hell, even Watchmen. But so what? Any concept is only as strong as what the writer bring to it. No, what really rankles here is how the characters feel the need to immediately announce their motivation, instead of having it arise naturally from the narrative. The elders, bearing a strong resemblance to the Justice Society of America, go on and on about the meaning of the American Dream. They debate their place in a democratic society: should they be servants to the will of the people, or should they be running the show? (yes, that old chestnut) They exist only as avatars of differing opinion. Pres. Obama is even name-dropped in an eye-rolling attempt at real-world relevance. The ungrateful youngsters, meanwhile, whine about the pressures of their privileged existence, whilst knee-deep in sex, drugs and publicists, natch (ooh, edgy!) The forced dialogue even seeps into the incidental characters, as when one proclaims of the elder group “Well, there’s no denying you’re a colorful bunch and you’ve certainly piqued my curiosity here.” This is in the first panel of the second page – before we’ve gotten to know any of them! It’s as though he’s stating what Millar wants the reader to think. Well, I’m sorry, but this colorful bunch has piqued in me only the regret of being separated from my $2.99. (DM)

Jupiter’s Legacy #1

So what made your list?

Turning Pages,

Scott & Derek

Microviews: Viewer Discretion Advised

27 Saturday Apr 2013

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Saga #12: Well, wouldn’t you know, some silly willy–some sucker–rolled out the red carpet of controversy for this issue–and Prince Robot IV relishes the impromptu marketing moment: he stomps fiercely: from his blog-busting fantasy-in-a-dream sequence, which jerks things–I mean, kicks things–off, to his arrogantly ironic prediction.  (Phew, that’s a mouthful!)  The glorious Inglorious Basterds comes to mind as the Prince works over Heist, a principled cyclops, an author who is more than meets the eye and the screen: he’s Vaughn, telling it like it is, isn’t he?  And how about the final page?  Getting there was a treat, even if the turn was as expected as a sunset.  While not as remarkable as #11, this issue still stands as an example of what Vaughn and Staples are capable of: uncompromisingly taut storytelling that swallows certain homogeneous conventions while spitting out a fabulously fresh narrative.  I’m not ashamed to say I raced out to buy this book; nor am I ashamed to say its clearly Book of the Week.

Saga #12

Saga #12

Sex #2: After a month-long refractory period, Joe Casey’s Sex returns without a bang.  It’s no surprise, really: Casey’s erecting something here, and it’s apparent that he’s going to take his time; I mean, why wouldn’t he, right?  (Makes this whole exercise–two issues in, at least–a tad more masturbatory than congressional, no?)  Problem is, seems as if Casey’s going to take more time than I’m willing to endure.  And the Batman analog?  The Millaresque villain?  Turn offs each.  Overall, the darn thing doesn’t come off as sex at all.  Let’s be honest: there’s nothing particularly penetrating here; hell, the story’s about as sexy as Kubrick’s castratingly antierotic Eyes Wide Shut.  It’s not even foreplay, for goodness sake.  If anything, it’s flirting–uncomfortable, unrequited flirting. So, to save myself from possible–more so, probable–regret, I’m going to do the responsible thing: I’m going to say, flatly and forcefully, “No!” to Mr. Casey–I’m going to pass on issue #3.

Batman and Red Robin #19: OK, so, I bought the book primarily to see what Peter Tomasi was going to do with Carrie Kelley, she of DK2 fame–or infamy, which is more like it, I suppose.  Yes: this is further evidence of what I’ve become: I’m a shameless comic book john, looking for cheap thrills under colorful covers every Wednesday afternoon.  Well, as it turns out, the insinuation of the Frank Miller creation was more novelty than anything else: her wearing the Robin costume–in the context of a superhero-themed costume party–was equal parts fun and frivolous, leaving me with the smile of one who knows he’s been worked over.  As it turns, however, that story–as unsubstantial as it may be–acts eagerly as a matted frame for another, much more vital and relevant story–an adventure, for sure–in which Batman goes Batmad.  Tomasi has taken the tack, has made the wise choice, of having Batman become a darker knight in response to Grant Morrison’s unflinchingly fatal and much ballyhooed move over on Batman Incorporated, one that immediately placed Scott Snyder–the crowned king of the colony of Bat books–and his impotent gesture (see: “Death of the Family”) in checkmate.  This Batman is focused; he’s desperate: he’s “a man racked with pain [looking] for light in a world gone dark”; and he does so by, quite literally, tearing an ally apart at the seams.  Poor Frankenstein!  Now, it’s true: Batman promises Red Robin that he has “every intention of putting [the monster] back together”; but that isn’t nearly enough of a salve to heal over the image of Batman as Dr. Mengele using violent science to, in this case, “find a way to bring Robin back.”  That’s right: this isn’t Snyder’s brooding Batman–one who, in Batman #19, seems like a calculated and arrogant protest against Morrison’s competing plot line; this is a father–an understandably rabid Batman–who’ll do anything for his son.  And this is a comic that cannot be judged by its gimmicky cover alone: it has to be held to the ear in order to hear the fierce beat of its broken heart.  Hold it closely enough and you just might hear your own heart keeping the same fractured time.

Batman and Red Robin #19

Batman and Red Robin #19

Turning pages,

Scott


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

14 Sunday Apr 2013

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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

Microviews: Playing Catch Up

07 Sunday Apr 2013

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I’m up to date with my reading.  Writing-wise, as you’re about to discover, I’m a bit behind; but I couldn’t let these books slip by without a word or two.

Saga #11: Opened it up and said, “Hello”–not like “Hello, hi, howya doin’?” but more like “Hell-oh!” in response to yet another remarkable salutation–a tantalizing and titillating page one–from Vaughn and Staples, one in which we find Marko and Alana coming together in a coital splash, followed by a delightfully daring debate that glows like an after-sex cigarette.  That scene is cleverly coupled with The Will’s wordless yet startlingly intimate retrieval of Lying Cat, made possible only by the bounty hunter’s discharging of a decidedly phallic device.  That bit of brilliant storytelling from the book’s creators is humbled, however, by the burden taken on by Barr, Marko’s father.  Be honest: have you ever believed a character more than you believed Barr when he tells Alana, “I’ll hold us together”?  You know that rare rush you get from an unexpected brush with beauty?  Yeah, got that–and more: I mean, have you ever hurt as much as when Barr passes on while peering into Hazel’s “peepers”?  Have you ever tasted as bittersweet a morsel as when Marko manages a magical father-son memory, one cleverly conveyed in two languages, including one we all understand: the language of love?  And for good measure, older Hazel’s commentary ties it all together with a gentle tug or two on our heartstrings–with a final line for the ages.  Truly inspiring work.

Saga #11

Saga #11

My?tery Society Special 2013: Frivolous fun!  Steve Niles and Andrew Ritchie bring together mystery and monsters and, in doing so, deliver the goods and the chivalrous evil, particularly in the form of the gentlemanly Dracula, who steals the show even as he not so surprisingly fails to show up in the book’s final gag: a vampire-free group photo.  Niles’ immaculate timing sells the decidedly dessicated humor, which helps to keep the confidently-wielded familiar–which reminds us of our favorite stories, be they bound to page or screen–as fresh as an undead daisy.  I welcomed the whiff of Frankenstein, “however brief it was”; see, I’ve been in a wicked state of withdrawal since the demise of the fantastic Frankenstein: Agent of S.H.A.D.E. and since I dropped the disappointing JLD–so I’ll take what I can get!

My?tery Society

My?tery Society Special 2013

Five Ghosts #1: Overreaching and underwhelming.  Frank Barbiere throws a lot at us in this first issue of a five-issue mini.  He kicks things off well enough by introducing us to Fabian Gray, an Indiana Jones-type–almost necessarily kicking Nazi ass–blessed and cursed with an assortment of skills derived from five literary archetypes, not entirely unlike Captain Marvel, who too derives his powers from a pantheon of legendary figures.  This one-man League of Extraordinary Gentlemen has some “unfinished business” of a personal nature that he harps on, and then he eventually–after some more harping and an evil-spirited interlude or two–hops on a plane to Africa, where things don’t turn out so well for him–or for us, if I’m being honest.  Africa?  Really?  Already?  Sebastian says it best: “I’m guessing that means something bad.”  What’s not so bad about the book?  Chris Mooneyham’s art is, in and of itself, fine; however, he’s hamstrung a bit by Barbiere’s ridiculously fast pace; and, as a result, too often he’s unable to bring the requisite energy to the page.  Overall, looks like Barbiere is shooting for novel-level complexity to suit the allusions at the center of his concept.  Unfortunately, the result is a few frayed narrative threads.  Will I pick up #2?  I’m thinkin’ it’ll be a comicday decision.  At the rate I’m shedding books, odds are good this’ll sneak its way back into my bag.  And then if I’m two-deep into the series, you know I’ll run it out till the end.  (That’s my blessing-slash-curse.)  Here’s to hoping these two fellas find their groove–because at the core of this story is something I might like to get into.

Five Ghosts #1

Five Ghosts #1

Ultimate Spider Man #21: We kept asking for it and darned if we didn’t get it: a costume-free issue!  And a damn good one, too.  Bendis spares the spandex and spoils us with angst and honesty; he–like a genie granting wishes–serves up a teenage boy’s dream team-up: Miles, Ganke, Mary Jane, and Gwen Stacy.  Gotta love it and the possibilities.  Also gotta love the way Sara Pichelli and Justin Ponsor bring the fantasy to life.  The art is terrific throughout and terrifying when it needs to be.  Yeah, at the start of this arc, I thought Venom would be narrative poison; but I put my faith in Bendis, and it turns out that my faith was put well.  This is an intense issue.  It’s an exemplary issue.  It cements this title as one of Marvel’s best, and it’s another reason why I feel comfortable buying All-New X-Men and Uncanny X-Men despite my lingering doubts about those titles.  Bendis can be this good at any time–and I’d hate to miss it when it happens.

Ultimate Spider-Man #21

Ultimate Spider-Man #21

Turning pages,

Scott

What’s Up?

18 Monday Mar 2013

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Turns out, Brian Wood’s The Massive is about this week’s haul.  Man, I could’ve sworn that I was trimming my typical take-home.  Silly me.  Sure, I’ll be closer to broke after Wednesday, but there are some top-notch books in this bunch, which makes it so worth it.

Right There Waiting for Me

  • Mind MGMT #9 (Dark Horse): Hoping for a little more after a slightly off month.  (By “off,” I mean “really, really good,” which, for the average book, would be, clearly, a compliment.  Matt Kindt, however, has been working at a much higher level on this title; so anything shy of mind-blowing is remarkably obvious.)
Mind MGMT #9

Mind MGMT #9

  • Action Comics #18 (DC): Finally, Morrison’s finale.  Could very well be my jumping off point, which will leave me Superman-free.  Big-time sigh–especially considering Big Blue was a big reason why I got back into buying comics.  We’ll see what Diggle digs up next month–and what Snyder and Pak bring to the rack in the months to come.
  • Batwoman #18 (DC): Another one I may jump off of.  J.H. Williams’ art has been the draw, and that chore has now been delegated to another–in this case, Trevor McCarthy, who’s a fine artist, sure; but will he do enough–as Williams did–to overcome the story’s shortcomings?
  • Wonder Woman #18 (DC): Still solid.  A book you can count on every month–whether it’s Chiang or Akins on art.
  • TMNT: The Secret of the Foot Clan #4 (IDW): Mateus Santolouco conjured up a little magic in this mini.  It’s a shame it’s only four!  Let’s hope he gives us some more down the road.
  • Comeback #5 (Image): Ran the same route as Dark Horse’s Colder.  Started off a house afire and cooled off quickly–to the point where I couldn’t wait for it to end.  The waiting’s over.
  • Revival #8 (Image): Still have some mixed feeling about this one.  #7 was definitely an step in the right direction.  But there’s too much evidence that inconsistency is the true plague at play here.
  • Daredevil #24 (Marvel): #23 was great on many levels.  The Power Pair of Waid and Samnee are killing it–and Foggy?  Say it ain’t so!
Daredevil #24

Daredevil #24

  • Indestructible Hulk #5 (Marvel): I hope we’re not all monster this time around.  Not after the House half of last issue.
  • Ultimate Spider-Man #21 (Marvel): Not going to use Venom as a epithet this time around.  Amazing, I know!  I’m keeping an open mind because of how Bendis ended #20.
  • Harbinger #10 (Valiant): Dysart’s kicking all sorts of ass.  A must read.
Harbinger #10

Harbinger #10

  • X-O Manowar #11 (Valiant): Planet Death!  That about says it all, doesn’t it?

Wide Pickens

  • Saga #11 (Image): Lying Cat?  Nooooooooooooooooooo!  So damn good.
Saga #11

Saga #11

  • Justice League of America #2 (DC): #1 wasn’t terrible.  Still anticipating that #2 will be.  Gotta buy it to find out.
  • G.I. Joe #2 (IDW): Van Lente hit the ground running.  I’m willing to follow–at least for a while.
  • All-New X-Men #9: Ugh.
  • Poison Elves #1(Ape Entertainment): Lucifer returns!  One of my faves–created by the late Drew Hayes–is brought back to life by Robb Horan and Osvaldo Pestana Montpeller.  Could be good, could suck.  Either way, worth a try.
Poison Elves #1

Poison Elves #1

Wasn’t kidding.

So.  What are you looking forward to on Wednesday?

Turning pages,

Scott

Top 5 Comics of Feb 2013 – Wtf Certifiable!

11 Monday Mar 2013

Posted by in 5 Comics You Should Be Reading

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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

Back and Forth: Waid to Go!

06 Wednesday Mar 2013

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Derek Mainhart: Who woulda thunk it? A few months into the overblown hype-balloon that is Marvel NOW!(!!!!) and here we are about to sing the praises of not one, but two Marvel titles.

Scott Carney: Are we eating crow again?  How would you like that prepared?

DM: Not really. This particular peccadillo is perfectly understandable when you consider that the titles in question are both written by one Mr. Mark Waid. Care to start?

SC: Well, the Marvel NOW! Revolution has been, shall we say, less than revolutionary. But despite one awful X-book after another and four billion Avengers books, each less interesting than the next, Mr. Waid is single-handedly making mine Marvel again.

This week, for instance, Daredevil #23 opens up brilliantly, with a scene that Waid develops so effortlessly that it seems like this is exactly where we’ve been headed ever since Murdock first donned the double-d.  And to let Matt lead us by the arm from panel to panel, page to page, even past the point where we know something’s up, is a stroke of genius–a one-in-a-million, not unlike the circumstances that prove so elusive to the mysterious–and presumed–mastermind behind the toxic attempts to create a DD doppelganger, of sorts.

DM: Waid had a wonderful way –

SC: Say that three times fast!

DM: – of taking the familiar and making it seem new. You’re right about that opening sequence; DD’s well-known origin is told in a manner that is not only incredibly inventive, but also manages to advance the overall arc of the series.

SC: From there, it’s a rollicking good time–even with a hint of mortality in the midst of it all–with a soon-to-be classic Chris Samnee splash setting off a strikingly intimate sequence between ol’ Hornhead and his pudgy pal, Foggy.

DM: The Chrysler Building’s never looked better.

SC: Despite the visuals changing hands a few times on this title, Samnee really owns the art side of Daredevil at this point. He takes full advantage of the opportunity to put the protagonist through his paces–as he’s done so expertly, issue after issue, with issue #19 as a spotty (in a good way) standout–as Waid whips out a horde of hypersensitive newborn daredemons, who prove no match for the man who has had a lifetime to make the best of his chemically-cast curse.  The intensity of the fight scene–again, its outcome never really in doubt—is pumped up to a palpable level by DD’s having to struggle with another–in this case intangible–antagonist: time.  See, prior to the fracas at the fundraiser, he promised Foggy he’d meet him at the doctor’s office; and we’re left hoping, wondering if, even in victory, Matt will let his friend down again, as he had–even if inadvertently–during the Coyote arc.  And while Matt does fulfill his promise, allowing us to breathe easier, if only for a moment, he’s left powerless–despite his superhuman skill set–against the crushing news to come, its deadly delivery amplified by our hero’s hopeful misinterpretation of the heartbeat, which, in the end, leaves him and his best friend heartbreakingly beaten.

DM: Again, Waid takes a well-worn cliche – the doctor bearing bad news – and puts a spin on it that feels completely fresh and organic within DD’s universe.

SC: And that’s only half of it!  Now, four books into Indestructible Hulk, it’s clear that Waid knows how to handle the Big Green Guy; Number 4 is yet another muscled-up example of Waid’s superior vision: by highlighting the man, he’s getting more mileage out of the monster.  And, on a selfish note: I love, love, love the tack taken with Banner!  Wouldn’t you know: it seems I sold Waid short.  Ends up, he’s not just building a House (a glorious homage to the late, great Dr. Gregory House–in all his manipulative, wisecracking glory–and his white-coat coterie: an eager yet exasperated team of young experts and one seriously sexy supervisor); he’s building a goshdarn mansion–with plenty of room for the “mightiest creature…on Earth” to thrash about without too much damage.  To the story, anyway.  If I’m being honest, I kind of shut it down once Banner Hulks out.  In fact, the weight of the final splash is pretty well lost on me (despite Leinil Yu’s and Gerry Alanguilan’s impressive art). I just don’t feel for the Hulk–he’s indestructible, for goodness sake!–the same way I do for Foggy.  Know what I mean?  But it’s a natural flaw in the character, one that necessarily can’t be done away with–one I hope isn’t done away with; because plugging up that hole would mean poking one in his more relatable alter-ego–the one who is, for me, anyway, the star of this smashing show.

DM: Between these two titles, and the plethora of other projects he’s taken on (including his industry-leading experiments on Thrillbent), Mark Waid is the comic industry’s James Brown: not only the Hardest Working Man in Show Business, he may also be the best.

SC: That’s gotta be the first time anyone’s compared Mark Waid to James Brown. Moving on, who woulda thunk this: my hands-down favorite, Matt Kindt’s mind-bogglingly good Mind MGMT #8 came out this week and the only other book I want to talk about is Saga #10 (Image).  Saga?  Yeah, that’s right: I’m finally on board–full time.  And I have you to thank, sir, for your continued celebration of Vaughn and Staples’ astounding epic.

DM: I do what I can.

SC: See, I tried it back in the day, even if only on Comixology.  I thought it was OK enough to read through #4.  At that point, I was turned off–if I’m remembering correctly–by the whole Sextillion pit stop.  At least that’s why I think I kinda gave up on it.  Well, I saw #10 on the shelf at one of my shops; and I figured, if I’m willing to drop $3.99 on underwhelming books like the All-New and Uncanny X-titles, I might as well invest $2.99 on a book that readers rave about on a monthly basis.  So, I picked it up, knowing that I’d have to click back over to Comixology in order to play catch up.  And catch up I did: I read #5-#9 before reading anything else from my big ol’ Wednesday haul.  The result: I was hooked.  Hooked!  There is something absolutely magical about this book; and #10 simply cemented the fact.  What an issue.  What an experience!  Vaughn exhibits such masterful control over his characters that they seem so very real.  Every utterance is perfectly tuned to its utterer.  Every expression, every gesture, as rendered by Staples, breathe life into the lovers–especially in the bit of back story to kick things off; and here I am, sucked into their plight something fierce and, as a result, left vulnerable to Vaughn’s terrifically-timed twists.

DM: Exactly. I’ve written before about the breadth and fertility of Vaughn’s imagination, but just as impressive is his sense of pacing. His transitions are wonderful. From that first page that literally invites the reader into the story, we are expertly guided through lyrical non sequiturs; text contrasting with images lending greater depth to both – nowhere so powerfully than at the very end, highlighting that other Vaughn trademark: the plot twist / cliffhanger.

SC: I mean, talk about collateral damage.  The last three pages?  Remarkable.  Hazel’s narration, insinuated smartly, builds toward the final page turn with stunning subtlety, even as The Will’s ship shatters around it.  Speaking of shattering: turn to that final page and tell me your heart didn’t break into sextillion pieces.  Yeah, tell me that, and you’d be lying through your canines.  I’ll tell you what isn’t a lie: I’m on this one for good.  And, again, I have you to thank; so, thanks, pal. Book of the Week.

DM: Ok, fine, I’ll give Mind MGMT another look. Geez…

Turning pages,

Scott & Derek

The Top Ten Comics of 2012

29 Saturday Dec 2012

Posted by in 5 Comics You Should Be Reading

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

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

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

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

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

Without further eloquence, here’s our Top Ten:

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

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

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

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

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

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

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

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

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

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

Derek’s Honorable Mentions:

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

Scott’s Honorable Mentions:

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

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

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

Turning pages,

Derek & Scott