Tomorrow’s Comics Today: May Previews for Books Shipping July 2009 or Later

Order Problems

The Previews cancellation pages used to be full of reason codes 2 and 6. That’s “will resolicit” (which I usually took to mean “the creators are running later than we expected, but you’ll see the book eventually”) and “sold out” (never a bad reason). Now, it’s all 4s (”cancelled by publisher”, which sometimes means “we can’t afford to do it with those numbers”) and the dreaded 3s (”cancelled by Previews”). That last one means “we didn’t get enough orders to make Diamond enough profit”, and even knowing that they were cracking down this year, I had no idea it would grow this quickly.

Hope Falls
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Take, for example, Hope Falls. The miniseries, written by Tony Lee, had a collection planned for release this year, but it fell victim to “not enough orders”. Yet Markosia is still publishing it — they’ll sell it through Amazon, Diamond UK, and direct themselves.

That’s just one of many. Rumor has it that Diamond’s in trouble, like most companies in this economy, and it’s understandable that they need to tighten up, but driving customers to other venues doesn’t do Diamond’s customers, the direct market comic shops, any good. And having to stay on top of the status of various projects individually in order to figure out who you’ll get it from and when … that’s no fun. It defeats the purpose of centralized orders, whether from retailer to Diamond or reader to retailer.

Another Stupid Wizard Article

Bwa ha ha! Wizard is plugging an article on “How to Get Your Girl to Read Comics”. Leaving aside the assumption that all of their readers are heterosexual males… I’m not sure I believe anyone immature enough to read Wizard magazine would *have* a girlfriend. But the picture shows her holding a huge stack of Marvel, DC, and Image collections. I don’t really think most women are going to be as interested in The Punisher, Invincible, and Green Lantern as they might be in something, oh, non-superheroish. What about indies? Art comics? Manga? Works in other genres, like science fiction or romance? Heck, if you must show superheroes, what about Birds of Prey or Wonder Woman? And if you’re going to be that terribly cliched, go with Sandman and Strangers in Paradise.

What I’m Looking Forward To

Eh, enough griping. Let’s go to things I’m positive about, starting with Venus Capriccio Volume 2. It surprises me no end that, just when I’m ready to give up on all DC publications, I’ve found a couple of their CMX manga series I really like, this one and The Name of the Flower.

Suspended in Language
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If you haven’t read it before, be sure to check out Jim Ottaviani’s Suspended in Language (GT Labs), a true-science graphic biography of Niels Bohr, the father of quantum mechanics. The art is mostly by Leland Purvis with additional work by Jay Hosler, Roger Langridge, Steve Leialoha, Linda Medley, and Jeff Parker, talented artists all. It’s a fascinating example of just how wide-ranging comic storytelling can be.

I’m looking forward to The Big Kahn, by Neil Kleid and Nicholas Cinquegrani, from NBM. When a respected rabbi passes away, his family finds out that for 40 years, he’s been lying to everyone: he’s not even Jewish. It’s a story about grief and faith and family and finding one’s own way. An online preview is available.

My gracious, how the mighty have fallen. Tokyopop has two pages of Previews, that’s it, with 12 listings. It’s a far cry from the days where they’d have page after page, one or two books per.

The Surrogates: Flesh & Bone
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Top Shelf is preparing for the late September debut of The Surrogates movie with a re-release of the graphic novel with a new cover; a new prequel story, Flesh & Bone; and a super-deluxe hardcover containing them both. Good for them!

The Middleman graphic novel The Doomsday Armageddon Apocalypse (Viper Comics) promises to serve as conclusion to the much-missed TV show. I want to read the comic, but it will only remind me of how much I miss the series.

Peter David’s book about Writing for Comics (Books section) is updated and revised. I don’t know about specific changes, but I thought the first one was pretty good, so I’ll still recommend this version.

What are you anticipating?

Late Night LinkBlogging

(It’s late for ME, anyway.)

The Best of Simon and Kirby
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My friend Steve Saffel would like you to know that The Best of Simon and Kirby is now out and “everyone who’s seen the book has raved”. Previews are available.

Gina Biggs has created a set of zodiac illustrations featuring bare-chested men in a manga-influenced style. What’s your sign?

New CBLDF President Chris Powell has resigned from the Board of Directors of ComicsPRO due to time conflicts. Calum Johnston, owner of Strange Adventures in Halifax, Nova Scotia, has been added in his place. Johnston is the first non-U.S. director of the group.

You can now subscribe to this blog on the Kindle if you’re so inclined.

Not comics, but interesting to me: Via Journalista comes word that the San Jose Mercury News will begin charging for online content. I find this ironic. My first job out of a grad school was as a user interface developer and website designer for a newspaper database company. We were trying to sell our clients on the idea that we could help them put their newly computerized “morgues” online, and they could sell access to subscribers. (Bear in mind that this was back in the day where DIALOG access to certain online databases cost $60 an hour.) But few newspapers could make it work because papers like the Mercury News and the Raleigh-Durham News and Observer, located in tech-heavy areas, were doing amazing work online for free. Now, I can’t even find a NandO online site — it’s the flat newsobserver.com.

I don’t think trying to “make” customers pay for what they were used to getting for free is the way to go, because you’re not providing any additional value to justify them giving you money. I’d like to read more local news, myself, but the local paper keeps cutting what makes them special and unique in favor of protecting fat cats. Anyway, found it interesting to see San Jose’s paper try and reverse the effects of that decision made over 15 years ago.

Batman & Superman: World’s Finest

The high concept of this book — 10 successive annual meetings between Superman and Batman, showing how their relationship has changed over the years — sounds wonderful until one realizes how many stories about the two have been written, and forgotten, over the years.

Companies like DC have a habit of wanting to keep their characters ageless, which requires story erasures or history restarts every so often. As a result, no one knows how many adventures Superman has actually had, or whether a favorite Batman story officially happened, or how many years either of them have been adventuring. Thus, the impact of seeing the “first meeting” of these two heroes is lessened; it’s just another story that will later be overwritten by someone else’s attempt.

Batman & Superman:
World’s Finest
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Dave Taylor draws a strangely skinny Superman in a generic world, missing the chance to better distinguish the characters’ homes of Metropolis and Gotham City. The key characters look like mannequins, and they’re given some truly odd poses that ruin dramatic moments.

Obvious parallels are drawn between the two heroes to make the similarities and distinctions stand out, even though the alert reader has already recognized most of them. Certainly, anyone drawn to this book for the premise is well familiar with the symbolism, not needing it spelled out in this clunky detail, and the in-jokes and revamped versions of obscure characters don’t make up for the writing.

The hostility between the two heroes is a slap in the face to anyone who remembers the much longer history of them working together and contrasts badly with the chapter that attempts to evoke the sillier aspects of the heroes’ histories. Light-hearted stories about magical imps from other dimensions need heroes with a sense of humor, not these grim sticks.

By the time all the stops are pulled out in the end, the reader’s likely to come away realizing the task was impossible (when they’re not wondering why Batman’s rogue’s gallery is so classic while Superman’s is so forgettable). The book works best as a record of how wrong DC has gone in trying to keep its flagship heroes relevant by using substitutes and spinoffs and having Superman kill and insisting people think Batman is an urban legend. It’s lost sight of the appeal of the world’s best known superheroes.

Good Superhero Comics: Week of May 9

I’ve really been enjoying the Dr. Thirteen backup story in Tales of the Unexpected, and it concludes this week in issue #8. The skeptic and his motley band of misfits fight a group of empty superhero costumes (a rather lovely metaphor, from my point of view) before finally confronting the Architects in a setting that combines the Batcave, the Fortress of Solitude, and Captain Marvel’s subway tunnel.

Maybe I’m seeing connections just because I’m taking a larger view these days, but I thought the panel where Genius Jones makes a terrible pun, complete with character feet in the air, stunned by its awfulness, was a nice allusion to an older genre of comics, the gag panel. The characters seem a bit wackier in this final go-round, winking at each other and wisecracking, perhaps in a salute to the Silver Age of superhero battles. And I loved the button marked “plot device”. Of course, that’s what every fun team-up story needs.

I do wish a little more care had been taken in the details: The second caption box has a rather glaring typo (”heals” instead of “heels”) and later on, there’s a “hust” that should have been “must”. Overall, though, a triumph from Brian Azzarello and Cliff Chiang. I strongly recommend purchasing the eventual collection just to read an involving story that takes the refreshingly big-picture view that “this too shall pass”. The unusual characters should be seen as an asset, not a liability to be eliminated. Plus, they’re fun on a more literal level, making for an involving team with distinctively unusual voices.

Tom Bondurant has a more in-depth analysis.

Also enjoyed this week: two Spider-Man comics, which is odd, because I normally don’t care for the character.

Spider-Man/Fantastic Four #2

I expected to like Spider-Man/Fantastic Four #2 because it’s written by the talented Jeff Parker. (Art is by Mike Wieringo with inks by Wade von Grawbadger and Andy Lanning.) What confirmed it for me, though, was the first page scene, when Peter’s Aunt May won’t let him go back out to fight the aliens until he has lunch. That’s what our loved ones are for, always looking out for us.

I like the way Parker so nicely sums up characters in short bits true to their personalities. The Fantastic Four have never been for me so much a family as when Sue and Reed, bailing out of their flying car ready for action, are also telling their kids who’ll be babysitting them and how many cartoons they get to watch.

It’s an Invasion of the Body Snatchers-type scenario, with the heroes needing to work together to stop and reverse alien possession. Since it’s part 2 of 4, by the end of the issue, things are looking grim, as Reed concludes they need more research to more intelligently fight the symbiotes. (And how refreshing that is, to see a measured, thoughtful response.)

Sensational Spider-Man Annual #1

My enjoyment of The Sensational Spider-Man Annual #1 can also be credited to the writer, superstar-to-be Matt Fraction. He’s created a nice done-in-one story that’s a great choice for movie fans to sample the characters while still nodding to current Marvel continuity and acknowledging the characters’ history.

Mary Jane’s talking with an old friend at the Coffee Bean, but there’s more to the reunion than meets the eye, given Peter’s status as a wanted criminal post-Civil War. The best part of the book for me was the way it demonstrated how cool a partner Mary Jane is for Spider-Man.

One of the reasons I don’t personally care much for the character is the discrepancy between his original concept (schlubby “normal guy” with big contrast between powers and his everyday life, which doesn’t go so well) and what he became (supermodel wife, well-known photographer). Much as I disliked what the Civil War crossover event became, I do like the way it gave Peter a new, valid excuse to complain: he made some bad decisions and is on the run.

Another big plus: no feeling left out. I got everything I needed to know to understand and, more importantly, enjoy the story IN the story. (And a giggle at them making fun of the classic “tiger/jackpot” line, which really is cheesy and unrealistic.) The dialogue’s both solid and creative, too, and Salvador Larocca’s art is classic comic book in an excellent way. It’s a wonderful portrait of what stands behind a solid marriage: belief in each other to rescue you.

Good Superhero Comics: Week of March 21

I caught up on a month’s worth of superhero comics this afternoon, and boy, was that a mistake. Put me in a grumpy mood all evening. There’s just too much mediocrity out there, too much stuff that would have been satisfying in bigger chunks, too much trying to make meaning from connections to other titles instead of their own stories (or using characters other people made mean something as shortcuts to provide weight), too much disappointment from well-respected names who should have known better, too much navel-gazing.

X-Men: First Class #7

So what was good? First rule: look for Jeff Parker’s name. Even though it’s issue #7 of 8 of X-Men: First Class, he provides a story that means something on its own, without reference to previous issues. And it’s a classic type, one that most people can identify with, based on young love from opposite sides of a deep-seated divide.

It seems that Angel has been sneaking out of class to meet the Scarlet Witch. Her brother, the speedster Quicksilver, accidentally attacks the X-Men while looking for her, leading to misunderstandings and eventually a shared search. Meanwhile, the two dating heroes are in that “should this go any further?” phase of getting to know each other.

Through well-chosen scenes and bits of business, I was reminded of the characters’ personalities, motivations, and powers, such that I didn’t have to look elsewhere to put names with costumes. I know this seems like congratulating a master chef on making sure the salad’s cold and the entree’s hot, but you’d be amazed at how many comics come out from DC and Marvel where those basics aren’t established. Or worse yet, other comics can pay so much attention to emotional drama that they forget “hey, these kids have powers, maybe they should use them!”

Marvel Adventures: The Avengers #11

Artwise, I knew what was happening (again, covering the basics admirably), thanks to Roger Cruz. They seem like teens in their attitudes and dialogue, too. I think this title was meant to “fill in the blanks” around previously published stories, but I didn’t much care, because enough was happening “present day” that the occasional “remember when” didn’t bother me even though I didn’t.

I was also glad to see something to take away at the end I agreed with, when they address the issue of how controlling family members should be, even out of good intentions. I wanted to call up a friend of mine, one with a daughter about to graduate high school, and read it to him, because it was a message that could have important meaning in real life, too.

Also by Jeff Parker, the fun and even silly Marvel Adventures: The Avengers #11. How can you not have fun with such classic villains as It the Living Colossus and a bunch of guys with snakes? And I loved seeing Spidey say “Will anyone ever remember that I’m really, really smart?”

The Spirit #4

On the other side of the aisle, I’m still enjoying Darwyn Cooke’s Will Eisner’s The Spirit #4. He’s so creative in his updating — Silk Satin becomes a CIA agent chasing the terrorist Octopus. It’s pure comics: imagination and skill put down in words and lines. I can get lost in individual panels, marveling at their construction and subtleties.

(If you want to know more about his modern take on the classic character, be sure to find issue #3, which retells the Spirit’s origin.)

I never got the appeal of Eisner’s women — they were nicely drawn stereotypes, in many cases, and maybe it was surprising just seeing them be smart and devious in that era — but this one, in this version, I am with 100%. She’s tough, beautiful, and still a three-dimensional character. She even saves the day — just check out that cover! Bless you, Cooke.

Update: I see that this issue is getting plenty of blog attention just because Girl Hero Saves Day. Which is cool, but disheartening, that such a basic role reversal is still so unusual as to be worthy of widespread comment.

Good Superhero Comics: Week of June 2

For turn-off-the-higher-brain-function action, The Brave and the Bold best fits the bill. The series seems to be plotted by lottery — and that’s not a crack on writer Mark Waid. It’s just that the teamup pairings are so loopy that they have that kind of random, anything-can-happen feel that characterizes the best superhero stories.

Issue #4 revolves around Supergirl and Lobo. He calls her a dumb blonde, she’s disgusted by his me-first drunken quest for money above all. Normally, I find Lobo a poor joke that’s been overplayed, but here, he’s in character and still funny. Mostly because he’s treated just like a redneck, complete with surprising bit of reassurance.

For me, the enjoyment is aided by the presence of old-fashioned Legion of Super-Heroes villains the Fatal Five. Batman has been merged with Tharok, the half-robot guy, leading to some impressive (and impressively detailed, of course) visuals by George Pérez. The images back up a significant reminder of what makes Batman an icon: his willpower.

There’s a lot of technobabble and exposition (at least two scenes’ worth) that I just skip over these days, because I won’t remember it anyway, and something of a convenient plot device scene change. I do hope all this running around the universe and superhero swap guest stars adds up to something eventually… nah, scratch that, it doesn’t matter so long as they can keep the plates in the air and spinning. Professional synergy, a wonder to behold. Next issue: the Legion! Woo hoo!

Speaking of that team, The Legion of Super-Heroes in the 31st Century #3 (ridiculous title, that) is already resorting to tryouts and the Substitutes. It’s only issue #3! You really needed to reintroduce all of these oddball characters already? I mean, I love the Subs, but it strikes me as simultaneously overkill and desperation to bring them in so soon.

Scott Beatty writes, Sanford Greene pencils, and Nathan Massengill inks. The art team keeps the characters on-model (a shame, in my opinion, since I’m not a fan of the creepy looks, especially on the girls). This is something of an achievement, since the story’s about power swapping, and the introductory headshots mix up the team’s features (Lightning Lad has Bouncing Boy’s size, Superman has Saturn Girl’s insectoid eyebrows, and so on).

Sadly, the text isn’t as good. There’s a page where, to introduce everyone’s abilities to the reader, the writer has the team brag about how cool their powers are while putting down the losers who didn’t make their cut. It’s unpleasant to read. I kept going because this issue introduces Infectious Lass, one of my favorites. I always liked that she had such a creative power, one with much more possibilities than many people saw, and it wasn’t a traditional “girls stand back and don’t get their hands dirty” ability like telepathy.

In response to a challenge from Superboy (yeah, yeah, they can’t call him that), she whips up a power-switching virus (I know, goofy plot device, but that’s the problem with trying to figure out disease in the far future), and just as the symptoms take effect, bad guys show up. Conveniently, since all humans look alike to them, having each other’s abilities allow the team to save the day. After adventuring with them, she decides to be a Sub until she can (cue the cliché) “better wield [her] abilities”. I’ll miss her.

Also out this week, DC sent a copy of The Highwaymen #1. It’s a good caper film, political/spy/action thriller that involves two old guys, one white, one black, coming out of retirement to prevent some conspiracy. It’s written in a snappy fashion by magazine journalist Marc Bernardin and Adam Freeman, with art by Lee Garbett doing a detailed Frank Quitely impression.

The whole time reading it, though, I kept thinking “why bother?” It’s a miniseries. If it continues to be good, there will be a collection. If I wait for the book, and unforeseen circumstances cause delays, I won’t be losing track of the story trying to remember the issues. (That’s a likely occurrence with me even if it comes out monthly.) If the ending tanks, then I won’t have wasted my money. The only thing I gain with serialization is getting part of the story more promptly … but I don’t get around to my comics in a timely fashion anyway. (Witness this column a week late.)

I probably wouldn’t follow it anyway unless more women got significant roles. The operative presenting her butt on the cover (and doing rhythmic gymnastics with what should be a supporting rope) gets blown away rather graphically. Yay for the woman president, but I’d like to see another female main character, please. I’m not saying that writers have to meet a certain quota or that’s there anything wrong with their choices, just that there are so many comics out there that I use this as one of my selection criteria. I choose to read those that include major female characters.

Good Superhero Comics: Week of Jan 4

I’m trying to do a better job keeping up with the “pamphlets” — the issues can be such ephemeral things that there’s no point in leaving them to hang around.

Winter Soldier

Take, for instance, my comic of the week, Winter Soldier: Winter Kills. This was one of KC’s picks, and he recommended it to me. (Always nice to have a personalized source who knows your tastes well.) It was very good, although the reading experience was marred a bit by it being a Christmas comic. Being late wasn’t all my fault, though — Marvel shipped it on December 29.

I disagree with bringing Bucky back (just as I disagreed with bringing back Barry Allen or Uncle Ben or Jason Todd or any of the other “never say never” deadies who used to be sacrosanct). But now that he’s back, he seems to be a very interesting character … at least, as he’s portrayed here by Ed Brubaker and the variety of artists: Lee Weeks, Stefano Gaudiano, and Rick Hoberg.

He’s timelost in a way Captain America should be, but Cap is too prominent a hero for any writer to explore the cultural differences in depth. The flashbacks between Bucky’s Christmas in 1944, when he’s part of a group of heroes, taking time out from war to celebrate the holiday, and his more jaded solo Christmas now are poignant, and it makes his encounter with the Young Avengers (the real reason KC pointed this at me) all the more significant. Even if it’s only Patriot, Vision, and Hawkeye (as she’s apparently been officially named).

Between the war flashbacks and Bucky’s roguish charm, this issue reminded me in good ways of the introduction of Captain Jack to the new Doctor Who series, and that’s high praise. I’d like to see more of Bucky, especially in combination with the younger heroes.

Spider-Man and Power Pack #3

Also good from Marvel this week was Spider-Man and Power Pack #3 (by Marc Sumerak and Gurihiru). I’m a sucker for kids who act like kids.

The team goes to Fashion Week, where Mary Jane is modeling. I was impressed that they managed to use Venom in a way that was scary, but not too gross or intense for an all ages comic. The story is satisfying, but there’s a last-panel hint of next month’s issue, which implies Venom returns and puts one of the kids in danger. I’ll look for it.

Oh, and there’s a mini-Marvels take on Civil War, where little Spidey is trying to take the even mini-er Power Pack to play in Tony Stark’s playground. Sadly, setting up the conflict takes up two of the four pages (illustrating one of the problems with the premise), but the baby pack is cute, and I love the solution. “What’s a moo-tent?” Opting out of the whole thing seems sensible.

Update: You can read the short backup online.

On the other side of the traditional divide, DC put out two excellent Superman books this week.

Superman Confidential #3

Superman Confidential #3 (Darwyn Cooke and Tim Sale) makes me happy because they finally show why Lois is such a terrific character that she’d last through the decades. This woman is accomplished, honest, talented, beautiful — you can see why a Superman would fall in love with her. She’s not willing to settle, and she does the right thing even at personal cost. She sees what he can’t (or won’t admit to) and expresses it powerfully.

The art (with coloring by Dave Stewart) is gorgeous, packed with emotion that shines through simplicity. The action and suspense are well-done, too. Finally, DC’s premier hero gets the kind of comic he deserves: one that makes him a fascinating three-dimensional character with challenges suited to him, one that avoids dumbing him down or ignoring him to concentrate on easier-to-write supporting cast or wallowing in nostalgia.

All-Star Superman #6

But if you’re looking for that nostalgia, All-Star Superman #6 is happy to provide it. Grant Morrison and Frank Quitely start off with the joy between a boy and his dog… assuming they can romp in space.

The meat of the issue, though, involves time travel and alternate Supermen of the future and all those wacky high concepts that drove the title during the 50s and 60s. It’s leavened with one of the most significant elements of the Superman legend, the idea that with all his abilities, Superman can’t beat death and can’t save everyone. That’s the concept that humanizes the superhuman.

Meltdown #1

From Image, I wanted to briefly note a superhero comic from last month. Meltdown #1, with story by David Schwartz and art by Sean Wang, is one of those modern takes on the concept in which superheroes are treated as a business and a “realistic” approach to powers means angst and despair. In this case, the fire powers of Caliente (Cal for short) are going to burn him up, and as he faces death, he looks back at what brought him to this point. It’s part one of two, and I think it would have been more satisfying as a single graphic novel instead of a couple of over-sized $6 comics.

Anyway, even though I dislike this subgenre in general, I was interested enough to keep reading all the way through the preview galley. There’s a lot more skill here than I usually see in indy superhero attempts, and I admire Schwartz’s ambition in reaching for complicated themes and structure.

I was even more impressed by the art, and I wondered why Wang’s name sounded familiar. Turns out he self-published Runners, a science fiction series I’m still meaning to read. That experience clearly taught him a lot, because his work here is better than some of what DC and Marvel are publishing. He’s talented, able to draw action, cute characters, idealized figures, and emotion, and I hope he gets the career he deserves. See what I mean at the artist’s website.

Good Superhero Comics: Week of feb 4

A lack of superhero comics to whole-heartedly recommend means I start off with a bit of complaining.

Fantastic Four #542

Dwayne McDuffie starts his writing run on the series with Fantastic Four #542. I love his character work, but I regret how often it’s used to prop up pointless or badly chosen continuities. I really want to read something by him that’s not tied into a bigger, inferior story, something where the story and character work is more important than the properties or the fictional “universe”.

In this case, we get a justification for why Reed Richards would act out of character by rabidly defending the Macguffin Registration Act, even to the extent of destroying his marriage. It seems that he’s so smart that he created magic equations that predict what will happen to society, and he knows that this is the least of all evils. It’s the supersmart guy equivalent of “shut up and trust me, I know better than you do.” I don’t find it compelling, not when put up against a 40-year (in real time) love story.

It is plausible, I suppose, within the bounds of a superhero universe, unless one suspects that the choices being propped up had external reasons, and whether or not they made sense in terms of fiction was irrelevant. For instance, I get the feeling that the marriage was ended because the current powers that be like single superheroes and seem to pathologically fear married characters. And that Reed’s “side” was determined by who wanted to write him and how someone wanted to build their team, as though trading baseball cards instead of considering character history and motivation.

The Spirit #2

In short, the quality of the character work doesn’t matter when it’s being used to support something so ludicrous. (That’s Civil War in a nutshell.) Art’s by Mike McKone with inks by Andy Lanning & Cam Smith, who make Reed in sweater and fishing hat look like my dad.

No She-Hulk for me this week — she’s gone all action as an agent of SHIELD fighting Hulk’s old rogues gallery, which doesn’t interest me. Birds of Prey has Oracle quaking in fear from the Spy Smasher and Lois Lane, of all people, which didn’t sit right with me either. So what was good? As usual, books not aimed at the typical reader.

The Spirit #2 is a terrific adventure romp. Darwyn Cooke (with J. Bone inks and Dave Stewart colors, which are essential to the mood and overall outstanding package) does wonderful expression and gesture. The femme fatale P’Gell is just as seductive and slinky as she needs to be to snare a foreign prince. The Spirit has to ditch Ellen in order to attend a formal party and foil her plans.

Marvel Adventures: The Avengers #9

This is high escapism in the classic mold, and Cooke is a valid choice for caretaker of the Eisner legacy. Everyone’s gorgeous, or at least gorgeously drawn. There’s exoticism and glamour and danger and tortured histories and a very handsome, rugged man in the middle of it all.

And for dessert, Marvel Adventures: The Avengers #9. You’ve likely already heard me or someone else online talking about it, because the concept — the team becomes MODOKs, giant floating heads — is just too giddy cool. The execution, by Jeff Parker, Juan Santacruz, and Raul Fernandez, lives up to the premise.

After the requisite team wisecracking (and actually funny), MODOC (this one’s for Conquest, because Killing’s bad for the kiddies) freezes the team so he can tell them his origin. That’s before his nefarious transformation plot. They all turn into big-headed floaty beings — they even get -Doc names! (Pretty cool changing machine, that even provides the flying chairs in everyone’s sizes.) Very enjoyable, even if it’s only temporary.

If you need another reason to read this, as Chris said, it’s “Nextwave for kids”.

Good Superhero Comics: Week of Marc 18

Some slim pickings this week.

Wonder Man #2

I’m still not sure what I think about Wonder Man #2. The opening, with an immortal Wonder Man pondering the disappearance of everything he’s known, seems better suited for something goth-like from Vertigo of Slave Labor. The character of “Ladykiller” is much too grim for me to enjoy — she’s a Batgirl-like antihero raised to be an assassin, which is why Wonder Man and Hank McCoy (and Carol, whose superhero name I’ve forgotten) are trying to redeem her.

The art, by Andrew Currie and Drew Hennessy, is better left untalked about. It’s too cartoony, in my opinion, for the dark content, and the exaggerated style doesn’t work for me. So why am I talking about it? Because upon reflection, I think Ladykiller is perhaps the most honest portrayal of adolescence I’ve ever seen in superhero comics. She’s all questions and attitude, grumpy and lashing out and resentful.

The adults set up little traps for her. They’re almost Warner Bros-level, suited for Wil E. Coyote (an odd touch of humor, the funnier for being inappropriate to the rest of the story), and they show her how predictable her rebellion is, until she finally outsmarts herself.

Welcome to Tranquility #2

I can’t help wondering if writer Peter David is satirizing the current fad for dark, depressing, excessively morbid and violent superhero comics. Wonder Man and McCoy are going to redeem this rebellious teenager through checkers and caring, showing her a better, more mature way. Maybe Ladykiller is a stand-in for 52 and Civil War and all the others. Or maybe I’m just wishing hard for someone to make something sensible and meaningful out of that garbage.

Welcome to Tranquility #2 continues investigating last issue’s murder. I don’t have the attention span for comics like this, because I can’t remember enough of the details from last month. Really, all I remember is the dotty old lady pilot sadly wandering off after crashing her plane. Nice character bits, that’s what stick with me.

Tales of the Unexpected #4

Writer Gail Simone provides more of them this issue, with a throwback introduction of a character that’s later acknowledged in a completely different way. It’s a nice bit of synergy, with each piece doing what they need to and then providing even more taken together. The book’s appeal is character bits, really, with so many cameo characters and a whole town full of oddballs. Artist Neil Googe keeps up with the variety of people and periods and styles admirably.

I don’t read the lead story in Tales of the Unexpected #4, but I try to keep up with the backup because much as I want to ignore anything Brian Azzarello does, I do love Cliff Chiang’s artwork. So I’m reading about Dr. 13 trying to keep from having a nervous breakdown while fighting Nazi gorillas accompanied by a vampire and a Confederate ghost and a flying pirate ship… which I admit, is pretty amusing… and then…

Spoilers…

Infectious Lass shows up! She’s always been one of my favorites, because she so nicely breaks the mold of girls having quiet and polite powers, like telepathy. She has a messy ability with immense potential scope.

I also liked the way that the daughter, once rescued and untied, rips up her gown to make a headband to keep her hair out of her eyes. Chiang’s panel, with her hands pulling back her hair and her blazing eyes, is masterful.

Good Superhero Comics: Week of April 25

DC wants me to talk about Justice Society of America #5 and Amazons Attack #1. At least, they sent me copies, and that’s my presumption as to why.

I don’t want to read them, though. I’ve raised my standards really high when it comes to superhero comics, because I’ve already read more than my life quota. I don’t expect to enjoy most of them … they’re not offering what I’m looking for, and I don’t like the work of any of DC’s current first-string team of writers. The characters don’t resemble those I knew, and I disagree with their treatments and motivations. I’m also dismayed by the increasing repugnance of what they consider appropriate content, with the raised levels of violence and sexism, far beyond what should be included in juvenile escapism.

Justice Society of America #5

Mostly, I just don’t care. They leave me cold, and it’s all pointless, subject to be reversed at the next event’s whim.

I’m sure DC would want me to mention, although they didn’t care enough to point it out on the cover, that Justice Society of America #5 is part two of a crossover with JLA that also involves the Legion of Super-Heroes. (The cover is a murky, boring Alex Ross painting of a character who appears for all of three pages. What a waste of an option to do a great, dynamic team shot.) As is typical of an early section, what’s here is explanation and setup, and most of it I already knew, since it revolves around explaining the Legion. I suppose that’s necessary, given how many times the story and the universe has been changed.

Amazons Attack #1

Speaking of which, Amazons Attack #1 has brought back the dead Hippolyta, Wonder Woman’s mother. I find this a bad choice. DC doesn’t know what to do with its best-known brunette in star-spangled swimsuit — why would they want two of them with little distinction in background or character?

See also previous remarks about too much violence. The story begins with the cliche of “oh, this is really serious, someone dies!” as the Amazons take over Washington. Fundamentally, though, this is not a story I want to read. I don’t want a group of female characters I always appreciated (for their sisterhood and the imagination of their private island) turned into cardboard villains. There aren’t enough good women in the DCU for so many of them to be thrown away this way. It’s a really bad idea, given how many stereotypes superhero comic writers use and rely on, to base a story on women vs. men — they just don’t know how to do it and they have no basis for the reader’s trust it’ll all turn out ok.

Then there’s Astro City #3… Kurt Busiek gets a lot more slack from me, but when I saw on page two the naked black woman calling the white guy master and having sex with him (although he got to keep his pants on) so he could get the power he needed, I just couldn’t cope with the symbolism. Even if Busiek is just replicating the power structures of the 70s comics he’s emulating, I don’t need to see it again.

X-Men First Class #8

So what was good? Best of the week was the final issue of the miniseries, X-Men First Class #8. (Thankfully, it’s been turned into a continuing series, so no need to fret over its loss.) I expected as much — Jeff Parker’s writing is classic, fun, and self-contained. The X-Men are heroes, and they have distinctive personalities and voices.

I have no idea if Gorilla Man is an old-fashioned Marvel character from history somewhere — I suspect he is — but I don’t need to. He works here well either way, especially as a foil for Beast. The two have a lot in common, with enough differences to remain distinct.

I’m harping on that because too many creators aren’t able to maintain it. They draw boys who look the same except for the color of their hair and underwear suits. Or all of their characters “sound” the same in dialogue. Parker’s skill is refreshing, even as he works further into the core of the superhero universe.

Oh, plot. Professor X is missing, so the team heads to Africa, the last place Jean had a psychic connection with him, to find him. Basic idea, well-executed, and (old-fashioned as it is to look for this) even a meaningful theme underneath it all. That’s something the reader can take away beyond the temporary enjoyment of the adventure.

Fantastic Four #545

Also good, although less focused and more continuity-hindered, is Fantastic Four #545. I didn’t care about half of it, but it was nice seeing Reed and Sue acting like a couple; a powerful Storm contributing to the fight; and an uber-competent Black Panther who’s not a jerk to his wife and everyone else around him. There’s a shot of him riding the Surfer’s board that really channels Jack Kirby; kudos, Paul Pelletier and Rick Magyar.

The big deal event here is the return of Gravity, killed a couple months ago in Beyond (also written by Dwayne McDuffie). Sadly, I fear he may be losing most of what I found appealing about him; he’s given some kind of cosmic power to make him a Quasar replacement. (Or maybe it’s just my natural antipathy to such stories; bigger is rarely better.)

While I’m being suspicious, I find it awfully convenient that there’s a storyline with Galactus and the Silver Surfer just as they’re starting up publicity for the movie that features the same two characters. Nothing wrong with that, only I’m not that interested in the pair as a reader — it feels to me like their story’s been done enough times already.

Mostly, the reason I didn’t enjoy this as much as I hoped was that it wasn’t a story, only a chapter of some larger attempt at an epic. Too much fighting, not enough of the other stuff that makes it meaningful. Some good chocolate chips, but in the wrong cookie for my taste.

Suburban Glamour #1-2

Jamie McKelvie previously illustrated Long Hot Summer and Phonogram. Here, he writes his own story about a young rebel who discovers that magic is real.

Astrid is a suburban teen with a couple of friends, and all three are generally bored with school and the options available to them in town. The premise isn’t particularly unusual — outsider finds out that they really are special and their actions have global consequence — and it’s executed competently. What drew my attention here was the lovely art.

McKelvie’s clean linework and gorgeous people are quite attractive, and he draws realistic, complex expressions. His figures tend to look posed and static at times, but many talking panels make that into a strength. His dialogue is similarly plausible for the characters and their ages, so while there’s a lot of it, it’s enjoyable to read.

Guy Major’s colors are of particular note, with pastels and muted shades. It’s the furthest from the traditional solid four colors of comics you can get. He also gives dimension to McKelvie’s world through shading, beautifully supporting his strong design sense.

As the fantasy elements develop, they serve as tangible symbols of Astrid’s struggles growing up. She’s going to have to embrace her heritage in order to defeat the foes seeking her.

The first issue sold out, so look for the collection in May. Or read it online. The author has also been interviewed at PW.

Pictures of You

Pictures of You is written by Damon Hurd, drawn by Tatiana Gill, and published by Alternative Comics. It’s a prequel to A Strange Day, by the same creators (with one more promised to come later to complete the trilogy).

Pictures of You
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In that comic, two teenagers skipped school to buy the new Cure CD. This story, set one year earlier, looks at what made them the characters we’ve already met.

Miles is jealous of his friend Sarah’s boyfriends, kids that aren’t as mopey as he is. He’s trying to maintain their relationship as close as it used to be, which is impossible, now that she has other people she cares about in a different way. But he’s always there for her, because that’s what she needs, regardless of what it does to him.

Anna’s parents are fighting terribly pre-divorce, and she’s looking for escape. When the music doesn’t work, she tries drinking, or the older, wannabe musician next door.

Hurd has always been skilled at storytelling through realistic dialogue, and here he continues to demonstrate that strength. Gill’s loose, black-lined art is an excellent choice for stories that depend on emotional resonance. During Anna’s fight with her mother, as tempers flare, so does the lettering, until the thick letters take over the panels the same way her hatred drives out the rest of their relationship.

It’s a story of moments, and the reader’s involvement will depend on how plausible they find the incidents, or even how much they’re reminded of something similar in their own lives.

This graphic novella is due out in September. It can be ordered from Diamond with code JUL07 3229.

Perhapanauts Annual

I adore this series (and its creators), so I was thrilled to get an advance preview of the Annual, the first issue since the book moved from Dark Horse to Image. (Just to get my bias out of the way upfront.) It’s an extended 32-page story with no ads, due out February 20 to kick off the ongoing series to come.

The premise is the same, a group of paranormal investigators who are themselves paranormal. This time, they’re taking on the Jersey Devil, which under Craig’s pen looks like a horse-headed red dragon, quite impressive. Although he eats the doggie, boo. (I know, how predictable. There are at least eight people killed in the comic (not on-screen), but all I care to mention is the pet.)

I apologize, I don’t mean for this to devolve into a play-by-play, but that’s how this comic makes me feel. I am totally sucked in and along for the ride, enjoying the excitement and dying to find out what happens next.

I can’t wait to find out what MG’s story is — I have a weakness for the cute, strong, smart, silent type with a secret. I love Arisa, the telepathic team leader, because she’s a character that avoids the stereotypes that dog comics women. (And she makes a call-out to the WWF.) Molly’s a sweet ghost, Big’s a Buddhist sasquatch, Choopie’s a hoot… it’s a great mix of personalities and abilities.

Plus, it’s fun. I was laughing out loud at Choopie’s room — among the clutter is an Archie comic and a Skull Troll doll, which means it vaguely resembles my room. Except I throw my pizza boxes away when I’m done with them.

I was surprised at some of the secrets revealed among the characters this issue, but it also doesn’t stint on adventure. It felt like a really good episode of something like Buffy the Vampire Slayer, blending humor, action, characterization, horror, and astounding abilities into an entertaining, high-adrenaline read.

Find out more at the Perhapanauts website. An online copy for this review was provided by the publisher.

Max & Lily

Boyish girl Max and girly boy Lily crack wise on anything and everything in their comic strips. The newer ones online are three horizontal panels, while the ones I started reading, originally in print collections — are based on a 12-panel grid.

These two good friends (who would be awfully neat people to meet) discuss current events, including society’s skewed priorities, sexuality, politics, and perceptions, as well as their personal lives. The overwhelming message is that we’re our own worst enemies.

Max & Lily:
Whatever They Are

Without the bite of the gestures and content, the distinctive art might be termed “cute”. The characters have dot eyes and simple angle noses. Even without eyes (for example, one strip has both characters wearing sunglasses), the well-observed gestures and body language keep the characters expressive. The simplification is needed to leave space for the text, since the strips are dialogue-driven. They’re also very realistic conversations, if you happen to know people this interesting and witty.

Dresen establishes setting very well. In the first strip, the two are talking over morning newspapers and coffee. One panel simply illustrates Max counting her change, an obvious but rarely-shown part of the process. The everyday tasks–like buying groceries, walking in the forest, or barbecuing–keep the subject matter in perspective. Even when the conversations range far and wide, the settings connect the concepts to regular life. More people should think about things like how history is taught (or not taught) in school, or the stereotypes around disease or weight, to give a couple of examples.

I worry that these cartoon characters are better aware and active than I am. Still, they’re not perfect, as when a strip complaining about the hypocrisy of politicians has the punchline of one of the characters not being registered to vote. There are also more personal concerns covered, like the pain of dating. Some are even poetic, like the strip that simply lists words that mean “female”.

This isn’t the comic for someone uncomfortable with views of the world outside the straight and narrow, because the ideas are refreshing and unrepentant. Max & Lily is thought-provoking, intense, light, and fun. The Max & Lily website features all these strips with the author’s comments. Additional comics can be found at Kris Dresen’s website. Dresen also illustrated the Manya series, written by Jen Benka.

Hexed #1

Hexed is a four-issue miniseries beginning in December from Boom!, and they’re really pulling out the stops on this supernatural thriller comic. Great title, too.

Hexed Cover B (OCT08 3925)
by Joe Pekar

It’s the story of Lucifer, shown on the cover, a young thief who deals in the enchanted, such as stealing a pair of angel’s wings. She’s double-crossed a bad guy, a previous client who wants his revenge by making her obtain something impossible for him. That showdown scene strongly reminded me of a similar one in Joss Whedon’s Fray, but it’s a convention of the genre, where the protagonist gets put into the conflict situation by facing off bravely against someone who seems to have more power and control, a villain she will eventually defeat. There’s also a mentor/boss/surrogate mother figure, an older woman with a smart wit.

(The previous doublecross happened in Clarksville, so every time someone mentioned it, I was thrown from the underworld to a mental picture of four happy lads in matching shirts singing and playing guitars.)

Hexed Cover A (OCT08 3924)
by Emma Rios

Some of it tries too hard — like the precious name given to the main character. More significantly, much of the issue is told through internal monologue, and I didn’t believe that Lucifer would be that chatty with anyone, even herself. If she’s that into self-analysis, it doesn’t match up with the type she’s shown to be through her actions. Instead, it comes across as a quick way to dump lots of background and exposition on the reader. A thief that skilled shouldn’t need to explain her techniques to herself, but it does help out someone new to this world.

The art is well-suited for the character. It’s easy to read but slightly edgy. The neon colors, by Cris Peter, all deep pinks and aquas, give an appropriately sickly, unnatural look that works for both demons and the underworld. The storyline’s familiar, but the magic gives it a fresh coat of paint. Four issues is probably just long enough for this caper: a couple more issues of plot and counterplot, and then the wrapup.

There’s an eight-page preview running along with an interview with the creators conducted by Boom! Editor-in-Chief Mark Waid at Newsarama. It’s interesting to hear the artist talk about her European influences; you can see them through her settings and sense of place in her drawings. Both the writer and artist talk about horror, violence, and disgusting things, but I didn’t see too much of it in this issue. Maybe it’s still to come. (A complimentary online copy for this review was provided by the publisher.)

A Strange Day

Miles is skipping school to buy the new Cure CD. He was supposed to go with best friend Sarah, but she’s had less time and attention for him lately. Instead, he heads off by himself only to meet Anna, on the same errand.

Anna’s the perfect outsider angel. In miniskirt, fishnets, and heavy boots, she breaks Miles out of his self-centered shell — joking and flirting with him, explaining things about himself to him, and sharing his secret places. It’s clearly his story, with his emotions serving as the focal point, and we’ve seen her type of character before, the first love who inspires the man inside the boy.

A Strange Day
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The creators describe the book as “a teenage love story … for the person you once were… the sixteen year old that fell in love at first sight and took themselves all too seriously.” It’s a good summary. These lonely, disaffected kids have the wonder of finding a new world through each other. Their magical day will be a life-changing experience, if only in the memory, while the more experienced reader realizes how universal their experiences are.

Gill’s thick line gives the characters weight, yet they’re strangely flat. Her art is loose and wavy around the edges, well-suited to a story about teens who are also existing on the edge. I would have liked a little better lettering, though — the frequently missing periods and commas made the dialogue sometimes hard to read.

I know little about the band that serves as the central macguffin, but the emotions are so understandable that it didn’t matter. I suspect that if I’d known the songs whose lyrics were used, they’d contribute additional depth to the scenes they feature in.

Following in the mold of Hurd’s My Uncle Jeff, this is a well-observed encounter that feels inspired by real life. At 48 pages, this graphic novella is just the right length for the story of a day’s friendship. It’s oddly old-fashioned, pulling the curtain and leaving us to draw our own conclusions at the end.

7 Days to Fame

Writer Buddy Scalera was kind enough to give me copies of this miniseries at this year’s New York Con. I’d missed it when it first came out in late 2005, although I’d heard of its shocking premise.

7 Days to Fame #1

A TV host and his producer are going nowhere in late-night TV until a woman kills herself on their program. Suddenly, they’ve got the next great reality show concept (although they air it online instead of on TV, to avoid legal problems) — every week, someone with a fatal disease will explore their life over the series of the show, ending their seven days with suicide.

The three-issue length is just right. The first sets up the concept, its justification, and introduces the characters. Issue #2 works out the premise, demonstrates its potential for impact, and sets up a cliffhanger by involving a famous person. Issue #3 resolves the above and makes its statement about the disease of seeking fame and what’s wrong with the media that feed it. (Although obvious by that point, through its exaggeration.)

This is a dynamite concept in so many ways, and Scalera does an excellent job setting up the premise — making it plausible that characters we can sympathize with would do such a thing — and exploring different elements of it — how do they react to the fame? to the legal challenges? to the moral quandries?

Sadly, the art is terrible. Nick Diaz drew issue 1, and he isn’t ready yet for professional work. A lot of the story revolves around passionate conversations, which requires an ability to drew both people (especially faces) and entertaining talking scenes. He creates laughably gargoyle-esque expressions and misshapen heads, so much so that “just WHAT am I looking at?” risks becoming a distraction from the multi-layered material. Dennis Budd takes over for 2 and 3. He’s better than Diaz, but the work is still subject to distortions.

The concepts are solidly thought-provoking, but I almost wish that Scalera had written prose instead, because then I could have focused on the ideas without the distraction. I’m not sure why it was a comic, beyond Scalera knowing the field.

20th Century Boys Book 1 — Recommended

Review by Ed Sizemore

When Kenji was nine years old, he dreamed of saving Japan from alien invaders and nuclear holocaust, but as a 37-year-old man, he runs the family convenience store. His days are now filled with stocking shelves, dealing with his cranky mother, and raising the baby his sister dropped off at his doorstep. Suddenly, strange things begin to happen around him. A loyal customer and his wife disappear. Next, a childhood friend dies under mysterious circumstances. Stranger still is that a symbol from his childhood seems to be tied to all these events. Kenji wants to solve these mysteries and find out how they’re connected to his youth.

20th Century Boys Book 1
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My first reaction after reading this book was, “This feels so American.” This is not a complaint, just an observation. It’s because the cultural references and Kenji’s experiences are typical of Americans his age. He talks about hearing the Rolling Stones for the first time and how obsessed he became with the song “Jumping Jack Flash”. How that song inspired him to learn guitar and fueled his desire to be in a rock band. Kenji remembers staying up all night hoping to see the moon landing on TV. The flashbacks to his youth reminded me of the film Stand by Me. As an adult, he visits the university campus, where two competing departments are playing a baseball game for bragging rights. So many details are similar to what you’d find in America that it just didn’t feel like the typical manga to me.

the literary excellence of this book completely caught me off guard.

20th Century Boys is a true graphic novel in the deepest sense of the term. It has all the characteristics of the best novels combined with excellent art. Perhaps it’s a sad comment on comics, both American and Japanese, but the literary excellence of this book completely caught me off guard. Here is a manga that is meticulously plotted with carefully crafted characters that come to life before your eyes. What makes these characters so real is their rich tapestry of emotions. You don’t just have the standard emotions of happiness, anger, and sadness. There’s also nostalgia, wistfulness, resignation, and regret. I’ve never read a manga with so much emotional complexity and subtlety. Urasawa brilliantly conveys these feelings powerfully, but indirectly.

These four panels are a perfect example of the power of comics.

Take, for example, Kenji’s unspoken regret about never getting to be a rock star. We’ve seen in flashbacks his love for the Rolling Stones, his learning guitar, and his skipping classes in college to hang out and play the instrument. An old friend comes by and asks if he still plays. He replies, “That old thing? I don’t even know where it is anymore. Look at these fingers. All soft and flabby!” His wistfulness can be seen in his posture, his facial expression, and heard in his words. These four panels are a perfect example of the power of comics. Each picture is worth a thousand words. It’s great to read a comic where the author has enough faith in this audience to understand what is going on without having to be spoon-fed.

Urasawa’s master storytelling is seen in the way he connects the flashbacks and the present. We aren’t shown idle remembrances from Kenji’s childhood; each episode from the past has some connection to the present. Sometimes you have to wait a couple of chapters for the full implications of how what we’ve seen fits. The interaction between the past and the present communicate poignantly that sense of nostalgia, even when Kenji himself isn’t aware of it. I like the way Urasawa strings the memories together. He really captures that stream-of-consciousness feel. Kenji’s memory about hearing the Stones leads to a memory of playing air guitar that leads to a memory of him buying his first guitar. Each episode tells us something further about Kenji and how the events are intertwined give a glimpse deep into his psyche. Urasawa has fashioned a tight narrative that rewards second and third readings.

I don’t want to paint this as a somber, humorless manga; it isn’t.

I don’t want to paint this as a somber, humorless manga; it isn’t. The first chapter starts out with great broad humor as we see Kenji and his mother together in the store bickering the way families do. Initially, Kenji comes off as a bit of a bumpkin, obsessed with running the convenience store. It’s a time-tested way to hook an audience, start with a joke. Slowly the manga settles into a more serious tone, but there is always a strand of humor running through the book. Urasawa doesn’t just use one style of humor either. Some of the jokes are very subtle, and if you’re not paying attention or reading too quickly, you’ll miss them.

It’s obvious by now that I like Kenji and find him a very sympathetic character. His most impressive characteristic is the ability to roll with the punches and disappointments in life most admirably. He didn’t get to save Japan from eminent danger or become a rock star, and he doesn’t wallow in bitterness over this. He runs the convenience store like that’s what he’s always wanted to do. His sister shows up, drops off her baby, and then disappears. He raises the child like she’s his own. He gives her all the love and care she needs without complaining about her being a burden. He’s a genuinely nice guy, and Urasawa doesn’t make fun of Kenji for being that.

Part of this probably comes from the fact that Kenji and his friends are only seven years older than I am. I was too young to remember the moon landing, but I lived in a world profoundly shaped by that event. My friends and I also grew up listening to the radio and getting excited by music we were hearing. Kenji’s thirty-seven in this manga, I’m forty-one, so I can relate to where’s he at in life.

This manga is drawn in a much more realistic style than usual for the medium. In the beginning, it reminded me a little of the house style of Mad magazine, especially because of the exaggerated expressions Kenji and his mother use when fighting. Of course, this added to the ‘American’ feel of the book. After the second chapter, the artwork seemed to slightly move away from this style. All the artwork is excellent, but Urasawa’s real gift is facial expressions. He’s able to communicate any emotion. It’s a pleasure just to flip through the book and look at the all the facial closeups. He also lays out the pages well. He does wonderful things with panel sizes and arrangement to capture the right mood or quicken the pace.

20th Century Boys had me hooked before I even finished the first chapter.

20th Century Boys had me hooked before I even finished the first chapter. This book is written for adults, and really only adults can fully appreciate it. To truly get inside the characters and the narrative you need to be past thirty and settling in what you’re most likely going to be doing for the rest of your life. It’s a masterpiece. It’s so rare to read a comic, or even a novel, with so many layers put together so adeptly. I’m already jittery with anticipation for the next volume. (This review was based on a galley provided by the publisher.)

Interview With Allen Gladfelter (Strongman)

I spoke (via online chat) a few days ago with Allen Gladfelter, artist of Strongman, recently released by SLG Publishing. He talks about how he and writer Charles Soule work together, the importance of location research, an upcoming project with Joshua Dysart, and plans for a Strongman sequel.

Allen, Strongman is about a Mexican wrestler. Are you a wrestling fan?

I wasn’t so much before I started working on Strongman, but in the course of researching the Mexican Lucha Libre tradition, I came to appreciate it quite a bit.

How so?

Well, to be honest, I didn’t know a thing about Lucha Libre before I started working on Strongman. So I read a few books and got to thinking that I really need to see this for myself. I took a little side trip to Mexico and caught a Lucha Libre event live. It’s all REAL! The luchadores show up in their masks, the kids gape in awe, the people drink Tecate two at a time and munch on spicy snacks while the luchadores wage melodramatic battles of good versus evil. It’s a loud, close quarters, hilarious, and very entertaining scene. I can totally get the appeal.

Strongman

That sounds like a fun way to research! Is that level of involvement typical for your art?

For me it is. I mean, that’s how I want to approach my work. When I am faced with having to tell a story where the setting is a significant story element, then I think it’s important to go see that place for yourself if at all possible. It’s important to have something authentic to say about these places. For Strongman, I ventured to both Mexico and New York City because I needed to be able to get the sense of place correct. It makes the life that our hero, Tigre, is living all that much more real and believable.

How did you come to work on Strongman? Did you know the writer?

Charles Soule posted an ad on Digital Webbing, and I responded to it. He auditioned about a half dozen guys and decided that he liked my approach the best. While the other guys were just drawing wrestlers in superhero poses, I was drawing wrestlers walking down dark alleys with Eisner-type debris flying around in the wind. Charles has said that he thought my temperament would be better suited to the mood he was trying to achieve than any of the other guys.

Clever approach! Did you take a different tack based on information he provided?

Well, yes and no. Environment and mood have always been a primary interest of mine. My first published work was a story in Steve Buccellatto’s ComicCulture magazine written by Benjamin Raab called “The Lost Tribe”. That was a supernatural horror noir story set in a stygian kind of old Prague. I couldn’t go to Prague for that, but I worked hard trying to get a spooky, creepy feel for the place. So right from the start, environment and mood are evident as predominant artistic concerns. I think I simply have continued that approach in Strongman, and I intend to continue doing that.

Could you talk about how other examples of your work demonstrate that as well?

Like That

I did a short graphic novel called Like That, written by Patrick Rills, that is set in Baton Rouge, Louisiana. We have our lovebirds (it’s a romance comic!) hanging out and walking around on the Louisiana State University campus.

I have been providing covers for the Disney/Pixar World of Cars comics coming out from BOOM! Studios. I lived for a time in that part of Arizona along Route 66 where Radiator Springs is supposed to be, and I have taken it upon myself to start taking in auto racing events whenever possible, and I think that helps.

I once did a comic called Transaction that took place during the 1999 WTO protests, which I witnessed first hand. (It was a peaceful protest until the police started lobbing tear gas cans into the crowd!)

I drew a comic written by Joshua Dysart that is set deep in the Louisiana Swamp, and I actually got in a swamp boat and got a tour of the cypress groves out there. That was called How It Gets In, and it hasn’t been published yet. It’s pretty weird and we’ll probably have to self-publish it one of these days.

What’s the premise?

This guy is sitting around his house, abusing himself with the news porn on the television, when a fly emerges from the TV set and he swallows it. He coughs, gags, and then gets up and ventures out into the swamp, that’s when he finds that he has become the victim and the carrier of all that war and filth that TV spews on us.

That’s Josh’s side. My take on it was more personal. For me it was also about how sadness, disappointment, and sickness can divert someone from the single-minded pursuit of art. Josh had something to say, so he wrote it all down. I read it and it spoke to me and I drew it. It was a personal thing, just for fun really. It’s a pure work of art, born into the world through vessels who can’t quite explain how it came to be. (Read it online at Josh’s site.) Josh is a mad man, you know.

He’s one of my oldest friends in comics. I met him shortly after reading his work on Violent Messiahs. He’s a really friendly, positive guy, a cinephile, jazzbo, voracious reader, and I feel a real affinity for his dedication to his work. Did you know that for his recent Vertigo series, Unknown Soldier, he actually went all the way to UGANDA to research the civil war there? And then he put it all into his comic book! That’s the way to do it, I’ll tell you what. I really admire him for his willingness to go half way around the world to make his comic book the best it can be. And Unknown Soldier is a fantastic book.

What else are you working on now?

I am currently finishing up my Bachelor of Fine Art in Illustration. It will be my second degree after my Bachelor of Science in Education.

I’m going to continue self-publishing my personal work, The Inspectre: The Ghost Who Solves Crime, created in collaboration with my writing buddy, Mark Cooper. (That link has some of the images, but the words aren’t posted yet. Sorry, Mark! We’ll have to get on that asap.) It’s actually quite a bit different than the rest of my work. Much more cartoony, in a way.

The art style is based more on expressionistic wood-block printing and the picture books of Lynd Ward. Lots of black, inky shadows and spooky stuff. It’s about a ghost detective archetype struggling to maintain a sense of identity in the afterworld where your habits can overtake you and you can forget who you are and just wind up trapped on a lonesome road or in the corner of a room in an old house. So he finds a mystery to solve, and it turns out that the double cross may be that his need to investigate may simply be the habit that traps him. We’re talking with some companies about publishing it, but we don’t have anything in writing yet, so I can’t say when that’s going to hit. But it will, you’ll see!

I have another project called Guns McMenamin that’s going to be premiered at San Diego this year. It’s an action/comedy series, something like The Dukes of Hazard crossed with The Fast and the Furious. And it’s set in Baton Rouge. I’ll be travelling to Baton Rouge to research the place and prepare for the major set pieces later this year.

And we are planning to do a sequel to Strongman that I’ll start drawing in June.

How do you work with Charles? You’re doing a sequel, so y’all must get along ok.

More than OK! Charles is a good collaborator. He’s challenging but not recalcitrant. Creative, energetic, a little bit gonzo, even. He has quite a few interesting projects that are going full steam ahead, and I think it won’t be long before he’s as out there as Bendis or Kirkman or Cebulski.

What method do you use? How much back-and-forth do you have?

We start with a plot synopsis. I read what he’s got in mind and then tell him if I think it works or not. Then we discuss it at length before he produces a full script. I read that and do thumbnail layouts to see how it all flows, then we have another lengthy discussion about how it’s all shaping up.

If I have a difference of opinion with Charles, then I better be able to explain myself pretty clearly, and sometimes he agrees with me, sometimes not. Eventually, we come to an agreement, and I go back and draw the pages as best as I can. I send pages to him in 20-page packets and move on to the next batch while he letters them and gets them ready for the book. I think our system works pretty well.

What can you tell me about the next book?

As the cloud of guilt and depression begins to lift from Tigre’s life, he decides that he needs to return to Mexico. He finds the place has not changed to his liking in the 30 years since he left. Poverty, violence, civil war. This would never have stood had Tigre remained in his country and continued fighting for truth and justice. Well, he’s back now, and those outlaw gangs and corrupt politicians better watch out!

I’m going to start drawing it in June, it will take about a year to complete, then about 3 or 4 months to produce and distribute…. So I guess it’ll be about late 2010.

Thanks very much for your time, Allen!

You’re welcome. I’d like to say that I’m really happy to speak to you, and I’d like to shout out to my friends and collaborators Mark Cooper, Charles Soule, Patrick Rills, Josh Dysart, and Steve Buccellatto. I’ve always appreciated their hard work and support. And if I don’t throw a word in to my mother and sister, I would be a bad son and brother. I couldn’t be a cartoonist without their support.

Marvel Donates Obama Comics to ComicsPRO

ComicsPRO, the trade organization for direct market comic retailer, announced today that

Retailers who join ComicsPRO as Full Members can get a hand from Marvel. Marvel made available some first printing variant covers of Amazing Spider-Man #583, featuring President Barack Obama. This hot, sold-out issue has gone for more than $100 at auction, and retailers who join now can get one for free while supplies last!

Except that current prices, based on ebay sales finished today, range as low as $44, so it appears that this collectible may have peaked. Other copies offered starting at $25 and $50 closed with no bids. Given that Marvel did four or five reprints of the cover, everyone who wants one may have one.

Don’t get me wrong, it’s a nice idea, that a retailer get back something to help offset their membership dues — heck, DC’s done that for years with exclusive RRP editions of comics given out at their invite-only retailer gatherings. I’m just a little tired, personally, of this “let’s exploit the President” approach to marketing. Plus, without knowing how many “some” are, it’s tough to know how generous Marvel is being. Although it is considerate that ComicsPRO isn’t leaving out existing members: “Existing Full Members can get a free Obama variant copy with an early
renewal of 2009-2010 dues.”

But wait! There’s more! Marvel is also discounting subscriptions to their Marvel Retailer Resource Center. According to Marvel, “The Marvel Retailer Resource Center enables retailers to create websites for their stores with up-to-the-minute news, artwork, catalog listings and changes, as well as maps and local happenings.” In other words, they’re selling branded web creation packages. It’s very difficult to find any concrete information on pricing online, but reportedly, it’s over $100 a year for this service. So this “extra $10 discount” is a gesture, but not very substantial. I suspect any store that knows they need a website already has one. Others may not want to be so locked into one vendor’s products.

The press release also says that ComicsPRO has “more than 140 members with more than 180 storefronts.” Given the usual estimate of about 3000 comic retailers, that’s 6% of stores, but I bet they’re the most active and involved ones.

Batman Movies Coming on Blu-Ray, Re-Released on DV

The Batman Anthology, a collection of the four previous Batman movies, now out of print on DVD, has been announced for March 10. They’re pushing the announcement that this will be the first time the movies are available on Blu-Ray, but the regular editions will be coming back into print as well.

Batman Anthology
Buy this DVD set

Batman, Batman Returns, Batman Forever, and Batman & Robin will be available in a Blu-Ray box set. Also included will be “over 18 hours of special features, including documentaries from directors Tim Burton and Joel Schumacher, deleted scenes, and music videos”, plus a digital copy of Batman (The Movie) suitable for download to computer or iPod. (Note: I’m assuming that means the first film in the set, not the 60s campy version, but I might be wrong.) On Blu-Ray, these films are only available as a set at a list price of $130 US. (If you only want the good ones, wait a bit. I’m sure individual discs will follow.)

However, on regular DVD, you have a lot more choices. You can get single-disk editions of each movie for $13 or two-disc special editions at $27 apiece. Those are coming out on February 10, with a Collection following on March 10 for $80.

This announcement struck me as more evidence of how hard studios are pushing Blu-Ray now. That’s the focus of the piece, with the other discs mentioned as an afterthought, with no specific information on their content or special features. And looking at the prices, you can understand why — $50 more for an enhanced picture? I’m not interested, thanks.

It’s a shame that they didn’t do a fancy tin box with plenty of extras, like Superman got. Maybe that’s down the road for next holiday season.

Star Trek

Just got back from seeing the new Star Trek movie, and I enjoyed it. Which surprised me, since I’d stopped watching the series a long time ago (both films and TV). This is really a Star Trek for this generation, providing much more depth to most of the characters while still acknowledging their classic roots. All the favorite elements — Vulcan neck pinch, “Dammit, I’m a doctor, not a physicist”, Kirk’s skirt-chasing, plenty more classic phrases — are here, but there’s more, too. Including a few too many scenes of a ship getting attacked, something blowing up, and bodies flying through the air for my taste.

Things I Liked

The movie looks like it cost a lot and it’s all on the screen. Visually impressive.

The use of silence to remind viewers space is soundless, as well as for dramatic effect.

Spock is to Kirk as Batman is to Superman. This is Spock’s movie — Zachary Quinto gives him the most shading and diversity, and much of the plot revolves around him. This shouldn’t be surprising, since Leonard Nimoy is also in the film (and significantly so, a wonderful addition I really appreciated). Quinto’s portrayal is excellent, too, capturing the essentials of the original character while bringing his own spin to it. His storyline provides almost all of the depth of the film.

Anton Yelchin as Chekov. I already liked him from Charlie Bartlett, but he does a great job as the math prodigy (and putting echoes of the much-despised Wesley into the character was clever!). The actor is also Russian by birth, a nice touch in casting, which makes the accent more palatable.

Simon Pegg as Engineer Montgomery Scott. He provides some needed humor and “normal people” behavior late in the film.

Simon Pegg as Scotty, Karl Urban as Bones, and John Cho as Sulu

Karl Urban as McCoy. His cantankerous nature fit well and balanced the other, younger, starry-eyed characters.

In general, all of the cast were well-done, especially Bruce Greenwood as Captain Pike, who played leader and teacher while still seeming active and powerful. I was overall meh, though, about Christopher Pine’s Kirk. He wasn’t quite as “lovable in spite of being a jerk” as he should have been.

Things I didn’t like so much

The Romulan threat. Another “so evil” ranting bad guy who lives in a muck pit. What, bad guys can’t like light?

Time travel and Spock as deus ex machina. The transporter becomes even more of one. It’s treated as a super plot device, which is something that will need to be addressed if this becomes a series again.

What was the point of the young Kirk scene? The best I could come up with was that it provided something before he turns up at the bar, so it shows he was troubled, not just a lush. My second guess: someone really liked the sports car.

A bit too much typical SBU action movie (S**t Blows Up) at times. I know it’s competing with Wolverine, Terminator, etc. this summer, but I preferred the more impressive, more unusual space effects.

Worst of all for me was the treatment of women. I should have known, once the academy students showed up with the females still wearing short skirts. But even with a more modern Uhura, the four women (only) with significant speaking roles (most minor) are all primarily defined by their relationships to men: wife, mother, girlfriend. But I guess with so much focus on Kirk-Spock bonding, that shouldn’t surprise me.

Overall, on the summer movie scale (”did it provide an enjoyable escape for a few hours?”), it was quite successful. I hope to see more in the series to come.

Similar Posts: Tokyopop in March: NG Life, Tsubasa: Those With Wings, Star Trek Manga Ultimate Edition § Tokyopop’s TV Science Fiction: Battlestar Galactica, Star Trek: The Next Generation § Star Trek Comic Promo § Voices of a Distant Star § Little Star