REVIEW: Quantum and Woody! (2017) #6 by Eliot Rahal, Francis Portela, Andrew Dalhouse, & Dave Sharpe

There may be a high intimidation factor to Quantum and Woody! #6 for some. It’s billed in part as a tie-in to Harbinger Wars 2, it’s six issues into a run, and it’s the first issue by a new creative team. Any of those things might discourage a new reader from picking up this book, but none of them should. Quantum and Woody! #6 is a simple but surprisingly emotional comic book that requires no prior knowledge of the characters, preceding issues, or even the Valiant Universe.

I’ve read Quantum and Woody! sporadically, depending on the creative team, but I’d caught all of this run from Daniel Kibblesmith and Kano. I also came into this book previously familiar with writer Eliot Rahal, whose own career is not short on humor writing, as he used to do stand-up comedy and also co-wrote an amusing The Paybacks book with Donny Cates. Kibblesmith is a blast on Twitter and his run on this book conveyed his humor well. That’s all a way of saying I came into this book maybe expecting Rahal to try to out-joke him, but what I found was a much richer reading experience.

Instead, this issue is a rare superhero comic wherein I could see myself very clearly facing the same predicament as the heroes: a burning building filled with imperiled people that the heroes as able-bodied passerbys (without their powers for a reason unbeknownst to them) felt obligated to help. No spoilers (always and forever), but Quantum and Woody have to make difficult choices, take risks, and ultimately sacrifice, leaning on each other for support.

See? Like I said, simple but surprisingly emotional. Much credit is due to the scope of Rahal’s script, which doesn’t ever needlessly exaggerate the situation or odds Quantum and Woody face. Francis Portela’s art (with colors by Andrew Dalhouse and lettering by Dave Sharpe) is also on point. Valiant in recent years has at times seemed to have a house style that favors full room perspectives and intricate detail, and Portela deploys it here expertly, also doing a great job of capturing the calamity that eventually befalls the heroes.

This arc stands to be brief—just this issue plus next month’s—but Rahal will be staying on the book longer, eventually teaming with Joe Eisma (who’s done some great work for Archie Comics of late) through the end of the summer at least. This issue stands alone really well, but Rahal also captures a few small moments that would seem to strongly indicate he has an expert grasp on the tentative, brotherly dynamic that drives Quantum and Woody! I for one will be following this title during his tenure to see where else he takes it.

Overall: Despite being six issues into a run and billed as a tie-in to Valiant’s big summer event, this issue of Quantum and Woody! stands well on its own as a simple but surprisingly emotional tale of self-sacrifice and heroism. 9.0/10

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

A Handy Guide for DC's Big comiXology Memorial Day Sale

Midnighter Vol. 1 is one of our top picks, available for $5.99.

Midnighter Vol. 1 is one of our top picks, available for $5.99.

I am scared to count how much money I’ve spent on DC’s Memorial Day Sale on comiXology, which runs through Monday. Figuring out my budget is a problem for Next Month Me. I also suspect I’m not done yet and I’ll end up making more last minute purchases as the weekend winds down.

To that end, I’d like to enable all of you to spend money along with me. This is America, you know. All told there are 1,000 titles, most of which are marked down to $5.99 while a few others to $4.99. Deciding what to buy can be a bit overwhelming, which is why I’ve compiled this Handy Guide for Last Minute DC comiXology Memorial Day Sale Shopping. Behold!

Below you will find five categories: my top 10 overall picks, a list of significant runs to invest in, some essential classics it’s nice to have, the books that offer the biggest savings, and a quick list of all the $4.99 books.

Hope you find this helpful, and feel free to hit me up on Twitter to let me know what you bought!

Top 10 Overall Picks

This list skews toward books I’ve perceived as underrated or under-discussed recently, with my hope being readers will find new discoveries. I could have put All-Star Superman or Watchmen here, but how helpful would that be, right?

1. The Flintstones Vols. 1 & 2
The Flintstones by Mark Russell and Steve Pugh is one of the sharpest comic book satires ever, commenting on everything from the military-industrial complex to artistic struggles to consumerism. And it’s somehow also about The Flintstones. It takes a leap of faith, but if some or any of what I described sounds appealing, I highly recommend doing it. Total Price: $11.98

2. The Wild Storm Vol. 1
Warren Ellis and Jon Davis-Hunt are doing something ambitious and special with this new take on the old Wildstorm universe and characters, which is fresh and stands on its own yet brimming with plenty of nods to long-time readers. The sister title, Wild Storm: Michael Cray by Bryan Edward Hill and N. Steven Harris, is just as good (but, alas, not on sale). Total Price: $5.99

3. Green Arrow: Rebirth Vols. 1, 2, 3, & 4
I know, I know...this book has already gotten much attention, but I just had to include Benjamin Percy’s Rebirth Green Arrow run here. If you want to know why I like it so much, you can find that here. Total Price: $23.96

4. The Omega Men: The End is Here
Before Tom King was Mister Miracle Tom King, or Batman Tom King, or even The Vision Tom King, he was The Omega Men Tom King. This is the book that first brought one of the best current writers to my attention. If you’ve enjoyed his high-profile recent work, you’ll surely appreciate this too, like watching a rookie have a breakout game in sports. Total Price: $5.99

5. Cassandra Cain as Batgirl Vols. 1, 2, & 3
Just like Wally West is always and forever my Flash, Cassandra Cain is my Batgirl. She was, after all, in the costume when I read my first Batgirl comics. If you liked her in James Tynion’s recently-concluded Detective Comics run, you’ll like this book, too. Total Price: $17.97

6. New Super Man Vols. 1 & 2
This title is ending soon, but Gene Luen Yang’s New Super Man—a Chinese teenager genetically enhanced by his government—has been a highlight of DC’s Rebirth. It’s also one of the few titles from the initiative that takes refreshing risks rather than leaning on foundations of long-established characters. Total Price: $11.98

7. Midnighter Vols. 1 & 2 & Midnighter & Apollo Vol. 1
Midnighter, which starts in the New 52 and extends into Rebirth with the six-issue mini Midnighter & Apollo, is the book that first brought Steve Orlando to my attention. It’s complete with faith in the reader and nuanced character beats that make Orlando’s most recent work—Justice League of America and Crude—so favorably-reviewed on our site. Total Price: $17.97

8. Superman and the Legion of Super Heroes
There is a surprising amount of commentary about nationalism in this book (planetism, technically) that feels searingly relevant today. If you’re dying for the Legion to return to the post-Rebirth DCU, this quick read might just tide you over. Total Price: $5.99

9. Swamp Thing (2016)
The last few months of the New 52/DC You were a mess, as the publisher was aggressively looking to the future. Swamp Thing (2016), however, was a standout, and it also ended up being one of the last stories the character’s creator, Len Wein, ever told. Total Price: $5.99

10. Batman: New Gotham Vols. 1 & 2
I may have nostalgia bias here, seeing as this collects the first run of Detective Comics I read as a kid, but I’ve always thought Greg Rucka’s time on the title was underrated. It’s set in the aftermath of No Man’s Land, and it does a great job of depicting the central tenants of Batman’s world, including Bruce Wayne, Gotham City, and the GCPD. Total Price: $11.98

All Star-Superman is essential reading.

All Star-Superman is essential reading.

7 Essential Classics

This section is dedicated to books that all comic fans should own. I have many of these in hardcopy—and, as always, I advise you to support your local comic shop/community by purchasing in that format, too—but it doesn’t hurt to have digital copies, you know, in case you need to clean panel shots to post on Twitter.

  • All-Star Superman - $4.99
  • Batman: The Dark Knight Returns - $5.99
  • Crisis on Infinite Earths - $5.99
  • Kingdom Come - $4.99
  • Superman: Whatever Happened to the Man of Tomorrow? - $5.99
  • Watchmen - $4.99
  • Wonder Woman by George Perez Vols. 1 & 2 - $11.98 Total

 

8 Significant Runs to Invest In

The section above is mostly standalone books, so let’s look now at some of the best runs in this sale, which range in size from three volumes to as many as nine.

  • Aquaman (by Geoff Johns) Vols. 1, 2, 3, & 4 - $23.96
  • Batman (by Scott Snyder & Greg Capullo) Vols. 1, 2, 3, 4, 5, 6, 7, 8, & 9 - $53.91
  • Deathstroke: Rebirth Vols. 1, 2, & 3 - $17.97
  • Green Arrow Vols. 1, 2, 3, 4, 5, 6, 7, 8, & 9 - $53.91
  • JLA Vols. 1, 2, 3, 4, 5, 6, 7, 8, & 9 - $53.91
  • Justice League Vols. 1, 2, 3, 4, 5, 6, 7, & 8 - $47.92
  • New Teen Titans Vols. 1, 2, 3, 4, 5, 6, 7, 8, & JC - $53.91
  • Secret Six Vols. 1, 2, 3, & 4 - $23.96 & New 52 Secret Six Vols. 1 & 2 - $11.98

All the Biggest Savings

These books cost $29.99 or more but have been marked down for this sale to $5.99.

  • Aquaman: A Celebration of 75 Years $29.99
  • Aquaman: The Atlantis Chronicles $34.99
  • Batgirl: A Celebration of 50 Years $29.99
  • Batman by Azzarello and Risso $29.99
  • Batman: Eternal Vol. 1 $29.99
  • Batman: Eternal Vol. 2 $29.99
  • Batman: Eternal Vol. 3 $29.99
  • Batman: A Celebration of 75 Years $29.99
  • Batman: Ego and Other Tails $29.99
  • Batman: War Games Book 2 $29.99
  • Catwoman: A Celebration of 75 Years $29.99
  • DC Universe of John Byrne $29.99
  • DC Universe of Mike Mignola $29.99
  • DC: New Frontier $39.99
  • Green Arrow by Jeff Lemire and Andrea Sorrentino Deluxe Edition $39.99
  • Green Arrow: A Celebration of 75 Years $29.99
  • Green Lantern: A Celebration of 75 Years $29.99
  • Justice League of America: The Nail $29.99
  • Justice Society of America: A Celebration of 75 Years $29.99
  • Lex Luthor: A Celebration of 75 Years $29.99
  • Lois Lane: A Celebration of 75 Years $29.99
  • Midnighter: The Complete Wildstorm Series $29.99
  • Shazam! A Celebration of 75 Years $29.99
  • Superboy & The Legion of Superheroes Vol. 1 $34.99
  • Superman: A Celebration of 75 Years $29.99
  • Superman: Doomed $39.99
  • Swamp Thing by Scott Snyder $39.99
  • Tales of the Batman: Archie Goodwin $29.99
  • Tales of the Batman: Carmine Infantino $34.99
  • Tales of the Batman: Don Newton $29.99
  • Tales of the Batman: Gene Colan Vol. 1 $29.99
  • Tales of the Batman: Gene Colan Vol. 2 $29.99
  • Tales of the Batman: Gerry Conway Vol. 1 $34.99
  • Tales of the Batman: JH Williams III $34.99
  • Tales of the Batman: Len Wein $34.99
  • Teen Titans: A Celebration of 50 Years $29.99
  • The Flash: A Celebration of 75 Years $29.99
  • The Joker: A Celebration of 75 Years $29.99
  • The Multiversity Deluxe Edition $34.99
  • The New 52: Futures End Vol. 1 $29.99
  • Wonder Woman by John Byrne Vol. 1 $29.99
  • Wonder Woman: A Celebration of 75 Years $29.99
  • Zatana by Paul Dini $29.99

All the $4.99 Books

If $5.99 still sounds too rich for your blood, worry not! A handful of books have been marked down even lower, and most of them are classics like All Star Superman, Batman: Hush, Kingdom Come, and Watchmen.

Kingdom Come is on sale for $4.99.

Kingdom Come is on sale for $4.99.

  • All Star Superman $4.99
  • Aquaman by Geoff Johns Vol. 1 $4.99
  • Batman: Hush $4.99
  • Batman/The Flash: The Button: $4.99
  • Doom Patrol Vol. 1 $4.99
  • Flashpoint $4.99
  • Green Arrow: The Archer’s Quest $4.99
  • JSA by Geoff Johns Book 1 $4.99
  • Justice League New 52 Vol. 1 $4.99
  • Kingdom Come $4.99
  • Planetary Book 1 $4.99
  • Teen Titans by Geoff Johns Book One $4.99
  • The Legion by Dan Abnett & Andy Lanning $4.99
  • Watchmen $4.99
  • Wonder Woman by Brian Azzareto Vol. 1 $4.99
  • Zatana by Paul Dini $4.99

 

That’s it for our guide. I’m sure a good many of you have already poked around, but Hopefully, our little list gave you some new ideas. I know writing it motivated me to spend more money (not like that’s hard with comics—I have a problem).

Anyway, enjoy your Memorial Day weekend, and we’ll see you next week for some great reviews of this week’s books, plus a list of New Comic Discoveries for May 2018 and maybe some other content if an idea strikes our fancy.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

Marvel Ends Its 18-Year Brian Michael Bender (Sorry)

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Marvel Comics is waking up today, hungover after an 18-year Brian Michael Bender (sorry, couldn’t help it). Just imagine, there Marvel is in NYC, blinds drawn and AC up, shaking off cobwebs and trying to piece together the fog. It started innocently enough, a few rounds of a modern take on Spider-Man, then there was a Daredevil run everyone seemed to love, chased by Jessica Jones in Alias (which brought the Bender to a sloppy place in a good way), and, finally, shots of Avengers, X-Men, and Guardians of the Galaxy, plus an Iron Man nightcap.

Now, here we are.

Okay, Bender gimmick over. Thanks for indulging me. Anyway, Brian Michael Bendis’ 18-year tenure as a Marvel-exclusive writer ended Wednesday with Invincible Iron Man #600. For comic fans, it’s not that sad, mostly because next week Bendis will be back with Man of Steel #1 for DC. But for Marvel, the publisher loses a defining voice, a writer who co-created some of its best new characters in years (Miles Morales, Jessica Jones), who enticed talented friends to work there (Jonathan Hickman, Matt Fraction, Kelly Sue DeConnick, plus artists), and whose contributions to movies and TV are evident to anyone deeply-versed in his work.

Yes, Bendis is gone and Marvel has a new reality. Online there has been a bit of negative chatter (shocker!), with some folks saying Bendis will wreck Superman while others insist Marvel has lost all its big talent. I’m a perpetual optimist, admittedly, but I don’t think either of those things are true and here’s why.

My official take is that in a deadline-driven business like corporate superhero comics, it’s easy to get lost in the day-to-day, to only see right in front of your cursor, to lose the creative joy central to storytelling. I’ve spent the past decade writing for three media companies, producing content for newspapers, websites, magazines. Believe me, I know.

Was Bendis burned out at Marvel? He’s a consummate pro and would never say, but all parties seem to realize that Civil War II (2016), which he helmed, was a bit of a dud, and some of his mid-tenure runs at Marvel—X-Men and Guardians—aren’t cited by many as favorites. To my outside eyes, it looked like Bendis over-extended himself in late 2015 and well into 2016, trying to fill the MASSIVE gap left by Jonathan Hickman. Then in the wake of criticism, he stepped his game up and put out some brief-but-excellent work for the publisher, including Infamous Iron Man, The Defenders, and another go around on Jessica Jones.

Brian Michael Bendis

Brian Michael Bendis

Then there’s Marvel. Was it leaning on Bendis? Knowing full-well sales of his books would probably always be stable? Was having ol’ Bendis a crutch? Maybe so. But that said, Bendis departure comes amid a wave of similar exits, including Fraction, DeConnick, Rick Remender, Jonathan Hickman, Kieron Gillen (almost), and Jeff Lemire (almost again). This has all forced Marvel to elevate newer writers perhaps faster than it otherwise would have.

To that end, the whole bye-bye Bendis business has resulted in a spike in creativity, like for example when Donny Cates got Thanos just before Infinity War and told one of my all-time favorite stories with the character, Thanos Wins. It’s led to Kelly Thompson’s relationship-defining mini-series Rogue and Gambit, and to Matthew Rosenberg writing Phoenix Resurrection, firmly in the top tier of X-Men stories of recent years. Oh, and Tom Taylor has turned X-Men: Red into the best mutant book I can remember.  

Going back to the goofy bender metaphor from my lede, it’s a bit like a newly-sober drunk making major life changes because they skimmed rock bottom.

And there’s a lot to like at Marvel now. Here’s a quick rundown of five writers at Marvel I’m looking forward to reading (alphabetically):

  1. Dan Slott on Fantastic Four: I know, Slott is polarizing and (I’ve been told) had some poor moments on social media, but his take on Silver Surfer with Mike Allred is among my all-time favorite superhero stories. I hope he brings the same deeply-personal sensibilities to the first family.

  2. All Things Donny Cates: I loved what Donny Cates did with both Thanos and Doctor Strange, and the new books on his docket look great too, especially the Cosmic Ghost Rider, which grew from Thanos Wins.

  3. More Jason Aaron: Jason Aaron’s Thor run is now Marvel’s best uninterrupted take on any character, and Marvel has now given Aaron the keys to its biggest franchise, The Avengers. More about why I like that here.

  4. Kelly Thompson on West Coast Avengers: I live in California (Sacramento, the most underrated city in that state), and I know the sensibilities here well. The aesthetic of this book and the team lineup is right in line with them, somewhere between madcap fun and social responsibility. Her voice is also perfect. So, big expectations for her here.

  5. Ta-Nehisi Coates on Captain America: This seems like a critical and commercial home run. I’ve had comics out when non-comic guests come over, and Coates' Black Panther is the only one that’s sparked conversation. His name alone is huge. Also, given current social and political climates in the country, Coates as a Pulitzer Prize-winning non-fiction writer should have a relevant and important take on a character long functioning as an analog for the nation, its values, or both.

In terms of Bendis’ future, look—I’ve been reading Bendis’ work since I was 15 and Ultimate Spider-Man #1 hit my local shop with a take on the character I was desperate for then...a modern take that reflected my world. As I went to college, got a job, and met my wife, I kept up with this title throughout, watching Bendis grow as a writer, too. Spider-Man #240 was emotional for me, but the sting was short-lived because I’m following Bendis to his new publisher.

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He’s written two teasers for Superman so far, which put together total roughly one issue. I liked the fight scene in Action Comics #1000. It had a modern yet classic feel to it, as his best Ultimate Spider-Man work did. I was lukewarm on his depiction of the Daily Planet. My wife and I work in print media (I know, scary), and his newsroom was anachronistic, which took me out of the story. It’s nit picky, and your mileage may vary. There’s also been clamoring online for him to clarify what his plans for Lois Lane (one of my favorite characters in comics). He seems to be dancing around clarifying a narrative twist in interviews. So, here’s hoping months from now we hardly remember this concern.

Overall, I’m bullish on Bendis at DC. I expect the new universe to challenge and rejuvenate him. He may not convert his harshest critics, but I think fans who keep an open mind will find much to appreciate, although isn’t that always the case with comics?

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

ADVANCED REVIEW: Harbinger Wars 2 #1 by Matt Kindt, Tomas Giorello, & Diego Rodriguez

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I’ve always thought of Harbinger as Valiant’s answer to X-Men, which is, admittedly, a fairly obvious comparison to draw. Harbinger Wars 2 #1, however, was actually a really nice reminder that this franchise’s significantly more under-the-radar status allows it a degree of agility the now-hulking X-Men behemoth no longer has, and it uses that degree expertly in this issue to play upon current societal woes and concerns. Essentially, the first part of this summer’s Harbinger Wars 2 event is a poignant and engaging story, involving nearly all of Valiant’s best characters (where’s the Eternal Warrior at these days, btw?).

As it should. The Harbinger concept to me is the center of Valiant’s universe (or was until Divinity showed up, anyway), and this event is poised to treat it as such. It’s yet another tale of superheros turning against each, and as common as that has become these days, doing it convincingly is still tricky business. Without giving anything away, I’ll say this book handles it better than most in recent memory, rich as it with solid and believable motivations for the involved heroes to take their respective sides. The action of the shadowy government types here are a little harder to fathom, as they almost always are, but I digress.

But let’s keep it abstract, seeing as this is an advanced review (this book drops May 30) and I don’t go in for spoilers. Let’s get away from details and talk about the commentary. In a sense, the themes in Matt Kindt’s script are nothing we haven’t seen done or attempted by X-Men several times over the years: an outcast population, children on the run because of who they are, a government acting out of fear, a debate over what constitutes proper methods of resistance.

Kindt, however, is an incredibly nuanced writer who doesn’t need to hit us over the end with any of that to make this story compelling. He puts all those questions and themes in here seemingly as a mechanism for understanding the reasons our characters have for fighting, then he gives them all plans that start to pull them together. Each page pulls our opposed characters closer, revealing more about their motivations as it does so and setting the stage for a massive rumble to come.

There’s a cinematic quality to this story, in both its structure and scope, as well as in the way characters from various Valiant franchises are introduced, presented in big splashy panels as if they were leaving room for an applause break. Tomas Giorello hits the artwork here out of the park, as he has during previous collaborations with Kindt in Valiant’s best ongoing right now, XO Manowar.

Overall: Come for the incredibly tense and entertaining story, stay for the subtle commentary on our times—exactly as a book about outcasts persecuted by vast governmental power structures should be. This issue is all rising action, bringing in power players and stopping just short of slamming together. I can’t wait for No. 2. 9.3/10

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

Dark Horse Comics’ Black Hammer and Ether: Two Beautiful Stories of Sacrifice

From Ether by Matt Kindt and David Rubin.

From Ether by Matt Kindt and David Rubin.

I recently read one of the best graphic stories to come my way in some time: Ether Vol. 1 by writer Matt Kindt and artist David Rubin. It was about a man who discovers a scientific realm beyond our own, seemingly inhabited by humanity’s notions of mythology. It is a land of living beings, all of whom firmly believe in magic. Our protagonist begins to visit the land and use his knowledge of science to debunk those beliefs and solve crimes there.

This land of mythology is so beautifully-rendered by Rubin. Many panels in this story could stand on their own as independent works of art. Ether, however, is not unique in this way, as many comics these days have a similarly-striking and imaginative visual quality (this is to take nothing away from Ether). Where Ether really stands apart is through the emotional depth Rubin and Kindt aspire to with its story.

That magical land—known to our characters as the titular Ether—moves through time differently, with months in the real world passing for every minute one spends there. When our protagonist first discovers it and begins to visit, he is happily married with a young family. Each of his visits, however, progresses the lives of his wife and daughters by several years past his own. He becomes addicted, their lives slip away from him—heartbreak.

I read this as a metaphor for the plight of anyone who is similarly driven, and as Kindt and Rubin are artists, I presume this metaphor was drawn through their own time lost at the keyboard or the drawing table, travelling through imaginative worlds grown from their own ideas as their families went on without them. As a writer myself, this gave the book—which stands on its own wonderfully as an engaging story rife with heroes and villains and mystery—a haunting undertow as I read, bringing me to tears somewhere during the fourth chapter.

That metaphor, while gorgeous, is not what this piece is about. I assume I’m far from the only one to pick up on it, as critically lauded as Ether has been in comics circles. What I want to unpack today is how another successful Dark Horse Comics property—Black Hammer by Jeff Lemire, Dean Ormston, and Dave Stewart—could be looked at as a companion piece to Ether, another side of the same artistic sacrifice coin.

Black Hammer by Jeff Lemire, Dean Ormston, and Dave Stewart. 

Black Hammer by Jeff Lemire, Dean Ormston, and Dave Stewart. 

Whereas Ether examines the loss of one’s family as a price for spending life engrossed in work, Black Hammer depicts a different sort of creative sacrifice, one that has to do with being lost in the mystique of a craft, a professional culture, a niche artistic medium driven by nostalgia. Black Hammer is the story of a group of superheroes, all of whom are analogs for various characters from the Silver Age of comics. These heroes face down a global threat and find themselves confined to a mysterious farm for their troubles, lost to the world they were defending and stuck in a small rural area that doesn’t seem to be on any map.

It is, quite clearly, a paean by Lemire, Ormston, and Stewart to superhero comics, which all of them have spent parts of their careers within. It’s more than just a reimagining of a classic superhero mythos. See, there is sinister business afoot in Black Hammer, a mournfulness to the plight of the heroes on that farm, only one of whom seems satisfied with life there (and even then, who's to say he’s not deluding himself?).

Read a certain way it almost seems like the question underlying Black Hammer is what do we give up when we fall so fully into our nostalgia for superhero comics, how much of a risk are we at of being swallowed whole by it? It’s a poignant question in an era when vicious battles are waged online about the future of many pop culture properties, battles in which nostalgia is often held as a causation. I can only suppose the question is more poignant for the creators, whose lives work is being given over in part to these characters.

Lemire’s work is always somewhat obtuse in origin, difficult to figure out thematically (in the best possible way), but let's think about the timeline during which he may have conceptualized Black Hammer, which was in all probability near the tail end of his time writing exclusively for Marvel. When Marvel’s All New All Different initiative launched, Lemire was one of the central writers, taking on some of the publisher’s most prominent characters, including one of the central X-Men team books, Old Man Logan, and All New Hawkeye, which was a followup to the immensely successful run on that character by David Aja and Matt Fraction.

Throughout 2016, however, Lemire slowly began drifting off those titles, reducing his Big 2 superhero output to a mere two books today, one of which is yet to be released. It’s not a stretch, in my opinion, to suppose Black Hammer was a manifestation of Lemire feeling creatively trapped, a sense that maybe he was drawn into this work by nostalgia and had professionally been stuck on a farm. I’m not saying I know any of this to be a fact, but I think there’s a case to be made.

I’ll conclude by saying I find both Black Hammer and Ether to be among the most intriguing titles coming to comic book stores each month, and I find important questions for us all within them, specifically: what must aspiring creators be willing to sacrifice for our crafts?; and is there danger or risk of stagnation that could kneecap our futures buried within the warm fuzzy feelings of nostalgia?

I really doubt either book will provide clear or concrete answers for such tough questions—great art is rarely so neat—but I trust there will continue to be a beautiful journey in the asking.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

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REVIEW: Crude #2 by Steve Orlando, Garry Brown, & Lee Loughridge

Crude No. 2 by Steve Orlando, Garry Brown, and Lee Loughridge is a rare second issue that builds expertly on its predecessor while also standing alone as a rewarding read. On the surface, this issue is the story of a turf war between a dominant oil company in a far-flung industrial Russian city and an upstart rival, with an old man who has a history of violence  interjecting himself into the fray.

I’m not doing the plot justice (read this book for yourself—I strongly recommend it), but it’s equal parts bleak and compelling, heavy on ethos and fast-paced, graphic storytelling. It's very good. When evaluated as a continuation of Crude No. 1, however, this issue becomes a deeper and more rewarding part of a larger narrative about a man solving a mystery, seeking revenge, and potentially atoning for his life's chief mistake.

One of the qualities to Orlando’s work that puts him among my favorite comic book writers (dating back to his excellent 2015 Midnighter) is how he refuses to dumb anything down for readers. There’s a promise I’ve found made by Orlando comics, something along the lines of If you work to immerse yourself in this story, to really focus and engage with what I’m doing here, I will greatly reward you for your efforts.

And this new creator-owned book from Image Comics is his strongest work to date. In the first issue, Crude showed itself to be a story of juxtapositions of two lives, one of violence and another of domestic bliss, all within its first four pages: two of which showed our protagonist, Piotr, at breakfast with his family, and two of which showed him violently thrashing enemies.

One problem I see at times within modern comics is a somewhat gratuitous use of time jumps: Then. Now. Five Minutes Past Then. Next Thursday, etc., but Crude uses non-linear storytelling to great effect, thereby justifying every time jump. Crude is a story that must incorporate mistakes made through time—not so much the violence of Piotr’s past but rather his decision to keep it hidden from his son—and it uses juxtaposition to make those mistakes all the more powerful. The non-linear time elements in this book are, in other words, essential.

There two panels, which appear in both Crude #1 and #2, are at the crux of its story.

There two panels, which appear in both Crude #1 and #2, are at the crux of its story.

Crude's artwork also bears mention. The nature of our plot is such that there’s a significant amount of interiority. It’s basically a story of a man grappling with regret, which is a difficult conflict to convey in comics, but Brown and Loughridge’s art does an incredibly effective job working in tandem with Orlando’s scripting. In issue No. 1, when Piotr first sees the body of his son, the book excels at showing rather than telling, deploying panels that alternate between the body and the man’s reaction as he hears earlier dialogue echo in his mind, asking “this your son?” and we realize he’s weeping not only for his loss but because his own life of secrets prevented him from ever truly knowing his only boy. Powerful stuff.

Overall: Crude No. 2 introduces a framework for the challenges and mystery our protagonist must fight to overcome, and it does so in a suspenseful way that doesn’t sacrifice any of the interiority that made No. 1 so compelling. Orlando, Brown, and Loughridge are really building something special here, something that feels powerful as well as painstakingly deliberate. 9.3/10

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

Batman's Booster Gold Arc: The Good, The Bad, & The Sanctuary

Booster Gold in happier times.

Booster Gold in happier times.

Let me just start by saying Tom King is one of my favorite writers in comics. I bought all the single issues plus also hardcover copies of both The Vision and Sheriff of Babylon, and I’d do the same for Omega Men if a hardcover was available. I’ve loved this Batman run overall (Kite Man!), and King’s Mister Miracle maxi-series has gotten a ton of ink (or whatever the digital equivalent is) on this very site. I love Tom King’s work, which is part of why I feel obligated to apply a critical lens to his latest arc in Batman, “The Gift,” which centered on Booster Gold.

In The Gift, Booster and his flying Palm Pilot/best friend Skeet go back in time to prevent the murder of Bruce Wayne’s parents, trying to create evidence of how awful the world would be without Batman in order to present it to Bruce as a gift for his wedding. I’ve got plenty of nit-picks with this concept—was Booster just going to film it and give Bats a video clip? did he plan on later going back to ensure the murder happened? what about Selina? wedding gifts are supposed to be for both the bride AND groom—but this is comics, and we could nitpick everything all day and still not run out of nits to pick, etc.

My central issue with The Gift is the characterization of Booster Gold. In The Gift, Booster is reckless and—to be blunt—kind of dumb. Even when the world has gone to ash around him and he’s got multiple deaths on his conscience, he’s wisecracking about how he should have just gone with a cheese tray, written closer to Deadpool or Harley Quinn than the character we’ve seen in the past. It’s a far cry from the bleak but tragicomic genius we’ve seen in books like The Vision or Mister Miracle.

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To me, Booster Gold has always been a tragic hero, though, one who is undone more by cutting corners, hubris, and bad luck than his own wanton stupidity. Born in the future as Michael Jon Carter, he was a star quarterback who got caught betting on his own games (at the behest of his lousy and I think also alcoholic father). So, he stole a bunch of super advanced tech and fled to the past, where he re-branded himself as a superhero and used his knowledge of other heroes there to his advantage. Also, he wanted to regain his lost fame, riches and fortune.

None of that is all that stupid. Narcissistic and selfish, perhaps, but also clever and calculating. As a result Booster is often depicted with a mix of daddy issues and imposter syndrome, which making him highly relate-able. A hallmark of his character over the years has also become his respect for the delicacy of the timeline, something that was even depicted well in the last 18 months or so in an Action Comics arc written by Dan Jurgens (the greatest Superman writer of our generation), in which Booster essentially stands up to Superman, who’s trying to save his own parents. It just isn't consistent that a Booster who recently went through that would then turn around and initiate the same idea as a wedding gift for Batman, even if he did intend to undo it.

My first inclination was to chalk this up to rushed writing, to King trying to spin the wheels on Batman for a few issues and bridge the way to No. 50. The more I contemplate this, however, the less I think that was the case. The end of The Gift leaves Booster a broken man, one vigorously cleaning a nigh-invisible splotch of blood left on his golden visor, which is hardly an ending at all. King, however, has shown himself to be expertly adept at ending arcs and story threads with the best in the business, and here there's almost no closure. King leaves us disturbed and a little perplexed, an odd note for a writer who has consistently tugged on reader emotions with subtle and savvy bits of narrative genius.

What I think is far more likely is that this is the start of a King story rather than the end of one. Now, this idea that The Gift is a seed for a larger Booster Gold arc rather than a simple guest spot in Batman isn’t all that original, not at this point. Outlets from Bleeding Cool to CBR have posited much the same, presenting more than enough evidence from King’s Twitter feed to back up their hypothesis. The standard line of thinking has quickly become that Booster Gold will be headed for King’s next concept, a PTSD clinic for superheros dubbed Sanctuary, and I’m on board with that. I certainly trust King—a man who has been to actual war—to tell that story and to tell it well.

What I would caution as a reader, however, is that there is a danger in making nuanced characters a blank slate defined by recent pain and suffering. As we saw in The Gift, it leaves entire plot points open to feeling contrived and insincere. One of the things that worked so well within DC's Rebirth was a strong emphasis on the core concepts of characters. To throw that away—even for an idea as strong as Sanctuary—seems like folly. And really, for an in-continuity, shared universe story like this one, it’s probably on the editor to enforce character growth and consistency from Action Comics to Batman to whatever comes next, etc.

One of the best Batman variant covers in recent memory.

One of the best Batman variant covers in recent memory.

But hey, enough with the negativity! King's scripts have a high bottom line for quality, and the artwork by Tony S. Daniel and Sandu Florea was great. Overall, King’s batting average is still really high on Batman, a book for which he must produce two scripts a month, no easy task for any writer, and I for one firmly believe that this wedding is going to be fantastic. I recently re-read Batman Annual No. 2, and it's still one of the best Batman stories in years, as well as one of the best Bat-Cat stories period. The Batman/Elmer Fudd Special is also a modern pop art classic, wonderfully-bizarre in conception and pitch perfect in execution, just downright great comic book-ing. Basically, for every Booster Gold fumble, there is an equal or greater Kite Man. King is also pretty busy right now—planning a wedding is never easy.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Bloodshot Salvation #9 by Jeff Lemire, Ray Fawkes, & Renato Guedes

Under the guidance of writer Jeff Lemire, Valiant’s Bloodshot franchise has grown in recent years from being a revival of another ‘90s heroes who carries big guns (plus also maybe a sword) and can heal from gruesome wounds, into a walking metaphor for the human toll of the military industrial complex. In Lemire's stories, our man Bloodshot has looked for love, found it, and become a dad—only to be dragged back into war and violence.

Lemire’s characterization of the principal Bloodshot—Ray Garrison—is top-tier, just like Lemire’s characterization in most books, but where his work on Bloodshot has really excelled has been in telling the story of the Bloodshot technology over time, bringing in past Bloodshots as metaphors for the military industrial complexes in bygone eras, including Vietnam and World War II. This issue focuses on another recent addition to Bloodshot’s supporting cast, his faithful dog Bloodhound, who we learn here is a veteran of WWI.

It’s a solid issue of Bloodshot, to be sure, and it’s the type of story Lemire, joined on writing duties here by Ray Fawkes, does well: one that fleshes out characters and is so entertaining that readers can forgive a one-month break from our plot (see his work on Descender for more great examples of this). The end result is an issue that both adds to the larger Bloodshot mythos but could also work as a poignant standalone for first-time Bloodshot readers.

All of that is a credit to the plot, which subverts expectations in terms of the roles the two main characters in the narrative seem poised to play at its start. The groundwork is laid for the sensitive doctor, who is seeing his first battle, to be our heart, our humanitarian, our entry point into a violent and savage world of war. Meanwhile, we also get a foil for our assumed protagonist, a seasoned military commander who barely tolerates the doctor’s presence, one I assumed would be a cynical roadblock, complicating the doctor’s efforts to save lives.

This issue, however, just isn’t that neat or simple, and, not to spoil anything, but there ends up being shades of gray throughout. There’s a particularly poignant bit where one character refers to “cost,” and it later becomes unclear if the true cost being referred to was lives or money. It’s a moment that puts the lens back on the reader and asks what are you as a civilian more concerned about: sending soldiers to die or finding more efficient ways to kill enemy soldiers at minimal taxpayer expense? Yikes.  

My only gripe with the issue is a small one, in that some of the commentary is a bit on the nose, with soldiers randomly cursing the war, or describing it as a pointless meat grinder.

Overall: Bloodshot No. 9 is a well-done issue, one that sets out to create an emotional origin story for Bloodshot’s faithful companion Bloodhoud and succeeds, all while paying off one of the better commentaries about the military industrial complex and our role in it as civilians, which is what I’ve long seen as the overarching theme of Lemire’s Bloodshot work. 8.5/10

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

4 Things Jason Aaron Got Right About The Avengers

On Wednesday, Marvel Comics ushered in a new era for its flagship team book The Avengers, releasing a new No. 1 issue from writer Jason Aaron, artist Ed McGuinness, inker Mark Morales, and colorist David Curiel. The book built on plot points Aaron originally dropped in the massive Marvel Legacy one-shot last fall, and it marked the debut of this year’s new Marvel season, Fresh Start (although, no mention of Fresh Start was made by the book’s marketing, which I found interesting...).

Most importantly, however, this comic book was actually really very good. For real. The art team was cohesive and precise, giving the over-sized debut a polished feel, an almost high-budget aesthetic that seemed to declare this is THE Marvel book of the hour. What I found most engaging, however, was that Aaron’s plot and script seem to understand the enduring appeal of The Avengers in a way recent incarnations of the team have at times missed.

And that’s what we’re talking about here today. This book is not a throwback, not exactly—despite the traditional core of the team returning—but it does pay homage to some the most beloved and enduring aspects of The Avengers, without at all feeling dated in the process. Here are four of the major elements Aaron and the team simply get right about The Avengers... 

1. The Threat

The Avengers were formed originally because there was a threat that demanded they exist. In recent years, however, I think the concept has become a bit perfunctory, taking a wink-and-nod attitude that the team exists because the publisher, the fans, or whoever else expects/demands it. This book immediately gets away from that, establishing a convincing and compelling threat that spans millennia and brings our team together, even if some of them would rather not (more on that in a second).

This galvanizing threat is what made Avengers #1 work so well for me as a reader. I enjoyed Mark Waid’s preceding run on the franchise. I mean, he’s Mark Waid, and he just gets superheroes, but under Waid the book always seemed like an auxiliary title, rather than the publisher’s flagship, as that honor seemed to go to whatever event was beginning, middling, or ending (usually middling—boom, roasted!). In summation, Aaron’s run seems to be at the forefront of the publisher, giving it an exciting and dynamic sort of energy.

2. The Reluctance

Reluctance has been part of The Avengers DNA since the early years, when the original lineup minus Steve Rogers quit, leaving Cap to marshal a group that included Hawkeye, Quicksilver, and Scarlet Witch, all of whom were at that time villains. We get that reluctance here early and often, starting with a great buddy-buddy-buddy scene where Steve Rogers, Tony Stark and Thor Odinson meet in a bar for a beer, a shirley temple, and roughly three giant flagons of mead, respectively.

Just a few old friends, not wanting to be Avengers while having a drink at a bar called Aaron's.

Just a few old friends, not wanting to be Avengers while having a drink at a bar called Aaron's.

Not only is this reluctance foundational to The Avengers, it is in many ways the heart of Marvel superheroes all together, the main thing separating them from DC, whose heroes mostly run, fly, or grapple-hook eagerly into battle. Marvel heroes by comparison are more real and more flawed, like all of us, and they don’t always rise immediately to the occasion, like all of us again, with, of course, a few exceptions—thinking here of Carol Danvers. Aaron gets that right throughout, and his debut issue of The Avengers is better for it.

3. The Relationships

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All great teams have iconic relationships, be it the antagonistic banter between The Thing and Human Torch in Fantastic Four or the love story between Midnighter and Apollo in The Authority. I think it’s fair to say, however, that The Avengers have slightly more characters with special connections to their teammates, characters like Giant Man and The Wasp, or The Vision and Scarlet Witch, or Wonder Man and The Beast.

Right off in this debut issue, Aaron makes great use of existing bonds, specifically those between Captain America, Iron Man, and Thor, while also laying groundwork for some new ones. My favorite scene in this entire book was actually when T’Challa and Doctor Strange used their individual expertise together to investigate a shared concern. It’s a somewhat odd pairing, I suppose, but it yielded surprising chemistry. I’m really hoping for more of that kind of interaction.

4. The Rotation

My all-time favorite run on The Avengers was by Kurt Busiek and George Perez in the late ‘90s, and part of what I liked about it so much was the feeling that week-to-week the team’s roster was dynamic, that new members could be incoming and existing heroes could be on their way out of the mansion. Mark Waid did a bit of this in his run, although it really amounted to just one big splinter when the younger heroes departed to form The Champions.

Going into this book, however, Aaron has said in interviews that one slot on the team will be essentially reserved for a rotating member, and for this first arc that slot goes to Doctor Strange. I like that idea, although my hope is that the rotating concept is a wider one, not limited to a neat one-in, one-out setup that takes place like clockwork each time we start a new arc. I’d rather see roster churn happen organically (and maybe even surprisingly) as a result of our plot.

Plus, One Minor Complaint

So, I guess everyone—characters, writers, publisher, fans—is just fine now about the whole Hydra Steve business? I know this is comics and change is the only constant and HUGE events one month have little impact the next, but this man was seething with evil to the point he oversaw the destruction of a major American city, like as recently as last year, which is even shorter in comic book time.

Obviously, we have to get this behind us, and Secret Empire did the heavy narrative lifting after its climax to explain what happened and get us moving in a better direction. Plus, we got a brief and rehabilitative Captain America run from Waid and superstar artist Chris Samnee. Still, all I’m saying is a bit more of a grudge held by other heroes might feel cathartic for us all, regardless of what our feelings were toward Secret Empire as a concept. The good news is this is just one issue, and there’s still time to dive deeper into that idea, plus other dynamics. I know I, for one, am looking forward to Aaron unpacking the presumably large baggage between Tony and Carol following the second superhero Civil War.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at@zackquaintance. He lives in Sacramento, California.

Splitting the Marvel Cinematic Universe into Tiers

I rarely write about comic book movies, for a few reasons: 1. I think they're pretty self-explanatory and most conversations amount to either wouldn't THIS be cool?, or screw you, let's fight!; 2. I'm an old-before-my-years purist who prefers comics; and 3. I'm not as passionate about these movies as most other people tend to be, so I usually just sit back and let strong feelings have the room.

But Infinity War is HUGE. It's part one of what feels like a major shift for the Marvel Cinematic Universe (part two being Avengers 4), and so I'm using it as an excuse for a rare post about the MCU, wherein I organize this mosaic of stories into tiers.  Unless otherwise noted, these tiers have less to do with quality than with content. Also, I generally enjoy all comic adaptations, which feel to me like nice bonus supplements for my favorite print stories. 

Enough preambling, let's do this!

Next Generation Tier

I know I said the tiers weren't about quality, but this first one is. Sorry. These are my three favorite Marvel movies, and I've grouped them in a tier because they feel like the future of the MCU, a future in which a talented director (or directors) is given a movie and trusted to execute a vision.

This is especially true of Taika Waititi's Thor Ragnarok and Ryan Coogler's Black Panther. It's almost like Kevin Feige saw and loved What We Do in the Shadows and Creed, respectively, and invited the filmmakers to come do that in his universe. And they did. Civil War gets a nod because directors Joe and Anthony Russo juggle so many characters without losing control, much like they did as directors on Dan Harmon's all-time great TV sitcom, Community. 

Risky Tier

It's weird to think, but these movies all took risks that evolved the MCU. Guardians of the Galaxy didn't have mega-popular characters (or actors back then, not counting voices). In fact, there were comic fans who were only vaguely familiar with the team. But Marvel executed well and fans came. Winter Solider incorporated darker complex themes, even dismantling SHIELD. Again, fans came. But it was Spider-Man: Homecoming that was probably the most risky and consequential, proving properties adapted elsewhere could be re-done for the MCU. It ignored the origin, added modern touches, threw in an RDJ cameo, and glazed over that nasty business about Uncle Ben with jokes. And fans loved it. (I'm mixed, myself).

Watch-While-Altered Tier

I've never been one for drug culture, although I used to tip a few brews when I was younger (another story), but I couldn't help but think how impressive/funny they'd have been if I had done some chemical altering before watching these movies...Guardians of the Galaxy Vol. 2 because of the colors, Ant-Man because haha look how small he is, and Doctor Strange because obviously.

Origin Tier

I should note Iron Man is my favorite of these. I remember walking out of the theater thinking, WHAT was that? It just felt so real. But I think Incredible Hulk, Thor, Captain America, and Avengers are all solid at getting the job done in terms of introducing heroes and building a shared world. 

Skippable Tier

Listen, I know every one of these movies means a lot to someone, that's just how fandom works, and I'm not looking to criticize or attack. What I am saying with this tier is that if you were re-watching all of Marvel's movies, these are the four you could skip and probably still understand what's happening in the rest.

I should note, though, that if you do skip these, you should still watch the party scene in Age of Ultron, and also Google "Who are Vision and Scarlet Witch?" 

That's it for me. Enjoy Infinity War everyone. Depending on what I think about the movie, I may review it for you all here next week. 

Zack Quaintance is a career journalist who also writes fiction and makes comics. Find him on Twitter at@zackquaintance. He lives in Sacramento, California.

April 2018 Indie Comics Grab Bag: Storytelling Tools

I recently listened to a podcast* featuring a conversation between Vault Comics Editor-in-chief Adrian Wassel and writer Michael Moreci, during which Wassel articulated several elusive points that have been on my mind after reading Scott McCloud and Will Eisner's books on comics.

Wassel believes we are in a cinematic age of comics, a time of big splashy panels and super quick reads that rely on visual action more than denisty, nuance, or complexity. This, Wassel also believes, has been a good thing, a way for a young medium (comics) to learn some new tools, but he also couldn’t help but wonder if there was progress to be made by utilizing a wider variety of techniques as well, such as more co-mingling of prose with those big panels.

Coincidentally, our featured indie books this month seem to hint at those multimodule possibilities that Wassel wondered about. Admittedly, I likely wouldn’t have drawn a connection if not for the podcast, but I'd still like to use that idea as a through-line here.

So, let's get on to it…

*That podcast, I believe, is exclusively available via signing up for Moreci’s newsletter here.

Isola #1 by Brandon Fletcher, Karl Kerschl, & Msassyk

Isola, make no mistake, is a beautifully-drawn comic book. Karl Kerschl’s line work is clean as it gets, and the tonal vibrancy of Msassyk’s colors make for an aesthetic akin to high-end animation. It's a prime example of the cinematic-style cited by Moreci and Wassel. See, Isola's story is a simple one: a protagonist leads a monarch tiger to a paradisaical place called Isola, and along the way there are tests, challenges, visions, hijinx.

Simply put, Isola takes little time to philosophize, or even to do much world-building. It’s an interesting choice for a fantasy comic, and I think we won’t entirely know if it pays off until we read future issues. The clues we get to a larger world come from clothes (high fantasy with perhaps a light touch of feudal Japan) and equipment (purely low-tech).

In these ways, Isola reminded me of the intro portion of an old-school RPG, wherein the player gets a feel for whether there’s magic, what kind of tech exists, and how the turn-based combat works, knowing that this portion will seem quaint later once the game opens up onto a sprawling world map. I hope a similarly larger scope is where Isola is headed.

Overall: Isola is a playground for artists Karl Kerschl and Msassyk, one that deftly introduces its protagonist, her goals, and the challenges she faces.

The Season of the Snake #1 by Josh Vann, Simone D'Armini, & Adrian Bloch

The Season of the Snake is one of the densest comics I’ve ever read, both in terms of its hyper-detailed artwork and its breadth of ideas. In many ways, it takes the exact opposite storytelling tact of Isola, bearing much more of a similarity to a novel than to a movie.

From The Season of the Snake #1.

From The Season of the Snake #1.

Whereas Isola was content to wow and captivate readers with its visuals, Season of the Snake is novelestic in scope, stimulating more with questions it raises about nation states, evolution, diplomacy, and reverence than with artwork. That’s not to say Simone D’Armini’s artwork is bad here. No, it’s quite good, and it deftly compliments the dense script.

There is just so much to unpack in this 68-page, three-part series debut. I enjoyed the depth of thought behind this book, as well as some of the visual touches the creative team used to show rather than tell (high praise in college creative writing workshops), specifically a mysterious flier that poetically reads “True life is the thing that s-s-seeps,” which did great narrative work to foreshadow coming plot points. The use of Adrian Bloch’s vivid colors during the story’s grandest set pieces is also interesting, heightening the sense of reality and consequence at those times.

Overall: The Season of the Snake seems destined to develop a rabid cult following of hard sci-fans who kept bugs or lizards growing up. It starts slow but has a lot to offer those who invest in it.

Coronary #1 - #2 by Ryan Burke, Joel Saavedra, & Damian Penalba

Coronary (which has a week left on its Kickstarter, btw) sort of straddles the techniques of the two previous books on this list. It’s rich with quick panels, a la Isola, especially early in the first issue, where Ryan Burke’s script moves through the quietude of Joel Saavedra's artwork, expertly conveying feelings of pensiveness, yearning, and loneliness. Burke also has an ear for dialogue that he deploys well, and his use of a fictional magazine Q&A and a psychologist's scribbled notes at the end of the issues disperse additional exposition that brings our plot into focus.

What I found most intriguing about Coronary, though, was its use of transitions and juxtapositions. Going back to the idea we cribbed from Wassel about creators tapping more tools, Coronary takes advantage of the way that comics’ inherent sequential structuring forces readers to make their own connections in order to understand a story progresses. See below:

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Notice the juxtaposition. These panels appear as a character begins to zone out on a train. While your own interpretation may vary, I understand them to mean that sex to him is as routine as reaching for an umbrella, that he objectifies and uses women as he might a tool to keep dry in the rain. It would take pages in a novel to convey this effectively, but Burke and Saavedra do it with the subtlety of four panels and ⅔ of a page. That's just one example; this book is rich with more.

Overall: I really liked both issues of Coronary, so much that after reading them (and writing this) I helped with this Kickstarter. I urge you to do the same.

Zack Quaintance is a career journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Action Comics #1000 - The Stories Ranked

Forbidden Planet retailer-exclusive variant by Jock

Forbidden Planet retailer-exclusive variant by Jock

Action Comics #1000 is a monster book, with a page for each of the 80 years Superman has existed. It features 11 stories and is perhaps best evaluated on the merits of its individual vignettes, rather than as a whole. So, let’s take a quick look at the good and bad, before doing a ranking of the stories that comprise this historic publication.

The Good: Action Comics #1000 is a trip through the past, present, and future of Superman, one that is ultimately a meditation on not just Superman/Clark Kent, but on why fans have read about powerful beings in capes for eight decades plus.

The Bad: Not enough Lois Lane. I didn’t count, but Mr. Mxyzptlk’s wife might have more lines in one vignette than Lois in 80 pages. Lois is a presence, certainly, but a story about the Lois-Clark relationship should be here. (I’ve talked about the importance of Lois before.)

10. The Game by Paul Levitz and Neal Adams

This story is strong and its art stronger (Neal Adams has been doing some great work again lately). That said, it’s one of two stories about Superman and Lex, and it’s the lesser of the two.

9. An Enemy Within by Marv Wolfman and Curt Swan

A decent story that inverts the usual relationship between people and Superman, this one examines how mankind inspires its Kryptonian protector. It’s pretty good, also standing as an homage to the character’s political history, taking aim at the teachers with guns nonsense, police violence, and individuals resisting nefarious manipulation. It’s a fine work, just not one of the more memorable in the book.

8. Actionland! by Paul Dini, Jose Luis Garcia-Lopez, and Trish Mulvihill

One of the book’s best-looking stories, this one is expertly handled by Paul Dini and Jose Luis Garcia-Lopez. But a whole section for Mr. Mxyzptlk? He should be included, as one of Superman’s most interesting and oldest foes, but this is almost a story entirely about Mxyzptlk. The other pieces focused on specific places or characters (Luthor in The Fifth Season, Daily Planet in Five Minutes) still take a backseat to Superman, making this a bit confounding.

The Daily Planet is hardly The Daily Planet without Lois.

The Daily Planet is hardly The Daily Planet without Lois.

7. Five Minutes by Louise Simonson, Jerry Ordway, and Dave McCaig

I’m a writer at a trade magazine and my wife is a reporter with the LA Times. I should love this story of Superman being a powerful superhuman AND a heroic journalist. The problem, however, is it's a Daily Planet story without Lois. A Daily Planet story...without Lois. Freaking Bibbo gets in here and Lois does not. I liked it, though, especially this line:

Superheoring. Reporting. They’re not so different if you do them right.

But why not give the reporting heroics to Lois, a human who fearlessly does the job, often putting her life at risk?

6. The Fifth Season by Scott Snyder, Rafael Albuquerque, and Dave McCaig

The issue’s most complex story, this is a tale of Superman and Lex Luthor. Admittedly, I didn’t understand it well upon first reading. It’s not low-hanging fruit, but it’s classic Scott Snyder, rewarding those who invest effort to really digest and understand. This story deals with shades of gray, questions of results versus intentions, nurture versus nature, and, ultimately, whose road is harder: the human genius or the powerful alien striving to be altruistic. Basically, it's a perfect encapsulation of the dynamic between Superman and Lex.

5. From the City that has Everything by Dan Jurgens and Norm Rapmund

With quiet and consistent work, Dan Jurgens has over the years established himself as an all-time great Superman writer, and stories like this illustrate why. It expertly blends significant parts of Superman’s past and present—big galactic adventure, being a symbol of inspiration and hope, believing the best of mankind, newfound domesticity—to create a modern incarnation of the character that started superheroics 80 years ago. There’s even a touching panel here with the heroes of the DC universe thanking Supes for his influence. I’m excited for Bendis' run (more later), but I also want to thank Dan Jurgens for his service. His contributions to Superman are appreciated and will be missed.

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4. The Car by Geoff Johns/Richard Donner, Olivier Coipel, and Alejandro Sanchez

In this story, Superman follows up his adventure from Action Comics #1 by finding Butch, the tough who drove the green car from the cover. The Coipel art and Sanchez colors are gorgeous, and the panels are laced with callbacks to history (a bird, a plane, a line about the trunks). It’s the best type of Superman story, in that our hero saves a troubled soul, makes the world better, and doesn’t throw a single punch. It’s a clever conceit, but better still, it suggests Superman’s real heroism is his ability to understand and inspire, not his fantastic powers.

3. Faster Than a Speeding Bullet by Brad Meltzer, John Cassaday, and Laura Martin

This story had my favorite panel in the entire book. Just look at this beauty:

Artwork by John Cassaday with colors by Laura Martin.

Artwork by John Cassaday with colors by Laura Martin.

Its construction is stunning, but, moreover, it shows the enormity of Superman’s task, how even though he can fly and whatever else, he’s still a single man who can only be in one place. He is, by no means, omnipotent. It also has a wonderfully simple setup: an assailant shoots a woman in the head point-blank as Superman rushes to save her; with a powerful outcome: a little bravery by the woman gives Superman the slight help he needs to succeed. A funny joke about Batman, a touching dedication to Christopher Reeve, and we’re out. There’s an odd choice made, however, with the woman’s look, in that she bears a strong resemblance to Lois Lane. We also later find out her name is Lila. Still, this is a nigh-perfect story nonetheless.

2. Of Tomorrow by Tom King, Clay Mann, and Jordie Bellaire

Of Tomorrow was pretty good the first time I read it, but during my third read, I found myself near tears as I fully realized what it was about. Tom King is a master at poignant stories about family and superheroes, and this is one of his best. It’s essentially a man talking to himself after multiple lifetimes, contemplating his childhood, marriage, son, and the cause to which he dedicated his life, as close as a writer has come to capturing the human condition in five pages about a guy in a cape.

1. Never-ending Battle by Peter J. Tomasi, Patrick Gleason, and Alejandro Sanchez

Patrick Gleason's retailer-exclusive Newbury Comics variant.

Patrick Gleason's retailer-exclusive Newbury Comics variant.

Vandal Savage imprisons Superman by weaponizing hypertime, trapping him “in a fabric of yesterdays--a loop that never ends,” which sees our hero living out his past lives from the decades in which they were published. He powers down in the 30s, fights World War II in the ‘40s, is consumed with Silver Age goofiness thereafter, and so on. He's even fried and nearly destroyed in what is presumably the ‘80s, with a piece Gleason signs with a nod of the cap to Frank Miller, whose Dark Knight Returns deconstruction was an obvious inspiration here.

Superman fights Savage’s time manipulation onward, reaching the versions of himself that followed Death of Superman all the way through to Alex Ross’ and Mark Waid’s depiction of him aging in Kingdom Come. Not to spoil the exact nature of how Superman saves himself, but in the end we are given a comforting shot of him and his family as seen them Tomasi and Gleason’s now-concluded Superman run.

I loved everything about this section, from the villain (Savage is one of my favorites) to the logical exploration of the character and his past to the hopeful domestic note it ends on. Gleason’s art and Sanchez’s colors make for truly beautiful pages. If I could pull one story from this compilation and turn it into a fully-realized issue it would be this one.

Disqualified: The Truth by Brian Michael Bendis, Jim Lee, and Alex Sinclair.

I’m disqualifying this one because it has the unfair advantage of ending with “TO BE CONTINUED…” while the others are inherently self-contained. I will say, however, I’m more excited for Bendis’ run than ever after reading this. Bendis’ villain concept is fresh enough for an 80-year-old character/mythos, but where he really shines is in depicting average Metropolis folks reacting to Superman. Bendis has said he wants to make the city a realized and vital place, and he’s off to a good start. I can’t wait to see what he does with the Daily Planet.

Overall: I'd been looking forward to this celebration of Superman for months (if not longer) and this book did not disappoint. Today really felt like true observance of Superman and what he has meant to the world over the years. It was an anthology, so some stories were always going to be stronger than others, and I definitely wanted to see way more Lois Lane, but overall I'm glad I not only got to read this book, but be apart of comics fandom during its release. 9.5/10

Zack Quaintance is a career journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.