The Saga Re-Read: Saga #2, People Like This Book

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Saga #2 introduces us to one of Fiona Staples many excellent alien designs: The Stalk.

By Zack Quaintance & Cory Webber — We went live with our Saga re-read project last week (in which we’re reading one issue of Saga every week during the book’s hiatus), and, lo and behold, it turns out that people really like Saga! And I mean, like like. Not a shocker; this is a popular comic (to no one’s surprise).

Anyway, our hope from the start was that many people out there would come along with myself (a re-reader of Saga) and Cory Webber (a first-timer), as we embarked on this project, using some space here on Friday’s for a brief discussion and our thoughts about a single issue. It turns out our hopes seem likely to be validated! So that’s cool. We even have a great take that came to us from a friend via Twitter…

Andres Garcia says…

That Tarantino observation is a really great addition, given some of the ways the book approaches sex and violence (and even the revenge and family dynamics). The only thing we’d add is that if you’re going to discuss how Saga translates to the world of family, you would do well to also reference Guillermo del Toro, because Fiona Staples’ monster designs are that good.

Read our take on Saga #1.

Saga #2

The cover of Saga #2, which is way scarier after you read it.

Here’s the official preview text for Saga #2:

The ongoing epic continues!  After deserting their galactic armies, former soldiers Marko and Alana must now protect their newborn girl from the lethal killers dispatched to destroy their family.

That’s a pretty vague description, but it does get at what this issue is about: our young family is being hunted by increasingly dangerous threats. We get our first glimpse of The Stalk here, which kind of backs up what I was saying earlier about the Guillermo del Toro aesthetic. Also, at the issues very end, we get our first look at the much-feared Horrors. More on them next issue, though.

Ultimately, this is a nice follow-up to the first issue. I can’t see anyone who liked the debut jumping off after #2. It continues to introduce us to the nature of our heroes, while throwing more obstacles into their way so that we can later see how they respond, and, therefore, what they’re made of. It also gives us more of Staples’ incredible character designs. As mentioned, this time it’s The Stalk, whose design mixes ethereal beauty with body horror grotesquery. Really impressive stuff.

A Re-Reader’s Perspective by Zack: The Star Wars qualities that one assumes were vital to the book’s pitch and its early marketing are evident here: the fun space monsters, the glimpses at the realities of the freelancer market, and even a rare look at one of the military bases the war is being waged from. I suppose this stands out to me on re-read, because by #54 the book has so many of its own unique qualities that Star Wars couldn’t be further from my mind. Basically, Saga is its own massive thing now, but back then, you can see that it was still taking form.

A New Reader’s Perspective by Cory Webber: This is only the second issue, but it feels like Vaughn and Staples have been doing this for much longer. I like the comparison to Star Wars and Romeo + Juliet by Tarantino and Del Toro, but allow me to add that I’m getting a Coen Brothers vibe too, what with the eccentric characters and hilarious-yet-mundane sense of humor. For example, Alana’s secret that she likes the taste of her own breast milk, or how the prison guard tells Prince Robot IV about the harlequin-type books Alana was reading. I found it interesting that she refers to them as books housewives buy at the supermarket. It gave me the notion that this very well could be another solar system in our galaxy, not too different from our own. Something, I assume, was intentional in order to make us feel that Vaughan has something socially-relevant to discuss. I already gushed about Vaughn and Staples, so let me just take a second to praise Fonografiks’ lettering and design. I particularly like the font and placement of Hazel’s narrations. Last but not least, WHAT THE HELL IS THE STALK AND WHY IS IT AFRAID OF THE HORRORS?!

Cory’s New Reader Prediction: My prediction is last week’s prediction was either A). correct and I should stop while I’m ahead or, B). there’s NO WAY Marko is dead and The Horrors are actually decent folks that help non-warring types, and they will resuscitate him because there’s NO WAY Vaughan is that heartless <rant over>. 

Thanks for joining us, and be sure to check back next Friday for a discussion of Saga #3! Tweet us @BatmansBookcase with your own thoughts, and we may run them here next week...

Cory Webber is a work-from-home entrepreneur who also reads and reviews comics for fun. Find him on Twitter at @CeeEssWebber. He lives in Lehi, Utah with his wife and three sons.

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

The great character development continues throughout this issue.

Five Questions with Creators: Charlie Stickney

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White Ash #1 by Charlie Stickney and Conor Hughes.

By Zack Quaintance — Charlie Stickney is the comic writer behind White Ash, which just recently completed its third successful Kickstarter. White Ash, as we wrote in our February 2018 New Discoveries, is a compelling and well-done comic that combines bits of classic fantasy stories with a star-crossed lovers conflict and sets the whole thing in rural Pennsylvania—it’s well worth checking out.

Anyway, Charlie was also kind enough to take some time out to talk to us for Five Questions with Creators feature, discussing White Ash, Kickstarter comics versus indie publishing, and advice for comics writers who are just starting out.

Let’s do it!

1. How many Kickstarter campaigns have you done for White Ash?

This is our third Kickstarter for White Ash. We’ve been incredibly fortunate that we’ve been successful on all three outings and that each has progressively built upon the last. If all things continue to go well, a Kickstarter for Chapter Four should be live sometime late in October or early in November.

White Ash #2.

2. What have you learned about how to run a successful Kickstarter campaign in the process?

This is a HUGE topic. There are websites like comixlaunch that devote (really informative) weekly podcasts to the subject. I will say though, for me, the most important lesson I’ve learned is that a big misconception people have about Kickstarter is they think making a great comic and putting it on the platform will be enough. And that’s not the case. You have to understand how the Kickstarter algorithm works. Kickstarter only makes money when your project funds. So projects that are doing well are promoted. Projects that don’t have a surge of backers, don’t get any love…no matter how great they are. So, you need to make sure that to get funded on Kickstarter, that you kickstart your campaign on Kickstarter. That means on day one, you need a bunch of backers lined up. For our most recent campaign, we had a huge surge of returning backers that got us off to an amazing start, which eventually carried us to over $23,000 in funding.

But for our first campaign, when nobody had heard about White Ash, that meant making sure we had enough people lined up who would pledge right off the bat to help create that surge to get the ball rolling. One way or another, you need a big pool of day one backers.

White Ash #3.

3. What are some of the advantages of funding your comic through a Kickstarter campaign?

We use Kickstarter as a pre-sales distributor. So in essence, it’s our version of Previews Catalogue. From that perspective it has a lot of advantages. While the actual Previews has a larger reach, we’re still seen by a huge number of people who buy comics. And the percentage of revenue we give to Kickstarter is only a fraction of what we would give to Diamond (and currently we are self-published so there’s no publisher fee/cut). Which means we’re making more on Kickstarter per issue than we would on the stands in a comic book shop. Plus, we still own all of the intellectual property rights, so if someone wanted to turn White Ash into a TV series or a movie, we’d again be the ones making the money.  

4. What advice would you give a would-be creator who has an idea for a book right now on how to go from idea to physical comic?

I think it depends on what the creator’s background is and how much experience they have with the art form. But let’s assume for the sake of this question that they’re a writer with a little experience and a decent understanding of the medium. If that’s the case, there two things they need: a finished script and an artist/team of artists to work with. And they won’t be able to get the second without the first.

So start with the script. Don’t just hash around ideas. If you want another professional to work with you, you need to show them what you’re bringing to the table. So write the entire script out.  Once you have a script in hand that you think is ready for prime time, then you can go looking for an artist. Jim Zub has a website with some amazing advice for writers (and comic professionals in general). He devotes an entire post to finding an artist. I recommend reading that, and everything else on his blog. But where I’d personally recommend someone go nowadays to find an artist is Twitch Creative. There you watch them live stream their art, chat with them, and get a sense of what they like to draw. This is important, because finding an artist for your book is a lot like dating, you need to be compatible. Just because you’re both great on your own, doesn’t mean you’re going to be great together. Then once you find that partner, get cracking, because making a comic book is a lot of work.

5. For fans of White Ash, is there anything you can give away about where the story and characters are headed?

One of the nice things about self-publishing is that we get to tell the story at my pace. And I’ve really enjoyed taking my time over the first three, extra-long issues, getting to know the characters and the town of White Ash. That doesn’t mean I don’t enjoy good action sequences. And without giving too much away, I can say we’re going to get a lot of action in Chapter Four. It’s the climax to our first story arc and we’re wrapping some bits up with a BANG…and some slicing…and skewering…and, well, you get the idea.

Charlie Stickney and Conor Hughes at San Diego Comic Con.

Charlie Stickney is a writer/producer from Los Angeles who has worked in various fields of the entertainment industry (animation, film, television) for close to 20 years. He’s written for companies including: Universal Studios, Sony Pictures, Revolution Studios, and Scholastic Productions, developed and creating shows like Cosmic Quantum Ray and Horrible Histories. Charlie has always had a passion for comics. While in college, he interned in the editorial offices at Marvel Comics. And were it not for a job offer in Los Angeles, the plan after graduation was to move to New York to write comic books. But now, after a longer detour than intended, he’s returned to his roots with the fantasy/romance/horror comic book, White Ash. Billed as Romeo and Juliet meets Lord of the Rings…in rural Pennsylvania, White Ash: Chapter Three just finished an insanely successful run on Kickstarter.

Check out our other Five Questions with Creators pieces and other Comics Lists here!

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

 

The Eye of the Storm: WildStorm Past and Present

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WildStorm is really 25 years old now. Really.

By Taylor Pechter — The 1990s was a consequential decade for comics, a decade of deaths and broken backs, of shoulder pads and huge guns. It was also the decade that gave us WildStorm Productions, an imprint created by then-rising star Jim Lee, who jumped ship from Marvel and DC along with other big-name artists following disputes over creators’ rights. When WildStorm began in 1992, it could have been dismissed as just more large guns, heavily-detailed art, and not much focus on story.

After the company grew in popularity, though, Lee sold it to DC. With this sale, DC editorial took the universe under its watch, ultimately overseeing great experimentation in storytelling spearheaded by writers such as Warren Ellis and Joe Casey and artists such as Bryan Hitch, whose worked helped redefine what comics look like.

Now get ready because today we’re jumping head first into the defining era of WildStorm, looking at the themes and visuals from the imprint that have had such a lasting impact on the comic book industry today.

StormWatch

StormWatch #37 brought Warren Ellis into the WildStorm Universe.

The year is 1997. The comics speculator market bubble has burst and sales of WildStorm books have stagnated. Enter Warren Ellis, a British writer who had done some work at but was not on many fans’ radars. With his run on Stormwatch starting at #37, however, that quickly changed.

Ellis would completely redefine the team, splitting it into three squadrons: Prime (defense against superhuman threats), Red (members with destructive powers for deterrent displays), and Black (undercover black ops). As the run started, Ellis introduced us to his thematic interests via the words of Frederick Nietzsche, I want to teach men the meaning of their existence; which is the Superman, the lightning from the dark cloud that is man.

Ellis’ run incorporated themes of corruption of power, the relationship between man and superhuman, and ultimately how supherhumans change a world. These themes are primarily conveyed through StormWatch leader Henry Bendix (alias The Weatherman), the StormWatch Black Team (Jenny Sparks, Jack Hawksmoor, and Swift), and The High and his Changers. As the run progressed, StormWatch’s prominence grew while Bendix became madder with power, coming to view his team as the end-all, be-all of planetary surveillance and defense, akin to worldwide secret police. This eventually leads him down a path of murder and a removal from his position, with former field leader Jackson King (alias Battalion) taking over in his stead.

Meanwhile, the members of StormWatch Black personified rebellion, especially their leader, Jenny Sparks. As one of the proclaimed century babies, Sparks lived through the highs and lows of the 1900s, coming to be known as The Spirit of 20th Century. She’s also seen firsthand how superpowers changed society, with adventures through the decades as a solider in the wars and later a member of the shady Royal Space Program. This history also informs her relationship with John Cumberland (alias The High). The High is the main ideological lynchpin of the run, with his actions in the story Change or Die reflect the theme of the run, as The High actually says, We are Superhumans, just as your modern crimefighters and Covert Action teams. However, we feel a different responsibility than they do… They try to save the world, but make no effort to change it. This speaks to the somewhat hypocritical nature of the modern superhero. As time passed, StormWatch dissolved due to infighting, Bendix succumbing to insanity, and SkyWatch (the team’s satellite command center) being set upon by alien infestation. With most of the team dead, field commander Nikolas Kamarov (alias Winter) made the final decision to the throw the station into the sun. StormWatch was dead, but from its ashes rose a new force, an Authority that would either save the world, or rule it with an iron fist.

The Authority

Out of the ashes of StormWatch rose The Authority, a team formed by former StormWatch Black operatives Jenny Sparks, Jack Hawksmoor, and Swift. It also included Apollo and Midnighter, The Engineer, and The Doctor. The Authority’s story is broken up into three four-issue arcs, which focus on innate fears with society: the fear of terrorism, the fear of foreign invasion, and the fear of the unknown. Through The Authority, Ellis wove a tale of a team of powerhouses trying to save the world and to also change it for the better. However, their goals came at a cost.

What Ellis also did was break down the glitz and glamour of a superhero team. The Authority is brash, arrogant, and—most of all—violent. Cities were leveled and an entire alternate Earth was destroyed. The Authority, however, considered it just part of the job, losses to make the world a better place. Toward the book’s end, the team eventually faced an alien entity that was blocking out the sun. Jenny Sparks shocked its brain and the day was won, but at a cost that shook the team to its core. As the century wound down, so did the life of Jenny Sparks. After 100 years of being a planetary defense mechanism, she died at the stroke of midnight January 1, 2000, in the arms of Jack Hawksmoor. With a new century, however, came a new generation of defenders.

The Art: While Ellis’ scripts were certainly groundbreaking, so too was the artwork of Bryan Hitch, inker Paul Neary, and colorist Laura Depuy (later Martin). With wide panels, splash pages galore, and cinematic action, Hitch was, and still is, the main purveyor of widescreen comics art. With Neary’s clean inks and Martin’s luscious colors, The Authority is still one of the most visually influential books in modern comics.

Wildcats

Casey and Phillips WildCats run was short but excellent.

What happens to covert teams that don’t have a war to fight? What happens when a teammate dies, splintering the rest of the team? Or, when a team’s leader wants to transcend to a higher level of living, one that requires he be killed?

In 1999, writer Joe Casey and artist Sean Phillips took over Wildcats and set out to answer these questions. After a mission gone wrong, Zealot is killed and Grifter is left reeling. Grifter has become a washed-up shell of his former self, trying to find answers about Zealot’s death. On the other end, Lord Emp (known to Earth as Jacob Marlowe, leader of the Wildcats), is asking his long-time rival Kenyan to kill him so he can ascend. Kenyan, however, instead kills himself, and Spartan is forced to kill Emp. In the aftermath, posing as Emp’s great-nephew Jack Marlowe, he is bequeathed HALO Industries and inherits Emp’s fortune. Meanwhile, Priscilla Kitaen (alias Voodoo) and Doctor Jeremy Stone (alias Maul) are living together. Jeremy has locked himself in his lab to to find a cure for a disease.

That’s a lot, to be sure, but overall Casey tells a story about destiny and legacy. Spartan has to deal with running HALO and guilt for killing Emp, which is easy enough because as a synthetic humanoid, he feels no emotion. This, however, conflicts with Grifter mourning the loss of his trainer and lover. Spartan also has to deal with having the Marlowe name, a target since Emp had many enemies. After Pris is nearly murdered by superhuman serial killer Samuel Slaughterhouse Smith, she is visited by a Daemonite, of which she is a half-breed. With that meeting she fully comes to terms with her heritage. Optimism reenergized, she then looks to a brighter future, alongside Jeremy.

The Art: Joining Casey on this book is noir art master Sean Phillips. With deep shadows, imposing figures, and brutal action, Phillips creates a foreboding tone to perfectly match Casey’s script. Sadly, the book only lasted two years before being cancelled but returning a year later as Wildcats Version 3.0. In a short time, however, Casey and Phillips crafted one of, if not the defining runs on Wildcats.

Planetary

It’s a strange world. Let’s keep it that way. This is the mantra for Warren Ellis’s magnum opus, Planetary. A decade in the making, Planetary revolves around a four-person team of mystery archaeologists who explore the world. This team consists of Elijah Snow, our ride along character Jakita Wagner, The Drummer, and Ambrose Chase.

With Planetary, Ellis constructs a story that revolves around genre and—more importantly—pop culture. This journey through 20th century pop culture is seen through the eyes of Elijah, who like Jenny Sparks is one of the century babies. The series has one main through line, but each issue also tackles a certain genre, breaking it down and showing how it has changed the world. These stories included a ghost cop out for revenge in Hong Kong (Dead Gunfighter); the somber Vertigo-tinged To Be In England, In The Summertime; the hypocrisy of vigilantism in The Torture of William Leather, and the metaphysics of superheroes in Zero Point.

In them all, Ellis demonstrates how the aspects of various genres has affected society through use in pop culture. While the macro exploration of genre and pop culture is the book’s driving force, the heart of Planetary is the micro exploration of Elijah Snow as a character, as well as how he becomes more in tune with the world. Snow’s motives, while staying somewhat consistent throughout the first half of the series, shift as we approach the final act. As readers, we are Elijah, not just in terms of the world Ellis is crafting but also the world outside our window. There is so much to explore here, and we’ve barely scratched the surface.  

The Art: Not to be outdone by Ellis’ deft scripting are John Cassaday’s art and Laura Martin’s colors. Cassaday shifts his style throughout each chapter to capture the tone. This can mean changing panel sizes, borders, shadows, or expressions. It’s commendable how much work he put into each page, and it’s made even better by Martin’s amazing colors, with bright reds and blues making the art pop. This book was subject to many delays, attributed to both Ellis and Cassaday, but Planetary eventually ended with its 27th issue, becoming one of the most celebrated comic books of all time

The Wild Storm

Twenty years after he helped redefine the WildStorm Universe with StormWatch, Warren Ellis is doing it again with The Wild Storm, which just released issue #16 this week. This time, Ellis is writing a stripped down, no frills, corporate espionage tale focused on three organizations: tech giant HALO (run by Jacob Marlowe), black ops intelligence agency International Operations or IO (run by Miles Craven), and secret space program Skywatch (led by Henry Bendix). This is an entirely new story, rather than a continuation of past titles.

The main conflict in this series is rivalries between organizations, with the story asking how Earth would react if it was ruled by these power structures. There is, of course, a twist. While IO is interested in Earth and its resources, Skywach is more interested in ruling space, even going as far as colonizing other planets. After Bendix starts getting a vested interest in Earth’s resources, IO starts to retaliate. Caught in between this corporate battle is a team of rogue IO and Skwatch agents who have formed their own covert action team, a Wild CAT. Their objective is to stop this war, fearing it will tear the planet apart.

The Art: Joining Ellis on art duties is Jon Davis-Hunt, whose simple yet dynamic style lends to the gritty espionage themes and to the frenetic action that is wonderfully brutal. His linework combines with the gorgeous colors of Steve Buccellatto. With stripping down the universe and giving it a more modern feel, this creative team has given new life to characters Ellis made his name writing.

In conclusion, following its start in the ‘90s, WildStorm went grew from the typical extreme fare of the decade into one of the most fertile grounds for storytelling in all of superhero comics, doing everything from looking at how superheroes have changed the world to how a team can survive in a world that doesn’t accept them. WildStorm also has a history of art that has redefined the style of comics, from the widescreen destruction of The Authority by Hitch, to the noir stylings of Wildcats by Sean Phillips, or the versatility of John Cassaday in Planetary. These artists helped raise a new generation, also contributing to the creation of the modern comics event.

Thank you all for joining me on this journey—hopefully you too will now jump into the eye of the storm. 

Taylor Pechter is a passionate comic book fan and nerd. Find him on Twitter @TheInspecter.  

REVIEW: Extermination #1 by Ed Brisson, Pepe Larraz, Marte Garcia, & VC’s Joe Sabino

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By Zack Quaintance — I was at Marvel’s SDCC X-Men panel, during which Matthew Rosenberg insinuated major X-happenings would come in Extermination, a five-part mini-series with a tagline of EXTERMINATE THE PAST. ELIMINATE THE FUTURE. The smart money was on this being the book that would settle the fate of the original 5  X-Men, who basically all of X-fandom agreed had run their course like two years ago.

Through one issue, that suspicion is all but guaranteed, especially given the new Uncanny X-Men #1 teaser art with hardly a young X-person in site. Another thing Rosenberg insinuated at the panel was everyone would think they knew what Extermination was about, but that, in fact, they would be wrong (a pretty standard teaser in superhero comics). Rosenberg was, of course, vague, as to not accidentally step on the upcoming project of a fellow X-writer.

All of that is my way of saying Extermination #1 is maybe not entirely what it seems to be. Through one part (or 20 percent) of the story, I feel like I have a decent grasp on what’s at stake: one part of it is definitely sending the time-displaced X-pups away, another part is doing something interesting with an older X-character whose identity I won’t reveal because, you know, spoilers. If that’s all this story is about, it’ll be interesting enough.

Really, this first issue is incredibly well-paced, doling out consequential action at a clip the vast majority of event comics (is this an event?) don’t. It’s in a unique position to do this given the current X-status quo. Marvel’s mutant stories have gotten pretty messy of late, with little sense of cohesion. This, in fact, has been my central complaint with X-titles (Blue and Gold, etc.), and I’ve largely limited myself to X-Books that have RED in their titles, or are written by writers named Thompson (Kelly and Zac) or Rosenberg.

This is significant here, because the unwieldy state of the X-titles gives Brisson disposable pieces to take off the board, pieces he uses expertly, giving needed jolts to the ends of the first and third acts of this comic. I enjoyed the tight plotting, but, more than that, Brisson’s willingness to make big moves is also an encouraging sign for the upcoming 10-part weekly re-launch of Uncanny X-Men. There sure seem to be quite a few X-Men on that promotional poster. I know it’s morbid, but wouldn’t it be thrilling if there weren’t as many left when that 10 weeks is over?

Extermination likely marks the start of a cleanup before the franchise’s flagship title returns in full, and an encouraging one at that. I suppose it remains to be scene which of Brisson, Rosenberg, or Thompson will ultimately write Uncanny full-time, but I’m glad they’re doing it together at the start, potentially portending that sense of cohesion I’ve craved.

Overall: An exciting and fast-paced first issue, posting a couple quick surprises. If this book is the start of an X-cleanup before the fall’s Uncanny X-Men re-launch, the Brisson-Rosenberg-Thompson era is off to a very nice start. 8.5/10

For more comic book reviews, check out our review archives.

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

REVIEW: Ice Cream Man #6 by W. Maxwell Prince, Martin Morazzo, Chris O’Halloran, & Good Old Neon

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This titular Ice Cream Man is a real piece of work...

By Zack Quaintance — Ice Cream Man #6 is yet another nasty (in a good way) read from one of the most bleak-yet-mesmerizing comics of all-time. In broad strokes, this series is about a sinister Ice Cream Man who serves as the only throughline in a series of disparate tales that add up to one of the most unflinching looks at the everyday lives of modern Americans...in any storytelling medium. Abandon hope all ye who open this book, for sure, yet also know that it will somehow never cross the line into sensationalism. In other words, start reading this and you probably won’t give it up.

I know I won’t any time soon. Ice Cream Man #6 is yet another great issue. In many ways, this is the book’s most experimental story yet, following one character through three divergent life paths, all of which are depicted in near-total silence (and are also depressing as all hell). The reason why the story fractures into three (and gets the name/flavor of Strange Neapolitan) becomes clear near the end, when (no spoilers) the script comes out and just basically states its central conceit.

Like all issues of this book, this one starts out idyllic before descending into horrors both real and existential.

This is, to be blunt, is a story structure that on the surface seems like it shouldn’t work, should instead tip into feeling too gimmicky. It is, however, pulled off expertly by the creative team. Let’s talk first about the work Chris O’Halloran does with his colors, utilizing three distinct palettes to separate the alternate futures of the nameless hero. This is challenging in itself, but O’Halloran also makes it work while sticking to the general strawberry-vanilla-chocolate color scheme of neapolitan ice creams. It had a high potential to look goofy, but O’Halloran nailed it, using his shades to perfectly compliment Morazzo’s artwork.

Perhaps the most impressive feat in this book is the triply (mostly) silent script, which tells three distinct stories that hit complimentary beats almost always at the same time, even while moving at different speeds through the protagonist’s lifetime to basically end at the same haunting spot. Thematically, this story is somewhat one sizable note, but in terms of craft, it’s easily one of the most impressive feats I’ve seen a writer pull off with structure in some time, possibly since Eric Heisserer’s vignette tapestry in the Valiant book Secret Weapons.   

Overall: Ice Cream Man #6 is another astoundingly well-done comic that scares you as you read and then lingers with you existentially for days after you finish. This series continues to be one of the most unflinching looks at everyday lives in modern American...in any storytelling medium. 8.5/10

For more comic book and movie reviews, check out our review archives here.

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

REVIEW: Crude #5 by Steve Orlando, Garry Brown, Lee Loughridge, & Thomas Mauer

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By Zack Quaintance — I’d like to start today by discussing Crude #5’s artwork. Garry Brown is a doing yeoman-like work on this book, creating panel after panel that brims with exactly what this story calls for in any given moment, be it a kinetic and violent pastiche or quiet emotional impact of our hero learning something heartbreaking and new about how he failed his son. Brown has been putting out killer work for a while now—from Black Road with Brian Wood to Babyteeth with Donny Cates—but, simply put, Crude is his best book to date.  

Phew, now on to the story. Crude #5 is the penultimate issue of the first arc, the place traditionally reserved for the steepest escalation in both action and consequence, and in that regard it certainly doesn’t disappoint. This is easily the best issue of Crude yet. What is perhaps most interesting about it is how much we learn about Piotr’s relationship with his murdered son, Kirilchik, which so far has been shown in brief, often only through a father’s mourning lens.

I once had a writing teacher who stressed what he called The Rate of Revelation. It’s a simple enough concept: stories live and die by how much new information we’re getting at any given moment. That’s not to say writers have to be telling us what our hero’s favorite food is all the time or something, but rather that a writer’s job is to find compelling ways to continually show an audience who these people they’ve invented are, what they’re made of, and why they matter.

And that’s exactly what Orlando’s script excels at in Crude #5: it finds new and compelling ways to constantly give us revelations about our hero, this time having the thoughts and feelings of his murdered son quoted back to him by someone who knew his son while he was alive. Our protagonist thus far has been nigh-invincible (thus far), at least when things devolve into violence, to the point I find myself unconcerned about his physical well-being. When he starts to learn key details (no spoilers!) about his son’s life—and the next panel pulls away to show how small he is in the room at that moment? Ho man, was I on the proverbial edge of my seat, and it just got more tense from there.    

Another thing Crude #5 does well is deepen its shady corporate culture plot, showing the exploitation of real people, which is thematically so relevant right now that it hurts. To say anything more would be to risk giving too much away. Lastly, I just want to note that this script has a wealth of really impactful lines, including one of my favorites: But there’s no self-respect in living just under people’s noses. Great stuff.

Overall: Crude #5 is the best issue of this book yet. More than a stage-setter for next month’s first arc conclusion, this comic is rich with revelations about its lead character and the world he’s beaten his way into. This series is career-best work for both Brown and Orlando, must-read comics. 9.5/10

For more comic book reviews, check out our review archives.

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

Crowded #1 by Christopher Sebela, Ro Stein, Ted Brandt, Triona Farrell, & Cardinal Rae

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Crowded #1 is a much-hyped comic that does not dissappoint.

By Zack Quaintance — Crowded #1 is, to put it simply, a super-hyped book, one of those comics that got a movie deal (with Rebel Wilson attached!) before its first issue saw release. It also has a notable and rising creative team (writer Christopher Sebela of Cold War, Shanghai Red, and artists Ro Stein and Ted Brandt, who’ve done cool stuff with Marvel, to say nothing of Triona Farrell, who’s absolutely great). As such, I came to this book with a mix of excitement and high expectations—and I was thoroughly and utterly hooked from basically the first page.

Crowded extrapolates the gig economy to its natural and excessive capitalistic extremes, to a place wherein anything you could ever need is accessible via the gig economy or a social connections app. In the world of Crowded, our protagonist Charlotte works 12 for-hire jobs in one day (on a slow day), ending the first night we see her by hooking up with a man she meets via another app, with whom she never needs to so much as exchange real names.

When people start trying to kill Charlotte en mass the following day (via a crowdfunded death app), she hires a bodyguard via yet another app, this one called Dfend, and our plot is off and running. That’s really all I’ll say about Crowded’s story, since the inner machinations of this book are such a joy to unfurl. Solid plotting aside, this creative team does a wonderful job peppering their book with the little touches that do work to keep readers engaged (things like the mysterious bodyguard's personal life/motivation, Charlotte’s pithy rejoinders, an adorable chihuahua, etc.) and make good graphic sequential storytelling so enthralling. In addition, the storytellers use a workmanlike precision to accomplish the required exposition and world-building, as if they themselves had been materialized by an on-demand app for great creators. Yeah, it’s all that entertaining.

Crowded at its core, though, is about a dystopian future that should feel too real to us all, a vivid imagining of a likely scenario to come, steeped in a plot that feels as dangerous, urgent, and tense as vintage Tarantino.

Overall: Stein and Brandt’s linework is strong, their character designs as stylish as they are revealing of traits, and Sebela’s script is, in a word, witty. This is a confident and fully-formed debut comic with something important to say about where working life and society are both going. My advice? Make like a character in Crowded—buy this. 9.5/10

For more comic book reviews, check out our review archives.

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

How Hawkman Soars: A Five-Panel Explainer

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By Zack Quaintance — Hawkman by Robert Venditti and Bryan Hitch feels like a throwback (in a good way) for a couple reasons. First, it’s a story of a modest scale. This is an odd notion, given we're talking about a comic that spans all of space and time, but at its core Hawkman is a relatively simple adventure starring a character who is unraveling personal mysteries while also combating threats to the larger world. Second, it features killer artwork by Bryan Hitch.

Regarding Hitch: it’s often hard to see how the standards and conventions of a storytelling medium limit it until someone breaks them. This was true of my perception of comics in the ‘90s (a super weird decade, yet not as bad as its reputation...a topic for another day). Hitch’s work on The Authority showed me the freeing potential of excessively splashy spreads brimming with gigantic action and wide perspective. Basically, I’d never realized how claustrophobic most books felt until Hitch blew it up.

Lately I’d forgotten how much a revelation his style once was, especially since it has now become commonplace in superhero stories. Obviously, it’s not a fit for every book, and it has maybe been overdone at times (way overdone), but when used well as it is in Hawkman—look out. And so that’s what I’d like to discuss today via five-panel explainer: how Hawkman soars on the wings of old school adventuring and free-flying artwork. Let’s do it!  

Panel One - The Continuity

Like many DC heroes, Hawkman is a great character with a long and convoluted history, one that can potentially act as a barrier of entry for new readers. Venditti and Hitch realize this, and in Hawkman #1 we get this stunning panel, which orients us and conveys the basics while also establishing that this book is about our hero himself coming to terms with his background. Basically, they’re telling us relax...it’s okay to be confused. We’re heading out—together—to explore.

This killer spread from Hawkman #1 does a great job refreshing the current state of Hawkman's continuity. 

Panel Two - The Journal

From Hawkman #3, our hero pours through his journal, reminding us of the status of his quest.

This second panel is less visually-exciting, yet it’s just as important as the one above in terms of giving structure to the narrative. If that frenetic spread establishes we’re sorting out our hero’s past together, the journal acts as a device for reminding us what we’ve so far learned. It gives our protagonist an organic means of taking stock of his progress, and it gives Venditti a nice way to craft interesting narration without showing the writer’s hand in the story. It’s been well-done through three issues, and I'm hoping we’ll see more of it moving forward.

Panel Three - The Museum

Not to go too far into the story, but this book is about Hawkman learning he’s been reincarnated not just over time but also throughout space. In any given issue, the story goes to another planet, another time, and then back to present day. It’s a lot and it could become unwieldy...if Venditti and Hitch weren’t so good at creating pedestrian visits to things like subways and museums. Basically, this book positions Hawkman as the Indiana Jones of the DCU, and so it needs the cleaned up scenes where Indie is curating or teaching classes. So far, we’ve gotten them done well. This panel is a personal favorite.

The significant of an epic quest can sometimes get lost if there's nothing present to ground a character, which Venditti and Hitch do well in this museum scene from Hawkman #2.

Panel Four - The Monsters

An old school adventure comic book is nothing without its monsters, and Hawkman is no exception. This was the hardest panel to pick because there were so many good choices, but I went with giant angry ape (apologies to giant angry T-Rex and giant angry flock of automaton birdmen). This is classic Hitch, with larger than life kinetic artwork that explodes through panels and off pages. Love it.

What's an adventure that travels through space and time without giant angry monsters? Scene from Hawkman #1.

Perhaps the most important panels in the entire series are those in which Hawkman takes to the sky. Artwork from Hawkman #3.

Panel Five - The Skies

The best visual bits of this book, however, are the open skies...as they should be in a story about a flying character. There are plenty of closeup action shots, sure, but Hitch and Venditti often pull the theoretical camera back to show us what a speck our hero is against the vastness of the sky he moves through. This framing is used often and clearly not meant to diminish his stature, which it really doesn’t—we’re never more than a panel or two away from him hitting a dinosaur or something with his mace—but instead it aims to show us the freedom of his explorations, the limitless nature of his life and his journey, and it wildly succeeds.

To wrap up, I’ll say that through three issues Hawkman has established itself as a welcome addition to DC’s superhero line, a book that flies a bit beneath the radar, content to function on its own as a rewarding and good-looking read, hard to predict and loaded with mystery. It remains to be seen if the creative team can take the protagonist to meaningful places through a prolonged run, but Venditti has a good track record with long-form superheroics (see X-O Manowar and the recently-concluded Hal Jordan and the Green Lantern Corps), while someone in Burbank deserves a hearty pat on the back for fitting Hitch’s artwork to this character and story.

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: Bully Wars #1 by Skottie Young & Aaron Conley, Jean-Francois Beaulieu, & Nate Piekos

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For Bully Wars, Skottie Young teams with Aaron Conley, a Skottie Young-esque artist.

By Zack Quaintance — I heard writer Skottie Young on the Word Balloon Podcast a few weeks ago talking about his new book, Bully Wars, saying the aim was to make an Image comic that was accessible for all ages but didn’t exactly feel like a story strictly for kids, a challenge for creatives in any field or medium. It’s that sweet spot that made Pixar films so vibrant in the studio’s early years. They hit the mark repeatedly then, and continue to do so with relatively high frequency to this day. Call it broadly safe but smart appeal.

Well, Young and his Bully Wars collaborators—artists Aaron Conley and Jean-Francois Beaulieu—however, have come pretty close to finding that sweet spot in this first issue. There’s not even close to anything in this book that would ring as inappropriate for young readers, and, despite my obvious disadvantage of being a kind of old guy (I will only ever admit to being somewhat older than 22), I’m fairly certain the bright colors, exaggerated and cartoony character designs, and classroom setting will be a big draw for all ages of kids, likely up through high school. I know I certainly would have dug this in my day of angsty (but improving!) late ‘90s comics.

When it comes to appeal for adults, Bully Wars #1 is slightly more of a mixed effort. The twists in how characters are perceived are interesting, but the book will likely need more substance to hold older readers’ interests long-term. There are, however, plenty of signs in this first issue that that substance is coming. This brings me to the other goal Young mentioned for Bully Wars on Word Balloon: incorporating more understanding into the standard school narrative of bully bad and mean. The book definitely has hints of an aspiration to humanize its bullies, although at this point those aspirations are still in nascent stages.

Young’s interests as a writer, though, are fairly subversive (see the recently-concluded I Hate Fairyland), and so I think it’s safe to assume he’ll get where he’s aiming for. I know that I’ll at least be following this book for the entirety of its first arc. Really, the background sight gags (an athletic apparel company called Sike got a little chuckle out of me) and excellent cartooning on par with some of my favorite animation is enough to seal its appeal for me.

Overall: Bully Wars #1 is a vibrant all ages comic with a lot of promise and potentially even an important lesson about labels. This comic does more than enough with its first issue to pique my interest in where it’s headed. 7.5/10

For more comic book and movie reviews, check out our review archives here.

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

New Comics Previews for August 15, 2018

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By Zack Quaintance —  Soooo, we’re changing up the previews formula this week, moving to featuring some of our top picks for this upcoming Wednesday, rather than the top PR preview stuff that got sent to us last week, a move that should be more useful and more fun, two things that rarely go together.

This week features some of our favorite new creator-owned books for 2018 continuing on, as well as the launch of a pair of promising new ones. There are also some pretty high profile books wrapping up big arcs, ongoing mega superhero stories, and more. With all that in mind, let’s get into the solicit text plus a quick line or two about why we think some of these books are cool.

Top Comics for August 15, 2018

Batman #53
Writer: Tom King
Artist: Lee Weeks
Publisher: DC Comics
Price: $3.99
"Cold Days" continues! The jury in the Mr. Freeze trial is hopelessly deadlocked because one man won't vote guilty-and that man is Bruce Wayne. Freeze's defense is that Batman used excessive force, making his arrest illegal, and Bruce is the one man who actually knows for sure what went down between Batman and his ice-cold nemesis. And if Bruce is right, that means everything he's devoted himself to as the Caped Crusader is a lie; he is hurting more than helping. With Dick Grayson putting the Batsuit back on to keep Gotham City safe while Bruce is sequestered, could this be the out Bruce needs to discard the cape and cowl forever?
Why It’s Cool: There has been no wedding hangover for Tom King, who (in our opinion) is telling one of the best stories of his run, exploring Bruce Wayne’s emotional recovery from what happened at the wedding, which actually speaks to his emotional recovery from all trauma in general, an idea that’s pretty relevant given his life decisions.

Crude #5
Writer: Steve Orlando
Artist: Garry Brown
Publisher: Image Comics
Price: $3.99
Blackstone is ready to explode! Piotr has beaten every thug, mercenary, and soldier Petropinnacle has sent to kill him. Now, the city’s true ruler steps up to show this tired KGB dog what true power is.
Why It’s Cool: Deeply violent, deeply emotional. This is a cold and savage father-son story that has us hooked with its nuanced emotional center. This is one of our our favorite new creator-owned titles of 2018, hands down.

Gideon Falls #6
Writer: Jeff Lemire
Artist: Andrea Sorrentino
Publisher: Image Comics
Price: $3.99
"THE BLACK BARN": Conclusion-Father Fred enters The Black Barn on a daring rescue attempt but nothing can prepare him for the horrors within. Meanwhile Norton and Angie delve deeper into Norton's past and zero in on the secrets of the Barn. A 2018 Eisner Award nominee for Best Writer, JEFF LEMIRE!
Why It’s Cool: We’d say this conclusion to the first arc stands to give us more answers to the many mysteries spread throughout Gideon Falls, but this is Gideon Falls. Nothing is a given, except that this book will be expertly-written and loaded with incredible imagery. This is another of our favorite new creator-owned titles of 2018

Skyward #5
Writer: Joe Henderson
Artist: Lee Garbett
Publisher: Image Comics
Price: $3.99
END OF STORY ARC “MY LOW-G LIFE,” Conclusion The pulse-pounding conclusion of our first arc! Everything comes to a head as Willa takes the fight to Barrow. And not everyone’s getting out of this one alive…
Why It’s Cool: This yet ANOTHER of our favorite creator-owned titles, the one that probably caught us the most by surprise given we’re not familiar with the creative team. The last line about a character dying here, though? Oof, that’s going to be interesting in this book that until has been somewhat light.

The Weatherman #3
Writer: Jody Leheup
Artist: Nathan Fox
Publisher: Image Comics
Price: $3.99
Cut off, on the run, and hunted by The Marshal, Nathan and Cross try to stay alive long enough to find Nathan’s lost memory and the key to stopping another world-ending attack. But they’ll have to survive each other first…
Why It’s Cool: HOLY WOW WHAT ARE THE ODDS...this is yet ANOTHER of our favorite new creator-owned comics of 2018. This is just one of those comics that feels like its creators have something vital and important to say. We have no idea what that is, but the telling has been super compelling thus far.

 

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New #1s for August 15, 2018

  • Crowded #1

  • Extermination #1

  • Pearl #1

Others Receiving Votes

  • Babyteeth #12

  • Catalyst Prime Summit #8

  • Catalyst Prime Superb #12

  • Ether Copper Golems #4

  • Infinity Wars #2

  • Justice League #6

  • Lost City Explorers #3

  • Thor #4

  • Tony Stark: Iron Man #3

  • Vagrant Queen #3

  • Wic + Div #38

  • Wild Storm #16

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

 

Five Questions with Creators: Zack Kaplan

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Zack Kaplan

By Zack Quaintance —  Writer Zack Kaplan is on the rise in comics. He’s currently writing three new and exciting series: Eclipse and Port of Earth for Image’s Top Cow imprint, and Lost City Explorers for AfterShock Comics. Both Eclipse and Lost City Explorers have also been optioned for TV, with the latter getting the call pretty quick after its first issue. It’s impressive stuff, and as fans of his work, we wouldn’t be surprised to see more success coming Kaplan’s way soon.

With that in mind, we recently talked to Kaplan for a new feature we’re launching on the site: Five Questions with Creators. It’s exactly what it sounds like. No more explaining needed...so, let’s get right to it!

1. I’ve seen in other interviews and your own notes with Eclipse that you’ve had some pretty interesting jobs...so, what are the most interesting jobs you’ve had (aside from creating comics)?

I mean, people may know I was a poker dealer and a SAT tutor, but I’ll tell you, one of the most interesting jobs I had was a movie trailer surveyor. I did temp work for a data entry company and they would input surveys measuring audience reaction to movie trailers. I punched in thousands of these surveys, and then I asked, hey, who does this? Someone goes to movie theaters and watches how the audience reacts to each trailer and gives it an “Okay” or “Good” or “Great”, and sure enough, there were a ton of people doing this around the country and sending in their data. So I said, “Can I do that?” and they said sure. For about two months, I went and watched movies and before the movie started, I would go to the different theaters and showtimes and gauge audience reaction, which was a completely subjective and random measurement. My own personal evaluation of whether people thought that Mission Impossible movie trailer looked good or great. It was a very random guess, but they reported this data to the studios, and they probably made pivotal decisions based on my keen insights. And I got to tell people I get paid to go watch movies. That was pretty interesting!

2. How do things like having been a poker dealer on the graveyard shirt or having taught screenwriting in the Philippines inform your stories?

I’m a big people watcher. I’ve always enjoyed jobs that allow me to watch and interact with people. Characters in stories are three dimensions, but people are like eight dimensions, and I’ve always found that fascinating. Being a poker dealer, I got to see a lot of interesting people and how they handle the challenges of an involved game like poker, but that was mostly people-watching. Teaching writing is a far more interactive practice, where you have to not just communicate the principles of the craft, but in a workshop setting, identify each student’s needs and address them in a way that helps that student improve. At the end of the day, I think all those experiences help me better understand that people are complex, and I try to capture those complexities and nuances in my writing.

Port of Earth #8 came out this Wednesday.

3. When and how did you first become interested in writing comics?

It began in 2002 when I came back to comics. I had read superheroes growing up, but when I discovered Brian K Vaughn’s Y THE LAST MAN or Greg Rucka’s QUEEN AND COUNTRY or everything Warren Ellis, I realized how diverse and multi-faceted the medium was. I got to see it through adult eyes and gained a whole new appreciation for it. I began reading and collecting a lot of creator-owned comics. I was already pursuing writing in film and TV, but I think that was when the seed was planted: cool writers write cool and original stories in comics. From then, whenever I thought of a story idea, and wondered if it would make a good movie or TV show, I started to wonder about comics. And finally, I took the plunge and decided I wanted to write a comic series too. I spent years trying to land a pitch. When I finally landed ECLIPSE, I still thought I was writing a comic, and it wasn’t until it came out that I realized I was becoming a comic book creator.

4. Your career trajectory has been really cool to watch...what’s the most important piece of advice you’d give to someone who is where you were years ago and would love to eventually be where you are now?

When I finally landed ECLIPSE, I was very nervous. I’m a perfectionist and I wanted it to be great. And that’s simply too much pressure. So, I had to tell myself, Zack, this is not the one. This series, it can be good, you can do your best, but in your life, this one isn’t the one. This is the one that leads to the one. And that allowed me to do two things. Write without such pressure. And realize another important lesson. If I’m just writing good stuff until I get to the one, and none of these are the one, then I’m the one. I’m the product. And as a writer, or an artist, or any creative, I think if you realize that you are building a career of many projects and stories, and some will be good, and some will not, but overall, you are building a long career of creating, that thinking helps. It helps new creators to think small and create a lot of short content to get their names out, it helps inspire creators to work on lots of projects, because you never know which one will be the one. Who knows, maybe ECLIPSE will actually be the one, after all. Maybe not. I’m just busy writing lots of stories now, I can’t think about which one is the one.

5. Lost City Explorers seems to me like a classic teen adventure story for 2018...what are some of your favorite classic teen adventure movies?

Oh, where to begin! GOONIES! INDIANA JONES! Is ET an adventure movie? I think so! How about NEVER ENDING STORY or EXPLORERS? LABYRINTH or BACK TO THE FUTURE? I loved all of that fun, maybe campy stuff from the ‘80s. But I think what inspired THE LOST CITY EXPLORERS was wanting to have my version of those stories but without the 1980s nostalgia. It seemed like whenever people made those stories, they always had a nostalgia to them. I wondered what would a teen adventure look like in modern times. I’ve seen teen dramas. I’ve seen big world teen stories like HARRY POTTER or HUNGER GAMES, but those aren’t our world. So yes, THE LOST CITY EXPLORERS is my teen adventure but in our very own modern times!

+1. Do you remember the worst sunburn you’ve ever had...and do you ever think about it while you’re writing Eclipse?

When I was growing up, I went on a ski trip and got my face so burned, the skin was peeling off. My nose was a mess, and, of course, I came back to high school and they were taking the class pictures. Ugh! But this was years and years ago. The crazy thing is nowadays, it’s not even enough to put on sunscreen once for a day at the beach or a day outside. You have to reapply. The sun is becoming more and more deadly to us. This is happening, and 50 years from now, who knows how bad it will be. That’s what I love about the concept behind ECLIPSE. The sun is supposed to be this positive, happy, plant-growing force in our lives, but everyone secretly harbors a hatred to the sun and the one time it totally burned them. Screw you sun, we never forget!

Click here for a review of Eclipse #9 and here for a review of Lost City Explorers #1.

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

The Saga Re-Read: Saga #1 and Foreshadowing

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The lewd-yet-mundane opening panel is an ocassional Saga tradition that started way back in issue #1.

By Zack Quaintance & Cory Webber — Brian K. Vaughan and Fiona Staples recently announced a 1-year (minimum) intermission for Saga, our favorite ongoing comic here at Batman’s Bookcase. To be blunt, we’re ambivalent. We know artistic inspiration is fleeting and intangible, and that one cannot always just will it into being. Great work is often done by creators who are rested, happy, unstressed. Basically, we know even massive talents like Vaughan and Staples need a break.

That’s our logical stance. Emotionally, however, we’re bummed to go an entire year without Saga, and so we’ve decided to occupy ourselves by undertaking an idea we saw on Twitter: during Saga’s 52-week (minimum) intermission, we’re going to re-read the series in its entirety, one issue per week.

We’re going to talk about what happens (briefly), share observations made with the benefit of hindsight, and wrap up each installment with impressions from a first-time reader. We’re going to keep spoilers to a minimum to make this accessible for veteran Saga fans and newbies alike. And we’re going to invite you all to join us—like a massive and amorphous online book club, without the part where everyone meets to talk about it for a few minutes before devolving into unrelated conversations and drinking lots of wine.

Anyway...there you have it. Check back each Friday for the next year (gulp!) as we discuss our re-read of Saga.

Saga #1

Here’s the official preview text for Saga #1:

A rare scene of the two species in combat. The war the series is so heavily informed by is afterward waged mostly off panel.

Y: THE LAST MAN writer BRIAN K. VAUGHAN returns to comics with red-hot artist FIONA STAPLES for an all-new ONGOING SERIES!  Star Wars-style action collides with Game of Thrones-esque drama in this original sci-fi/fantasy epic for mature readers, as new parents Marko and Alana risk everything to raise their child amidst a never-ending galactic war. The adventure begins in a spectacular DOUBLE-SIZED FIRST ISSUE, with forty-four pages of story with no ads for the regular price of just $2.99!

That’s a decent description, although the Game of Thrones comp is off...there is no dynastic politicking to be found here. Saga #1 definitely has hints of Star Wars, though, including but not limited to this killer line: It was a time of war. Isn’t it always.

This is overall a great debut, one that orients the reader in the world of Saga and also introduces a number of excellent character designs, including Lying Cat, Prince Robot IV, and the utterly fantastical chaos our young family encounters at the Uncanny Bridge. What this debut perhaps does best from a script perspective is establish the relatable dynamic between Marko and Alana, our two central lovers. In fact, a better solicitation might have been Star Wars-style action collides with Romeo and Juliet-esque drama if the star-crossed lovers had managed to have a child…but in 2012 (same as today), George R.R. Martin was a far more relatable reference than ol’ Willy Shakespeare. Sigh. 

This foreshadowing is yet to come to fruition, although it is established a few panels later that Alana carries a non-lethal weapon called a heart breaker...

Veteran and First-Timer Perspectives

A Re-Reader’s Perspective by Zack: What’s most interesting to me is the foreshadowing. So much plot is hinted at by via quick lines. I won’t go into detail (spoiler free, after all), but for re-readers I don’t have to. In terms of craft, Vaughan’s preference for exploring family dynamics versus war is evident. Staples art, meanwhile, is noticeably rougher—in everything from colors to linework—but her ambitious and unique designs are here from the start. Last, I’ll just note that a Saga tradition—the lewd-yet-mundane first panel—is the perfect place for our story to start.

Veteran readers who are all caught up show also checkout Why Saga #54 Hurts So Bad.

 

A New Reader’s Perspective by Cory Webber:  Wow! Okay, I get why I’ve heard fans hyping this book since I started reading comics four years ago. First, Saga #1’s world building is uncanny. After just one issue, I feel like I’ve been living in their same universe. Also, Vaughan writes these characters as if they’re real people he’s known for a lifetime. They are flawed, emotional beings—none more so than Alana and Marko—and I find myself sympathetic toward almost all of them (hey, I’m just not sure about The Will and Lying Cat right now, okay?!). Out of the gate, Alana is my favorite...she is witty, feisty, sardonic. I did, however, have to re-read this book a couple of times due to its length. This issue is dense, yet it’s not overly complicated, nor is it filled with any inconsequential fluff. It’s just so detailed that you really have to pay attention. All this, and I haven’t even mentioned Staples’ art. She brings an enormous amount of emotion and humanity to her characters through their faces and postures. Even, surprisingly, for characters that have TVs for heads. I’m excited to finally be starting this journey, and can’t wait to see where this goes...even though I hear the final issue before the hiatus is a real heartbreaking note to end on.

Cory’s New Reader Prediction: The last page shows Alana and Marko with the baby, along with a narration from an older Hazel that makes me think one of them won't make it past #54. There’s no way Alana will be killed off, so I’m guessing Marko kicks the bucket along the way. I sure hope I am wrong!

Thanks for joining us, and be sure to check back next Friday for a discussion of Saga #2!

Cory Webber is a work-from-home entrepreneur who also reads and reviews comics for fun. Find him on Twitter at @CeeEssWebber. He lives in Lehi, Utah with his wife and three sons.

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

LYING.

Fantastic Four #1 (1961) and the Birth of the Marvel Universe

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Fantastic Four #1 (1961) is universally recognized as a landmark comic and, in many ways, the start of the Marvel Universe.

By Theron Couch — The Fantastic Four returned to comics this week for the first time in years, following the 2015 event Secret Wars, which essentially ended with Reed and Sue Richards, as well as their children, wandering off the rebuild the multiverse. Without an ongoing title staring Marvel’s First Family, comics just haven’t felt the same. One could even argue there would be no Marvel Universe without The Fantastic Four, the first of many memorable characters created by Stan Lee and Jack Kirby.  

With all that in mind, it’s worth checking out the original Fantastic Four #1 from 1961, taking a closer look at how Lee and Kirby did it the first time.

Fantastic Four #1 (1961): The Story

Fantastic Four #1 opens with a call to action: Mr. Fantastic has sent the signal for the Fantastic Four to assemble. Sue, Ben, and Johnny each abandon what they’re doing and race back to headquarters. As the team arrives, the story flashes back to their origin, wherein an ambitious Reed Richards wants to initiate a mission to space. To do so, the foursome sneak aboard a rocket and launch. This trip has unintended consequences, with cosmic rays granting different powers to each of them. Realizing that they are more effective as a team than they are apart, they return to Earth and become The Fantastic Four, using their powers in tandem to benefit mankind.

Once the flashback has ended, the team is off to Monster Isle, where they believe someone is causing cave-ins across the world. This someone is revealed to be the Mole Man, who intends to launch his monsters all over the planet. Fortunately, The Fantastic Four are able to seal the Mole Man away forever, ending his threat.

Fantastic Four #1 (1961): The Art

Kirby’s art in Fantastic Four #1 deserves much praise, which is unsurprising given that this is The King, Jack Kirby. His work here delivers a dynamic opening sequence that showcases the powers of all four main characters. He packs a great deal of visual information on every page with layouts that often exceed six panels. What always strikes me about Kirby’s art—and which is on display in full here—is his ability to convey characters’ emotions through facial expressions. Doing so continues to elude many comic artists even today, and Kirby—whether it is images of the main characters or random soldiers never to be seen again—knocks this trick business out of the park in every panel.

Fantastic Four #1 (1961): The Writing

Writing wise, Fantastic Four #1 is every bit a story from a bygone era. Lee pens an origin for a four-person team as well as an adventure that begins and concludes in the space of one issue, rather than standing as the first part of an arc designed to fill a trade paperback. Fantastic Four #1 has much in common with other Marvel comics of its time, wherein Stan Lee created memorable characters starring in plots that are almost afterthoughts. Indeed, the final battle with the Mole Man is handled in one page and conveyed almost entirely through narration, rather than stunning visuals or complex dialogue. This is a comic book that definitely tells rather than shows. Despite these quaint characteristics, however, Lee displays surprising sophistication in how he tells the story.

The pages in Fantastic Four (1961) all feature more than 9 panels, a stark contrast to today's often less-dense superhero comics.

Fantastic Four #1 begins, as I noted at the start, in media res with Mr. Fantastic sending out a call for the whole Fantastic Four to assemble. Brief vignettes show each character making their way to headquarters; en route they are put in positions to showcase their powers for the reader. Once the team has assembled, but before the crisis is revealed, the story flashes back to the team’s origin, which cements the relationships between characters and reveals their motives while simultaneously building suspense for whatever threat forced the team to be called together. Following the origin story, the team goes on its mission to Monster Isle only to be split up, which allows for the story to be intercut, preserving the suspense for as long as possible before revealing the Mole Man’s origin and, finally, taking readers through the final battle.

Overall, Fantastic Four #1 is undoubtedly a product of its time. It’s almost hard to take seriously a comic book that features Ben Grimm wearing a rain slicker to a place called Monster Isle, subsequently taking the rain slicker off before fighting a monster, and then putting it back on until he comes upon the next monster. Yet, the way its plot unfolds is also without question an influence on later comics that routinely use time—including flashbacks and intercuts—to tell stories, a technique that was novel back when this issue was first published. The five pages devoted to the team’s origin could almost have been left out, given the action-packed opening Lee and Kirby delivered. In spite of all that, this is just a well-designed comic book, easily one of the best I’ve read from the period, and one that I’d put up against many modern origin issues.

Theron Couch is a writer, blogger, and comic book reviewer. His first novel, The Loyalty of Pawns, is available on Amazon. You can also follow him on Twitter at @theroncouch.

Top Comics of July 2018

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By Zack Quaintance — Maybe I’m suffering from recency bias, but I’m hard-pressed to think of a summer in my life (I’m 22 give or take...SEVERAL years) as good for comics as this. Seriously. There are top-notch stories being told at both major superhero publishers—with characters ranging from Mister Miracle to Captain America—while the creator-owned market hits unprecedented peaks for variety and quality.

Being in the midst of this wave is a blessing and challenge for writing lists like this. Obviously, I don’t lack titles, but it’s tough to narrow things down. I recently faced the same dilemma sorting the Best New #1 Comics of July. My answer is do it and spend the next month regretting choices. Act recklessly and then deal...that’s a strategy I’ve long employed.

Joking aside, I put a lot of thought into this month’s list, agonizing until I landed on the titles below. Sooooo—let’s do this!

Shout Outs

Batman #50 was a good comic with a messy release (the above variant cover is by Jae Lee).

Let’s start with a mess: Batman #50 and the spoiler fiasco. I didn’t get spoiled (thankfully), but I’m sympathetic to all who did. Regardless, this was a fine issue with a welcome twist, especially if as Tom King says, this is the run’s halfway point.

Have you all read IDW’s Black Crown imprint? You should. July saw the end of two early titles: Assassanistas and Punks Not Dead. Put simply, what a glorious wave of odd books, heavy on craft, humor, subversion. Can’t wait to see what Black Crown does next.

The darling of this year’s Eisners, Monstress, wrapped its third arc with a thundering crescendo and the most action in any single issue since the book’s debut. Perhaps most importantly, Monstress #18 also laid great track for future stories. Very well done.

Jeff Lemire and Dustin Nguyen concluded their sci-book Descender, a beautiful watercolor epic about childhood friendship. This issue was great (like the entire series), but it was less a finale than a continuation, setting up a sequel called Ascender that launches this fall.

Al Ewing and Joe Bennett continue to make The Hulk terrifying.

In Immortal Hulk #2 and #3, Al Ewing and Joe Bennett continued to strike a horrifying tone, telling a story closer to prestige horror than standard superheroics, leading to half of comics Twitter saying I don’t usually like the Hulk but I like THIS.   

There’s a reason Incognegro by Mat Johnson and Warren Pleece is taught in schools: it’s a well-done historical mystery steeped in questions about race. Its sequel wrapped this month with Incognegro Renaissance #5, a worthy successor.

Sideways #6 gives its teen hero a defining tragedy, and ho man did it sting. Speaking of The New Age of DC Heroes, The Unexpected #2 and Terrifics #5 were both great too.

Apparently Warren Ellis and Jon Davis-Hunt’s phenomenal new take on old characters, The Wild Storm, is selling well (at least online), but not enough fans are talking about it. I wish that would change. It’s so good.

Finally, Flash #50 was an emotionally-satisfying conclusion to a long-simmering plot thread, one that also featured that page with the return of that character at the end.

Top 5 Comics of July 2018

Cates & Stegman seem bent on a character-defining run.

5. Venom #4 by Donny Cates & Ryan Stegman

I don’t want to go into the plot, except to note there’s an expert connection to Jason Aaron’s all-time great run on Thor, and that superhero comic fans love that type of thing. There’s also just a feeling of excitement around everything Cates is writing; he’s like an athlete having his first MVP season, entrenching himself as a lead voice at Marvel, even extending his exclusive with the publisher.

Which is all great, as is Venom #4. It’s still relatively early in this run, but Cates and Stegman have talked about doing a prolonged and character-defining stretch on this book. Also, like Immortal Hulk, this is another book that seems to have many fans reading a character they otherwise wouldn’t. No easy feat.

 

 

4. Wasted Space #3 by Michael Moreci & Hayden Sherman

Wasted Space, the frenetic space opera about addiction and cultism and 100 other things, just keeps getting better. People who write about comics often use that line, but in this case it’s true. Wasted Space is a complex comic with so many big ideas that the experience of reading it improves as more of its scope becomes visible. That’s been my experience, anyway.

I loved Wasted Space #3 (read my review of Wasted Space #3). The ideas and plotting that made the series so engrossing is still here, but this issue also (organically) ups the humor, especially when the big all-powerful gigantic enemy guy tells some rando he’d feel better about himself if he approached work with pride—hilarious. I don’t know if I can be clearer: you should all be reading this book.

Bold design choices elevate Gideon Falls to lofty creative levels.

3. Gideon Falls #5 by Jeff Lemire & Andrea Sorrentino

Holy wow, the art in this comic is insane. I know that’s vague and non-descriptive, but if you’ve read it, you’re absolutely nodding along. The truth is it’s hard to to describe these visuals without using dude, did you see that language. The art is imaginative to the point one wonders exactly when Andrea Sorrentino disregarded conventions and straight up started doing whatever he wanted.

There are bold choices, to be sure, every one of which pays off, including red circles around details for emphasis, and arrows telling readers where to look. It could come off as proscriptive, but given how engrossing this story is, it instead feels helpful. I’ve liked this comic from the start (see my long-ago review of Gideon Falls #1), but Gideon Falls #5 somehow reaches new levels of creativity, storytelling, and absolutely bananas visual stimulation on every page. Absolutely bananas.

2. Wonder Woman #51 by Steve Orlando & Laura Braga

With Wonder Woman #51, Steve Orlando and Laura Braga tell a stand-alone story with a deep and nuanced understanding of this character, one that shows exactly why she’s been relevant all these years. It’s the type of small-scale story that plays to a hero’s essence, the type done ad nauseum with Batman and Superman but not nearly as much with Wonder Woman. This comic, however, helps to fix that.

It’s just so perfect. Aside from the adept characterization, it features an engaging and emotional narrative that speaks to Diana’s core values. It sounds cliche, but I teared up here at the drama and and smiled at the jokes. This is, to me, an issue we’ll be hearing new creators talk about on podcasts 10 years from now, citing it as an influence for the way they write/think about the character.

Read our review of Wonder Woman #51.

Just, ouch.

1. Saga #54 by Brian K. Vaughan & Fiona Staples

Nothing will ever be the same. If you’ve read the issue, check out Why Saga #54 Hurts So Bad. If you haven’t, please read the issue and then click that link. There’s just no good way to discuss this without spoilers. Simply put, though, we’ll just note that this is the most consequential issue yet in the best series in comics.

That does it for our July list. Please check back to the site tomorrow for our new feature, Five Questions With Creators, which is being kicked off with writer Zack Kaplan, of Eclipse, Port of Earth, and Lost City Explorers!

Check out our Best New #1 Comics of July 2018 here plus more of our monthly lists here .

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

REVIEW: Wonder Woman #52 by Steve Orlando, Aco, David Lorenzo, Romulo Fajardo Jr., & Saida Temofonte

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Steve Orlando and Aco get the band back together from their character-defining run on Midnighter.

By Zack Quaintance — Two weeks ago, writer Steve Orlando and artist Laura Braga put out Wonder Woman #51, a stand-alone story about the depths of Diana Prince’s compassionate stubbornness to not give up on even her most dangerous enemies. That issue was—to me—the best standalone Wonder Woman story in years, a perfect comic that had me tearing up at the depths of our hero’s desire to help. As I wrote in my Wonder Woman #51 review, I loved it.

Wonder Woman #52 sees Orlando returning for a four-part adventure story with the character, this time joined by artist Aco, his collaborator on the 2015 Midnighter run that remains my favorite story about that character. In the intermittent time, both creators have progressed in their craft, and I'm happy to say that it very much shows.

There's just so much to like about this comic. It's confident, bold, and well-paced, but let’s look first at this issue’s plot. Whereas Wonder Woman #51 dove into the qualities and values that make Diana arguably DC’s most admirable hero, Wonder Woman #52 is a fast-paced adventure that makes fantastic use of the actual mythology inherent to the character. What results is, put simply, another great comic.

This is a tight story that expertly plays to Wonder Woman’s status as a figure within mythology to drive its narrative. Diana obviously knows this sector of the DCU well, and the book does a great job conveying this early, so that when something threatening or out of the ordinary comes later on, her reaction is telling and meaningful (and also badass).

The other thing this issue does especially well is incorporate additional characters, specifically Artemis and the new Aztek (fresh from Orlando’s run on Justice League of America, btw). Although Wonder Woman is undeniably the star, these other characters have separate priorities and desires that pull them into danger alongside her. Each having their own agency goes a long way toward engaging the reader in the holistic success of our erstwhile team, which ups the stakes.

In the end, Wonder Woman #52 is a real page-turner, a great start to a different type of Diana Prince Story. It's a confident and entertaining read that seems to set up some massive twists and fireworks to come. For a first issue from a new team, it's also remarkably polished, likely because Orlando and Aco had such a productive relationship in the past. The ultimate success of this arc, of course, remains to be seen, but Orlando once again displays a deep understanding of Diana. As such, it seems safe to assume this entire arc will be as rewarding as the standalone story that preceded it.

Overall: Whereas Wonder Woman #51 examined Diana Prince’s deep and stubborn capacity for compassion, Wonder Woman #52 utilizes her role as a living piece of mythology to launch a multi-part adventure. Orlando and Aco have clearly worked together in the past, and the result is a polished and fully-formed start. Fans of great superhero comics, take note. 9.5/10

For more comic book and movie reviews, check out our review archives here.

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

REVIEW: Black Badge #1 by Matt Kindt, Tyler Jenkins, Hilary Jenkins, & Jim Campbell

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Black Badge #1 is a polished and confident debut from the same team behind Grass Kings.

By Zack Quaintance — Black Badge #1 is writer Matt Kindt and artist Tyler Jenkins follow up to Grass Kings, and, at first glance, it seems to be a gentler story, one about a group of scouts on a special trip to faraway South Korea. Like its predecessor (and like most comics, really), however, there is also a darker complexity at work here.

There are a few layers to this book. There’s the premise: our heroes are part of an elite troop of boy scouts that the U.S. government sends on covert missions, kind of like green berets with a deceptive and innocent veneer. There’s the thematic interests: merit badges here seem to be standing in for ornamental and ultimately meaningless life achievements, things we convince ourselves we must obtain because we’re told that’s what we should want. And there’s an examination of what it means to be the good scout, or in this case, soldier.

Black Badges #1 is very much a straightforward and well-done introduction to this story. It’s an engaging read, a polished #1 comic that never stumbles by over-explaining who are heroes are, which does the double work here of leaving room for the creators to later build in secrets. We get a four panel grid in which a bully underestimates each of them, saying things like, You brought everything you need? Your tedd bear in there? And, Willy. Dude. you need to lay off the scout snacks. Typical bully snark that shows us how our elite team will be both perceived and underestimated.

This excellent four-panel grid does a great job telling us about our protagonists without feeling like an info dump.

This first issue is well-told, an effective and entertaining means of learning who are heroes are, what they do, and, in part, why they do it. It works well as a hook, although the exact direction of the plot is still fuzzy. There definitely seems to be an exploration of morality in the offing, one that might use the age of the characters to explore idealism as well as the way children are often treated as invisible non-actors (our team’s secret weapon). Previews of future issues also hint at the book taking a look at foreign policy, and they've definitely set up a great lens to do just that. I certainly trust Kindt and Jenkins too, especially after the success they had with Grass Kings, which had a less engaging premise, at least on its surface.

Overall: Black Badge #1 seems to be the start of another great series by Matt Kindt and Tyler Jenkins. This first issue has all the exposition we need plus some intriguing hints into its thematic interests, yet it never feels like an info dump. This is a confident and polished debut issue, one that hints at big things in store. 8.0/10

For more comic book reviews, check out our review archives.

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

REVIEW: Relay #2 by Zac Thompson, Andy Clarke, Jose Villarrubia, & Charles Pritchett

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The Relay features a story conceived by Zac Thompson, Eric Broomberg, & Donny Cates.

By Zack Quaintance — The Relay, as those who read the first issue are aware, is an epic science fiction story about messiah figures, the evolution of ideals, the safety of conforming, and colonization. In issue one, we glimpsed daily life on Earth—complete with dissident unrest. In issue two, the focus shifts to how denizens of powerful Earth interact with colonial worlds. The Relay #2, however, is far more than just a statement about imperialism, which has been done often in modern sci-fi.

No, in this issue the book places a welcome and heavy emphasis on ideological debate. It’s nearly impossible to go into specifics without tipping the twists—of which there are nearly half a dozen—but I’ll try my best now to discuss what this story is about and why I found it so engaging.

Essentially, The Relay #2 examines what happens when a dissident’s original teachings evolve into dominant rule, inherently turning them against the values of the dissident who created them. If it sounds familiar, that’s because it’s likely intended to be. There’s a Jesus allegory at work here. Historically, Christianity in its earliest throes was subversive, a loving approach to life under Roman oppression. Christianity ultimately won, of course, and so the society we live in now is shaped by its rule. Basically, the same teachings that were once subversive have assumed power, gaining the ability to do the oppressing or to grant rationale for colonization (it’s all a good deal more complex, but that’s my own abbreviate, comic book review take).

In The Relay #2, this allegory is clearly tipped when one character is surprised to meet another, blurting Jesus, you’re really him, to which the subject character responds, I’ve been called many things, but never Jesus...as Christ-like a line as one could conceive of. It’s all very complex, and this is a text-heavy issue, to be sure, but the team has done such great foundational work establishing mystery and stakes (what’s more important than the fragility of a protagonist with a beloved and deeply-held world view?) that simple conversations in this issue are as tense and compelling as any laser battle or lightsaber duel could ever be.

In my The Relay #1 review, I drew comparisons between that comic and the writing of Ursula K. Le Guin or Philip K. Dick. This second issue re-enforces that comparison, especially to Le Guin, whose own anthropological sci-fi is such a clear influence. Le Guin is my favorite science fiction writer, as well as one of my favorite writers period, which is perhaps why I’m loving this comic so much. Simply put, for fans of hard sci-fi or complex societal explorations in comics, this series is not to be missed.

Overall: The Relay #2 continues establishing this series as one of the smartest comics today, diving deeper into the anthropological concerns of the debut. Heady and dense, the stakes here involve our perception of reality itself. Is there anything more consequential? This book makes readers work hard, to be sure, but the intellectual payoff is well-worth the effort. 9.5/10

For more comic book reviews, check out our review archives.

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

Best New #1 Comics of July 2018

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The new comics fireworks started July 4th and just kept coming. Groan, I know. But anyway, the most impressive thing about this month’s new #1 was the wide variety of stories they told. So many boxes got checked by these books: New Orleans plus horror and drugs? CHECK. Encouraging new direction for Amazing Spider-Man? CHECK. Ethereal exploration of death that reads like literary magical realism in graphic format? Somehow also CHECK.

July’s variety of #1 comics speaks to a major change in the industry: a broader and expanding audience is fostering broader and expanding demand. You know what that means? That’s right—broader and expanding supply. Or, more and weirder comics. With this in mind, it’s easy to be bullish on comics right now, and the entries on our list today re-enforce why.

Let’s do it!

Quick Hits

The Long Con #1 came out the Wednesday after SDCC, telling a story about a never-ending apocalyptic con. Its timing was perfect and its concept sharp. Read our full review.

Cliche alert! Catwoman #1 was a (fancy?) feast for the eyes. The story and art—both by Joelle Jones—were phenomenal. Most importantly, though, Jones gets Selina...the aesthetic, narration, villain...nigh-perfect.

I saw Donny Cates at SDCC on a panel about Image Comics. Someone was late...so Cates, obviously, put Pantera on his phone and growled into his mic, WELCOME TO IMAGE. This is also the aesthetic of his latest Marvel #1s: Cosmic Ghost Rider and Death of Inhumans, which are both madcap and grandiose.

Mariko Tamaki and Juan Cabal had to follow Tom Taylor’s excellent 3-year run on All New Wolverine. Tough challenge. In X-23 #1, however, the team meets it, preserving the best of Taylor’s work (the heart) while also heading in a horror-tinged new direction.

Everyone said read Bone Parish #1 by Cullen Bunn Jonas Sharf. They said it was excellent, frightening in a way I wouldn’t expect. Everyone was right. Bunn’s latest horror book (of an estimated 19) is frightening in a way you won’t expect, either. Now I’m the one urging you to read it.

Speaking of horror, check out Clankillers #1, a gritty story about gaelic mythology. Read our full review.

Ever think to yourself: I’d love to read Miami Vice meets Fast Times at Ridgemont High? Of course not, few probably have, but someone is writing it as a comic and it’s a winner. The Mall by Don Handfield, James Haick, and Rafael Loureiro is a solid debut, rich with ‘80s camp. Recommended.

James Tynion IV and Alvaro Martinez nailed Justice League Dark #1. In a summer of strong new directions for DC, this is one of the strongest, with stellar art and gleeful depictions of the publishers oft-underused bench.

Vault Comics (one of our favorites) has had a great year, and Submerged #1 is the latest book to become a part of it. Vita Ayala and Lisa Sterle craft a story with intriguing family dynamics, a natural disaster, and a potpourri of mythos. 

It’s tough to evaluate Brian Michael Bendis’ debuts via Superman #1 and Action Comics #1001. Bendis is a prolific and veteran writer, a student of superhero history who thinks in eras, not in single issues. So far, he’s established tones and started unveiling his the vanguard of his plans. The full scope of his aspirations, however, largely remain to be seen.

Top Five Best #1 Comics of July 2018

Unnatural #1 by Mirka Andolfo

This book lives in an intriguing world of dystopian reproductive laws, one that has enabled Italian comic auteur Mirka Andolfo to craft a story that is at once poignant, tantalizing, and horrific. This issue is the first of 12 parts, and I knew about halfway through reading it that I was onboard for the long haul.

To quote our Unnatural #1 Review: Andolfo clearly has strong thoughts about the intersection of sex and government, but she is also well-aware that those thoughts are best served by first and foremost telling an entertaining story. As a result, Unnatural #1 is not to be missed. And we very much stand by that.

Captain America #1 by Ta-Nehisi Coates & Leinil Francis Yu

Early indications are strong for Ta-Nehisi Coates & Leinil Yu on Cap.

This debut fittingly dropped on July 4, and it’s the best single-issue Captain America story I’ve read since Ed Brubaker’s all-time great run ended. Ta-Nehisi Coates is a writer I first became aware of via his articles in The Atlantic, before then reading his non-fiction works, specifically Between the World and Me. When he came to comics in the spring of 2016 to write Black Panther, I enthusiastically added the comic to my pulllist.

And Black Panther has been decent enough, a little wordy and dull in parts as Coates struggled to reconcile the new medium with his writerly instincts. With Captain America #1, any and all growing pains are clearly behind him. Coates and collaborator Leinil Francis Yu have made a declarative statement with this book...this is going to be a dark and action-heavy take on Cap, one that will test Steve Rogers with problems that grow out of his past continuity as well as the modern state of the U.S. It won’t be heavy handed, no, on the contrary the book seems bent on making its thematic intent slow-burning and subtle. Come along if you dare. Read our full review.

Amazing Spider-Man #1 by Nick Spencer & Ryan Ottley

I think it was in one of those retailer columns on Bleeding Cool that I read about someone saying a back-to-basics well-done Amazing Spider-Man book could be the industry’s top seller. Well, we’re about to find out if that’s true. Nick Spencer and Ryan Ottley’s debut on Marvel’s flagship title is almost indisputably those two things: well-done and back-to-basics.

We here at Batman’s Bookcase, however, have now written two full pieces about why we like it, so rather than trying to find a facet of the comic we haven’t explored, we’ll just wrap up quickly here by pointing you toward our Amazing Spider-Man #1 Review and our 5-Panel Amazing Spider-Man Explainer.

This is easily one of our favorite covers in recent memory.

Euthanauts #1 by Tini Howard & Nick Robles

Remember way back at the start of this piece when I mentioned an ethereal exploration of death that reads like literary magical realism in graphic format? Well, here we are. The Euthanauts #1 is a unique comic, as self-assured as any debut issue in recent memory. It does understated and deliberate work familiarizing you with a relatable character, one who is maybe even a bit on the mundane side, before fitfully plunging you into a world where life and death intermingle.

Someone on Twitter asked me recently if this comic was good, and I told them yes, very good, but pretty abstract and best consumed in a way where it just sort of washes over you—read twice for good measure. That’s how I read it, and it has been haunting me ever since. I can’t wait to see what this creative team has in store for this story. Oh, and I should also note that as mesmerizing as Tini Howard’s ideas are, this without question seems to be one of those ideal books wherein her and artist Nick Robles lift each other, both seemingly poised to do career best work. Read our full review.

Relay #1 by Zac Thompson, Eric Bromberg, Donny Cates, & Andy Clarke

While reading Relay #1, I got a feeling I’ve maybe only previously had while emerging from a classic sci-fi novel. Basically, this comic reads like layered and complex sci-fi being doled out by an engaging plot line, one with evident shades of the masters of its genre, namely Philip K. Dick and Ursula K. Le Guin.

I really dug Relay #1, to the point when someone recently asked me what books I was reading (always a difficult question to answer on the spot), I stumbled around for a moment before just blurting out: Relay. For more on why I enjoyed the first issue of this book so much...that’s right...read our full review here.

Thanks as always for reading, and make sure to come back this week for our Best Comics of July 2018, period.

Check out more of our monthly lists here.

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: Fearscape #1 by Ryan O’Sullivan, Andrea Mutti, & Vladimir Popov

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Fearscape #1 is out Sept. 26, 2018.

By Zack Quaintance — Fearscape #1 is the latest new series from fast-rising indie publisher Vault Comics, with hints of a diverse range of stories about stories, from movies like Midnight in Paris to famous cartoon shorts like Looney Tunes: Duck Amuck (Google it, you’re likely familiar…). This comic is smart and unique, and it pushes the limits of the sequential graphic storytelling medium, deploying a strong literary voice along with a concept that ranks among the best of today’s creator-owned comic wave.

It’s one part Saga, Monstress, or Wic + Div, and it’s one part that killer short story you read in The New Yorker, maybe by Zadie Smith, T.C. Boyle, or Lauren Groff. It’s an amalgam of your favorite graphic novels and that conversation you had last week with that annoying guy in tweed at your friend’s dinner party, the one who kept referencing his MFA.

Phew. That’s an onslaught of gimmicky descriptors, but this book grows from, speaks to, and stands upon mankind’s storytelling traditions. As such, references are perhaps the best means of giving readers an idea of what they’re in for when they open this comic. Now then, let’s get granular and go into Fearscapes’ plot, strengths, and best lines, shall we?

Plot: An otherworldly being called The Muse comes to take humanity’s greatest storyteller to The Fearscape, a realm of dark magic where human fears exist as living creatures. That storyteller is tasked with overcoming the greatest of all fears, thereby freeing humanity from them. The Muse comes for a venerable fantasy writer and instead finds Henry Henry (perfect failed author name, btw), a fraud who is busy stealing a manuscript from the home of the aforementioned famous writer, who is Henry’s friend/benefactor and is also sick and dying. It’s a lot, but Andrea Mutti’s artwork is clear and imaginative, and it orients the reader, while writer Ryan O’Sullivan makes excellent use of authoritive narration, which brings us to Fearscape #1’s single greatest strength...

...its voice, which is just pretentious enough to remind us what type of guy Henry Henry is (seriously, perfect name) without making us totally hate him, although holy wow is it close. Voice does so much work in this story, conveying that our main dude is a personification of imposter syndrome, oozing insecurity with his pretentiousness cranked to 11. It remains to be seen if the creators can emotionally vest us in the guy, but for now the intrigue and imagination is so compelling it doesn’t matter.

So, let’s get into some of best lines, including: All authors are ultimately translators; endlessly rewording stories and ideas we’ve heard countless times before.

And this resentful take on genre writing: Twenty-seven novels. All of them fantasy. All of them set in the same trope-ridden dragon-infested world.

Finally, this shot at a particularly loathsome subclass of human: Yet, despite this, we shall still find ourselves opposed by the casual reader and, even worse, its mutated older sibling, the critic.

Overall: A nigh-perfect debut, a unique comic that pushes the boundaries of sequential graphic storytelling. Fearscape #1 is one part killer creator-owned comic, one part famous literary short story, and 100 percent not to be missed.  10/10

Fearscape #1 is available Sept. 26, 2018.

For more comic book reviews, check out our review archives.

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: Border Town #1 by Eric M. Esquivel, Ramon Villalobos, Tamra Bonvillain, & Deron Bennett

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Border Town #1 is available Sept. 5, 2018.

By Zack Quaintance — Border Town #1 is the first new comic launching as part of DC’s reinvigorated Vertigo imprint, the main idea of which seems to be let’s run headlong through polarizing and important societal issues with some of the most exciting creators in comics leading the way (Bryan Edward Hill, Mark Russell, and Mirka Andolfo, among others).  

The ultimate goal, of course, is engaging readers with stories equal parts entertaining and personal (that magic narrative combo), and Border Town #1 certainly does that. At its heart, it’s a coming-of-age drama about a new kid in school. That school, however, is located in fictional Devil’s Fork, Arizona on the U.S. border with Mexico. This setting is vital for a comic called Border Town, which examines how borders divide us, and not just borders between countries but also between perception, opinions, reality and mythos...even the two sides of multicultural households.

It’s poignant and relevant territory. Not to make this about me, but after college I spent five years as a reporter in a border town (McAllen, Texas); I’m also from Chicago. Through my disparate lenses, I saw that the U.S.-Mexico border is massively misunderstood, especially by those who’ve never visited, yet it’s a region many have strong opinions about. What writer Eric M. Esquivel—who grew up in Tucson—does so well is draw from personal experience to depict real border life, stuff like cliques at school, family dynamics, etc.

Come for the Degrassi-esque teen drama, stay for the terrifying depictions of Mexican/Chicano mythos and folklore.

This is just one of Border Town’s strengths. Another is, simply put, monsters. Border Town is a horror story that in the tradition of the genre blends teen drama with dark and scary violence. I can think of no better team to bring this to life than artist Ramon Villalobos and colorist Tamra Bonvillain. Their work is uniformly excellent (as it was in the tragically-cancelled Nighthawk), and the monster designs here are intricate and grotesque (perfect). Villalobos is also a great choice to draw teenagers, given his vocal appreciation of things like Degrassi and sneakers. The art is killer, but that's expected.

What caught me a bit off guard was how well Esquivel grasps the genre. I haven’t read his other work, but I could tell he has a deep knowledge of horror movies, comics, and TV. You can also tell Mexican/Chicano folklore is an interest. Essentially, Esquivel’s script expertly takes the usual horror conventions and creates something new by infusing fresh monster mythology many readers haven’t been terrified by...yet.

Overall: Border Town #1 is a strong start for a reinvigorated Vertigo imprint, a relatable coming-of-age teen drama in one of the least understood yet most argued about parts of the country. The art is terrifyingly detailed, and the story leans enthusiastically into time-tested horror tropes while also finding new ground by adding Mexican/Chicano folklore and mythos. 9.0/10

Border Town #1 is available Sept. 05, 2018.

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