Top Comics of 2018, #6 - #15

January 01, 2019 by Zack Quaintance in Comics

By Zack Quaintance — The most difficult thing about a strong year for comics (like this one) is doing a year-end Best Of list. Now, to be sure, no one mandates websites do rankings. That would be a clear violation of civil liberties. There is, however, a part of the pop culture blogger brain that goes wild for it, whispering all year long...where does this one rank...and if you don’t satisfy that beast—well, bad things happen.

So, here we our with ours, freshly formulated for 2018 by our committee of one. Before we dive into part 2, which features in descending order selections #15 to #6 (Top Comics of 2018, #16 - #25 is up now, with the Top 5 due later today), let’s rehash our ground rules:

No trades or OGNs: Building out our OGN coverage is a priority for 2019. We’re just not there yet. So, while I absolutely loved work like Tillie Walden’s On a Sunbeam, Box Brown’s Is This Guy For Real? The Unbelievable Andy Kaufman, and Ryan Lindsay and Eric Zawadzki’s Eternal, you won’t find them here. Ideally, next year’s we’ll have an entire post dedicated to OGNs.
No webcomics, manga, or newspaper strips: Again, our site is a bit deficient covering these (if you are into these things, we’d love to chat about you writing for us!). I should, of course, mention that in 2018 someone under the pen name Olivia James took over the long-running Nancy strip and did amazing things with it (Sluggo is lit), but, again, you won’t find it on our list.
Longevity matters: New this year, you will find what I consider a key stat—how many issues were published this year. Late debut series like Die, Electric Warriors, and Bitter Root have tons of promise. They just haven’t been around enough to be a definitive comic of 2018. Ditto for comics that ended in April or earlier.

There you have it: guiding principles of our Top Comics of 2018. Now, without further adieu, let’s keep this bad hombre going!

15. Seeds
Writer: Ann Nocenti
Artist, Letterer: David Aja
Publisher: Dark Horse Comics
Issues in 2018: 2

The second issue of this series absolutely blew my mind. So much so it was enough to land this comic in our list, and at no. 15 too! I’m going to struggle to articulate why this is not only one of the best comics out today, but also the comic with the most potential to be an all-time great series. But here goes…

Writer Ann Nocenti and artist David Aja have clearly thought hard about the state of the world, dwelling on current trends, struggles, challenges, \and even a few victories to extrapolate a future the likes of which we’ve never seen. There are (as noted in yesterday’s list) many near-future disaster stories running through comics. Many of them do admirable jobs extending a fear or concern to logical places. Seeds encompasses much more with its predictions, in a way that feels impossibly novel yet so obvious you wonder why its ideas hadn’t previously occurred to you. If you start listing story elements—failing planet, media corruption, alien love story/menace—they sound a little rote, but the way these talented creators bring them together is nothing short of remarkable. Now, if only they could get a handle on the delays...

14. Doomsday Clock
Writer: Geoff Johns
Artist: Gary Frank
Colorist: Brad Anderson
Letterer: Rob Leigh
Publisher: DC Comics
Issues in 2018: 6

Speaking of delays (hey! would you look at that transition), next we have Doomsday Clock. Writer Geoff Johns and artist Gary Frank were as good as their word this year, mostly sticking to the every-other-month schedule they promised following Doomsday Clock #3. We got six new issues in 2018, and the last three were straight up killer comics. This series has, to be blunt, massive ambitions.

Indeed, the intentions of this comic are starting to crystalize, and if Johns and Frank can pull this off, they could end up with a story that speaks to the current rise of authoritarian governments across the globe, the reactions of the media and the populous, and what it means to be a public hero today, to take a strong position. It’s heady stuff, with potential to shape DC’s line and maybe even the stories the aging company does for the next decade.

13. Ice Cream Man
Writer: W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
Publisher: Image Comics
Issues in 2018: 8

As I’ve noted throughout, ranking the many many many excellent comics this year has been no easy feat. There were a ton of tough choices, but as my friend Rob from Panel Patter noted, at a certain point you have to choose, otherwise there’s no purpose to the endeavor. For me, placing Ice Cream Man was the most difficult decision. An anthology horror comic linked only by the titular (and hella creepy) ice cream man, this book has been a tour de force.

The reason it lands at #13 is twofold. No. 1, 13 is creepy and it seemed fitting, because aside from one other selection (we’ll get into that later), this is the highest-ranking horror comic on our list. No. 2, I’m trying to rank series for holistic reading experience. Ice Cream Man being made of vignettes makes that trickier. This book is easily one of the best comics of 2018, and we’ll heap more praise on it in future posts, specifically the Best Single Issues of 2018, coming later this week. For now, I’ll just note everyone should read this comic, just pick up random issues (they’re all self-contained) and go. The rate of success is high enough I’m confident you’ll all find flavors (sorry) you like.

12. The Wild Storm
Writer: Warren Ellis
Artist: Jon Davis-Hunt
Colorist: Steve Buccellato
Letterer: Simon Bowland
Publisher: DC Comics
Issues in 2018: 8

It’s pretty amazing this far into a celebrated career, Warren Elllis is doing his best work, writing a slow-burning epic that strips down characters he’s handled for years before building them back into something searingly-relevant for 2018. This new The Wild Storm has a few familiar names, while remaining entirely accessible for first-time readers of this universe. And what Ellis is doing here is exploring the vast influence wielded by long-standing (and hard to comprehend) power structures.

He’s joined by Jon Davis-Hunt, one of (if not the) most underrated artists in comics. Davis-Hunt comes fresh from career work of his own on Gail Simone’s Clean Room, and as good as he was there, he’s hitting a new level, crafting graphic sequential storytelling both kinetic and real, capable of disrupting any visual laws of reality yet photorealistic and engrossing. As intellectual and nuanced a comic as we’ve seen, this is a must-read story.

11. The Mighty Thor / Thor
Writer: Jason Aaron
Artists: Russell Dauterman, Mike del Mundo, Christian Ward, Jen Bartel, Various
Colorists: Matthew Wilson, Marco D’Alfonso
Letterer: VC’s Joe Sabino
Publisher: Marvel Comics
Issues in 2018: 4 / 12

Jason Aaron’s ongoing run on Thor is the best long-form story happening in superhero comics, and it’s really not even close. Aaron and Esad Ribic’s Thor: God of Thunder #1, which essentially marked the start of this current run, hit stands in November 2012, a vastly different time in the world and industry. Marvel has no other run close, with Hickman and Bendis gone from the company and Dan Slott off Amazing Spider-Man. Invincible has also ended, and DC’s main challengers—Batman and Deathstroke, for my money—date back to summer 2016, which is hardly a challenge at all.

Thor, however, keeps going strong, landing this year’s 16 issues (and a Jane Foster one-shot) at #11 overall on our list. Our committee of one suspects it will be higher next year, what with the War of the Realms coming. The Jane Foster finale was certainly a high point his year, but it felt like more of a pause than a proper finish, setting the table for what is sure to be some damn fine comics to come. In summation, 2018 was another great year for Aaron’s Thor run, but we all but guarantee 2019 will be even better, possibly the high water mark for this story.

10. X-Men Red
Writer: Tom Taylor
Artists: Mahmud Asrar, Carmen Carnero, Roge Antonio
Colorists: Ive Svorcina, Rain Beredo
Letterer: VC’s Cory Petit
Publisher: Marvel Comics
Issues in 2018: 11

What a surprise this comic was. I’d tapped out on X-Men: Blue and X-Men: Gold, deciding to wait for whatever next big X-thing. Then comes an announcement of a third color, part of the Marvel Legacy line, which, let’s face it, was dead on arrival. But here’s the thing: Tom Taylor and Mahmud Asrar’s X-Men: Red was good. Like, really really really good. Taylor’s scripting understood the franchise better than any writer I’ve read in I don’t know how long, casting the team as equal parts superhero high-flyers and common defenders of the oppressed, all with a geopolitical angle.

It made Jean Gray the face of Xavier’s continuing dream, a brilliant move given her legacy (ahem) and similar skill set, and it faced the X-Men against threats essentially derived from the messages of hate coursing through the modern media landscape, be it reportage or social posting. It was a brilliant stretch of 11 issues that ended way too soon, and, in my opinion, it was the first real hint how the X-Men can be made relevant for 2018, 2019, etc., taking them out of their long-standing continuity mire. It will be missed, and I hope this new generation of X-writers draw from its example.

9. Vault Comics: Fearscape / Friendo / These Savage Shores
Writers: Ryan O’Sullivan / Alex Paknadel / Ram V.
Artists: Andrea Mutti / Martin Simmonds / Sumit Kumar
Colorists: Vladimir Popov / Dee Cunnife / Vittorio Astone
Letterers: Andworld Design / Taylor Esposito / Aditya Bidikar
Publisher: Vault Comics
Issues in 2018: 3 / 3 / 2

Okay, so this one is cheating, but of the three new Vault Comics launched by British writers with clear literary roots in the fall, I couldn’t pick any one to elevate above the others. They’re all incredible, and so I built myself a loophole (it’s my website, afterall), and included all three on the list. I heard Vault editor Adrian Wassel on a podcast earlier this year, saying comics could swing to a literary place that incorporates both recent cinematic storytelling trends and their unique ability to synthesize words and pictures. All three of these titles reflect that viewpoint.

You can read more thoughts about each on our Reviews Page, but let me run through them quickly. Fearscape is a look at pretense, literary culture, and how the nature of creative writing often sees authors bouncing violently between bouts of outsized ego and crippling insecurity. The voice is pretentious and incredible. Friendo is a meditation on the decline of late-model capitalist countries, specifically the United States, casting apathy, ceiling-less corporate greed, and the marginalization of government checks as truly terrifying villains. These Savage Shores is a gorgeous and deep commentary on imperialism, using misdirection to to create an engaging and tone-heavy narrative. Basically, all three of these are well worth your time, and I highly recommend them all.

8. Exit Stage Left: The Snagglepuss Chronicles
Writer: Mark Russell
Artist: Mike Feehan
Inker: Sean Parsons
Colorist: Paul Mounts
Letterer: Dave Sharpe
Publisher: DC Comics
Issues in 2018: 6

Speaking of literary comics, Mark Russell and Mike Feehan’s Exit Stage Left: The Snagglepuss Chronicles (improbably) falls in that bin as well. Last year we highlighted Russell’s work on Flintstones. Another year and another smart take on a Hanna-Barbera property, and here we are again. In Russell’s re-imagining of this mythos, Snagglepuss is a basically closeted playwright during McCarthy-ism, trying to stay true to his values without running afoul of the federal government and staid societal interests.

Russell uses this premise to tell a sophisticated story that dances with ideas about life, art, politics, group think, and conservatism. The emotional core to this thing is the Huckleberry Hound character, whose tragic story beats brought tears to my eyes a couple of times. If reading a comic about Snagglepuss doesn’t sound appealing, don’t worry—you’re not alone in that thinking. But Russell also uses the legacy of the character to do work toward the satirical points he’s making, to help drive them home.

7. Wasted Space
Writer: Michael Moreci
Artist: Hayden Sherman
Colorist: Jason Wordie
Letterer: Jim Campbell
Publisher: Vault Comics
Issues in 2018: 6 (counting the holiday special)

Phew, now we’re getting into the comics that I can’t imagine my 2018 without, the first being Michael Moreci and Hayden Sherman’s Wasted Space. I have heaped my fair share of praise on this book over the past 12 months, and I’m not alone. In fact, Nerdist has called it “easily the best new series to hit comic shops so far this year.” For my money, it’s without question the best wholly new property of 2018, and I’m going to quote myself to elaborate on why...

Wasted Space to me feels like Star Wars by way of 2018, determined to honor the hi-jinx & high adventure of space opera while fearlessly exploring the central conflict of our times: where should one’s desire for comfort end and their obligation to combat oppression begin? I’ve compared Moreci’s absurdist, idea-heavy writing to the late David Foster Wallace and I stand by that, noting that Sherman’s chaotic high-energy art style brings the world to life in a special way. This is maybe the highest compliment I can give: in a day and age where i buy fewer paper comics than ever before, I still have a pull list and on it near the top is Wasted Space.

6. Thanos Wins
Writer: Donny Cates
Artist: Geoff Shaw
Colorist: Antonio Fabela
Letterer: VC’s Clayton Cowles
Publisher: Marvel Comics
Issues in 2018: 6

Toward the end of 2017, Brian Michael Bendis left Marvel, dealing the publisher as significant of a writing void as I’ve seen in the past two decades, dating back to before Bendis established himself as the company’s prime writing voice. The thing about voids like that is they force publishers to take bigger risks and bring in younger, newer talent. For Marvel in 2018, that meant Donny Cates (among others).

One of Cates’ first charges at Marvel was to takeover Thanos in the wake of another essentially departing writer, Jeff Lemire, who seemed from the outside to be off to focus on the superhero universe he owned and created, Black Hammer. What Cates and past collaborator Geoff Shaw did with the final six issues of this run was absolutely remarkable, telling what is not only the best Thanos story of all-time, but the best end of the Marvel Universe tail this side of Jonathan Hickman. It’s called Thanos Wins, and it’s exactly what it sounds like.

Thanos Wins is as bold a statement as a young writer doing his first work at Marvel could have made. Aided by the out-of-this-world Geoff Shaw artwork and Antonio Fabela colors, Cates seemed to put all of comics on notice here, not being content to just decimate the very futures of these decades-old beloved characters, but insisting on doing so with wild grin viscerally affixed to his face. You might wonder, how do I know he was laughing and smiling as he wrote all of this. I think the better question, is how could anyone who’s read Thanos Wins doubt it?

Read our analysis of Thanos Wins here!

Check back later today for our Best Comics of 2018, #1 - #5! Check out Best Comics of 2018, #16 - #25! And check back later in the week for more year-end lists, including our Best Single Issues and our Top Creators of 2018!

For the history-minded readers, you can find our Top Comics of 2017, Part 1, 2 and 3 online now!

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

Top Comics of 2018, #16 - #25

December 31, 2018 by Zack Quaintance in Comics

So, here we our with ours, freshly formulated for 2018 by our committee of one. Before we dive into part 1, which features in descending order selections #25 to #16 (the other two parts are coming tomorrow, worry not), let’s lay down ground rules:

No trades or OGNs: Building out our OGN coverage is a priority for 2019. We’re just not there yet. So, while I absolutely loved work like Tillie Walden’s On a Sunbeam, Box Brown’s Is This Guy For Real? The Unbelievable Andy Kaufman, and Ryan Lindsay and Eric Zawadzki’s Eternal, you won’t find them here. Ideally, next year’s we’ll have an entire post dedicated to OGNs.
No webcomics, manga, or newspaper strips: Again, our site is a bit deficient covering these (if you are into these things, we’d love to chat about you writing for us!). I should, of course, mention that in 2018 someone under the pen name Olivia James took over the long-running Nancy strip and did amazing things with it (Sluggo is lit), but, again, you won’t find it on our list.
Longevity matters: New this year, you will find what I consider a key stat—how many issues were published this year. Late debut series like Die, Electric Warriors, and Bitter Root have tons of promise. They just haven’t been around enough to be a definitive comic of 2018. Ditto for comics that ended in April or earlier.

There you have it: guiding principles of our Top Comics of 2018. Now, without further adieu, let’s get this bad hombre started!

Top Comics of 2018, #16 - #25

25. Snotgirl
Writer: Bryan Lee O’Malley
Artist: Leslie Hung
Colorist: Mickey Quinn
Letterer: Mare Odomo
Publisher: Image Comics
Issues in 2018: 4

In 2018, Snotgirl returned from hiatus with an every-other-month schedule, which ended up spreading four issues over the year. Its steady publication schedule gave it a decidedly 2018 feel. We also saw the plot in this story evolve, using its Instagram-driven L.A. ego hellscape motif to dip a toe into ideas of the supernatural.

Moreover, this book has a singular look and feel. O’Malley’s scripting is satirical and biting, using our increasingly-intense desire to appear perfect online as fertile ground for true existential horror. More credit, however, is owed to the art of Leslie Hung and colors of Mickey Quinn. From Hung’s disheveled-yet-shapely men and women—all of whom are equally gorgeous and barely hanging on—to the vibrant greens Quinn lands somewhere between snotty and stylish, the visuals work in perfect harmony with the story. It’s really something special.

24. Abbott
Writer: Saladin Ahmed
Artist: Sami Kivela
Colorist: Jason Wordie
Letterer: Jim Campbell
Publisher: BOOM! Studios
Issues in 2018: 5

Our committee of one won’t be able to sum up this book better than contributing writer Maya Kesh in our Best Comics of 2018: Contributor Picks. So, go check that out. When you’re done, I’ll be here trying to add to Maya’s excellent thoughts on this series. Like our #25 pick before it, Abbott is a singular comic in everything from its protagonist to its setting to the concerns of its characters.

It’s set in the ‘70s in Detroit—a place and time dismissed as of late by most stories in pop culture. Add a black female protagonist who works as a reporter, and you’ve got a collection of story elements that stand on their own as different and intriguing. Writer Ahmed and artist Kivela don’t, however, rest on that. The story they tell is tense and mysterious, rich with themes of oppression and the paranormal. Basically, I’m with Maya when she says she hopes we haven’t seen the last of this character.

23. Long Lost Part 2
Writer: Matthew Erman
Artist: Lisa Sterle
Publisher: Scout Comics
Issues in 2018: 5

This is, perhaps, cheating, seeing as the finale to this series is due in 2019 but I’ve already read (and loved) it. I won’t, however, let the ending slip. Long Lost is a poetic and understated story about change, the past, and family. From husband-wife team writer Matthew Erman and artist Lisa Sterle, Long Lost is a literary and confident comic with much to say about our transient generation, so bent on putting withering hometowns behind us.

And it says these things with a mix of ideas and imagery. The penultimate issue came out on 12/19, and as I wrote in my Long Lost Part 2 #5 review, it saw the creators expressing what this story is about: “Long Lost is about leaving your hometown...yet feeling a pull to return, a call home from our past. When we arrive, the place is nigh-unrecognizable. Relatives we thought we knew are so different as to be irreconcilable with who they once were in the past. They’re acting in strange ways, motivated by the hopes of enticing a magic cure for suffering, unemployment, sickness...with methods making them all uglier.” It was a great read in 2018 will be collected in trade this spring.

22. Skyward
Writer: Joe Henderson
Artist: Lee Garbett
Colorist: Antonio Fabela
Letterer: Simon Bowland
Publisher: Image Comics
Issues in 2018: 9

My reaction to Skyward #1 was: where did this comic come from and how is it so polished and fully-formed? The answer on both fronts is that this book was written by Joe Henderson—a TV veteran who most recently oversaw Lucifer—who I came to find out (via the Word Balloon podcast) has a long history of involvement with comics dating back to Bendis’ message board. He’s teamed with powerhouse artist Lee Garbett on this one.

There’s a lot to like about Skyward. It’s narrative structure is ironclad, leaving no holes or lapses to distract reader attention. The science within extrapolates a world-altering event similar to how Brian K. Vaughan and Pia Guerra did in Y: The Last Man, and it’s characters’ tones are so earnest and hopeful that one could probably even read this comic with family. It’s also kept to a regular release schedule, which is so key for creator-owned books like this one, jockeying for attention on a crowded rack.

21. Euthanauts
Writer: Tini Howard
Artist: Nick Robles
Letterer: Aditya Bidikar
Publisher: IDW Black Crown
Issues in 2018: 4

This is another book that a contributor summed up so perfectly earlier this week (this time it was Allison and you can and should read it here). Yet, once again as the official committee of one, I will do my best to inject something new into this conversation. Euthanauts is, quite simply, one of the most gorgeous books on the stands. It’s the type of story you let wash over you like a poem, finding intense ideas and moments of beauty as you page through it.

Writer Tini Howard and artist Nick Robles are both powerful talents, destined for greatest things in the industry. Before they get there, however, I for one feel lucky to be around to see their beautiful book of life and death unspooling in real time. There are many great books right now on Shelly Bond’s Black Crown imprint (House Amok and Lodger both could have made our list had they published more issues), but Euthanauts is the crown jewel of that collection.

20. Royal City
Writer/Artist: Jeff Lemire
Publisher: Image Comics
Issues in 2018: 7
Royal City wrapped up in August, which I found surprising, possibly because the ever-prolific Jeff Lemire (who pulls double duty here both writing and doing art) has put out so much work since this one concluded. And while a hefty volume of that work is to be celebrated (more on that as we get closer to the top), none of his stories had the intense emotional core that Royal City did.

A spiritual and semi-direct successor to Lemire’s seminal work on Essex County, this is one of the rare comics in 2018 that moved me to tears, doing so with its story of love, loss, adolescence to adulthood, and perseverance in the face of life’s small-yet-crushing defeats. I would love to get a hardcover version of these 14 issues to keep forever on my shelf, which given the space limitations that plague my collection these days, is a high compliment indeed.

19. Submerged
Writer: Vita Ayala
Artist: Lisa Sterle
Colorist: Stelladia
Letterer: Rachel Deering
Publisher: Vault Comics
Issues in 2018: 4

The first—but certainly not the last—of the Vault Comics on our list, Submerged launched in July and concluded in December. It’s a haunting story of family discord that ultimately manifests in a tangle with mythology during one of the most dangerous storms New York City has weathered in modern history. Vita Ayala is one of the brightest rising stars in the industry, and they do incredible work with this one, expertly balancing the revelations about family backstory with the paranormal threats faced in the present by our characters.

Lisa Sterle (who you may remember early from our writeup of Long Lost) once again creates grounded-yet-disturbing imagery to go along with Ayala’s scripting. This is one of those four-part stories you’ll want to go out and get in trade, so you’ll have it to page through often at your leisure. The impression it leaves is indelible, and Ayala and Sterle are both clearly creators to watch in the coming year.

18. Cover
Writer: Brian Michael Bendis
Artist: David Mack
Digital Coloring: Zu Orzu
Letterer: Carlos M. Mangual
Issues in 2018: 4

I saw Brian Bendis and David Mack talk about this book during Rose City Comic Con this September in Portland. Bendis noted that most other mediums—movies, music, books, etc.—have had myriad stories told about what it’s like in their industry. Not so with comics. Cover, however, sets out to change that, detailing what it feels like to table at cons as a semi-notable pro...while also working for the CIA.

The espionage subplot is, to be sure, the engine propelling this comic further, but the emotional core has to do with artistic accomplishments and satisfaction, with finding the places where ones art ends and real life begins, with examining how much artistic achievement can wash away loneliness, solitude, and rifts between family. On top of that thematic goodness, this one is expertly rendered by Mack, who uses visual flourishes often to convey intensity of emotion.

17. Crowded
Writer: Christopher Sebela
Artist: Ro Stein
Inker: Ted Brandt
Colorist: Triona Farrell
Letterer: Cardinal Rae
Publisher: Image Comics
Issues in 2018: 5

After what I personally perceived as somewhat of a down year for new comics in 2017, Image (our committee of one’s favorite publisher) bounced back with a vengeance in 2018, launching a dozen new series and mini-series with major staying power (more on that next week...so stay tuned!). Chief among those great new books was Crowded from writer Christopher Sebela and artists Ro Stein, Ted Brandt, and Triona Farrell.

There was no shortage of comics this year that look at terrifying near futures. What Crowded did, however, was extrapolate a startlingly-realistic idea (crowdfunded assassination bounty apps) with as taught of a buddy-drama/chase thriller narrative as we’ve seen as of late in any medium. This is a story built to elicit white knuckles, both in terms of what’s happening on the page and what it has to say about the current direction of society.

16. Gideon Falls
Writer: Jeff Lemire
Artist: Andrea Sorrentino
Colorist: Dave Stewart
Letterer: Steve Wands
Publisher: Image Comics
Issues in 2018: 9

This book has a special place in our committee of one’s heart: It was the first comic we ever reviewed on this site, all the way back in January. We gave it a glowing review, predicting it would become the next big Image comic. Thankfully, time was on our side. This comic—from the well-worn creative team of Jeff Lemire and artist Andrea Sorrentino—hit the ground running and is yet to let up.

It started as what felt like an homage to Twin Peaks. The end of the first arc and the first half of the second, however, has built this story into a creepy mystery all of its own, establishing it as something different with expert use of a dual narrative. Sorrentino’s artwork is also absolutely it’s own thing, as visionary as anything on the monthly comic stands right now. It’s 100 percent a testament to the strength of comics this year that a book as good as Gideon Falls finishes #16 overall on our list, but here we are. Oh, and worry not Lemire fans...his other work will be landing higher (much higher!) on this list.

Check back tomorrow for our Best Comics of 2018, #1 - #15! And check back later in the week for more year-end lists, including our Best Single Issues and our Top Creators of 2018!

For the history-minded readers, you can find our Top Comics of 2017, Part 1, 2 and 3 online now!

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

Top Comics to Buy for January 2, 2019

December 31, 2018 by Zack Quaintance in Comics

By Zack Quaintance — Oh hey, would you look at that? We got the date for this piece right! Though, we’d be lying if we said it wasn’t a challenge. Basically, the New Year has arrived folks! Bringing with it those always-confusing date problems that take place in writer’s heads before we’ve fully adjusted.

Last week’s post-Christmas crop of comics was pretty barren (although it wasn’t without some great titles). This week’s bunch is a bit better, at least in terms of volume. What’s also great is that some of our favorite series from 2018—namely Action Comics and Immortal Hulk—have new installments! Pair that with the start of Jason Aaron’s highly-anticipated run of Conan the Barbarian, and hey, maybe this year will be starting off special.

All that said, let’s take a closer look!

Top Comics to Buy for January 2, 2019

*PICK OF THE WEEK*
Action Comics #1006
Writer: Brian Michael Bendis
Artist: Ryan Sook
Colorist: Brad Anderson
Letterer: Josh Reed
Publisher: DC Comics
Price: $3.99
The Red Cloud sets her sights on someone close to Superman, but how can the Man of Steel stop a villain he can't touch? As the invisible mafia controlling Metropolis' underworld steps more into the light, its leader finally stands revealed with a secret that will have massive implications for Superman and Clark Kent!
Why It’s Cool: At this time last year, the vast majority of comic book fandom didn’t even know which DC characters long-time Marvel writer Brian Michael Bendis would be taking over when he made the jump to DC. Fast forward to now, and it’s almost hard to remember that Bendis didn’t spend all of last year writing Superman stories. His work on the character has been (in my personal opinion) fantastic, and leading the way is the Daily Planet-heavy story taking place in Action Comics. It continues to build this week with an expanded look into corners of Metropolis that have rarely been seen, setting as it does some track for more major happenings later on in the year. Also, competition is fierce, but of all the top-tier artists Bendis has collaborated with since coming over to DC, I do believe that Ryan Sook is my favorite. This may be his last issue of Action Comics for the foreseeable future, but later this year he and Bendis will be collaborating on something larger, which is definitely something to keep an eye on. Oh, and speaking of last year: can you believe some yutz suggested Bendis was taking over Green Arrow? Absurd!

Conan the Barbarian #1
Writer: Jason Aaron
Artist: Mahmud Asrar
Colorist: Matthew Wilson
Publisher: Marvel Comics
Price: $4.99
BY CROM, THE GREATEST SWORD-AND-SORCERY HERO RETURNS TO MARVEL!
From an age undreamed...hither came Conan the Cimmerian, black-haired, sullen-eyed, sword in hand, a thief, a reaver, a slayer, with gigantic melancholies and gigantic mirth, to tread the jeweled thrones of the Earth under his sandaled feet...Robert E. Howard's creation returns to comics, in an epic tale as only MARVEL could bring you! Conan's travels have brought him to the far reaches of the unkown, from his birthplace in Cimmeria to the kingdom of Aquilonia and all in between. As his fighting prowess allows him to carve his way through life, so too does it attract the forces of death! The all-new ages-spanning saga begins here, by writer Jason Aaron (THE MIGHTY THOR, STAR WARS) and artist Mahmud Asrar (UNCANNY X-MEN, ALL-NEW, ALL-DIFFERENT AVENGERS), as Conan's destiny is forever changed!
Why It’s Cool: Jason Aaron has done absolutely incredible things with the Thor franchise, crafting what is currently the best years-long superhero run in all of comics. He just has a knack for the epic, nigh-biblical brutality inherent to norse mythology. And what, if any, comic book franchise just so happens to feel like a close cousin to norse mythology? That’s right, Conan the Barbarian. Aaron takes the keys of that book with Conan the Barbarian #1, the first in a trio of new Conan comics from Marvel, who snagged the rights for the character last year. As Thor starts to wind down with this year’s War of the Realms event, Aaron looks to start another all-time great stretch of comic book writing right here with this one.

Crowded #6
Writer: Christopher Sebela
Artist: Ro Stein
Inker: Ted Brandt
Colorist: Triona Farrell
Letterer: Cardinal Rae
Publisher: Image Comics
Price: $3.99
Trapped with the psychopathic streaming superstar Trotter on one side and all of Los Angeles carrying a weapon and a two-million-dollar-dream on the other, Charlie and Vita have only each other-and a few of the secrets they've been keeping from each other-to rely on for their survival.
Why It’s Cool: There is no shortage of stories in comics right now that envision terrifying futures. Hell, there’s no shortage of stories in comics right now that envision terrifying near futures. That said, Crowded has distinguished itself as one of the best, doing so with a mixture of big ideas and seasoned pacing moves from one of the best writers of creator-owned comics in the industry today: Christopher Sebela. Of the many excellent new Image Comics launched in 2018 (more on that next week...stay tuned!), this is one of the best.

Immortal Hulk #11
Writer: Al Ewing
Artist: Joe Bennett
Inker: Ruy Jose
Colorist: Paul Mounts
Letterer: Cory Petit
Publisher: Marvel Comics
Price: $3.99
"HULK IN HELL" PART ONE!
Jackie McGee is in hell. Carl Creel is in hell. Walter Langkowski is in hell. Eugene Judd is in hell. Carl Burbank is in hell. Los Diablos is in hell. Shadow Base is in hell. New Mexico is in hell. Planet Earth is in hell. We are all in hell...
...and so is the IMMORTAL HULK.
Why It’s Cool: As you may or may not find out in this week’s forthcoming Best Comics of 2018, our committee of one absolutely loved Immortal Hulk last year, finding it to be a comic that both spoke to the essence of a classic character while pushing this franchise into novel new territories. This book, in other words, could do no wrong, and because of this, we’re very much excited to see where it’s all headed in the New Year. Based on preview text, that place is clearly hell, which, awesome.

The Walking Dead #187
Writer: Robert Kirkman
Artist: Charlie Adlard
Inker: Stefano Gaudiano
Gray Tones: Cliff Rathburn
Letterer: Rus Wooton
Publisher: Image Comics
Price: $3.99
"THE ROAD BACK"
Can Rick Grimes bring peace to the Commonwealth-or will he tear it apart?
Why It’s Cool: Although the jury is still out on whether it’s working, Robert Kirkman and Charlie Adlard are clearly trying to sophisticate and evolve the central metaphor at the heart of their long-running Walking Dead comic, perhaps to avoid the ironically slow death that seems to be afflicting the television show (what with the lead actor begging out, and everything). It remains to be seen, of course, whether they stick the landing, but the emotional heart of this current plotline is Michonne, and it’s pretty well-done, so much so I find the book engaging in a way it hasn’t felt since before Negan got put in that cage. There’s a weird metaphor at work here too, wherein the governor of the town where everyone is content and cared for, yet class discrepancy runs wild, looks a whole lot like Hillary Clinton, which has the lasting effect of reminding us of simpler times with more understated political problems. Kirkman et. al clearly thought like most of us that she would win and are left holding the bag...if only they could bring back Negan, who, let’s face it, is basically Trump.

Others Receiving Votes

Archie 1941 #1
Archie #701
BPRD Devil You Know #12
Detective Comics #995
Giant Days #46
Hex Wives #3
Justice League Odyssey #4
Marvel Knights 20th #5
Redneck #18
Shatterstar #4
Terrifics #11
Titans #32
Tony Stark: Iron Man #7
Unnatural #6
Winter Soldier #2

See our past top comics to buy here, and check our our reviews archive here.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete one.

The Saga Re-Read: Saga #21 continues the discomfort

December 28, 2018 by Zack Quaintance in Saga Re-Read

Saga #21 was first released 7/23/2014. — **Saga #21** was first released 7/23/2014.

By Zack Quaintance — There’s a weird thing in long-running comics, wherein writers and artists work hard to give their characters enough suffering and challenges for them to show the audience what they’re really made of, so much so that stories can border on becoming unpleasant. This is a thing in all storytelling mediums, from film to novels, but in monthly comics it feels far more acute because of the pace at which the story is doled out.

Basically, if you don’t like what an author or director is doing to your favorite characters in a book or film, you need only continue reading or watching. In a matter of minutes or days, the happier ground that eventually appears in most stories is found. Not so in comics. In some of the most involved stories and arcs, it can take years for beloved characters to get any peace. This is part of the bargain, and a big part of why I myself enjoy reading monthly. I like the experience of lingering in emotional beats (both bad and good), because it feels so much more like real life. And that’s certainly the case with this fourth full arc of Saga, with Marko and Alana having marital troubles and so many scenes feeling just awful.

It’s all a lot more noticeable within this weekly re-read schedule. Just an observation (which could be the unofficial motto for this site), now onward to the details!

Saga #21

Here’s the official preview text for Saga #21, which was first released back on July 23, 2014. Nobody forgets their 21st birthday, especially not a free-wheeling book (what does that even mean?) like Saga. Anyway, here’s the bygone solicit text for this issue…

Not every robot is lucky enough to be born a royal.

Oooo, a story about class struggle. That’s definitely one of my thematic buttons. It was also foreshadowed heavily in the previous issue. So cover aside (more on that below), this all adds to an issue I’m pretty excited to be re-reading. I’m off to go do that. Okay, still here? Great. Let’s get onto my thoughts, separated out as always based on individual elements.

The Cover: I’m a proud fan of pretty much all of the covers that feature Prince Robot IV, because of the way his TV face lets the creators play with some messaging within messaging. This robot character, obviously, has the same potential, but for whatever reason it doesn’t land as well with me. The regality and stature of Robot IV lends an air of surreal absurdity to his covers, whereas the murderous janitor on this one just looks a bit schlubby. The blood squeegee, however, does the trick in terms of setting a fairly horrific tone before we even get to page one. Speaking of which...

The First Page: ...this page one is fine. Staples artwork is evolving to a level of clean precision that will appear throughout the rest of the series. The actual concept for the opener isn’t all that memorable. It’s Alana in her Circuit garb (looking a bit like the Spider-Man villain Black Cat, from the long white hair down to the cleavage...don’t worry, there’s an in-story reason she’s being objectified) juxtaposed against an aggressively-mundane domestic setting, seated at a breakfast bar eating a bowl of children’s cereal (we find out later she’s on set). In keeping with the overall what we sacrifice for our kids motif of this arc, I suppose it does the trick.

The Surface: These past two arcs have had similar pacing, in that the middle issues are akin to watching a football team drive up the field with short-yet-constant passes that grab eight yards here, twelve yards there, and set the team up for a touchdown (I used to play a lot of Madden). This one pushes forward three plots: Alana falling into drugs while working on the circuit, Marko flirting with the dance teacher who tells him often that her husband is away (and in this issue that they also have an understanding), and the murderous kidnapping janitor coming to get Prince Robot IV, who pushes his own plot forward by snapping out of his indulgent stupor. This issue is not as dark as last week’s, which set the tone for the deepening complications we see here. Still no sign of Gwendolyn or The Will. Oh, and Izabel’s joke about being an indentured servant made me chuckle.

The Subtext: There’s not much new subtext in this issue, not that we didn’t cover in the last two anyway. There’s a really sad sex scene that almost tips into subtext territory, but then the narrative voice kicks in and directly outlines all that’s happening. That’s all fine, too. There’s so much going on there’s not that much time for metaphor and the like. I suppose Marko’s mother reading (and hating) Heist’s novels in the bath hints at a deeper grieving process that she’s going through. I’d say she should probably be grieving for Barr, but I miss Heist too. Barr was a sweetheart, but the latter was just so much more instrumental to our plot (and I’m a plot guy, what can I say?).

...an incredibly sad love scene between our couple (maybe not subtext, given how the narration lays out what’s going on)...

The Art: As I noted above, I think Staples in this art has evolved yet again, ascending to a place where her art is so precise and clean that the book looks like it was dropped fully-formed from some kind of ideal sci-fi artwork generator. It really is that well-done, and what’s incredible to me is how (relatively) early in the series it still is. One last thought that occurred to me: this vibrant and clean style creates a really engaging juxtaposition with some of the grizzlier violence in the series.

A perfect example of that juxtaposition between violence and clean/vibrant art.

The Foreshadowing: The stuff about Alana and Marko’s forthcoming marital troubles is so blatant I’m not sure I’d even call it foreshadowing. Ditto with Alana being ashamed of her drug use. This arc is a lot like the previous one in that the first issue promises us a bunch of plot points, and the following chapters work efficiently to make good on them. That’s all really great for the effect it has on the pacing.

Check out past installments of our Saga Re-Read.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

Best Comics of 2018: Batman’s Bookcase Contributor Picks

December 28, 2018 by Zack Quaintance in Comics

By Various — Without our crack team of contributing writers, this site would just be one guy pretending to be furniture while churning out semi-coherent musings about comics. Yes, our super talented group of contributing writers are the lifeblood of Batman’s Bookcase, and as such, they have some pretty great takes about the Best Comics of 2018. From Allison continuing to surprise herself by riding hard for all things Thor to Taylor’s analytical impressions of the revived Wild Storm, there’s a lot to take in on this list.

So please now join our contributors on a trip through some of their favorite comics of 2018!

Allison Senecal

Euthanauts
Writer: Tini Howard
Artist: Nick Robles
Letterer: Aditya Bidikar
Publisher: IDW Black Crown
What can I even say about this series that hasn’t already been said by people (Scott Snyder, for one) who are way cooler than me? We already know 2019 is going to be the year of writer Tini Howard, and it sure as #$&% better be the year of artist Nick Robles too (Best Layouts of 2018 Award, not a thing...but it should be). The protagonist of this comic, Thalia, is far and away my favorite original character of the year, and she is just rendered so lovingly. What a heartfelt, at times darkly funny, and just flat-out interesting comic. With its almost cheerfully morbid (not to forget the gut-punches) fixation on death, Euthanauts is in many ways the perfect comic for 2018, but it sure has a lot of great things to tell us about living too.

Mighty Thor/Thor
Writer: Jason Aaron
Artists: Russell Dauterman, Mike del Mundo, Christian Ward, Jen Bartel, Various
Colorist: Matthew Wilson, Marco D’Alfonso
Letterer: VC’s Joe Sabino
Publisher: Marvel Comics
If you told me a decade ago that my favorite Big 2 comic would be Thor, I’d probably laugh nervously at you, but here we are, and it is. Aaron and whichever stellar artist he happens to be collaborating with month-to-month (Dauterman, Bartel, Del Mundo, Ward, Moore, to name but a handful) knock this book out of the park every single time. No hiccups, no filler, all heart and tons of action. I’ve cried with Jane Foster, I’ve wheezed with Odinson, and vice versa. I also like the prospects for this book in 2019, because buckle up, kiddos, the War of the Realms is coming, and if you haven’t caught up on this entire Aaron run, do that now before it arrives.

Read more of Allison’s thoughts about Euthanauts and Thor!

Allison buys books professionally and comics unprofessionally. You can find her chaotic neutral Twitter feed at @maliciousglee.

Jack Sharpe

The Unexpected
Writer: Steve Orlando
Artist: Various
Colorist: Various
Letterer: Carlos M. Mangual
Publisher: DC Comics
DC’s New Age of Heroes line produced some great comics, even if it sadly did not have sales legs. The best comic of the line for me however was The Unexpected. This book features a very personal tale while also going all out on the cosmic side of the DCU. Writer Steve Orlando crafted an amazing tale and while it’s sad this book is ending in January, there is still more greatness to come from Orlando with Martian Manhunter, which launched in December.

Read more about The Unexpected on our reviews page!

Jack Sharpe is a huge fan of history and comics. When he's not in the trenches surrounded by history, he's reading and studying comic books. You can follow him on Twitter at @JackJacksharpe5

Maya Kesh

Abbott
Writer: Saladin Ahmed
Artist: Sami Kivela
Colorist: Jason Wordie
Letterer: Jim Campbell
Publisher: BOOM! Studios
The ‘70s are my personal golden age of comics. The decade is when I began my journey, with Superman’s Girlfriend, Lois Lane as my gateway book. In 1972 I was 8 years old. I loved bell bottom jeans, the wider the better. I even used to buy flare jeans for my daughter until one day she told me that my loving them was no reason to force them upon her. So, when I read the solicitation for Abbott, I knew I had to add it to my pull list.

Abbott takes place at the end of 1972 and stars a black female reporter, Elena Abbott. Reading it this year, it felt as if somebody was writing a comic book just for me. I had high expectations throughout, and I wasn’t disappointed.

Writer Saladin Ahmed doesn’t flinch from including the racism and sexism of the time. Civil Rights had passed in 1964, just 8 years prior, and the Women’s Liberation (feminism) movement was starting to make waves. This is the context the story takes place within. Elena Abbott lives in a white man’s world and those around her don’t let her forget that. She’s also grieving her husband. There is a really touching flashback with Abbott listening to John Coltrane’s jazz masterpiece A Love Supreme, perfectly rendered by artist Sami Kivela.

The story mixes the supernatural with murders in Detroit, and Abbott is on the beat trying to figure out what is going on. Kivela’s art is a perfect fit, adding a texture and personality to the setting.

The supporting characters also feel alive, giving this story another important dimension. The highest compliment I can give this book, though, is that when Abbott ended, I was left wishing for more adventures with Elena as she climbed the professional ladder and began to rebuild her personal life. This was a clear highlight of 2018, and I really hope there is a second series.

Read more of Maya Kesh’s thoughts about Superman and Lois Lane!

Maya Kesh is a lifetime comic reader and a writer whose articles often focus on how women are portrayed in comics. You can follow her on Twitter at @mayak46

The Stewart Bros.

The Weather Man
Writer: Jody LeHeup
Artist: Nathan Fox
Colorist: Dave Stewart
Letterer: Steve Wands
Publisher: Image Comics
The Weather Man by Jody Leheup and Nathan Fox combines sci-fi action with black comedy to spectacular effect. This book was one of the highlights of 2018. It also feels like it’s just warming up, and we can’t wait for what’s next.

Fearscape
Writer: Ryan O’Sullivan
Artist: Andrea Mutti
Colorist: Vladimir Popov
Lettering: Andworld Design
Publisher: Vault Comics
Fearscape by Ryan O’Sullivan and Andrea Mutti from Vault Comics is the best comic book story about storytelling since Neil Gaiman’s Sandman. Full stop. If you have ever embarked on a creative endeavor, this is a book that will speak to you.

Check out The Stewart Bros. Top 10 Comics of 2018!

Bo Stewart grinds for the Man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

Taylor Pechter

Hawkman
Writer: Robert Venditti
Artist: Bryan Hitch
Inker: Andrew Currie
Colorist: Alex Sinclair
Letterer: Starkings & Comicraft
Publisher: DC Comics
This is, simply put, the sleeper hit of the year. Written by Robert Venditii (Hal Jordan and The Green Lantern Corps) and drawn by Bryan Hitch (The Authority), Hawkman explores the character of Carter Hall. It weaves a story about history and self-discovery that is intrinsic to his character. From its start back in June, this has been a must-read series. Not only is Venditti’s script immaculate in consolidating the convoluted nature of Carter’s origins, but Bryan Hitch is supplying the best artwork of his career. The art is big and cinematic, but it also contains a lot of emotion within it. I’ll be blunt: if you haven’t already, go read this series.

The Wild Storm
Writer: Warren Ellis
Artist: Jon Davis-Hunt
Colorist: Steve Buccellato
Letterer: Simon Bowland
Publisher: DC Comics
A holdover from last year, Warren Ellis and Jon Davis-Hunt’s gritty, stripped-down, espionage-fueled retelling of the WildStorm Universe continued to chug along in 2018, in all its greatness. Not only did we see the formation of the proto-WildCATs and John Lynch searching down his Thunderbook agents before IO could get to them, but Ellis, like always, was a master of character interactions. His injection of dark humor also added a great edge to this book. Davis-Hunt’s art work continued to be simple yet also dynamic, featuring some of the best rendering of action in the business. The end of 2018 brought us to the end of the third of four arcs for this series. With all the pieces set in place, the final arc is sure to be a doozy, and I am all here for it.

Check out Taylor Pechter’s Top 5 Comics of 2018!

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

So there you have it. That concludes our contributor picks for 2018. Be sure to check back next week for more year-end lists, including Best Image Comics of 2018, Top Creators of 2018, and our official overall Best Comics of 2018!

Find more from our contributing writers on our comics analysis page, and check out our Best Comics of 2017 to see how those choices have aged!

The Batman’s Bookcase contributors are a super talented bunch, and we’re very lucky that they’ve chosen our site as a regular outlet for their thoughts and feelings about comics. Check back often in 2019 for more great pieces!

The Stewart Bros. Top 10 Comics of 2018

December 28, 2018 by Bo Stewart in Comics

By The Stewart Bros. — What a year for indie comics. Seriously, has there ever been a year packed with more stellar indie debuts? We tried our hardest to limit this list to 10, but it was just too hard. So, we’ve also included a couple bonus picks! Our list is comprised of 10 indie books (five from Image, three from Vault, and one each from BOOM! Studios and IDW - Black Crown) and two from the Big 2. Ten…yes TEN of our picks have a #1 issue that was released in 2018. The future of comics is bright, indeed.

Gideon Falls by Jeff Lemire and Andrea Sorrentino (Image Comics): No story has better executed the strange people in a strange town trope, at least not since Twin Peaks. Artist, Andrea Sorrentino has crafted some of the most creative page layouts in comics for this book, and we absolutely love it.

Euthanauts by Tini Howard and Nick Robles (IDW Black Crown): A smart, stunningly-rendered trip down a mortality rabbit hole. This series makes death feel beautiful, not foreboding. No small feat.

The Weather Man by Jody Leheup and Nathan Fox (Image Comics): Combines sci-fi action with black comedy to spectacular effect. The Weather Man feels like it’s just warming up and we can’t wait for what’s next.

These Savage Shores by Ram V and Sumit Kumar (Vault Comics): Top to bottom this might be the most beautifully-realized comic on the shelves right now. Everything about it, from the story to the art, is gorgeous.

Kill or be Killed by Ed Brubaker and Sean Phillips (Image Comics): I can’t remember the last time a series reached such a satisfying conclusion. This instant classic is only four volumes, so time and commitment are not reasons to skip this crime thriller. In fact, we can’t think of any reason to not read this one.

Mister Miracle by Tom King and Mitch Gerads (DC Comics): The Eisner-winning creative team concluded this masterpiece in spectacular fashion. This is an all-time great story about the humanity behind superheroes.

Bone Parish by Cullen Bunn and Jonas Scharf (BOOM Comics): This book is Breaking Bad with a horror angle set in a gorgeously-rendered New Orleans. Cullen Bunn is the king of horror comics right now, and books like this make it easy to see why.

Murder Falcon by Daniel Warren Johnson (Image Comics): This comic rocks just as hard as the title implies. No one composes better pages than Daniel Warren Johnson. Each page is a piece of art unto itself.

Fearscape by Ryan O’Sullivan and Andrea Mutti (Vault Comics): The best comic about storytelling since Sandman. Full stop. If you have ever embarked on a creative endeavor, this one will speak to you.

The Immortal Hulk by Al Ewing and Joe Bennett (Marvel Comics): This Big 2 book reads like an indie title, and we mean that as a high compliment. More creative freedom, more great comics.

BONUS PICKS!!

Isola by Brenden Fletcher and Karl Kerschl (Image Comics): World building at it’s finest. This character driven story is immersive and heavy with gorgeous atmosphere.

Friendo by Alex Paknadel and Martin Simmonds (Vault Comics): Is modern technology sweet? Yes. Is it also subtly terrifying? Yes. No book explores this contradiction better than Friendo.

Find more writing about comics from The Stewart Bros. on our reviews page!

Taylor Pechter's Top 5 Comics of 2018

December 28, 2018 by Taylor Pechter in Comics

By Taylor Pechter

1. Hawkman
Writer: Robert Venditti
Artist: Bryan Hitch
Publisher: DC Comics

The sleeper hit of the year. Written by Robert Venditti (Hal Jordan and The Green Lantern Corps) and drawn by Bryan Hitch (The Authority), Hawkman explores the character of Carter Hall. It weaves a story about history and self-discovery that is intrinsic to his character. From its start back in June, this has been a must-read series. Not only is Venditti’s script immaculate in consolidating the convoluted nature of Carter’s origins, but Bryan Hitch is supplying the best artwork of his career. The art is big and cinematic but also contains a lot of emotion within it. Go read this series

Read more about why we like Hawkman!

2. The Wild Storm
Writer: Warren Ellis
Artist: Jon Davis-Hunt
Publisher: DC Comics

A holdover from last year, Warren Ellis and Jon Davis-Hunt’s gritty, stripped-down, espionage-fueled retelling of the WildStorm Universe continued to chug along in 2018 and continue its greatness. Not only did we see the formation of the proto-WildCATs and John Lynch searching down his Thunderbook agents before IO gets a hand on them. Ellis, like always, is a master in character interactions. His injection of dark humor also adds a great edge to the book. Davis-Hunt’s art work continues to be simple, but also dynamic with some of the best rendering of action in the business. The end of 2018 brings us to the end of the third of four arcs. With all the pieces set in place, the final arc is sure to be a doozy, and I am all here for it.

3. Justice League Dark
Writer: James Tynion IV
Artist: Alvaro Martinez Bueno
Publisher: DC Comics

Re-teaming hot creative team James Tynion IV and Alvaro Martinez Bueno straight off their acclaimed run of Detective Comics, Justice League Dark focuses on the mystical side of the DC Universe. Formed by Wonder Woman after the events of Justice League: No Justice, titular team works to discover something amiss in the magic community. Much like his run on Detective, Tynion is an expert in character voices and dynamics. Wonder Woman, Zatanna, Man-Bat, Detective Chimp, Swamp Thing, and many more have great interactions with each other that help add a personality to this book. Martinez Bueno’s art is astonishingly detailed and creepy paired perfectly with Brad Anderson’s moody but vibrant color palate.

4. Doomsday Clock
Writer: Geoff Johns
Artist: Gary Frank
Publisher: DC Comics

The series that never ends. Jokes about the delays aside, Geoff Johns and Gary Frank’s examination of the DC Universe through the eyes of Watchmen characters continues to be one of the most illuminating reads on the shelves whenever it does actually come out. How Johns expertly moves from dark and dour to hopeful and optimistic is a hallmark of his writing. His scripts are dense and complex, heavy with nuance. Gary Frank continues to be one of, if not THE, best artists in the business. He is a master of rendering and emotion, capturing both the bleak tone of Watchmen and the light tone of the DC Universe. He is also joined again here by colorist extraordinaire Brad Anderson. The release of issue eight brought this year to an end with a bang, both literally and figuratively.

5. Action Comics
Writer: Brian Michael Bendis
Artist: Patrick Gleason, Yanick Paquette, Ryan Sook
Publisher: DC Comics

In November 2017 it was announced that industry heavyweight Brian Michael Bendis was jumping from Marvel to DC. Speculation arose to which character he would write. In February of this year, it was announced he would write the six-issue mini series Man of Steel, a callback to the 1986 John Byrne-penned book of the same name. Bendis would then subsequently take over both Superman and Action Comics, focusing on two different aspects of the character. The main Superman book would focus on cosmic level threats and big action, while Action would be a more grounded take focusing on Clark Kent the journalist. This is an aspect that is barley touched upon in modern Superman stories, and it’s also what hooked me right away. Bendis’ main focus is on the Daily Planet. With Lois away working on writing a book, they have lost one of their premier reporters. Not only that, but a rash of unexpected fires have started popping up and a shady underground criminal organization is rising from the underbelly of Metropolis. Clark the reporter is on the case. Like most investigative journalism, there are a lot of steps to be traced. Bendis takes advantage of that by focusing on two new characters he created: fire chief Melody Moore and upstart Planet employee Robinson Goode. Intrigue is abundant as Bendis uses his signature snappy dialogue to give new life not only to the Planet newsroom but to Metropolis in general. Joining Bendis on art duties is Patrick Gleason, Yanick Paquette, and Ryan Sook. Each of them lend their unique style, adding richness to the characters and the world around them.

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

The ComiXology Holiday Sales Guide: Buy a Present for Yourself

December 28, 2018 by Zack Quaintance in Comics

By Zack Quaintance — For many of us comics fans, the holiday shopping season has come and gone now. Maybe (like me) you made it clear that you want comics, and maybe you got some comics (not to brag, but my family and friends got me two Lone Wolf & Cub omnibuses, tons of LCS gift cards, a couple of Saga Funkos, and the Becoming Andy Warhol graphic novel). You know what one of the most enticing things about this hobby is, though? With comics, there are always more.

So, why not get yourself a gift? I know I certainly did yesterday morning, taking ample advantage of comiXology’s epic holiday digital comics sales. From Marvel to Image to DC, there’s a lot to like on there at some pretty great prices. So much to like, in fact, that it can feel a little overwhelming—which is why we’re here with today’s ComiXology Holiday Sales Guide. There are literally thousands of choices to peruse, so many we surely missed some, and we, of course, don’t share your exact tastes. Still, what you’ll find below is a sampling of some of our favorites.

Let’s check it out!

*Special Note: The Marvel and DC sales will run through the early part of the New Year, while the Image sales will end tonight.*

Top Picks

If you want to be responsible (unlike me) and just buy yourself a relatively reasonable $50 worth of comics, we’ve done our best to make it easier for you with this section, highlighting what we think are some of the overall best deals on the site. Below you will find some fantastic and *mostly* self contained selections

Dark Knight: A True Batman Story - $4.99
Writer: Paul Dini
Artist: Eduardo Risso
Letterer: Todd Klein
Publisher: Vertigo Comics
This is an autobiographical Batman story, odd as that may sound. It details Paul Dini working on the classic Batman: The Animated Series cartoon, writing and contributing to many legendary episodes. During this time, Dini suffers a brutal mugging and attack, nearly losing his life. This graphic novel is the story of how his working with Batman stories helped him through the trauma, original and unique and brought to life by Eduardo Risso.

Ice Cream Man, Vol. 1 - $5.39
Writer: W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
Ice Cream Man is an incredibly well-done horror anthology comic, wherein the only throughlines are W. Maxwell Prince’s phenomenal existential horror stories, Martin Morazzo’s incredible linework, and the creepy titular Ice Cream Man. A take on Tales From the Crypt for 2018, wherein the biggest threats were supposed to be nice.

Infidel - $5.39
Writer: Pornsak Pichetshote
Artist: Aaron Campbell
Colorist: Jose Villarrubia
Letterer: Jeff Powell
Horror was a common theme this year, and Pornsak Pichetshote and Aaron Campbell’s comic Infidel was one of the best. This five-issue story sees an American Muslim woman and her multi-racial neighbors living in a building haunted by monsters that feed on xenophobia. This is an honest and unflinching look at discrimination and societal ills.

Saga of the Swamp Thing (Complete) - $29.94
Writer: Alan Moore
Artists: Stephen Bissette, John Totleben, Dan Day, Rick Veitch, Shawn McManus, Alfredo Alcala, Ron Randall, Stan Woch, Tom Mandrake, Tom Yeates, & Berni Wrightson
Colorist: Tatjana Wood
Letterer: John Costanza & Todd Klein
Arguably one of the best values this holiday season is the $30 fans can pay for the entirety of Alan Moore’s classic Saga of the Swamp Thing. The comic that paved the way for his later work on books like Watchmen, this story is a must-read for serious fans of the medium.

Thanos Wins - $3.39
Writer: Donny Cates
Artist: Geoff Shaw
Colorist: Antonio Fabela
Letterer: VC’s Clayton Cowles
In 2018, writer Donny Cates went from rising start to one of the guiding voices at Marvel Comics, and arguably his boldest statement was his work on Thanos Wins. It’s big, its brash, and it’s all kinds of ridiculous. Cates is clearly a creator with something to say, and he’s hellbent on finding the most satisfying ways to say it. Don’t miss this one.

Image Comics

We try not to play favorites here (at least not between the Big 2), but pound-for-pound, Image Comics is usually our favorite publisher, putting out new and ongoing creator-owned books from industry heavy weights every damn month. The list below is a pretty decent encapsulation of some recent favorites.

Gideon Falls Vol. 1 - $3.59
Writer: Jeff Lemire
Artist: Andrea Sorrentino
Colorist: Dave Stewart
Letterer: Steve Wands
The next big Image book has arrived, and it’s Gideon Falls. The price is right for the first volume, which starts off feeling like an homage to Twin Peaks and grows into something all its own. Be ready to become unsettled.

Monstress Vol. 1, 2, & 3 - $14.37
Writer: Marjorie Liu
Artist: Sana Takeda
Letterer: Rus Wooton
This is probably the best complete comic on the stands today, this side of Saga. If you haven’t read it yet, reading all three volumes back-to-back is an incredible treat, and you shouldn’t hesitate to pick them all up now.

Rock Candy Mountain Vol 1. & Vol. 2 - $8.98
Writer/Artist: Kyle Starks
Colorist: Chris Schweizer
One of the funniest comics I’ve ever read. Rock Candy Mountain is brutally entertaining in its simplicity, and I can’t recommend it enough.

Skyward Vol. 1 - $3.59
Writer: Joe Henderson
Artist: Lee Garbett
Colorist: Antonio Fabela
Letterer: Simon Bowland
Another deceptively simple comic, Skyward is a tour de force in narrative structure and tone. The pacing in the first act is incredible, using big scientific extrapolations and ideas like a path of gold coins to lead readers through the action.

Snotgirl Vol. 1 & Vol. 2 - $3.59 & $5.39
Writer: Bryan Lee O’Malley
Artist: Leslie Hung
Colorist: Mickey Quinn
Letterer: Mare Odomo
Snotgirl reads like an Instagram fever dream violently colliding with whip smart commentary on the value system that radiates to the rest of the country from a starting point somewhere chic in LA. It’s an important and singular comic with an unmatched aesthetic. It has broad appeal and, in spite of the pretty colors, is not to be taken lightly.

DC Comics (Superheroes)

DC Comics has a line-wide $4.99 for trades sale that encompasses almost all of the publishers collections. My run is admittedly a bit backwards-looking (three of my five picks here predate the New 52), since I’ve already collected the vast majority of the more recent Rebirth trades. Still, I don’t think you can go wrong gifting any of the comics below to yourself.

Grant Morrison’s Batman Run - $40
Writer: Grant Morrison
Artist: Various
One of my all-time favorite runs with the Bat characters is easily Grant Morrison’s, in spite of it being upended a bit by Flashpoint and the advent of the New 52. This run reads like a grand adventure through the character’s past present. A full list of the volumes you need to pick up to complete it (all of which are $4.99, btw) is below:

Batman: Batman and Son (Deluxe Edition)
Batman: R.I.P.
Batman & Robin Vol. 1, 2, & 3
Batman: The Return of Bruce Wayne
Batman: Incorporated Vol. 1 & Vol. 2

Green Arrow/Green Lantern - $4.99
Writer: Dennis O’Neil (and Elliot Maggin)
Artist: Neal Adams
Colorists: Cory Adams & Jack Adler
Letterers: John Costanza & Joe Letterese
This is a study in comics with political messages from the past, and a particularly groundbreaking one (for that time, obviously) at that. It could also have renewed relevancy soon with Grant Morrison and Liam Sharp teasing a new Lantern/Arrow green team-up in the back of their recent The Green Lantern #1 comic.

Sideways Vol. 1 - $4.99
Writers: Dan DiDio & Justin Jordan
Artist: Kenneth Rocafort
I’m an apologist for the New Age of Heroes Line (RIP...basically), and this book is a big part of the reason why. It’s a great modern teen superhero take in the DC Universe, which checks a good many of my boxes. It’s also a somewhat uncomplicated read, for being a story of a kid who can suddenly jump through dimensions.

Superman: Secret Identity Vol. 1 & Vol. 2 - $10
Writer: Kurt Busiek
Artist: Stuart Immonen
Kurt Busiek has long been one of my favorite writers in comics for the level of realism he’s able to achieve by putting himself into the minds of his characters, and this comic is one of the crowning achievements in that regard. It essentially imagines in a realistic way what it would be like to have a real Superman (who grew up reading about Superman) on Earth, and it does so without the usual cynicism that marks superhero deconstructions.

The Omega Men
Writer: Tom King
Artists: Barnaby Bagenda, Toby Cypress, & Ig Guara
This was the first in what I’ve come to call the Help me I’m silently in lots of pain ouvere popularized by Tom King within recent superhero comics. It’s also one of the most traditionally superhero-y of his work, which makes it a bit easier to read that stories like Mister Miracle or Heroes in Crisis.

DC Comics (Vertigo)

The following are my picks for the top 5 seminal Vertigo series you can get right if you’re willing to drop between $50 to $80 a piece for them. These are all among my favorite comics ever. Go with Astro City for something on the optimistic side, 100 Bullets or Scalped for gritty, Sandman for literary, and Y: The Last Man for commentary on societal gender roles and bit of human sexuality.

100 Bullets
Writer: Brian Azzarello
Artist: Eduardo Risso
Whole Series Price: $70

Astro City
Writer: Kurt Busiek
Artist: Brett Anderson
Whole Series Price: $80

Sandman
Writer: Neil Gaiman
Artist: Various
Whole Series Price: $55

Scalped
Writer: Jason Aaron
Artist: R. M. Guéra‎
Whole Series Price: $50

Y: The Last Man
Writer: Brian K. Vaughan
Artist: Pia Guerra
Whole Series Price: $50

Marvel Comics

Marvel digital sales are different, in that since their excellent Marvel Unlimited streaming service makes all comics older than six months available in perpetuity, for many of those subscribers there’s really no point in indulging in this. I, however, like to collect Marvel digital trades (the kind that are not eligible for ComiXology unlimited borrowing), and below you will find five of my recent picks.

Essential and Masterwork Marvel Volumes
The best deals in any of these sales can be found through the essential Marvel volumes, which tend to run about $5 or $6. They each include literally hundreds of pages of 1960s Marvel, an era that is to this day unparalleled in the creative fruit it bore, including the creation of a wide berth of some of the most famous pop culture IP on the planet still. This is Stan Lee, Jack Kirby, Steve Ditko, and more at their best. These stories give real world characteristics to folks with fantastic powers for the first time, all while shaping what a shared universe can be. Below are some of my picks (which violate my no unlimited choices rule, but still).

Amazing Spider-Man Masterworks Vol. 1 - $5.09
Avengers Masterworks Vol. 1 - $5.09
Fantastic Four Masterworks Vol 1. - $5.09
Incredible Hulk Masterworks Vol. 1 - $3.39
Thor Masterworks Vol. 1 - $5.09

Moon Knight Vol. 1, 2, & 3 - $7.62
Writer: Jeff Lemire
Artist: Greg Smallwood and various
A trippy adventure into the most splintered psyche in all of comics. I recommend this one to both long-time fans of the character and Moon Knight neophytes.

Mutant X - $5.94
Writers: Howard Mackie, Jay Faerber, & Ben Raab
Artists: Tom Raney, Cary Nord, Pasqual Ferry, Mike S. Miller, and Javier Saltares with Yancey Labat, J.J. Kirby, Michael Kaluta, John Romita Sr., John Byrne, J.G. Jones, & Michael Gordon
Inkers: Andrew Pepoy, Pasqual Ferry & Saleem Crawford with Walden Wong, Scott Elmer, Johnny Greene, Derek Mei, Scott Koblish, Harry Candelario, Michael Wm. Kaluta, John Romita Sr., John Byrne, J.G. Jones, & Michael Gordon
Colorists: Gina Going, Joe Andreani, & Jason Wright
Letterer: Chris Eliopoulus
Wow, that’s one heck of a credits section for this book. This one is admittedly a nostalgia pick for me. My first alternate reality comic, it follows Havok as he explores an alternate dimension where the X-Men are all a bit more late ‘90s goth than in the usual continuity. I have fond memories and am looking forward to re-visiting this one now that I’ve gotten it from the holiday sale.

She-Hulk Vol. 1, 2, & 3 - $8.47
Writer: Mariko Tamaki
Artists: Various
This is a darker take on the Hulk heroine, really delving into how a psyche can be riven by rage. It’s a different sort of story for Jen Walters, whose most famous adventures have largely been lighter in tone, but it’s one that continues to have implications for the current status quo of the character. Tamaki is also a nuanced and powerful writer.

Silver Surfer Vol 1, 2, 3, 4, & 5
Writer: Dan Slott
Artist: Mike Allred
This is my all-time favorite Silver Surfer story, and one of my favorite superhero runs on any character in the past decade. Dan Slott and Mike Allred craft an intergalactic and nigh-timeless love story that unfurls throughout a series of incredibly entertaining episodic vignettes. If that wasn’t enough, the creators here often push the boundaries of the form. Snag all of these volumes, and get ready to bliss out for the duration.

BOOM! Studios

With BOOM! Studios, there are a few key franchises I’d recommend checking out. The brilliant slice-of-life comedy Giant Days is consistently one of the best comics on the stands. While Grant Morrison and Dan Mora’s mythical Santa Claus re-imagining Klaus is well-worth a read. Finally, Victor LaValle’s Destroyer was one of the best Mary Shelley-influenced works I’ve ever read.

Phew. That was a lot, but irresponsible spending loves company. So in conclusion I’ll just say, I hope you’ll be joining me on this year end digital comics binge!

See our past top comics to buy here, and check our our reviews archive here.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

Comic of the Week: Klaus and the Crying Snowman #1 is another holiday gift from Morrison, Mora, Dukeshire

December 24, 2018 by d. emerson eddy in Comic of the Week

Klaus and the Crying Snowman #1 is our 12/19 comic of the week. — **Klaus and the Crying Snowman #1** is our 12/19 comic of the week.

By d. emerson eddy -- Grant Morrison, Dan Mora, and Ed Dukeshire's Klaus began life as a mini-series in 2015, introducing a take on Santa Claus that was more evocative of old Germanic mythology as filtered through a kind of superhero meets fantasy lens. I'd almost say it's similar to what Marvel did originally when they reimagined Thor, but somewhat more magical and heartfelt. That series outlines his origin, humanity, and path to immortality as he fought for his friends and family to keep light and joy in the world. Since that original series, the creative team have been delivering a present of a new Klaus one-shot every year, (that can be enjoyed on their own without having read anything else), Klaus and the Crying Snowman now being the third.

Grant Morrison is probably best known for throwing big ideas, outlandish eccentric and hitherto unthought of propositions, out in his comics as if they were candy. His larger-than-life epics tend to get a lot of the spotlight, but personally I find when he's quiet, he's most compelling. When he mixes a childlike sense of wonder with heartfelt adversity and the human condition, I've found he's created his best works in All-Star Superman and Joe the Barbarian. That spirit is what typifies Klaus and again in Klaus and the Crying Snowman. There's the bombast and action of Klaus and Sam taking on the Tree-Clops and the terrors of Titan, to capture the imagination, or the idea of a number of Santa-themed heroes representing different cultures powered by belief, but the heart of the story is Sam's struggle. Of being a snowman created by a son who misses his father.

Bringing the magic to life is Dan Mora, who is criminally unheralded in the industry as of yet. His artwork is gorgeous, his layouts and designs phenomenal, and use of color amazing. He has a style that has hints of the Kuberts, some Stuart Immonen, Sean Murphy, and Russell Dauterman, even a little bit of Walt Simonson, but combines into a look all his own, both detailed and refined. The design for Sam the Snowman alone is wonderful, keeping a simple core body and traditional face, but adding a flair with his scarf and unique visual when it comes to his arms made from branches. And he draws the best wolves.

Ed Dukeshire rounds out the team, providing some great lettering work. The fonts and word balloons for Sam, the Yule-Goat, and Surtur all get a unique appearance, giving an appropriate feel to their voices. Sam's white on blue narration boxes are also a nice touch.

Overall, Klaus and the Crying Snowman captures what I feel is the spirit of the Yuletide. Not the crass commercialism of modern society, nor the overly religious trappings of an observing Christian Christmas, but a sense of wonder, a sense of family, and belonging. It appeals to the kid in all of us that just wants to be safe and warm, surrounded by joy and wonder. That's magic.

Klaus and the Crying Snowman #1
Writer: Grant Morrison
Artist: Dan Mora
Letterer: Ed Dukeshire
Publisher: BOOM! Studios
Price: $7.99

Check out past Comic of the Week selections on the list page.

d. emerson eddy is a student and writer of things. He fell in love with comics during Moore, Bissette, & Totleben's run on Swamp Thing and it has been a torrid affair ever since. His madness typically manifests itself on twitter @93418.

Top Comics to Buy for December 26, 2018

December 21, 2018 by Zack Quaintance in Top 5 Comics

By Zack Quaintance — Happy holidays and Merry Christmas, everyone! And an early Happy New Year! This is a weird week for new comics. Diamond, the sole direct market comic book distributor, kindly gave employees a week off for the holidays. DC Comics isn’t releasing any titles (instead spreading its output across the five Wednesdays in January), and the offerings from other publishers are relatively sparse.

So, what does that mean for our beloved Top Comics to Buy for December 26 feature? What does that mean for commerce!? What does that mean for America??!? Relax. We’re still going to get it done (you are, after all, reading this right now...aren’t you?), but we’re going to do it a bit differently. Instead of our usual three sections, we’re just going to have one, and as you’re about to see, while there aren’t a ton of new books out today, there are still a few that very much demand some attention.

Let’s check them out!

Top Comics to Buy for December 26, 2018

*PICK OF THE WEEK*
X-Force #1
Writer: Ed Brisson
Artist: Dylan Burnett
Colorist: N/A
Letterer: N/A
Publisher: Marvel Comics
Price: $4.99
FROM THE ASHES OF EXTERMINATION!
Cable is dead...and now, the original X-Force team of Domino, Cannonball, Shatterstar, Boom Boom and Warpath. must hunt down the murderer of their former leader! The mutant militia are hot for blood...but when their target is the time-traveling younger version of their fallen mentor, is there a line they absolutely cannot cross? And what does Deathlok have to do with all of it? From Ed Brisson (EXTERMINATION, OLD MAN LOGAN) and Dylan Burnett (COSMIC GHOST RIDER), comes an all-new, high-octane mutant adventure! A reckoning will come!
Parental Advisory
Why It’s Cool: The Extermination mini-series was also from new X-Force writer Ed Brisson, and—X-Men: Red aside—that was one of our favorite X-stories all year. Not to go into spoiler territory, but this book seems to be growing from the ashes of what all happened in Extermination, which is exciting indeed. Brisson, for our money, also tells some of the cleanest stories in the X-offices these days, providing a nice counterbalance to the ongoing continuity chaos that drives the rest of the frenetic work being done by the new generation of X-writers.

Bone Parish #5
Writer: Cullen Bunn
Artist: Jonas Scharf
Colorist: Alex Guimarães
Letterer: Ed Dukeshire
Publisher: BOOM! Studios
Price: $3.99
The war between the Winters and the Cartel continues its bloody rampage. With the terrible power of the Ash behind them, the Winters stand a decent chance. But Ash is not without its dangers, and some of them are already falling to Ash Madness…
Why It’s Cool: We’ve been digging this comic since Bone Parish #1, which caught us somewhat off-guard with its combination of creepy artwork, New Orleans setting, and drug trafficking drama. The plot has really accelerated as of late (which is saying something seeing as this is a comic that started with a woman using drugs that made her commune with the dead), and the preview for this issue makes it seem like all kinds of post-Christmas fireworks are in store. It is not to be missed!

Die! Die! Die! #6
Writer: Robert Kirkman
Co-Plotter: Scott M. Gimple
Artist: Chris Burnham
Colorist: Nathan Fairbairn
Letterer: Rus Wooton
Publisher: Image Comics
Price: $3.99
Wow! I can't believe that happens in this issue! Or that! Or that, that and that!!!
Why It’s Cool: While Die! Die! Die! may be one heck of a logistical headache for our retailer friends out there—it never gets solicited, but instead just arrives each month unbidden—we’ve been liking the story and the artwork in this comic quite a bit. We’re not the biggest fans of gratuitous violence (which this book deploys liberally), but writer Robert Kirkman and co-plotter Scott M. Gimple strike just the right kind of over-the-top satirical tone as they go about the ample bloodshed. The entanglement of political power structures seems to hint at this book’s larger satirical ambitions, but for now we’re still largely content to sit back and take in all of Chris Burnham’s wonderfully-rendered absurd action sequences.

Go-Bots #2
Writer, Artist, & Letterer: Tom Scioli
Publisher: IDW
Price: $3.99
Cy-Kill and his Renegades declare war on human civilization... and they're winning. Go-Botics freshman A.J. Foster and cynical Go-Bot race car driver, Matt Hunter, along with their friendly Go-Bots Scooter and Turbo, flee for their lives as they desperately search for some way to stop the extinction of mankind and the dawn of the planet of the Go-Bots!
From the creative mind that brought you IDW's Transformers vs. G.I. Joe!
Visionary creator Tom Scioli unleashes his imagination on the bizarre, absurd, and wonderful world of GO-BOTS!
Why It’s Cool: Go-Bots #1 headlined our Comic of the Week feature when it made its debut last month, and with good cause: that debut was an expertly-rendered and whip smart comic that reeled readers in with nostalgia and then hit them with a story about subjugation and rebellion...rebellion by Go-Bots. It was an enticing hook, to say the least, and we’re really excited now to see where writer/artist Tom Scioli will take it from here.

Mars Attacks #3
Writer: Kyle Starks
Artist: Chris Schweizer
Colorist: Liz Trice Schweizer
Publisher: Dynamite Comics
Price: $3.99
The Carbutt boys continue their trek to safety, this time with the help of the U.S. military, who plan on swatting the Martians like flies...until they see how big the Martian flies are, and, oh boy, there is gonna be a whole mess of trouble!
Why It’s Cool: Speaking of wonderful surprises, it’s only been two issues but writer Kyle Starks and artist Chris Schweizer are also doing fantastic work with Mars Attacks. This is one funny comic, first and foremost, but like Go-Bots and some of the other titles on our list this week, it also has ambitions that go beyond that, with Mars Attacks #2 hilariously painting a picture of the futility of untrained civilian gun enthusiasts crumpling in the face of a real oppressor. The preview for this next issue seems to promise more of the same, and, as such, this comic is not to be missed.

Other Comics Out This Week

Fantastic Four #6
Hellboy and the B.P.R.D. 1956 #2
Man-Eaters #4
Marvel Action: Avengers #1
Superior Spider-Man #1
Uncanny X-Men #7

(This is literally it.)

See our past top comics to buy here, and check our our reviews archive here.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

The Saga Re-Read: Saga #20 is about parenting and escape

December 21, 2018 by Zack Quaintance in Saga Re-Read

Saga #20 was first released 6/25/2014. — **Saga #20** was first released 6/25/2014.

By Zack Quaintance — We didn’t really plan the schedule of this Saga Re-Read, just sort of jumping into it soon after Brian K. Vaughan and Fiona Staples announced the book would be going on hiatus for at least a year. As such, the issues fall where they will. This week sees us just days out from Christmas...while reading one of the bleakest thematic issues of Saga yet.

Yes, in Saga #20 we get a story about parents who—for varied reasons—are haggard and discontent, mostly fulfilling their responsibilities but finding themselves desperate for a little self reclamation as they do. This is the first two-thirds of Saga #20. The book ends with a violent punctuation, a reminder that as difficult as circumstances can get, there are extremes in this world and our own troubles often pale in comparison. As a result, Saga #20 feels like one of the most honest issues of the story to date, and while it may be an uncomfortable read, it’s early in this story arc, which essentially promises some relief as it progresses.

Let’s take a closer look!

Saga #20

Here’s the official preview text for Saga #20, which was first released back on June 25, 2014. This is maybe when the series really settled in to its late-month release schedule. Anyway, here’s the bygone solicit text for the book…

Something terrible happens.

Yeah, this sort of cryptic and ominous teaser becomes somewhat standard as the book wears on. The book being a sales hit has probably created the luxury of keeping previews vague, seeing as by this point in the run they knew each issue would move a ton of units, and, more importantly, that the trades would sell like crazy in bookstores and other non-comics venues. Now, onto the terrible something(s).

The Cover: A sweet cover featuring disguised father and rapidly-growing daughter. The gold star balloon, stubby-horned toddler, and bandaged man are all striking visual features, but the real story of this cover is told by the facial expressions. The young girl, Hazel, is just so innocent and happy, while the father is more serious, not dour by any means, but looking equal parts burdened and contented, a man with a great many responsibilities who wouldn’t have it any other way. Saga covers are rarely so sweet...

The First Page: ...and then we arrive on a classic Saga first page, one of the sex ones, as it where, in which Prince Robot IV (who last issue just became a father, albeit while he himself was still missing in action) is in what is pretty evidently a bordello, nude and being entertained by a harem of young ladies from different planets. His cracked screen, a relatively new reality at this point in the story, alludes to Robot IV being unwell. The women, later referred to as sales associates, are doing things to him, and he has one word in exchange: ...more…I’m hard pressed to think of a first page and cover more at odds with each other than these two.

The Surface: This issue—in terms of both surface and subtext—is all about escape. Marko seeks his escape by flirting with a stranger, Alana finds hers in drugs, and concussed Prince Robot IV (who as we noted above may not even realize he’s a new parent) disappears into a brothel planet. Even Ginny, the dance teacher Marko flirts with, notes that she’s essentially escaping into her own work, stashing her kid in daycare four days a week while her husband is out on the road, doing something related to the war (as most characters do). After seeing all the haggard new parents fighting to reclaim parts of themselves, we get a stark and sinister contrast: the robot royal’s goes to murderous extremes, monologuing as he does about how painful it was to lose a child because of his station in life. More on the significance below...

The Subtext: The subtext to the way this issue is structured (the first two acts about escaping new parenthood, the last about the devastation of losing a child to poverty) is a stark reminder that tiring as it may be, being able to even raise a child in health and comfort is an increasingly privileged luxury, one we shouldn’t take for granted. The subtext in this issue is essentially twofold, with another part about the very nature of escapism within a society and, more specifically, whether even well-done art truly has the power to change the world. Vaughan is at his most cynical here (not to sound cliche, but it’s always darkest before a dawn…although I’ve read through Saga #54 and we haven’t exactly gotten that, yet), possibly wondering at the impact of his own work as he notes that even shows that are well done function like drugs, providing a brief entertainment high that changes how people feel without altering their actions once it’s over. If I recall correctly, this will be explored in greater detail in the coming issues.

The Art: Fiona Staples work is as wonderful as always, with a standout sequence being Alana getting high for the first time. I feel like this point in my life as a reader, I’ve seen so many narcotic highs rendered (and well) in comics. Staples goes an almost subtle route, having only two pages to convey what Alana’s feeling but still getting it all across.

Foreshadowing: Not all that much here. We got a pretty direct bit of foreshadowing in Saga #19, and, as a result, we can see here the marital trouble accelerating between Marko and Alana. I’m not sure I’d call that foreshadowing; it’s more just standard machinations of the ongoing plot. Notably, The Will, Gwendolyn, Lying Cat, and Sophie are still totally absent, marking the second consecutive issue for that.

Check out past installments of our Saga Re-Read.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

Best Prose Books for Comics Readers: A Shopping Guide

December 20, 2018 by Zack Quaintance in Literary Fiction

By Zack Quaintance — With a seemingly-endless supply of comic books that extends back generations, it can be easy to get so lost in graphic sequential stories that one forgets prose novels and non-fiction books are even a thing. It takes discipline (for me, anyway) to keep a few words-only books on hand to balance the time I spend with all those words on top pretty pictures. There are, however, ways to make achieving that balance easier, namely via prose books that have direct connection to the favorite hobby of the comics reader: comics.

And that’s what today’s holiday shopping guide is all about—the best prose books to buy for comics readers. On our list today you’ll find a varied selection of non-fiction and fiction, some of which are even written by folks primarily known for their work in comics (at least in the circles of anyone who is reading this). Elsewhere, you will find some historical texts that provide insight into the formation of the comic book medium as we know it in America today. So, dig in, keep and open mind, and find some words to get for the comic-lover in your life.

And now onward to our recommendations!

For the Marvel Fan

Marvel Comics: The Untold Story by Sean Howe
This is, simply put, the most comprehensive and well-told historical text about any one publisher, and while it is as the name implies an untold story about Marvel, it also doubles as the best read I’ve found about the founding of Image Comics. Sean Howe is one hell of a reporter and writer, and what he does with this book is essentially bring into focus the entire comics industry for the decades in which Marvel has been the leading player: the ‘60s - the present.

Moreover, this story as Howe lays it out is almost Shakespearean in scope, setting up and knocking down plenty of subplots about Marvel in Hollywood, the strained relationships between Stan Lee and collaborators like Steve Ditko and Jack Kirby, and the somewhat chaotic series of events that left Ike Perlmutter largely in control of Marvel’s many properties.

For the History Buff

The Ten-Cent Plauge and How it Changed America by David Hajdu
This book is an almost-granular dive into the post WWII cultural moment that saw a publisher and other comics folks pulled before a Congressional committee aimed at parsing whether the medium as constituted was corrupting the youth. The prose in this book is also strong and intelligent, although Hajdu’s aesthetic often involves laying out events and facts in a cold way that leaves the absurdity of a given historical moment unstated. Hajdu’s reporting is deep and his interest is perhaps more of that of a historian than a literary writer. Either way, this book is tough to put-down, a must for anyone interested on how comics have evolved within the wider landscape of American culture.

For the DC Fan

The Caped Crusade: Batman and the Rise of Nerd Culture by Glen Weldon
The Secret History of Wonder Woman by Jill Lepore
There are—to my knowledge—no texts about DC as comprehensive as Sean Howe’s book about Marvel. Chalk this up to the company having a longer and more unweildly history, perhaps. For the DC uber fan, however, it is possible to bundle a couple of books together and get a pretty decent picture of the company’s evolution over the many many decades of its life. What better way to do this than through two of DC’s most iconic characters: Batman and Wonder Woman? In these books, readers will get a sense of what DC was like when the characters were created as well as what has made the publisher able to outlast so many of its competitors. Both Lepore and Weldon are pithy and talented writers too, making for two of the most enjoyable books on today’s list.

For the Mind-Expanded

Supergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human by Grant Morrison
Do you have a comics reader in your life who also likes to talk about the benefits of things like transcendental meditation? (I count myself in that narrow group, btw)...well then, this one is for you. Superstar comic book writer Grant Morrison (Animal Man, Doom Patrol, The Invisibles, All-Star Superman, etc.) waxes about his childhood, what heroes have meant to society, his extensive body of work, and some of the psychedelic experiences that informed his often-meta approach to the material. This book is a bit lighter on the 20,000-foot view of comics than the others on our list, but in its place it has a set of personal insights from one of the most intricate and unique minds in all of comics.

For the Fan of Fiction

Finally, here are some novels that involve comics or comic creators, or were written by authors who have written comics themselves.

The Amazing Adventures of Kavalier and Clay by Michael Chabon
This Pulitzer Prize-winning novel is essentially a love letter to the Golden Age, starring a pair of characters who are analogous to Superman creators Jerry Siegel and Joe Shuster. A stunning and deep novel, this celebrated novel is for the serious literary reader on your list.

Station Eleven by Emily St. John Mandel
Emily St. John Mandel’s forlorn 2014 science fiction novel follows a group of characters who survive an apocalyptic epidemic that leaves the world sparse and regressive. With scenes set before, during and long after the outbreak, this novel is one of the best pieces of near-future dystopian fiction to emerge in recent years. One of its plot threads involves a graphic novelist, whose independent science fiction comic survives the apocalypse, remaining the treasured possession of one of the characters. The story is such that it could be a comic itself, and, even better, a physical comic book plays a key role in it.

Loving Day by Mat Johnson
Mat Johnson is the writer of literary comics such as Incognegro. In this novel about a hippie school in a public park for mixed-race students, the main character is a comic book creator and former retailer. This is a story that all current and former Wednesday warriors will likely relate to: there are love scenes wherein a couple go to the shop together and lay entwined as they browse through the week’s stack.

Red Moon by Benjamin Percy
Ben Percy has written superhero titles such as Nightwing and Green Arrow, but one of his first dalliances in comics involved pitching Red Moon as a creator-owned comic. While that never came to pass, Percy went on to tell his werewolf terrorism story as a rapid-fire and suspenseful novel, one that should be of interest to fans of Stephen King.

Voodoo Heart: Stories by Scott Snyder
This short story collection pre-dates the time Scott Snyder (now a superstar DC Comics writer) has spent writing comics, but one can see his propensity for big ideas within them. At the heart of this story, however, is a young man’s fear of responsibility and commitment...something I reckon a good number of comic book readers (and just human beings in general) will relate to.

Check out more of our writing about comics.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: Hardcore #1 is a crazy good idea with solid pacing

December 19, 2018 by Zack Quaintance in Reviews

Hardcore #1 is out 12/19. — **Hardcore #1** is out 12/19.

By Zack Quaintance — Robert Kirkman—creator of The Walking Dead, Invincible, etc.—is one of the best idea writers in comics, with any new series attached to his name pretty much guaranteeing a certain accessible sort of enthralling-yet-simple conceit. It’s a level of vision that has made him basically as successful as one can get within the industry. In fact, it’s been said that he first pitched The Walking Dead as having a twist part-way through that would see aliens arrive and have been responsible for the zombies, because no one but him could see a world in which just doing a simple zombie comic would work.

This is all a long way of noting that the idea behind Hardcore #1 was first created by Kirkman and seminal artist Marc Silvestri, back in 2010 for the Top Cow pilot season concept, which saw that publisher running a series of original concepts, essentially first issue pitches. Well now Kirkman’s own Image Comics imprint is reviving some of those (see Stellar early in the year), and Hardcore is among them.

Taken over here by the more-than-capable team of Andy Diggle (Thief of Thieves) and Alessandro Vitti (Iceman), Hardcore is the story of a government program involving a new technology that allows operatives to pilot the bodies of other humans, often using them as drone-like assassins to takeout threats to national security, or dictators, or whomever. The use of drone in that description is intentional, given that this comic goes to pretty blatant lengths to draw a connection between the tech central to its plot and drone piloting, essentially painting this as the next evolution of those military initiatives.

It’s a solid enough idea, but one that could have played as simplistic if not executed properly. Diggle and Vitti, however, are a more than capable team to pass it off to, delivering a tightly-plotted and impeccably-paced story here that gleefully bounces from one suspenseful plot point to the next. This is a fantastic first issue, in that the creators here manage to fill us in on all the needed exposition in a way that feels like it has stakes, rather than being a transparent and slow info dump (a pet peeve of mine in debuts).

What also does wonders for this book is that rather than sticking to the straight governmental military angle, the story here introduces an element of proprietary conflict. Not to spoil too much, but the primary villain of this story is the man who invented the technology that allows users to occupy from a remote location the bodies of others. He resents that another pilot—our main character—has been tapped to use the innovation he developed, and...well, you’ll have to read the book, but what he does from there creates waves likely to power this story quite well moving forward. Vitti is a great choice to render this whole thing, deploying a style here that’s reminiscent of both the tech and military worlds at once, as well as intricately detailed in an almost photo-realistic way throughout much of the exciting proceedings.

Overall: A fantastic execution of an unsurprisingly solid idea for a new comic, Hardcore is one of those first issues that expertly drops off all the needed exposition as it hops along its perfect pacing. The overall quality of this comic, however, will be determined by where it goes now that its foundation has been laid. 8.0/10

Hardcore #1
Story By: Robert Kirkman and Andy Diggle
Writer: Andy Diggle
Artist: Alessandro Vitti
Colorist: Adriano Lucas
Letterer: Thomas Mauer
Publisher: Image Comics
Price: $3.99

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

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: Freedom Fighters #1 prods us to appreciate history

December 19, 2018 by Bo Stewart in Reviews

Freedom Fighters #1 is out 12/19. — **Freedom Fighters #1** is out 12/19.

By Bo Stewart — If you caught my review of Sara #1, you know how much I enjoy World War II stories. Something about that event—and the break in the human spirit it represents—lends itself to great stories. In many ways, I don’t think the world has recovered from WWII, and part of me believes we never will. Though many of us wish to move on, I find this lack of closure to be a good thing. Humanity needs constant reminders of the past or we will be doomed to let our mistakes repeat. Freedom Fighters is one such reminder. Like the TV show Man in the High Castle, Freedom Fighters reminds us of how pivotal World War II was to human history by reversing the script and creating a reality where the Nazis won, known in the DC Universe as Earth-X.

This debut issue does a lot of narrative heavy lifting. It gives us all the necessary background information on the original Freedom Fighters (established in the ‘60s), hints at an ongoing mystery surrounding the personified Uncle Sam, and sets the stakes for the central conflict with the modern-day version of the Freedom Fighters. Though this is a packed issue, it never feels overstuffed.

Our story opens on November 22, 1963 in Nazi occupied Dallas. Just as this is a significant day and place in real American history (the day and city of JFK’s assassination), it proves to be significant to the alternate history writer Robert Venditti is crafting. I’m not going to spoil what happens, but the event centers around Olympian and real-life American Hero, Jesse Owens, who also happens to be the leader of the original Freedom Fighters. Venditti is using these dates and historical figures deliberately. They are reminders of history that many have already forgotten. It’s a really nice and subtle way of layering (what I assume to be) the ongoing themes of the book into the narrative.

I suspect we will be following the modern-day team for the majority of the book, but I found myself more interested in the ‘60s sequence due to its bleaker tone. The art is impressive throughout, but I also can’t help but feel like it’s missing a ton of world-building opportunities. This is Nazi-occupied America – scenes where the sun is shining and kids are playing ball in a park just feel…off. The architecture, the vehicles, the fashion all feel too similar to our real world. Don’t get me wrong, the book is gorgeous, but it could have taken better advantage of its premise.

Alternate history is always a draw for me. Throw superheroes into the mix and you have the makings of a memorable book. Freedom Fighters has somewhat of a Watchmen feel in that a multigenerational superhero team is finding its place in a world where history took a drastically different turn. It doesn’t reach the thematic heights of that seminal graphic novel, but it also isn’t really trying to. I suspect the creators would be perfectly content if this book simply made us as readers reflect on our history and be grateful that we avoided the nightmare of this fictional world.

Overall: Freedom Fighters #1 is an ambitious book that cleverly uses alternate history as a prod to remember and learn from real history. 8.0/10

Freedom Fighters #1
Writer: Robert Venditti
Penciler: Eddy Barrows
Inker: Eber Ferreira
Colorist: Adriano Lucas
Letterer: Deron Bennett
Publisher: DC Comics
Price: $3.99

Bo grinds for the Man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

REVIEW: Long Lost Part 2 #5 is a colorful and explosive penultimate chapter

December 18, 2018 by Zack Quaintance in Reviews

Long Lost Part 2 #5 is out 12/19. — **Long Lost Part 2 #5** is out 12/19.

By Zack Quaintance — Long Lost is a story about leaving your hometown—be it in rural America, the south, or the mountains—yet feeling a mysterious pull to return, that call to home that we all hear from our past. But when you get there, the place is nigh-recognizable. People have suffered. Relatives you thought you knew are so different as to be irreconcilable with who they once were in the past. They’re all acting out in strange ways, motivated by the hopes of enticing a magic cure for suffering, unemployment, sickness...even if their methods are making them all uglier.

This is a powerful metaphor (if I’m right about it) for our times, to be sure. And I think I’m at least partially onto something here. There’s a pretty telling bit of dialogue in this fifth issue of the story’s second half, with Piper—the more proactive and repressed of the two sisters at the story’s core—telling her sister how badly she just wants this town to be out of her life and gone. For many of our generation who’ve uprooted and found new homes in more urbane cities and enclaves, it’s a poignant and relatable feeling she’s expressing, one that in the past two years has maybe even come to have a damaging effect on our country. We’ve ignored difficult conversations and watched as family descend to a dark place where, ultimately, they vote against their own interests and become...ugly and unrecognizable...at least to us.

I’m tempted to call this a good-looking and poetic metaphor for what it’s like to argue politics with friends, family and former classmates from a small hometown, but there’s another layer to Long Lost that I’m struggling to wrap my head around without yet having read the final issue. There are more intimate themes at work here related to the way our relationships as children shape us as adults. There’s also some moralizing, perhaps, about the value in forgiveness, in taking our family members for the good they provide while reconciling ourselves with their failings in order to move forward, especially if those failings are related to a mental illness (another presence that has loomed large throughout this story).

My own inability to completely process what’s happening in this comic aside, this is still one singular and gorgeous book that’s difficult to put down. In fact, it’s late on a Sunday evening as I write this and I’m going to push through and finish. I mean, there’s only one more chapter remaining. That’s a supremely high compliment for a penultimate issue if I’ve ever written one.

The only other thing I’d like to note before I move onto reading said issue is that Lisa Sterle’s artwork is fantastical and creepy all throughout this book. It’s a credit to her work that this deep into the story she’s still finding ways to make the tone all the more threatening and engaging without sacrificing even a little bit of clarity. Sterle’s work has been rather understated throughout the slow and mysterious burn of this comic, but—without tipping into spoiler territory—she is less restrained toward the end of this chapter. Her work becomes kinetic and rich with ominous tones, almost psychedelic as it reaches grand flourishes that really earn this story the thunderous climax on which this issue is ended.

Overall: Long Lost Part 2 #5 perhaps marks the end of what has been one of the most poetic slow burn stories in all of comics, as this issue ends with a burst of colorful psychedelics. If you’ve been following this story, this is likely to be your favorite issue to date. 9.2/10

Long Lost Part 2 #4
Writer: Matthew Erman
Artist: Lisa Sterle
Publisher: Scout Comics
Price: $3.99

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

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: Friendo #3 takes aim at big box retailers with a heavy dose of grindhouse horror

December 18, 2018 by Zack Quaintance in Reviews

Friendo #3 is out 12/19. — **Friendo #3** is out 12/19.

By Zack Quaintance — “You know decline is...it’s not linear.” This is the first line of Friendo #3—a comic about a near future in which late-model capitalism has been extrapolated to some terrifyingly-familiar places—and it may as well be a mission statement for this book’s ambitions. At least, that’s my take after three issues, and I appreciate this kind of tipping of the thematic hand. It enables the creators to focus on the story, almost like they’re saying, okay, you know what we’re up to now...but you have no idea how gruesome this world can get.

This world and by extension our own, really, seeing as Friendo takes place in a future so near it makes one wonder if some of the story’s technologies are currently in research and development, with ethical conversations (or, more likely, public relations conversations) taking place about whether this tech should be put into beta. So, that’s my 20,000-foot Friendo perspective.

This issue also gives readers a closer view of the story’s themes. In the first two issues, we largely saw our main character explored as a consumer, as a pawn in marketing schemes at first, later tapped and exploited for his (somewhat meager) buying power. This issue shifts the angle from which it explores over-blown capitalism by putting scrutiny on big box retailers and how they treat workers. In this comic, a Wal-Mart stand-in (named Cornutopia, which, awesome) gets the brunt of it, being directly implicated for the current state of the nation because 20 years ago it extinguished small business owners and is now embracing automation to boost profits even further.

Automation means layoffs. Layoffs mean rage. Everything spirals. The center cannot hold.

The dots are connected: the nation is in a place where individuals are being melted down (literally in one scene) until all that’s left is indebted buying power. It’s an obvious state of decline, the causes for which date back years, and how did it come about? Private companies went wild and unrestrained. Given a few trusting inches, they gobbled up miles, until one day we were all living in a disaster. How sure am of this message? Well, there’s even a scene in Friendo #3 that depicts the owners of Cornutopia literally murdering a representative of the IRS.

On the nose? Oh, like crazy. But this is an audacious comic. That brings me to the other layer of this book, the one that’s less symbolic and more of an entertaining romp laden with grindhouse visuals. The base pitch for this book is maybe that a man’s personal marketing bot comes to life and hi-jinx ensue. Well, not to spoil anything here but after some early events, that marketing bot is somewhat much worse for the wear, rendered in glory gory (so sorry for that word play) here by Martin Simmonds.

As I noted in my Friendo #1 review, the first few issues of this comic built a complex narrative foundation, one from which the creative team could have told a number of fascinating stories. After Friendo #2, I was fully on board with its exploration of the extremes of greed and indifference. Where is my head at following Friendo #3? Now, I’m starting to want the answers—what in the world is going to happen next?

Overall: Oh, the horror. Friendo continues to look at what happens when corporate control and capitalism runs rampant over society and individuals, doing so in this issue by taking a searing look at big box retailers like Wal-Mart. Meanwhile, an entertaining grindhouse plotline is unfolding, like a guide leading us through a field of complex ideas. 9.0/10

Friendo #3
Writer: Alex Paknadel
Artist: Martin Simmonds
Colorist: Dee Cunniffe
Letterer: Taylor Esposito

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

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

Comic of the Week: Black Hammer Cthu-Louise, an Original Idea in a World of Homage

December 17, 2018 by d. emerson eddy in Comic of the Week

Black Hammer: Cthu-Louise is out now. — **Black Hammer: Cthu-Louise** is out now.

By d. emerson eddy — For a few years now Jeff Lemire and Dean Ormston, along with a host of other talented collaborators, have been building a universe at Dark Horse in Black Hammer, founded on a deep love for Silver Age comics, paying homage to many of the characters and characteristics of that era. The series began as a kind of mystery about the disappearance of a Justice League analogue, but quickly spiralled out into spin-off series, including a far-flung future with teen heroes and a focus on one of Black Hammer's arch-enemies and his legion of villains. It was in this spin-off, Sherlock Frankenstein & The Legion of Evil, that we first met Chtu-Lou, and his cute little daughter, Cthu-Louise.

While the homages to the Silver Age Justice League, Legion of Super-Heroes, Legion of Doom, Vertigo, and beyond are wonderful, reading through The Quantum Age #5 this week as well got me wondering if the Black Hammer universe would work as well without the pastiches and homages to DC Comics. For my money, yes. I actually find that the non-homage, original characters and story elements are even more impressive. Such is Black Hammer: Cthu-Louise, a one-shot from Jeff Lemire, Emi Lennox, Dave Stewart, and Todd Klein.

This story plays hard into one of Lemire's favorite themes, the importance of family, but it does so from a unique perspective. Louise doesn't have a loving family. Her father, Lou, was a super-villain, and now is just a lazy, abusive father taking out his frustration on his relatively innocent daughter, who is only looking for love and acceptance. Her mother is absent most of the time, working, but is equally emotionally abusive to Louise. When you add the problems she has at school due to her monstrous appearance, Cthu-Louise doesn't have an easy life. But she does have her “grandfather”, the elder god who granted her father his powers and thereby hers, and it's interesting how Lemire massages this into an “Eye of the Beholder”-type story.

Lemire's Plutona collaborator, Emi Lenox, handles the line art for this story and, combined with the greens and purples of Dave Stewart's colors, presents a fairly light-hearted, cartoon-like style. It works well for Louise's age, giving it a colorful, deceptively-simple appearance, covering the darkness beneath the surface.

On top of that, the lettering from the legendary Todd Klein adds overall to the feel of the story, giving us some unique fonts and word balloons for Cthu-Louise, Cthu-Lou, and her grandfather. It's particularly interesting the gradation of the word balloons that the style of Cthu-Louise and Cthu-Lou's is about halfway between the normal human balloons and that used by her grandfather. It's a subtle way of showing that Cthu-Louise is an intermediary between normal and the beyond.

Overall, this is an excellent comic that shows the possibilities of the Black Hammer world outside of the main narrative, that the universe itself has legs of its own, and that the characters within it can carry a story without necessarily working within the meta-narrative of Silver Age homage and nostalgia (even if Cthu-Louise herself is a twist on a Lovecraftian pastiche). Lemire, Lenox, Stewart, and Klein give us a story that stands on its own tentacles.

Black Hammer: Cthu-Louise
Writer: Jeff Lemire
Artist: Emi Lenox
Colorist: Dave Stewart
Letters: Todd Klein
Publisher: Dark Horse
Price: $3.99

Check out past Comic of the Week selections on the list page.

Top Comics to Buy for December 19, 2018

December 17, 2018 by Zack Quaintance in Top 5 Comics

By Zack Quaintance — December is a weird month for comics, given the disruption to shipping schedules and reading habits created by the holidays. This year, we saw publishers front load the first couple of Wednesdays to get more product onto shelves that are surely going to be browsed by a higher frequency of holiday shoppers.

And with Christmas on a Tuesday this year, the subsequent Wednesday has Diamond (comics lone distributor) giving its staff a week off. As a result, no publisher is releasing very many titles on the final Wednesday of the month. Ack! For the normal comics reader, this is all fairly dry discussion of what goes on behind the scenes. And who really cares about that?! All of us, but we shouldn’t, right? What we should really care about is the comics!

So, without further adieu, let’s get to this week’s releases!

Top Comics to Buy for December 19, 2018

*PICK OF THE WEEK*

Livewire #1
Writer: Vita Ayala
Artist: Raul Allen
Colorist: Patricia Martin
Letterer: Saida Temofonte
Publisher: Valiant Comics
Price: $3.99
ALL-NEW ONGOING SERIES! FOR THE FIRST TIME, LIVEWIRE TAKES CENTER STAGE!
Accomplice. Mentor. Savior. And now, Enemy of the State. Seeking to protect other vulnerable super-powered psiots like herself, Livewire plunged the United States into a nationwide blackout with her technopathic abilities, causing untold devastation. After choosing the few over the many, she must now outrun the government she served - and those she once called allies. With the whole world hunting her, what kind of hero will Livewire be...or will she be one at all?
Why It’s Cool: Livewire is easily one of the best Valiant characters to have never gotten her own series...but that changes this week. The publisher has also found the perfect creative team for this book, pairing rising star writer Vita Ayala (who has another book on our list further down) with one of our favorite art duos, Raul Allen and Patricia Martin, of Wonder Woman and Secret Weapons fame. For more, check out our Livewire #1 advanced review.

Captain America #6
Writer: Ta-Nehisi Coates
Artist: Leinil Francis Yu
Inker: Gerry Alanguilan
Colorist: Sunny Cho
Letterer: VC’s Joe Caramagna
Publisher: Marvel Comics
Price: $3.99
"WINTER IN AMERICA" CONCLUDES...
...with a shocking turn of events that will send the Star-Spangled Avenger's life into a sudden dramatic tailspin you won't see coming!
Why It’s Cool: This first Captain America story arc from Ta-Nehisi Coates and Leinil Francis Yu has been fantastic, a slow burn that alternates big ideas about what America stands for (both past and present) with espionage and action sequences. Coates has done his best comic book writing to date within the first five issues of this series, and we’re excited to see what the end of this first arc brings, especially with the preview text promising dramatic surprises (although, doesn’t it always?).

Cover #4
Writer: Brian Michael Bendis
Artist: David Mack
Letterer: Carlos M. Mangual
Publisher: DC Comics
Price: $3.99
Max is not having the best year of his career. Sales on his comics series are tanking, and his personal life is crumbling. Could it have something to do with his double life as a spy? Max learns the definition of "in too deep" as his worlds start to collide.
Why It’s Cool: This book is one of the best creator-owned titles in comics right now. We’ve written about it quite a bit in the past, but there’s just never been a look at what it feels like to be creator quite like this one. There’s also something really effective being done with tone here, via the way the aesthetic of the artwork switches depending on what’s happening. When a certain character comes into the protagonist’s life, for example, that character is met with an explosion of color; conversely, when the character flashes back to times in his life he maybe doesn’t remember so well, the figures take on an entirely different (and simpler) shape. Basically, every page of this comic is an utter treat, and we continue to strongly recommend it.

Friendo #3
Writer: Alex Paknadel
Artist: Martin Simmonds
Colorist: Dee Cunniffe
Letterer: Taylor Esposito
Publisher: Vault Comics
Price: $3.99
It's time to request a clean-up on aisle seven as Leo and Jerry's attempt to rob a hypermarket goes stomach-churningly wrong. Luckily, a mysterious corporate benefactor is on hand to help them with a new mission and an offer they can't refuse. Meanwhile, the owner of the hypermarket chain is in no mood to put up with Leo and Jerry's antics. Enter 'Zaj c the Cremator', a brutal assassin with a predilection for bunny ear headbands. Leo and Jerry's lives are about to become a whole lot more complicated.
Why It’s Cool: Friendo is a series loaded with bleak near-future ideas...and it just might be one of the most prescient looks at the coming (or maybe ongoing?) fall of America as a major global power. This issue also takes a turn into new genre territory, although it’s certainly been foreshadowed in previous issues. In Friendo #3, though, there’s an added layer of dread-inducing aesthetics. Prepare yourself, because this is one intense and provocative ride, one that may hit pretty close to home for the vast majority of American consumers—er, I mean readers. (Read reviews of Friendo #1 & Friendo #2).

Submerged #4
Writer: Vita Ayala
Artist: Lisa Sterle
Colorist: Stelladia
Letterer: Rachel Deering
Publisher: Vault Comics
Price: $3.99
Bound by chains of her making, Ellie sits in judgement before her most dangerous adversary. In order to break free and escape the Otherworld with Angel, she must dig deep within herself and use a weapon that has the power to destroy them all. Every secret of the Puente family will rise to the surface in the final issue of Submerged!
Why It’s Cool: Submerged has been a wonderful deep dive (sorry) into two separate thematic interests: family history and cultural mythology. In Submerged #3, the creative team did a fantastic job of upping each in almost equal measure. The end result has been one of the best-paced graphic stories we’ve read all year. We fully expect more of the same from Submerged #4.

Thor #8
Writer: Jason Aaron
Artist: Mike Del Mundo
Letterer: VC’s Joe Sabino
Publisher: Marvel Comics
Price: $3.99
THE PRISON OF ANGELS!
After waging war in Hel, Thor finds himself a prisoner of the fearsome warriors of Heven. Can even the intervention of Valkyrie and Thor's deadly sister Angela help him escape the unescapable prison of angels?
Why It’s Cool: Every once in a while it’s important to take a step back and be grateful for the long-running books we sometimes have a tendency to take for granted. This week, we’re doing that with Thor #8. Jason Aaron’s Thor is currently the most impressive long-form run happening in all of superhero comics, and it’s not even close, really. There just isn’t another run that’s been this good for this long happening at DC or Marvel. This issue continues the march toward the War of the Realms storyline, which by all indications is going to be the finale for Aaron’s epic work on this character. Don’t miss it!

Others Receiving Votes

A Walk Through Hell #6
Amazing Spider-Man #12
American Carnage #2
Aquaman #43
Batman #61
Black Badge #5
Catwoman #6
Deep Roots #5
Extermination #5
Gideon Falls #9
Infinity Wars #6
Killmonger #2
Long Lost Book 2 #5
Middlewest #2
The Punisher #5

See our past top comics to buy here, and check our our reviews archive here.

The Saga Re-Read #19: A major shift in the plot

December 14, 2018 by Zack Quaintance in Saga Re-Read

Saga #19 was first released 5/21/2014. — **Saga #19** was first released 5/21/2014.

By Zack Quaintance — There’s a lot going on in this week’s Saga #19. This is the first issue back from one of those Saga hiatuses, a five-month break which now in retrospect seems downright abbreviated. There’s been a time jump, characters have moved around, and the central family seems to have settled into a new status quo. More on all of that later. What I’d like to touch on briefly in this intro is what Brian K. Vaughan and Fiona Staples were working toward here.

Saga, especially in its early days, was a book built on not shock value, but definitely on provided comic book readers writ large with visuals, feelings, and even a few ideas that had maybe never before been captured on the paneled page. With the start of its fourth arc, there’s definitely a feeling here that the creators are working to keep things fresh, to keep readers on that unpredictability high, and to find new places in this universe that will enable them to do so. I remember on first read being just a bit ambivalent at times in this arc (just a bit, because, as this feature should probably make evident, Saga is my favorite comic), and I’m anxious to see how it plays on re-read.

With that in mind, let’s get to this week’s comic!

Saga #19

Here’s the official preview text for Saga #19, which was first released back on May 21, 2014. We were all so young then...sigh. Anyway, here’s the bygone solicit text for the book…

Saga returns! New planet, new adversaries, and a very new direction, all from the same old Hugo Award-winning team. Mature Readers.

Saga took a five-month break between #18 and #19, and when it returned, it came back with a time jump (teased at the end of last issue) and a new direction. This is the point where I recall the book not exactly losing momentum but definitely settling in after a pretty rapid pace of plot developments over the course of its first three arcs. I’m interested to see how my memories square with the actual story upon reading reading.

The Cover: The new direction mentioned by the solicit text is evident in this cover, which like some of the other most memorable covers is clearly indicative of the Saga world and aesthetic, yet basically contains nothing we’ve seen before. This one is also different, in that it features an established character in a costume/storyline that we’ve barely seen hinted at as of yet.

The First Page: So, this one’s a doozy...a close-up shot of Prince Robot IV’s baby being born, like a really close-up shot, as a voice from off panel yells, One last push! This is one of those Saga first pages that reminds you what this book is really about: an unflinching look at love and life and family, depicted with some of the wildest sci-fi designs you’ve ever seen. The baby having an old TV stand-by pattern on its screen as it’s born is also incredibly funny, btw.

The Surface: This first issue of the arc didn’t represent as drastic of a shift in the plot as I seemed to remember, potentially because I’ve read another 30-some issues past this and can see it in the context of the whole. Either way, at our slow one-issue-per-week pace, Saga #19 to me felt like a pretty natural extension of all that has come before it, even if what the characters are actually doing is a major shift. Alana has a job acting on the pirace circuit, Marko is a stay-at-home dad, and Prince Robot IV is MIA. Notably absent are Gwendolyn, Sophie, The Will, and Lying Cat, who were all pretty instrumental to the climax of the previous arc.

The Subtext: There’s not much room for elaborate metaphor in this issue. There’s a lot of subtle work done to hint at what’s gone on with the characters in the time jump, though. There’s also a couple of hints (granted, easily missed) that the raging forever war has maybe not done wonders for the economy, that everyday folks—the janitor for the Robot royals, as well as our central family—are facing a larger challenge to provide and survice. That all makes sense given that this came out in 2014 and was presumably written and drawn sometime before that, when we had maybe just then started to really put some distant between ourselves and the devastating 2007-2008 global recession.

Saga #19, the book simultaneously being ominous and adorable. — **Saga #19**, the book simultaneously being ominous and adorable.

The Art: Staples often seems to put together some of her best work in the return issues following a Saga hiatus, and this one is no exception. In addition to the opening page splash, there’s a more vibrant full-page here that depicts a now-toddler-sized Hazel playing in a bouncy castle with other kids, her little horns now starting to show with an expression of pure joy on her face. It’s incredibly well done and also welcome after the danger the family has just faced (at least in our minds as readers), and Staples nails it. Also, shout-outs to the one-pager with Alana smooching another actor on set amid a buzzing throng of adorable flies, and the ending page with its perfect mix of dread and cuteness.

Foreshadowing: Tons of it in this issue, really. This is the story of how my parents split up. That last line, of course, sets the tone for the marital drama that will play out in this arc. There’s also Alana’s job stress and Marko’s hesitant friendship with the dance instructor on the playground. Meanwhile, in the Robot Kingdom, the presence of the embittered janitor who broadcasts a skull on his television face screen when someone walking away mentions the royals is something to keep an eye on. Also interesting is how this issue starts to pay off so much of the foreshadowing done in the last arc: Alana acting on the circuit, the job being important, the kids settling into family life, etc.

Check out past installments of our Saga Re-Read.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

Superman is many things, and boring isn’t one of them

December 13, 2018 by Maya Kesh in Comics

By Maya Kesh — Superman is boring. At this point, that criticism has become so tired that it’s become boring itself. Still, I can’t help but wonder why it’s such a common attack against one of fiction’s greatest character. Why? The answer is invariably that he’s too strong, leaving no reason to fear that anything will happen to him. Never mind that realistically there also isn’t fear that something will happen to Batman, Wonder Woman, Spider-Man and the rest—the underlying conceit of every superhero story is that good triumphs over evil.

Beyond that, however, I don’t understand why Superman’s powers translate in to him being called a boring character. I’ve been contemplating this criticism a lot lately, and in this piece I’d like to directly address it, making a case for why Superman is easily one of the most compelling characters in all of comics by looking at everything from his powers to his origin to the humanity he displays as Clark Kent.

Superman’s Powers and Origin

He doesn’t use his powers to help himself (Silver Age goofiness aside), as such, he’s not an arrogant god. As many (if not all) fans know, Superman in 1938 was far less powerful than he is now. He was a more of street level character who couldn’t yet fly. The bare bones were there. A baby from another planet. Disguised as Clark Kent. Worked with Lois Lane, etc.

As the years went by the character’s abilities grew and grew. Soon he could fly. He could move planets around. He was the most powerful character in the DC Universe.

One thing that did not change, however, was his origin. He stayed an alien even as his childhood backstory was expanded upon. Instead of nameless kindly motorists, Jonathan and Martha Kent found him and raised him as their own. He grows up to disguise himself as Clark Kent, who works as a reporter at the Daily Planet. This itself is remarkable. He could do and be anything, and he decided to be a reporter to uncover injustice as he also fought it as his alter ego.

Superman’s Values and the ‘Nice Guy’ Argument

His core goodness is another trait often pointed to as a problem. He’s too good. Where are his flaws? I’ve always felt this is a larger misinterpretation of what good means. Too often we celebrate the tortured anti hero. Something terrible must have happened to our hero to send him off to right wrongs. How could a man brought up in a stable household with two loving parents understand struggle? What is his motivation?

This brings me to some questions of my own: why does there need to be a motivation to want to help the world to be a better place? Why is a core of decency something to sneer at or dismiss as dull?

This isn’t the same thing as the “nice guy” argument, wherein people performatively act a certain way in order to get rewards. “Why won’t she go out with me…I’m such a nice guy!” That kind of talk is passive aggressive hostility, expecting the world owes one something.

That is not Superman. He is doing what he does because he cares about the planet, never expecting a return on his investment. He truly is a complex character. Just imagine being flung out as a baby in to space, crash landing on another planet, and then as time goes on you find you can do things nobody else can or ever could. You have to hide that side of yourself out of fear that the world would turn against you. You are neither human nor Kryptonian. You walk a line where you never know what it is like to truly belong.

Superman and Clark Kent, a Complex Whole

I’ve always disliked the “Superman is what I can do, Clark is who I am” line from the Lois and Clark TV show in the ‘90s. I think it is far too simplistic.

Superman is more than what he can do. Being Superman is an essential part of who he is. Meanwhile, Clark is not all that he is either, because he spent his life on the fringes. He couldn’t race to school. He couldn’t play rough games with his friends in fear of hurting them. He had to learn to control his powers, powers that are as much a part of him as our senses are a part of us.

Superman and Clark Kent are parts of a whole, a whole he can only share with a few trusted people in his life. His parents, a few childhood friends, and, later, Lois Lane.

When he first makes his debut as Superman, you’d expect the population to fear him. Writer Mark Waid and artist Leinil Francis Yu’s Birthright mini-series explores this really well. We see that as Superman our hero is really worried about how he’ll be received. As a result, his joy when Lois Lane meets him as Superman and is not in the least bit afraid is a wonderful moment.

The emotional toll it takes hiding parts of himself on a daily basis, never able to fully be himself as either Clark Kent or Superman is just so rich with storytelling possibilities.

This is a character with emotions, and a character who gets angry and jealous. Sad. Petty. All the normal emotions everyone feels. Being a fundamentally good person doesn’t negate that these emotions roil around within him, and certainly does not make him boring. However, he does have a greater burden because of his immense power, and he has to be very careful not to abuse it.

There is a scene in the movie Man of Steel where he has to endure the harassment of truckers at a truck stop where he’s working. He indulges his petty side by messing with the trucker’s truck. His momentary lapse doesn’t then mean he’s not living up to the Superman mantle. Not doing something like that is a level of perfection (which I contend is unattainable) that he himself aspires to achieve. He is not a perfect man, no matter how badly he wants to be. Ultimately, he’s flawed like everyone else.

Superman’s and misconceptions

Another misinterpretation is that he is naïve, that because he sees the best in humanity somehow means he doesn’t understand the worst. I don’t agree with this. I think he understands the worst. He understands evil. How could he not, fighting what the sort of threats he fights? That he manages to rise above the cynicism and continues to battle for justice in hopes that, to paraphrase Martin Luther King Jr., the moral arc though long will indeed bend towards justice. This isn’t willful blindness to the horrors around us but a deep belief that we and he are better than the lowest common denominator.

This, I think, sometimes gets lost. In the rush for the superficial complexity of the tortured hero driven by external forces, we lose sight of the true complexity of those doing good because of a natural internal drive. We as a society have, I think, become cynical towards this idea that people do good because it is the right thing to do. Our default mode is to wonder what the catch could be.

Superman in 2018

I don’t think Superman is boring, especially not given the nature of our modern times. In fact, I strongly believe that Superman needs to be written in the time he is living in. These days the blinders have been lifted, and many of us are seeing first hand a rising threat from global nationalism. A push back against immigrants. A fear of those who look and talk differently. It all makes me wonder: if we can’t accept each other, how would we accept a man from another planet?

The world Superman lives in today is a lot more complex because we’re globally connected in ways we’ve never been before. Communication is instantaneous. The character though doesn’t need to respond with darkness to the events around him. There will, of course, be frustration. However, not succumbing to that frustration and becoming Batman-lite, if you will, is its own challenge, and a fascinating one at that. How do you live day to day seeing all the destruction happening around you while knowing you could stop it in a second? How do you live while having immense power within and not devolve in to megalomania?

Superman does this literally every day. His core decency and honor should not be dismissed as naiveite or mocked as boy scout behavior. Instead, it should be seen for what it is: a fascinating study of what makes a hero driven by the belief that the universe is better than what he sees in front of him.

We need heroes like this, heroes who do what they do because they only want to do right. They aren’t searching for external praise or validation or even revenge. There is huge difference in my mind in understanding the challenges of the world around us in a realistic way without succumbing to the cynicism that there is no hope, that we're a doomed species.

Superman, I think, is one of the hardest of characters to get right because to do so, one has to let go of the idea people are fundamentally in it for themselves, or that believing in nobility is for the foolish. I really don’t think it is. I don’t think honor is a boring trait. I think Superman’s core of kindness, compassion, empathy and decency makes him a fascinating character. It’s easier to fall prey to despair; it’s harder to keep from falling in to cynicism. Yet he does this. Day after day.

Superman is so much more than the sum of his powers. He is a man who could control the world but instead cherishes the people around him and sees himself as one of us, not an infallible god. When we look beyond the punches? We see the true hero, and he’s one for the ages.

Maya Kesh is a lifetime comic reader and a writer whose articles often focus on how women are portrayed in comics. You can follow her on Twitter at @mayak46

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