The Saga Re-Read: Saga #27, our story hits its halfway point

Saga #27 was originally released 4/8/2015.

By Zack Quaintance — Whoa whoa whoa whoa whoa...we’re officially at the halfway mark of our Saga re-read project! For those who don’t know, this project sees us re-reading one issue of Saga each week from now through #54. The idea is that once we finish, the book will hopefully be back from it’s one-year (minimum) hiatus, and we can all just pick right back up with it, possessing as we will a better understanding of all that has come before.

You can find older installments of the Saga Re-Read project here. If you still want to get in on this, I think a little time and determination could catch you right up, enough to join us next week as we move past this halfway point, anyway. This week finds us in the middle of a story arc, with the family still separated and the creators (obviously) building toward a reunion eventually, though maybe later rather than sooner. The individual elements will tell the story better though, so let’s get moving!

Onward!

Saga #27

Here it is, the official preview text for Saga #27, which was first released back on April 8, 2015. Kind of fun how these dates are ever so slowly catching up with us as we move forward in this thing, right? So yeah…

Poor Marko.

Oof. Now that doesn’t tell us much, does it? It’s a bit ominous, though as we’ll see later it gets more ominous, especially for the aforementioned poor Marko. Combine this little teaser text with the cover, and this was probably a pretty scary issue to open, although I think in this phase of the story I was maybe operating under the assumption our core characters were untouchable, which they largely were for many issues. Onward to the individual elements!

The Cover: This cover’s pretty good, and, really, could maybe stand as a movie poster if this arc were to be turned into a movie. I really like the rendition of Hazel’s face, looking pensive as she continues to grow toward a better awareness of her and her family’s situation. The other elements—Marko floating in space and the icy planet—don’t work quite so well for me, but I like the whole much better than parts, especially knowing as we do that Marko and Hazel have been untethered from each other. The little doll in the other corner of the page is slightly heartbreaking.  

**WARNING: This issue’s first page is maybe not entirely safe for work.**

NSFW - The First Page: I wonder if they made a conscious choice to divide all of this arc’s first pages into panels, because here it is yet again, differing from the vast majority of the series. What is, however, familiar, is the salacious nature of what’s happening in the story: here we get a flashback of Marko and Alana having sex (fairly graphically) during her pregnancy. It’s obviously a flashback, given that Alana is not pregnant, and, perhaps, more consequentially, our central couple has been acrimoniously separated throughout this arc.

The Surface: That aforementioned flashback culminates with Marko confessing to Alana that he hit a woman he was with before, which really seems to cast what happened last arc with the groceries in an entirely different light...until Marko admits that it happened when he was seven years old and the girl was hurting his pet. Still, the point is made—Marko has and has long-had anger issues that can culminate in violence, even if his anger is mildly justified. Meanwhile, we get another flashback of Marko, fighting in the war. It’s all framed in the context of Marko spiraling back through past memories due to a bad batch of drugs, and it really makes for a more interesting story than it would have if we were just bouncing through the past because it was convenient for the author. Though it doesn’t leave all that much room for subtext.  

The Subtext: There wasn’t that much subtext in this issue—sure, the first scene is hallucinatory, but the Alana vision comes out at one point and demands to know why Marko did what he did—but a lot of what the comic is doing is pretty clearly laid out for us. If there is subtly to this string of vignettes, it’s the overall effect of leaving us with a portrait of Marko’s anger as it has manifested through his life, complete with the (often justified) reasons he acted the way he did as well as with the subsequent regret. It’s a powerful issue, knowing what we know now about where this anger-regret cycle of actions ultimately take him. It’s almost as if this story is making a case against half measures, although I’d be shocked if that were ultimately the case.

The Art: More typically amazing linework here from Fiona Staples. What caught my attention more than anything was her work on the character of Ghus, who to this point has been pretty much entirely adorable. In this issue, though, Staples gives him range, and the effect is powerful in the plot and also pretty funny when you pull it out of context. Check out the panel below.

The Foreshadowing: Really, this entire issue could be considered foreshadowing in a certain light. Foreshadowing what? Well, Saga #54, and why it hurts so bad, of course. I’d mostly forgotten this exploration of the exact causes and effects of Marko’s anger issues, and if nothing else, I’m really glad this issue gave me a chance to re-visit. It really frames his character arc in a different light, maybe even helping me come to grips a bit better with what eventually happens. Phew, I’m getting worked up all over again, so I’ll end now...

Saga #27
Writer:
Brian K. Vaughan
Artist: Fiona Staples
Letterer: Fonografiks
Publisher: Image Comics

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 January 2019: A disparate bunch

By Zack Quaintance — There was a weird start to the year, what with the first Wednesday of 2019 coming the day after a holiday. There was also this thing going on in January, wherein DC Comics had more books than usual due to not shipping any at all on the fourth Wednesday of December, which was itself the day after Christmas. So yeah, it felt like it took a week or two for the comics-availability world to sort of jog back into its normal form.

With that in mind, I—as usual—still struggled a bit with narrowing my sections down to their usual number of selections: 10 for Shout Outs and 5 for the Best Comics of January 2019. I won’t go into the gruesome details, but I without question had to get rid of some books that it absolutely hurt me to cut. Thus is the life of a volunteer comic book website editor, though. All in all, I’m super happy with the books that landed on our list, and I hope you find some of your favorites here too.

So then, what are we waiting for? Let’s get to the comics!

Shout Outs

I’m stealing this from my friend Kirk on Twitter, but with Saga on hiatus, Monstress is my Saga. This is true first in how much I look forward to/enjoy the comics, and in how well-done and immersive they are. Monstress launched a new arc this month with Monstress #19.

Speaking of well-done and immersive, Kelly Sue DeConnick and Robson Rocha’s burgeoning Aquaman run continued this month with Aquaman #44, which was even better than the previous issue. This feels like superhero comics by way of DeConnick’s creator-owned opus with Emma Rios, Pretty Deadly. That’s a very good thing.

Meanwhile at Marvel, shout out to Jason Aaron and Mike Del Mundo’s Thor #9, which got me excited as all get out for the upcoming War of the Realms. More on all of this in the next section (oooo, cryptic!)...

And now back to DC! One of my favorite comics from that publisher is The Terrifics, which has really taken a major step forward in recent issues. The Terrifics #12 from Jeff Lemire and Viktor Bogdanovic was the book’s best yet, featuring several all-time great modern Plastic Man moments.

On the indie tip, I’m absolutely loving the Kyle Starks and Chris Schweizer collaboration Mars Attacks, which is using a touching father-son relationship and a classic hero’s journey structure to breath life into this licensed franchise I know little to nothing about.

On to properties I do know something about (aren’t you just living the segueys today?). Archie 1941 #4 was just as fantastic as the rest of this series (I have a feeling you’ll see this book back here next month—ahem), feeling both true to history and its iconic characters.

Are you looking for low-key the most disturbing series in comics? Well then, let me just point you to Black Crown’s, The Lodger, which had its best issue yet with this month’s The Lodger #3. Black Crown editor Shelly Bond said this at SDCC when announcing the title, but in crime comics one name is above the rest: the Laphams.

Another sublimely-disturbing comic (a seguey again!) is Immortal Hulk. This month saw the release of Immortal Hulk #11 and #12, a storyline in which the Hulk goes to hell and the book remains utterly alone as Marvel Comics’ current best.

I’ve made it no secret for a while that Mark Russell is one of my favorite new comic writers, and he’s most-certainly doing his thing this month with Lone Ranger #4. This book has the complex societal commentary that has long-defined Russell’s work, with a better sense of suspense than any of his previous comics.

Warren Ellis continues to re-imagine characters he’s been writing for years in the context of 2019. In The Wild Storm #19, this story introduces the group of these characters with the widest appeal: The Authority. Even if you don’t care about/like that group, though, this is just a straight-up great comic that begs to be read.

Best Comics of January 2019

Walk Through Hell #7.jpg

5. A Walk Through Hell #7
Writer:
Garth Ennis
Artist: Goran Sudzuka
Colorist: Ive Svorcina
Letterer: Rob Steen
Publisher: AfterShock Comics
Garth Ennis is as consistent a writer as we have in comics and has been for many years. While his new WWII story with TKO Studio, Sara, is grabbing the most attention from comics fans, readers would do well not to sleep on his AfterShock Comics title, A Walk Through Hell. This is a scary book with a patient storytelling tact and a lot to say about our times. What else do you want?

In this issue, the full scope of Ennis and co-creator Goran Sudzuka’s ambitions continue to become clearer. This has been a disturbing mystery story from the start (albeit one that seemed like it might tip into overly grim territory). And that has all continued, but now we’re seeing more commentary about our times. What I continue to find most impressive about this series, however, is the way it somehow manages to both make ample use of flashbacks while also remaining rooted in the present. It’s great stuff, from both a reader’s and craft student’s perspective.

4. Action Comics #1007
Writer:
Brian Michael Bendis
Artist: Steve Epting
Colorist: Brad Walker
Letterer: Josh Reed
Publisher: DC Comics
Earlier this week, site contributor (and all around great guy) d. emerson eddy choose Action Comics #1007 as his pick for Comic of the Week, noting as he did that Brian Michael Bendis’ ongoing Superman saga was one of his favorite things at DC Comics. I absolutely 100 percent agree with this. As eddy notes, it often feels like a light shining from their superhero offerings. This is even true of this individual issue, which launches a new storyline that presumably involves conspiracy.

Moreover, this issue is a must-read for any long-time superhero fan because of a landmark conversation that takes place between Lois Lane and her father. All of it is illustrated by espionage comics master Steve Epting, with Brad Anderson colors. Simply put, this is just all-around strong comic book-making.

3. Avengers #12
Writer:
Jason Aaron
Penciler: Ed McGuinness, Cory Smith
Inker: Mark Morales
Colorist: Justin Ponsor
Letterer: VC Cory Petit
Publisher: Marvel Comics
Hoo man did this comic ever spark a lot of conversation on comics Twitter. On the surface, it sounds like a real chore: Black Panther, the Avengers current chairman, sets about shoring up the team’s new headquarters and its support staff. It’s procedural stuff, but writer Jason Aaron uses it to launch a new concept within the Marvel Universe, which can perhaps best be summed up with Hello Agents of Wakanda, Good Bye Agents of SHIELD!

A central theme to Aaron’s Avengers run has become the transition of America-centric heroes to a more global network of planetary protectors (or at least this stands to become a central theme very soon). As such, the transition from SHIELD, which almost always read as a more fantastical depiction of a combined FBI and CIA, with the Agents of Wakanda is basically perfect, as the latter group culls its membership from all across Marvel continuity, from Gorilla Man to Ka-Zar to some great surprises. Like all Aaron books this one is a slow-burn, well worth it to those willing to invest the time. This one is made even better by the entire Marvel line seeming to acknowledge that yes, this comic is the company’s flagship.

2. Livewire #2
Writer:
Vita Ayala
Artists: Raul Allen and Patricia Martin
Letterer: Saida Temofonte
Publisher: Valiant Entertainment
As I wrote on Twitter immediately after putting this comic down, this young Livewire comic feels like the best X-Men series in years. Valiant’s psiots have long-cribbed parts of the X-Men’s central metaphor, but this is perhaps the purest exploration of it. And writer Vita Ayala with the art team of Raul Allen and Patricia Martin (one of my favorites in the industry) are more than doing it justice.

I often use this column to award long-tenured runs versus the hot new thing. Livewire #2, however, was so good that I threw all of that out the window. It’s a tense, well-told story that really tests its central protagonist. It’s the type of comic that has me eagerly checking the calendar in anticipation of Livewire #3.

1. Ice Cream Man #9
Writer:
W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
Publisher: Image Comics
We’re getting tight on space here (damn my self-imposed 1,500-word limit!), so I’ll keep this brief. Ice Cream Man #9 massively expanded the scope of this series, simultaneously re-contextualizing everything I thought I knew about this book. I thought this was an anthology series, with a few somewhat random appearances of the titular Ice Cream Man thrown in to heighten the sinister ambiance.

And it is some of that. I’ve read Ice Cream Man #10, and the horror anthology construction continues. This issue, however, adds a layer of multiversal, almost biblical consequence to the book that owes more than a little to the works of David Lynch and Stephen King’s Dark Tower. There are three issues left in this series, and I have a feeling Ice Cream Man #9 is not the last time our perceptions of what this comic really is will be upended.

Check out our monthly lists, plus all of our Best of 2018 coverage, here.

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

Welcome to the Age of X-Man Round-Up: Your Guide to Age of X-Man

By Allison Senecal — So! The 10-part weekly series X-Men: Disassembled came, brought Legion and X-Man back to us, and then went, seemingly leaving an X-Men-less Earth-616 in its wake. Regardless of whether you think all ten issues were necessary (I’m on the fence, myself), they certainly succeeded in setting up a comparably more enticing, new era of X-Men comics.

I’m talking specifically about the Age of X-Man event, which started last week and runs through this summer, and Matthew Rosenberg’s new run on the flagship Uncanny X-Men title! AOXM, which consists of six five-part mini-series happening in the same alternate reality, includes a fantastic and diverse slate of rising creators, such as Zac Thompson and Lonnie Nadler, who are showrunning the whole thing. AOXM looks to be a weird, wild riff on Age of Apocalypse, with its own unique aesthetic and premise. As for Uncanny, I’m largely into it because THE NEW MUTANT LADIES (and Havok, I guess) were announced for the main team, but even if you don’t love them as much as I do, I think there will be a lot to love in these comics. I’m hoping even fans disappointed by Disassembled will give one or both a go.

These round-ups, which will be running once a month, will serve as both reviews and as actual honest-to-god round-ups! So you, yes you, don’t have to read absolutely everything if you don’t want to, or maybe you’ll just be titillated enough to try a new series. Either way.

Oh yeah. Cyclops and Wolverine are back, or something! Let’s get the gang back together, eh?

Previously on Age of X-Man

Age of X-Man: Alpha #1
Writers:
Zac Thompson & Lonnie Nadler
Artist: Ramon Rosanas
Colorist: Triona Farrell
Letterer: VC’s Clayton Cowles
Released: 1/30/2019
Imagine a pastel-tinged perfect world populated only by mutants, where the X-Men are revered, the religion is Hope Summers, and every mutant child is cultivated from an early age to value themselves and their powers. Too good to be true, right? Yep. Thompson and Nadler ace plopping us right into this mutant Utopia and following up the warm fuzzies with an immediate sense of unease. Sculpture of the Original Six X-Men? Check, and you heard that right! Six! What? Did you also forget Nate Grey was a founding member of the team? To top this off, the art team perfectly nails the cozy yet sterile Mid-Century Modern vibe, which always makes me at least think of repressed sexuality and TV dinners. Color palette: perfection.

Besides the opening, where we see the new Marvelous X-Men team in action, this is a delightfully quiet world-building issue, which fits the setting and adds to the general atmosphere of cultivated peace, punctuated only by a (purposely) jarring Bishop arrest scene. This is where things get truly gnarly. Jean is re-educated as a result of her and Bishop’s forbidden romance, and X-23 is brought into the team as his replacement. Sense of cultivated peace successfully shattered. Let the Age of X-Man truly commence.

Age of X-Man: Marvelous X-Men #1 (of 5)
Writer:
Zac Thompson & Lonnie Nadler
Artist: Marco Failla
Colorist: Matt Milla
Letterer: VC’s Joe Caramagna
Released: 2/6/2019
Characters: Jean Grey, Storm, X-23, Magneto, Nate Grey, Nature Girl, Colossus, Nightcrawler

Much like Alpha, Marvelous opens on several scenes of serenity, this time domestic and not out in the larger world. Magneto cooking, Nate meditating, Jean reading. Blissful. Even the emergency alerts are tightly managed and seemingly non-taxing for our Marvelous X-Men. There are a few cracks in the facade, though. Nate again appears where he most definitely should not (since when was he a member of Multiple Man’s X-Factor team?) Colossus is painting, but it seems to be Lockheed. Noodle on that heartbreaker. The lowkey best part for me is the palette stays consistent from Alpha to this, and I hope that continues into all the minis. Really lends a cohesive and beautifully muted aesthetic to everything.

Of course, things begin unraveling on what appears to be an otherwise routine mission. Looped throughout the entire sequence is a PA system’s litany of “being alone is harmony“ (and other Nate Grey-isms) and slowly Jean begins to hear a psychic undercurrent of “it’s okay to love “ woven in. Once again, there’s a jarring scene that completely breaks the illusion, but this time it’s X-23 confronting Nate about her mission-interrupting memory of…a sister? After some bonding, Nate admits this is true and they had to be separated, and Laura attempts to attack him before being mind-wiped. During the next day’s leisure activities, Jean again hears the voice from the earlier mission, which turns out to be a psychic resistance rallying call sent by Apocalypse. *Jaws music*

Meanwhile on Uncanny X-Men

Uncanny X-Men #11
Writer:
Matthew Rosenberg
Artists: Salvador Larroca (main), John McCrea (“Wolverine Returns”), Juanan Ramirez (“The Last Blindfold Story”)
Colorists: Rachelle Rosenberg (main and “The Last Blindfold Story”), Mike Spicer (“Wolverine Returns”)
Letterer: VC’s Joe Caramagna
Released: 2/6/2019
Characters: Cyclops, Wolverine, Blindfold, Multiple Man, Layla Miller, Callisto, Chamber, Velocidad

“This is forever.”

This is, simply put, a haunting opening issue. I don’t use that word willy-nilly, but I was in bed for a good half hour thinking about this last night. I tend to dislike the device of telling the same story via different points-of-view, especially back-to-back, but they do it in this issue and it creates a feeling of ever-tightening tension and isolation. All three linked stories are fantastic,  building on each other. I will advise that anyone with suicide triggers should be careful. I feel Rosenberg didn’t make his decisions lightly (though one death was a bit of a throwaway), and I’ve had a couple ugly cries over it, but my two cents are it’s not my business to tell people how to feel when characters die, especially two who are likely favorites to some.

Cyclops is back! And he’s searching for other mutants to join his cause (finding the missing X-Men and fixing everything, because of course), because a world without X-Men is pretty dank. Blindfold eventually finds him and gives a warning. “This is forever.” It echoes through the rest of the issue like a pipe drip you can’t quite pinpoint. Scott hits up other known mutants, including a Chamber-led group in the sewers, and is found by Multiple Man. Jamie warns him about bothering Blindfold, who Scott then finds dead in her home, with the words “this is forever” scrawled next to her. A death-wish leads Scott to an anti-mutant rally and scuffle with Cap, after which he calls attention to himself on national TV and sends a message to other mutants to meet him “where this all began”. Of course he’s ambushed, and saved by Wolverine, leading to a little chills-inducing greeting.

In the next story, events then start from the beginning, this time with Wolverine watching everything from the shadows, and Kid Cable telling him to keep an eye on Scott. Layla Miller tells Logan to find Blindfold if he wants help so he heads down to the sewers where he comes across a rapidly aged Velocidad who tells him Blindfold doesn’t want to be found, of course right before she tracks Logan down and hits him with some ominous conversation. We see the altercation at the end from Logan’s perspective, and his decision to intervene and reveal himself to Scott.

The last story loop belongs to Ruth/Blindfold. We find out she’s won the lottery, getting her out of the sewers, but her powers have been shorting out since the events of Disassembled and she keeps having violent visions. She seems to no longer have a clear concept of past, present, or future. After the previously mentioned exchange with Logan, she draws herself a bath and kills herself, stating she sees she no longer has a future.

Age of X-Man: Alpha #1 provided some STELLAR hooks for the six AOXM miniseries so let’s take a look at what might be next…..

Next Time on Age of X-Man

NextGen.jpg

Age of X-Man: NextGen #1 (of 5)
Writer:
Ed Brisson
Artist: Marcus To
Release Date: 2/13/2019
What is up with that slow zoom-in on Glob’s very haunted gaze? What happens when a bunch of teens and young adults find out not everything is as it seems?

Age of X-Man: The Amazing Nightcrawler #1 (of 5)
Writer:
Seanan McGuire
Artist: Juan Frigeri
Release Date: 2/20/2019
NATURALLY, the handsomest (even without his beard) X-man is a famous actor in this perfect reality. The Cuckoos are his agents. Magma is his stunt coordinator. What could go wrong?

Age of X-Man: The X-Tremists #1 (of 5)
Writer:
Leah Williams
Artist: Georges Jeanty
Release Date: 2/27/2019
Hey, what’s a utopia without a secret police force? *ominous music* Just how much policing do they need to do? Who exactly is Moneta, this new mutant? Why is Bobby wearing suspenders?

Age of X-Man: Prisoner X #1 (of 5)
Writer:
Vita Ayala
Artist: German Peralta
Release Date: 3/6/2019
So where did Bishop go? Here, apparently! What are his fellow inmates in for? What’s up with Dani Moonstar, who is almost definitely in two places at once (here and Uncanny later this month)?

Age of X-Man: Apocalypse and the X-Tracts #1 (of 5)
Writer:
Tim Seeley
Artist: Salva Espin
Release Date: 3/13/2019
Apocalypse?! A GOOD GUY? Basically seems that way….and working with Kitty Pryde? I guess….what the #$%& is going on? Why is he sending subversive psychic messages to everyone?

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

REVIEW: Vindication #1 is a realistic comic steeped in shades of gray

Vindication #1 is out 2/6/2019.

By Zack Quaintance — Mining ideas for comic book stories from current events is nothing new. In fact, I’d wager a guess that a vast majority of creator-owned comics these days (as well as much of the corporate superhero fare) excavate their thematic interests from the news. This is one of the qualities I appreciate most about weekly comics—their production times/release schedules make them the storytelling medium best-suited for processing the real world via narrative. It’s a wonderful thing.

The most common route for comics to go is to take the news and steep it in genre, in horror and fantasy and science fiction. But what if the actual news is sufficiently complex and terrifying? What if an injustice has become so severe, so brutal and hard to accept, that adding vampires or aliens or a realm filled with elves would actually waterdown the impact? This is essentially what Vindication #1 posits through its embrace of total realism. Simply put, everything in this comic feels real, from the world to the plot (culled straight from the headlines) to the understated character moments. And I’m not talking real in the sense of something like The Authority or 100 Bullets or Lazarus, all of which—let’s face it—involve plot conceits that are still incredibly unlikely, even if they’re given grounded, logical treatments.

Vindication reads like a snapshot from the real world. Created by Matt Hawkins (who has made similarly-realistic comics in the past with his series Think Tank) and writer M.D. Marie, this is the first of a four-part series about a police detective who “maneuvers the blurred blue line between racism and due diligence in order to do his job.” Police discrimination against young black men is a major problem in society (and has been for some time), brought to a fever pitch in recent years via the acceleration of video technology, specifically the increased ability of citizens to take/share quick videos with mobile phones. An entrenched and polarized debate has risen around the subject (as it has around so many subjects in America 2019), with part of the country demanding accountability for blatant injustices while others denounce the denunciations, essentially telling activists and protestors to lay off the police.

Perhaps most realistically, there is no clear hero in Vindication. The central character actually appears to be a villain, though the audience doesn’t have all the info it needs yet to make a final judgement. Not quite. This hint of ambiguity makes the story feel realistic, allowing the comic to inhabit a space of cold, logical gray, like a well-made documentary. The lead character is Detective Chip Christopher, who at first blush seems prejudiced and maybe even corrupt. He pushes down a newly-exonerated young black man named Turn in the opening scene, going on to claim he was helping Turn up, which we as an audience know to be a falsehood. The detective is just convinced Turn was guilty. What we don’t know—because the comic shrewdly doesn’t show us—is whether the detective is right. We as readers are given only what the detective himself knows, really, a great choice for the narrative. Things get complicated when one of the jurors who convicted Turn is murdered in an incident that mirrors the crime of which he was originally convicted.

It’s a timely story, and writer M.D. Marie and artists Carlos Miko, Dema Jr., and Thiago Goncalves execute it well. The detailed art mirrors the realistic plotting, and the characters are well-defined yet subtle, with a script that works hard to give even bit players depth. I thought the main character’s new partner, Detective Maggie Cruz, was especially intriguing and strong, the way she approached Detective Christopher collegially but with healthy skepticism. Christopher himself is also given touches perhaps aimed at making him more sympathetic—a partner who was killed, friendly relationships with co-workers of different backgrounds, etc. I’m personally viewing Christopher as a villain at this point, but my sense is that the real threat in this story will end up being human fallibility, which is terrifying when applied to something as complex and consequential as the country’s law enforcement system.   

Overall: A realistic comic that lives in ambiguity and shades of gray, Vindication #1 is a scary look at how individuals influence something as consequential as the justice system. 8.6/10

Vindication #1
Created By:
Matt Hawkins / M.D. Marie
Writer:
M.D. Marie
Penciler: Carlos Miko
Inker: Dema Jr.
Colorist: Thiago Goncalves
Letterer: Troy Peteri
Publisher: Image Comics/Top Cow
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: Daredevil #1 is a subdued, intriguing start for Zdarsky and Checchetto

Daredevil #1 is out 2/6/2019.

By Zack Quaintance — Of all the major corporate superhero writers in comics, Chip Zdarsky—for my money—is the least predictable. Sure, all good stories have twists, and I’m not saying that I know every move that a Tom King or a Brian Michael Bendis or a Jason Aaron is going to make. Far from it. I do think, however, that I know the overall type of story that those and the other major Big 2 writers are generally interested in telling. I can’t really say the same for Zdarsky.

Zdarsky’s interests as a storyteller are varied and surprising, quite frankly. He’s the guy who took what was essentially a throwaway run on Howard the Duck (2015), one he was probably hired to write more than anything for his sense of humor, and turned out as poignant and heartrending of a story about parenthood as I’ve ever read (in the over-sized and in my opinion seminal, Howard the Duck #2). And sometimes just when you think you know what his books might be about—Oh hey, apparently this Marvel 2-in-One run is a buddy road trip through the multiverse—he swerves and throws you an annual that tells the best story in a decade (include everything Hickman did) about Doctor Doom.

This level of unpredictability is what made Zdarsky such an inspired choice for Daredevil, a franchise that has a long history of teasing out career-best work from some of the most celebrated and idiosyncratic writers and artists in all of comics. Everytime a celebrated Daredevil run ends—be it Bendis/Maleev, Waid/Samnee, Charles Soule and his many recent artistic collaborators—I find myself irrationally thinking, There’s no way the next team can do it this well.   

So, this new run brings two major and intriguing questions: how will this team put its on stamp on this character, and where will Zdarsky’s thematic interests take us as he scripts it? This intrigue was on full display in the first issue of the new run, a debut that didn’t feature standard launch trappings like the introduction of a new villain, a massive status quo change, or some other CBR headline-grabbing snap-flash element, the sort that has come to mark blow-out, new creative team, $5 first issues. Zdarsky, Marco Checchetto, and Sunny Gho’s Daredevil #1 is instead a slow-burning affair built on a relatively simple premise: for a hero like Daredevil, is fatigue and an off-day more dangerous than things like assassins or undead ninjas, and are his own motivations his greatest enemy? This is all perhaps well-travelled ground, but so is most everything in superhero comics, and this creative team has earned full trust that they will bring something new to the ideas and character via their execution.

I should also note that this is the type of debut issue in which the creative team is not yet ready to tip its hand. It wasn’t massively decompressed (at least not relative to other comics these days), but it also didn’t seek to overfill its pages, instead dedicating ample space to flashbacks that telegraphed the role Daredevil’s ubiquitous Catholicism stands to play in whatever crisis is coming (a glimpse of which comes at the tail end of the issue), or his much ballyhooed (at least by the Netflix television show) willingness to thrash enemies severely but not kill them. It was an incredibly well-crafted comic, in everything from the art to the dialogue to the scenes it choose to feature, and with the promise of unpredictably looming so large, it’s one that has me excited.

Really, what is most impressive about this issue to me is the sheer variety of thematic spaces the story manages to traverse, any one of which will make for a rich focus in storylines, issues, or other tales to come.

Overall: A top-notch debut that does everything well while paving many thematic roads moving forward. Writer Chip Zdarsky is often unpredictable, and I’m excited to see the scope of his take. The one thing I can predict, however, is that damn fine comic book-making will be on display throughout. 9.0/10

Daredevil #1
Writer:
Chip Zdarsky
Artist: Marco Checchetto
Colorist: Sunny Gho
Letterer: VC’s Clayton Cowles
Publisher: Marvel Comics
Price: $4.99

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: Wasted Space #6 picks up with all the humor and high ideas from its first arc

Wasted Space #6 is out 2/6/2019.

By Zack Quaintance — Wasted Space #6 is the start of this madcap sci-fi comic’s second arc. It’s been five months since the previous issue, and so I’d like to start a recap. Last we saw the Wasted Space crew—self-loathing former voice of God Billy Bane, future-seeing eyes of God Molly, Billy’s best friend the Fuq/Qil Bot Dusty, and Dusty’s rekindled lover The Fury Qil—Billy had just assassinated a galactic dictator, setting into motion the launch of nukes that might start a war that might end existence...and then a massively-powerful balance-bringing force called Legion showed up to tell him that to save the world he had to kill God.

Phew.

That’s where we left off, that’s the status quo, and it’s a status quo that speaks to the many reasons I love this book (see my Top 10 Comics of 2018). As I’ve written, this is a story that has gotten better with each issue, forging a unique thematic aesthetic (something like Star Wars by way of David Foster Wallace) that enables it to make a point about God, political terrorism, and sex robots...all on a single page. I, for one, am ecstatic it’s back.

One of many moments in this issue that cracked me up.

So then, let’s get to the big question: how does this issue compare to all that came before? Well, I can all but guarantee fans of the series will love its return. This issue, of course, pushes the book in a new direction. It basically had to. There was really no other way to do it, seeing as the first arc’s MacGuffin, Devolous Yam, was killed at the end of the fifth issue. The story needs a new object of pursuit, and, without tipping into spoiler territory here, it definitely gets it.

What’s familiar, however, are the book’s two greatest strengths: it’s humor and its ability to synthesize intense feelings stemming from today’s headlines into space opera adventure. The humor is there right from the start, when Legion (the aforementioned all-powerful balance-bringing force) accidentally Of Mice and Mens an innocent dog and realizes that it is indeed possible to love something so much you start to hurt it. The laughs keep coming as the plot progresses too, especially when the reunited Fuq/Qil bots give into their passions.

The commentary is back as well, and it’s as relatable as ever, feeling like writer Michael Moreci took it right from conversations I’ve had personally about America in 2019. Billy Bane (who is by no means a role model, so take his opinions for what they’re worth) has previously bemoaned his complacency in the order that is tearing the galaxy apart, poignantly saying things like, “With enough drugs I could live with the idea that I only kinda sorta played a role in the galaxy’s downturn….because I was scared, because it was easier to downplay my role in the galaxy’s oppression rather than try to make it better and fail.” Or, “If I believed things could change, well, that would put me on the hook to actually do something.”

In Wasted Space #6, Bane criticizes a devious member of the elite class for virtue signaling in order to craft a progressive image that obscures the true nature of what he does to maintain wealth and power, a list that includes supporting violent radicals in order to create chaos that inspires the masses to fall back in line. “But as long as the plebs keep bickering amongst themselves, the tyranny of wealth pretty much goes unnoticed,” this character says. I gave a solemn nod of heavy agreement after reading this line, and it’s really just one example of poignant writing. As has been the case throughout its run, Wasted Space is dense with complex sentiment, yet never at the cost of its story.

Overall: The best space opera in comics is back, bringing the same high level of humor and commentary with it as its cast of characters embark on a new quest. This is one of my favorite series in all of comics, and I’m happy to say it’s as great as ever. 9.5/10

Wasted Space #6
Writer:
Michael Moreci
Artist: Hayden Sherman
Colorist: Jason Wordie
Letterer: Jim Campbell
Publisher: Vault 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: These Savage Shores #3 is a beautiful comic brimming with big moments

These Savage Shores #3 is out 2/6/2019.

By Zack Quaintance — Through its first two issues, a central question of These Savage Shores has been what it means to be civilized, and whether false notions of civilization have long been used by imperialists to further the economic interests of the powerful. It was right there on the opening page of the first issue, wherein the woman asks the man, And what do I know of civilisation. And the man responds with one of my favorite sentences in any comic in years, I hear it is found beyond the water’s edge on fairer shores, where men die with dignity and learn to live with shame.

This line is A. gorgeous, and B. an incredible mission statement for a book, one so intellectual and noble that it enables writer Ram V., artist Sumit Kumar, colorist Vittoria Astone, and letterer Aditya Bidikar to tell a story about vampires in 2019 that feels literary and profound, no easy feat for a genre that has been plunged into the bawdy and salacious (Twilight, True Blood, etc.). This was a sentiment I returned to often throughout These Savage Shores #3, the idea that the book put in the narrative work through its first two issues to earn the big moments in this particular installment...and there are many big moments in this comic.

They are big moments of a varied nature, too. There is combat, on the battlefield in broad daylight no less, after two straight issues in which violence and conflict was largely confined to lonely streets, to dark jungles, to shadows. There are emotional pleas by endangered rulers to essentially stand up to the imperialism that has loomed over many of the characters since this story’s start (since that couple lay in each other’s arms beneath the hummingbirds and overgrown tree waxing poetic. And there is a cost come due for the death that twisted perceptions of what the rest of the series would be back at the end of the debut chapter.

They are big moments that could suck the narrative air out of less sternly-constructed stories. They have, however, all been earned here. This results in an issue that reads at a lightning pace, that keeps readers like myself who spent December and January returning to this story, blazing through its pages, rapt by the early collisions of ideas and storylines. This is also an issue that lets nobody off the hook. It takes its most powerful character, one of the heroes of the story, and puts him into an unwinnable circumstance, leaving him in a place at issues end that promises to truly show the audience who he is, what he is made of, and how he will handle difficult choices now that what he cares most about the world is being tested against his perception of himself.

To be as direct as possible, this is an absurdly-well written comic by any metric, and as usual the visual storytelling of the art team does it justice, bringing to life the moody lurking threats that are now catapulting their way into the foreground to test the characters and their beliefs. It also can’t be overstated that Kumar and Astone are producing some of the finest artwork in any creator-owned comic today, with richly-detailed linework and colors that oscillate from moody to sultry to frenetic. As letterer, Bidikar is also being called upon to add to the experience and is doing so beautifully with narrative boxes that make clear when certain text is a handwritten letter. Just beautiful beautiful work from all involved.

Overall: Each issue of These Savage Shores has been the best chapter in the story so far, and #3 is no exception. A chapter packed with set pieces and hard-earned big moments, this is a comic that makes me feel unbelievably lucky we have this book. 9.5/10

These Savage Shores #3
Writer:
Ram V.
Artist: Sumit Kumar
Colorist: Vittorio Astone
Letterer: Aditya Bidikar
Publisher: Vault 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.


Happy Birthday, Daredevil

Daredevil, the rare character who gained powers after deciding to perform a heroic act.

Daredevil, the rare character who gained powers after deciding to perform a heroic act.

By Andrew Scott — What makes a hero? It’s a simple question with a complex string of not-so-simple answers. If one’s actions are what determines one’s character, though—as F. Scott Fitzgerald posited— then how can we best understand true heroism within the confines of the superhero genre?

The Fantastic Four, Spider-Man, and even Captain America were just in the right place at the right time (or wrong place/wrong time, depending on your perspective). Reed Richards and crew were, let’s face it, kind of dumb to fly into space only to be belted with cosmic rays. Spider-Man was bitten by a radioactive spider during a school trip. Captain America just happened to be rejected as 4F while an Army scientist with kooky ideas was nearby and recruited him into the secret Super Soldier program.

“Matthew Murdock was a hero before he gained his superpowers…”

“Matthew Murdock was a hero before he gained his superpowers…”

The Flash? Freak accident. Superman? Sure, his Kansas family raised him right, but the power of our yellow sun pulses within every one of his Kyptonian cells, whether he likes it or not. Batman’s parents were killed, and his actions are informed by that tragedy, but it’s still something that happened to him.

Mutants are, like Lady Gaga, just born that way. They have no choice. All of those gods and goddesses—well, divinity has its privileges, I guess. And forget anyone who possesses some kind of object that grants them special powers, whether it's an amulet, a ring, whatever.

But Daredevil? Matthew Murdock was a hero before he gained his superpowers because he chose to perform a heroic act. He pushed a blind man out of the way of an oncoming vehicle that was carrying radioactive material. The toxic goo blinded him and enhanced his other senses. But his actions made him a hero first.

Happy birthday, Daredevil.

Check out Andrew Scott’s recent interview with artist Peter Krause, and check back to the site Wednesday for a review of this week’s new Daredevil #1.

Andrew Scott is the author of Naked Summer: Stories. He has written for dozens of outlets. He lives in Indianapolis. You can find him on Twitter: @_AndrewScott.

Comic of the Week: Action Comics #1007 is a must-read chapter in the Bendis Superman run

Action Comics #1007 came out 1/30/2019.

By d. emerson eddy — Last year, Brian Michael Bendis walked across the aisle in terms of Big Two comics publishers. After nearly two decades of shaping the Marvel Universe, he hung up his Spider-tights and donned a pair of red underoos at DC. It was a pretty big deal, probably one of the biggest exclusivity changes we've seen in the past 10 years. Some people cheered, some jeered, some waited patiently to see what would occur. I shrugged, because I wasn't reading any DC Comics at the time of the announcement and wouldn't again until recently. I just knew I was going to miss Bendis' writing on Jessica Jones and Defenders.

Fast forward to late last year, when the temptation for The Sandman Universe and Jinxworld titles became too great. I started with those titles, before giving the broader DC Universe a chance again. Although I may have some trepidation at some bleaker corners of their publishing, I feel like Brian Michael Bendis has become like a shining light for them, a light in the darkness. With the Superman titles, Wonder Comics, and Jinxworld, I feel like he's been rejuvenated. Some of his familiar writing quirks are still there, but not to excess. The dialogue tics and decompressed storytelling approaches are present, but not at the point where they feel overboard. And Cover and Pearl (with the inimitable David Mack and Michael Gaydos respectively) feel like some of the freshest, most inventive work that he's written in years, possibly ever.

It could be the excitement of playing in a new sandbox, but that joy, wonder, and freshness carries over into the Bendis-penned Superman titles as well. People may argue about Superman itself, but I feel like he's nailing Action Comics month in and month out. Action Comics #1007 begins “Leviathan Rises” (or “Leviathan Rising” if you go by the cover) that promises to unearth secrets of the DC Universe, and this is a promising start. There have been hints of things going on since #1001, but this issue starts with a bang when it comes to someone targeting other shadowy organizations. It's a decent hook, but what particularly puts the story over the top here is a personal moment between Lois Lane and her father. I won't spoil it, but it's a conversation that will have huge ramifications and is something that you probably don't want to miss.

Steve Epting joins the series to provide the line art for this arc, a perfect choice. Shadowy conspiracy and espionage-tinged stories are his forte, and he shines here. Despite the brightness of Superman's world, he brings a tinge of darkness from the corners in the attacks on the other secret societies and black ops organizations. Those attacks are also beautifully enhanced by the explosion effects provided by Brad Anderson. It's nice to see the contrast between Superman's bright, bold colors and the darkness of an organization like Kobra as well. I'd also go back to the conversation between Lois and her father, wherein Epting and Anderson play it out like a spy meeting her handler for the first time in years in its composition and coloring, adding a nice tension to the entire scene. And Josh Reed serves as the backbone again for the series with his lettering. There's a quite nice effect with the “Faith to Kali Yuga!” chants.

Overall, Bendis, Epting, Anderson, and Reed provide a good jumping-on point here with Action Comics #1007. Although it does build on what's come before, it's not absolutely necessary to have read since the run started with #1001, giving you more than enough to be hooked by this issue alone. The mystery of the attacks and the character work pretty much make this unmissable if you're a Superman fan. It's also laying some of the groundwork for the future of the DC Universe. I'd suggest getting in now.

Action Comics #1007
Writer:
Brian Michael Bendis
Artist: Steve Epting
Colorist: Brad Anderson
Letterer: Josh Reed
Publisher: DC Comics
Price: $3.99

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 February 6, 2019

By Zack Quaintance — This is pretty much a perfect week for new comics, featuring as it does the launch of multiple exciting new #1 series (the bright shiny new toy to the long-time comics fan) as well as the return of some of the best books on the market right now, including a new arc for Wasted Space and the conclusion of the phenomenal Archie 1941. Plus, books like Die continue to establish themselves as wonderful new comics.

There is, simply put, a lot going on this week, and so here we are as always with a brief guide: Top Comics to buy for February 6, 2019. As is standard protocol, we’ve selected our top 5 (plus a pick of the week), listed the most-exciting new #1 issues, and thrown-in for good measures the others that received votes. The top 5 are more heavily weighted toward books that have already established them, but rest assured, you can’t go wrong this week checking out anything from Female Furies to G.I. Joe: Sierra Muerte. Just choose wisely, there are a ton of stellar comics to pick from.

And now, on to the actual comics!

Top Comics to Buy for February 6, 2019

Archie 1941 #5.jpg

*PICK OF THE WEEK*
Archie 1941 #5
Writers:
Brian Augustyn & Mark Waid
Artist: Peter Krause
Colorist: Kelly Fitzpatrick
Letterer: Jack Morelli
Publisher: Archie Comics
Price: $3.99
Archie Andrews-MIA and presumed dead! His friends and family-devastated! Don't miss out on the conclusion of this headline-making comic event!
Why It’s Cool: It’s a young year, but this is easily a front-runner for the best single issue of 2019 at this point. This entire series—which re-imagines Archie set in 1941 (incidentally the year he was created) during WWII—has been something truly special. With a different sort of fandom than superhero comics but no less an iconic history, Archie Comics as a publisher is generally freer to use its characters for alternate takes, or at least such has been the case in recent years. While the horror comics and Life With Archie have all been interesting, this is the prestige picture in the bunch, a comic with impeccable historical research, a deep emotional core, and unbelievable artwork courtesy of Peter Krause. This is not to be missed.

Die #3.jpg

Die #3
Writer:
Kieron Gillen
Artist: Stephanie Hans
Letterer: Clayton Cowles
Publisher: Image Comics
Price: $3.99
"FANTASY HEARTBREAKER," Part Three: One of the saddest comics in Kieron's career. One of Stephanie's prettiest. Clayton's lettering, of course, remains impeccable.
Why It’s Cool: As we wrote in our reviews of Die #1 and Die #2, this comic is one of the most-exciting new creator-owned books in some years, combining as it does the recent trend of teen D&D nostalgia with the dark lessons of life's hard-lived. Well, this third issue to the book feels like a bit of a thematic pivot. Fantasy has always been inherent to this title (the basic premise is that years ago six friends went into a realized fantasy realm via a role-playing game and only five came out—and now those five have been pulled back in), and this comic looks at some of the real-life inspiration for fantasy as we know it: WWI, which Lord of the Rings progenitor J.R.R. Tolkien himself was a veteran of. Essentially, this is a gorgeous and sadly poetic comic that draws a shattering parallel between fantasy games and stories we enjoy, and the real-life strife that helped to create them.

Justice League #17
Writer:
Scott Snyder
Artist: Jim Cheung
Inkers: Cheung with Mark Morales and Walden Wong
Colorist: Tomeu Morey
Letterer: Tom Napolitano
Publisher: DC Comics
Price: $3.99
After the disastrous events of the Justice League Annual, Martian Manhunter decides to take matters into his own hands and negotiate a peace with Legion of Doom leader Lex Luthor. Traveling to a distant moon, the two enemies face their intertwined pasts in a showdown for the fate of the Multiverse. However, before either of them can lay claim to the power of the Source Wall once and for all, an unexpected threat forces them to unite...or risk death at the ends of the cosmos.
Why It’s Cool: Last week’s Justice League Annual #1 was my favorite issue of the Snyder/Tynion/Cheung/Jimenez Justice League era to date, but it won’t reign long—this one is even better. Since No Justice ended, my favorite element to this complex and grandiose run has been the idea of Martian Manhunter and Lex Luthor essentially captaining their opposing teams in a conflict of ideology wherein both thinks they are doing what’s best to save the multiverse or at least the Earth. This story takes that concept to another level. I won’t go into how, but it’s a sight to behold. Highly recommend this.

These Savage Shores #3
Writer:
Ram V.
Artist: Sumit Kumar
Colorist: Vittorio Astone
Letterer: Aditya Bidikar
Publisher: Vault Comics
Price: $3.99
The stench of war clings to the air as Hyder Ali of Mysore comes calling for the levy. Good men and demons alike are set to march, even as lovers part with the promise of a safe return. But in these troubling times the promise of a hunt brings the devil himself to this faraway coast. Along These Savage Shores where blood begets blood and dawn-light shimmers over a land soaked in betrayal.
Why It’s Cool: Way way too many disparate properties these days are getting compared to Game of Thrones. In fact, I feel like it’s become reductive pop culture short-hand for something I like that’s slightly beyond average scope. But! Try as I might, I can’t help but describe this third excellent issue of These Savage Shores as feeling in scope a bit like Game of Thrones. It just has so many of the elements: large-scale political machinations, alliance building, betrayals, and seemingly inconsequential deaths having ripple effects that seemed destined to have retribution due. These Savage Shores also remains a gorgeous comic, as lush with its artwork as it is lyrical in its dialogue and narrative prose. If you’re not reading this comic, I don’t know what to tell you at this point.

Wasted Space #6
Writer:
Michael Moreci
Artist: Hayden Sherman
Colorist: Jason Wordie
Letterer: Jim Campbell
Publisher: Vault Comics
Price: $3.99
Now officially an ongoing! The whole fam damily is back! Billy visits a crooked politician. Dust and Fury make sweet bot-love in unsanitary locations. A ghost haunts Molly's visions of Rex. And Legion pets a dog. The galaxy is still totally borked, but maybe together they can un-bork it... oh, probably not.
Why It’s Cool: One of my absolute favorite comics of 2018 is back, and it’s at the same high (sorry) level it was when we last saw it. This issue has all the hallmarks of this series: the humor, the high-minded philosophical contemplations, the subtextual commentary on the modern world, and the ever-looming threat of even more space nukes that might destroy the world. It is, in other words, a very very good comic. We’ll have a review of this book later in the week, but know now that each and every one of you should be reading this.

Top New #1 Comics

  • Battlestar Galactica: Twilight Command #1

  • Daredevil #1

  • Female Furies #1

  • G.I. Joe: Sierra Muerte #1

  • Girl in the Bay #1

  • Gunhawks One-Shot

  • Man and Superman 100-Page Super-Spectacular #1

  • Oberon #1

  • Red Sonja #1

  • Vindication #1

Others Receiving Votes

  • Age of X-Man: Marvelous X-Men #1

  • Archie #702

  • Avengers #14

  • Batman #64

  • Conan the Barbarian #3

  • Deathstroke #40

  • Dreaming #6

  • Giant Days #47

  • The Green Lantern #4

  • Immortal Hulk #14

  • Killmonger #4

  • Prodigy #3

  • Self/Made #3

  • Tony Stark: Iron Man #8

  • Wrong Earth #6

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.

Creator Journal: The Stewart Bros. Studio

This piece is the first of a monthly series giving nascent creators a chance to share and document part of their artistic journeys on our site. We’ll be following four individualswriters, artists, writers/artistsfeaturing each on a rotating basis throughout 2019. Future installments will take more of a traditional journal format, giving creators a space to share thoughts and comics. For the intro, however, we’ll get to know each better with a question and answer.

With all that in mind, we’ll cede the space now to our first creators, Bo and Harrison Stewart, brothers from North Carolina who make up Stewart Bros. Studios. Regular contributors to our website, The Stewart Bros. are hard-working comic book writers. Check back the last Friday of next month for a look at our next participant!

From left to right, Bo Stewart, Mitch Gerads, and Harrison Stewart at Hampton CC.

From left to right, Bo Stewart, Mitch Gerads, and Harrison Stewart at Hampton CC.

Q: So let’s start with what are your aspirations for making comics and what is your biggest motivation to get there?

A: Being partners came as a natural extension of being brothers. We’ve always told each other stories. It’s how we communicate and make ourselves understood. It’s as central to our relationship as anything. Over time, we realized that some of these stories (read: the ones that weren’t Star Wars fan-fic) weren’t half bad. And with the right artist, the worlds that had only existed in our minds could be made real and true for others, as real as they’ve always been for us.    

Our motivation is simple: we write comics we want to read. And, perhaps more importantly, we want to make comics we think will resonate with people, but that aren’t currently available in the wider industry.    

Q: Where do you see yourselves at in your career trajectory?

A: We’re focused on building a resume. Anytime you tell someone you’re a writer, you get the same response: “What’ve you written?” You’ll note the question isn’t about being published, but the only way to convey serious intent is with a body of work—proof of concept. This is the part of our career where rubber meets the road.

Networking is also a huge priority. But the fun thing about comics is that networking doesn’t have to be as cold and calculating as in other industries. It’s more like making friends. If you like someone’s work, say so! Being honest and polite takes you much farther than treating people as a means to an end. And eventually, you’ll find yourself with a solid group of peers and collaborators that will give you that extra push on the days you need it (thank goodness for Dave LeNoir).

From Witch Hunt by The Stewart Bros. and Caroline Autopsy.

From Witch Hunt by The Stewart Bros. and Caroline Autopsy.

>>CLICK HERE to read The Stewart Bros. comic, The Witch Hunt!<<

Q: What are some of your short term goals and what are some of your longer term goals for 2019?

A: Short term goal would be putting out our first full-length comic, i.e. 20+ pages. We’ve mostly dabbled in shorter comics, so graduating to a complete OGN would be a huge step forward. The project in question focuses on King Tut. We’re collaborating with artist J Paul Schiek, who nails the vibe we are looking for. We’re really excited to get it in people’s hands.  

Long term, we’re aiming to have a table this year at one of our local cons. Eastin DeVerna, a fellow creator and friend, was kind enough to let us help man his table so we could get a feel for it—an experience we highly recommend to anyone looking to break in. We also have a few additional mini-series we’re looking to get off the ground (possibly through Kickstarter), so stay tuned for updates on those!

Also, “Straw Man.”

From Witch Hunt by The Stewart Bros. and Caroline Autopsy.

From Witch Hunt by The Stewart Bros. and Caroline Autopsy.

Q: One of the most valuable pieces of advice I've ever gotten is there's no harm in not knowing things, as long you know what you don't know. With that in mind, what are some areas of improvement you're currently targeting within comics?

A: Unlike other media like TV or movies, which require large production teams, sequential art is inherently intimate. The only required positions are writer, penciler, inker, colorist and letterer, oftentimes casting creators in multiple roles. The small team mentality is wonderfully liberating, as it leaves only a few degrees of separation between you and a finished product. But as a writer (particularly one who doesn’t double as artist), you can sometimes forget this isn’t a solo act.

Using the art as a genuine means of storytelling and not just pictures to go along with your words can be challenging. Most creative writing classes focus entirely on words. Instruction about how to write for pictures isn’t that common place. So, reintroducing that extra element can feel jarring, as if you’re now supposed to ignore what you’ve been taught. But there is hope: listen to your artist. Trust that when they tell you your words aren’t needed in a given panel, they do so to improve the finished piece, not to take away from your work. We have by no means mastered the art of listening, but it’s an area where we are actively seeking to grow.

From Witch Hunt by The Stewart Bros. and Caroline Autopsy.

From Witch Hunt by The Stewart Bros. and Caroline Autopsy.

Q: Can you talk a little bit about your time management process in terms of working on comics?

A: Um… pass?

No, but time management is probably the hardest part. There’s no perfect solution for how to best use time, which is your most precious asset. But one thing we always try to keep in mind is this: does your action get you closer to your end goal in some way? That doesn’t mean you always have to be working. Even reading a bad comic can be productive if you’re taking time to notice the pitfalls you should avoid. It’s simply a matter of framing your leisure time within the larger structure of where you want to be.

Q: Finally, tell us about the piece you've shared here today…

A: First thing’s first: the fabulous art you see is by Caroline Autopsy. You’ll want to keep an eye on her. We met at a convention and swapped social media after discussing how much we liked her style. And when we saw that she was open for commissions, we started a script. This was our first time writing with a specific artist in mind, and, trust us, it makes a world of difference. It’s much easier to graft words to images when you have a solid idea of what they might look like.

>>CLICK HERE to read The Stewart Bros. comic, The Witch Hunt!<<

As for the piece itself, this was a blast to make. We wanted a simple message that could be slipped into a comedic frame.The news itself (which is rife with comedy these days) provided our answer, or at least the question: does a witch hunt necessarily preclude the existence of witches? With that, we were off to the races.

We’ve been asked how political the piece was intended to be. But in our view, that depends entirely on the reader. The term “witch hunt” existed long before current events and will probably be here long after. The underlying theme we wished to convey was simply a warning against allowing good intentions to blind oneself to clear and present danger. With that in mind, we hope you enjoy this little ditty from us, Caroline and our excellent letterer, Matthew Gallman!     

You can find more of The Stewart Bros. work here! And you can follow them on Twitter at @stewart_bros.

Check back next month to meet the second of four creators participating in this series!

The Saga Re-Read: Saga #26, to fight or not to fight?

Saga #26 was originally released 3/4/2015.

By Zack Quaintance — Saga #26 is almost—but not quite—one of those comics that seemed bent on making its readers mentally decide what they would do in a given situation...would they accost the man robbing the convenience store or fade into the back and hope he doesn’t notice them? Would they fight the dragon monsters trying to eat them or listen to the little girl suggesting they should talk? Would they stab the TV-headed terrorist in the neck with the shiv or join his anti-establishment revolution?

Okay, so maybe these aren’t all relatable within the context of our everyday lives (and I’ll go into what I think they mean later), but there is a shared question to them all: would you use violence or try to find another way? This isn’t a novel question within the context of the series. Hell, in some ways this is a war book, meaning would you fight is the question all along, but this issue embraces the episodic format and uses that question to show readers more about each character. This, I must admit, is yet another little bit of craft I didn’t notice my first time through.

Now on to the rest of it...

Saga #26

Here it is, the official preview text for Saga #26, which was first released alllllll the way back on March 4, 2015, which means I would have still been living in Austin, Texas and gearing up for South by Southwest, which is that city’s Mardi Gras. Ah, memories....

Gwendolyn's quest takes an interesting turn.

Well, hot damn! After not getting much (or really any, excepting the last issue) of Gwendolyn and The Will in the last arc, this new one is a veritable bonanza of continuing their story. I’m there for it. I like them well-enough and love (as regular readers well know) Lying Cat as a narrative device. Anyway, onward to the individual elements!

The Cover: Another busy cover with a lot going on, and I hadn’t even recovered from the hella busy cover for Saga #25 yet! But yes, this cover is packed. The main thing is, of course, Gwendolyn using a wooden staff to prop open some lizard beast’s mouth as it tries to eat both her and Sophie. I kind of like Lying Cat looming over and side eye-ing the whole deal, but, overall, this isn’t one of the more memorable Saga covers for me.

The First Page: Whoa whoa whoa! Another first page split into panels. Memory is a funny thing, like a boat filled with holes plugged by assumptions. For my part, I guess I’d assumed that the entirety of the series was all one-panel splash pages openers. I certainly think now that the series will get back to it at some point, but can you really trust me after that last confession? Probably not. Anyway, this one is a bit of a trope: Marko shopping in a convenience store in the middle of a robbery—something that happens to a strong majority of fictional characters but never to anyone I’ve ever met in real life. This does that always-interesting Saga thing of directly juxtaposing the fantastical and alien with familiar activities or imagery from real life.

What would you do?

The Surface: Marko goes on to break up that robbery in a fit of violent rage (more on that in foreshadowing). Marko’s not the only one who has to face down a tense situation. Alana, Marko’s mom, and Hazel are all still hostages of Dengo as the Revolution arrives, while Gwendolyn, The Brand, Sophie, and Lying Cat are on the brink of being eaten by a bunch of dragon mares (as they search for a bull dragon to get The Will medicine he needs).

The Subtext: The metaphor here has much to do with the way raising children means you spend time with odd adults you might otherwise never met. It’s not the most subtle point, though, given that Hazel’s own narration basically comes out and says that, as it is often wont to do with this series’ subtext. In a larger ideological sense, the subtext in Saga #26 has to do with perspective. Meaning, from one perspective the Revolution might look like freedom fighters, but from another terrorists. With the media manipulation we’ve dealt with so thoroughly in recent years, this is a topic that should resonate as much (if not more) today than it did when this comic was new almost four (!!) years ago now. There’s also a question raised that I think about a lot, which is does combating powerful opponents justify extreme tactics? Like the best fiction, the book leaves the answer largely to the reader’s interpretation.

There’s other, more prominent, subtext here as well that serves as a double commentary on gender roles, toxic masculinity, and the way violence begets violence. The majority of the male characters in this story have often resorted to violence. Marko does so again to solve his robbery problem, Prince Robot IV is a very violent character tormented by visions of his now-dead wife, who Dengo (yet another male character) is torn with guilt over murdering. Our central female protagonists, meanwhile, solve their problems with diplomacy...eventually. Lending this issue that commentary (although Gwendolyn and Alana were both leaning toward committing violent acts when something else got in the way).

The Art: Like last issue, there aren’t any jaw-dropping splashes or massive holy sh%t visuals, but this is another dense script that asks Staples to often fit in panels that could have been a splash...and she does so seamlessly. Below you can find an example of a couple pages that really tickled the part of my brain reserved for absorbing stories (weird)...

This whole sequence had enough action for multiple splash pages.

The Foreshadowing: Jeez, forgive me for not being all that careful of a reader, but I hadn’t realized just how many times we saw Marko give in to a fit of uncontrolled violent rage that starts out being maybe a bit justified and then ends with him going way over the line. This issue certainly has some of that, with Marko assuming a pose that almost directly mirrors the one we saw him take in Saga’s most recent issue. He even goes into a bit of a fugue here before we see him put his foot down about no killing (more of that comes later too). Oof. I’m getting busted up all over again...

Saga #26
Writer:
Brian K. Vaughan
Artist: Fiona Staples
Letterer: Fonografiks
Publisher: Image Comics

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 New Comics January 2019 - Naomi, Guardians, and Young Justice

By Zack Quaintance — Regular readers will know this is the column wherein we look at the best new comics from January 2019, specifically one-shots and new #1 issues. They may also notice that I’ve cheated this month, selecting six comics for my usual top 5. First of all, I set the rule so I’m kind of like, oh well. Second, I expanded that section this month so that it wouldn’t be pretty much all Big 2 superhero comics, and I don’t think that’s ever a bad thing.

The good problem that I had this month was that both Marvel and DC launched a pair of super high-quality comics that I couldn’t leave out of my top five, with Guardians of the Galaxy and Invaders coming from Marvel, and Naomi and Young Justice from the Distinguished Competition. So yes, it was a great start to the year for fans of superhero storytelling. In fact, I may write a full piece about this sometime soon, but I think we’re in one of those rare periods where both of those publishers are putting out generally stellar work. But that’s a topic for another time.

Today, let’s get on with our look at the best new comics of January 2019!

Quick Hits

As d. emerson eddy noted in his Comic of the Week feature, Buffy the Vampire Slayer #1 is accessible and entertaining even to readers who may not have seen the old show...a group that embarrassingly includes me. That said, I thought this book was fantastic.

Another TV-based book I thought was fantastic? Adventure Time: Marcy and Simon #1 by Olivia Olson and Slimm Fabert. I’m a huge Adventure Time fan, and thought this book—which is set after the TV show ends—more than did the source material justice.

Let’s keep the transitions rolling and note that another book that more than did its source material justice was the new Conan the Barbarian #1, from Marvel, which was also a Comic of the Week pick this month.    

A little less exciting (at least for me) was Marvel Comics Presents #1. I still like this format—prestige creators telling short, one-off stories about the Marvel Universe—but other than the fantastic Namor story, this first installment was pretty average.  

Friendly Neighborhood Spider-Man #1.jpg

There were a couple nominative #1 issues this month with the Uncanny X-Men and Justice League annuals. The former was a character-driven story that minimized the weirdness of Cyclops coming back, and the latter a grandiose space opera epic that clarified some points about what’s happening in Justice League and why.

Another great Big 2 #1 was Friendly Neighborhood Spider-Man, which got even better with its second issue. Full review of the debut here.

Another comic I wrote a full review of was Oliver #1 by Gary Whitta and Darick Robertson. It’s a post-apocalyptic story with only a loose connection to Oliver Twist. I recommend it.

And one more review comic, Wyrd #1! You can read my full thoughts via the link, but this is a book that has all the hallmarks of the start of a special run.

Finally, I liked Barbarella / Dejah Thoris #1 well enough, but I overall recommend paying attention because the series’ writer, Leah Williams, is on the rise and it’ll be interesting to see how earlier work like this compares to later stuff.

Top 5 Best New Comics January 2019

Criminal #1.jpg

Criminal #1
Writer:
Ed Brubaker
Penciler: Sean Phillips
Colorist: Jacob Phillips
Publisher: Image Comics
Price: $3.99
Read our full review of Criminal #1!

Ho man, what have we as contemporary comics fan done to deserve a team as talented as Ed Brubaker and Sean Phillips (joined here with colors by his son Jacob Phillips)? Seriously, the comics these guys make are almost too good. I read Criminal #1, which was an over-sized issue, with such an intense focus that I don’t think I liked up once until I was entirely through out. It’s that immersive.

Contributing writer Bo Stewart really summed up why it works so well in his review, but I’ll just reiterate again in brief: these are two masters of the craft working in tandem with a level of alchemy that is perhaps unprecedented. Do yourself a favor and read this comic.

Guardians of the Galaxy #1.jpg

Guardians of the Galaxy #1
Writer:
Donny Cates
Artist: Geoff Shaw
Colorist: Marte Gracia
Letterer: VC’s Cory Petit
Publisher: Marvel Comics
Price: $4.99
Read our full review of Guardians of the Galaxy #1!

As regular readers of the site may be aware, Donny Cates and Geoff Shaw’s Thanos Wins was one of our top comics of 2018, and now it’s essentially being continued in Guardians of the Galaxy. Of all the writers at Marvel—even the long-tenured vets—Cates arguably writes the best new #1 issues, and this one is no exception. It establishes a killer premise, gleefully speeds through it in grandiose fashion, and leaves the reader fondly looking for the release date of the second issue.  

As with Criminal, we also ran a full review that elaborates in greater depth on this comic, so I will again keep it brief and just note that I’m not even all that big a fan of Guardians of the Galaxy, and yet the continuation of this series just became one of my most-highly anticipated comics of 2019. So, yeah.

Invaders #1.jpg

Invaders #1
Writer:
Chip Zdarsky
Artists: Carlos Magno with Butch Guice
Colorist: Alex Guimaraes
Letterer: VC’s Travis Lanham
Publisher: Marvel Comics
Price: $4.99

I’ve always liked Invaders more as a concept—the team of Golden Age Marvel characters that fought for the allies in WWII—more than I have in modern execution. Their stories have always felt like nostalgic throwbacks, inherently dated. This new comic, however, essentially flies in the face of that, with a first issue that seems to promise an exploration of the old times that will take us to modern places that are new.

How, you may wonder, does it do that? Well, if you’re so curious you really ought to read the actual comic, which, believe me, is very good. Chip Zdarsky is Marvel’s most nuanced writer. He may not write the flashiest stories (ahem, Donny Cates) or the best long-form narratives (Jason Aaron), but he’s the most likely writer in the Marvel stable to surprise and to land big emotional moments. This issue, which ends with a cliffhanger rooted in the past, gives every indication Invaders will be well worth readers’ time.

Naomi #1
Writers:
Brian Michael Bendis & David F. Walker
Artist: Jamal Campbell
Letterer: Josh Reed
Publisher: DC Comics
Price: $3.99

We don’t play favorites in this section, but, truth be told, Naomi #1 just might be our favorite new comic of the month. It takes a new approach to DC Comics most iconic heroes in a few ways. It takes us to a new town we’ve never seen (a hip, semi-rural enclave in Oregon), it gives us a young girl we don’t know (yet), and it dives deep into her point of view, how she sees Superman and what as an adoptee herself she sees to relate to, as well as why.

There’s a mystery that seems destined to end with Naomi growing into a superhero, maybe even a Kryptonian or Superman analog herself, but moreover, there’s just a really solid human story here. Whereas Marvel has basically an entire universe of everymen and everwomen, that has never been DC’s strength. Naomi is looking to fix that, and I for one am hella excited to see where this comic is headed. Oh, and Jamal Campbell’s artwork is absolutely stunning.

Peter+Cannon+Thunderbolt+#1.jpg

Peter Cannon: Thunderbolt #1
Writer:
Kieron Gillen
Artist: Casper Wijngaard
Colorist: Mary Safro
Letterer: Hassan Otsmane-Elhaou
Publisher: Dynamie
Price: $3.99
Read our full review of Peter Cannon: Thunderbolt #1!

Wowzer, did this comic catch me by surprise! I—embarrassingly—had no familiarity with Peter Cannon: Thunderbolt as a property. I did not realize he was one of the original characters from Charleston Comics that the Watchmen characters were later based on, and I certainly didn’t know the rights had gone up for grabs and become property of Dynamite. That said, I love what Kieron Gillen and Casper Wijngaard seemed to be engaged in after this first issue.

You know the drill—more thoughts in our review—but this has a last page that all Watchmen fans will be interested to read. It could ultimately end up being a very nice counterpoint to Doomsday Clock.  

Young Justice #1.jpg

Young Justice #1
Writer:
Brian Michael Bendis
Artist: Patrick Gleason
Colorist: Alejandro Sanchez
Letterer: DC Lettering
Publisher: DC Comics
Price: $4.99

The Brian Michael Bendis-curated Wonder Comics imprint has arrived, and it is...well, wonderful. Young Justice #1 was the inaugural issue for the new imprint, and if this is the tone these books are looking to strike, well done. It’s fast, funny, and bent on being very tongue-and-cheek with DC continuity. It’s exactly the sort of in-universe lighter imprint DC needs, what with the other parts of the line seeming to perpetually bend back toward dark and gritty.

The most interesting thing about this individual story though, is the way it plays with continuity. It seems to know that readers have questions about the current status quos of characters like Impulse, Connor Kent, and Cassie Sandsmark, which by extension plays to more questions about what from the New 52 counted and what is wiped away. This is the central mystery the comic is built around, and it’s a really intriguing one, to be sure.

Check out more of our many monthly lists here.

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

Thirsty Thursdays January 2019: A Thirsty New Year

By Allison Senecal — Superhero comic art has evolved at a really impressive rate in recent years...so much so that sometimes it can be a lot to handle. First there’s excitement, obviously, but then that excitement turns into something else...which is why each month we’re running our Thirsty Thursday rankings, a new and different way to look at our favorite comic art. Welcome to a sporadic examination of (as the kids say) the month’s thirstiest comics.

Enjoy!

Artist: Mahmud Asrar       
Colorist: Matt Wilson
Conan the Barbarian #1 - I came into 2019 praying that the new Conan line from Marvel would deliver the goods every month, and so far it’s batting a thousand. It’s sexyyyyyyyyyyy. Here’s hoping Asrar and Wilson get to give us their take on Bêlit before they’re done. 💦💦💦💦💦 out of 5

Conan, what is best in life?

Conan, what is best in life?

Artist: German García
Colorist: Addison Duke
Barbarella/Dejah Thoris #1 - It’s been weeks and I still can’t shut up about how gorgeous and charming this damn opening issue was. García and Duke’s Dejah Thoris is the best iteration of the character I’ve ever seen, and they aced Barb’s whole vibe as well. The ideal blend of cute and sexy, with pitch perfect banter from Williams that I assume will only get better in future issues. 💦💦💦💦💦 out of 5

I hope someone brought water to this team-up because a thirst warning is in full effect!

Artists: Carlos Magno and Butch Guice
Colorist: Alex Guimarães
Invaders #1 - NAMOR! So much Namor! And Steve in a military jacket! NAMOR IN A SUIT! Bet y’all didn’t think Invaders could be a sleeper thirst series of 2019, but this art team is here to prove you wrong. 💦💦💦💦 out of 5

This guy on the left?…SAME.

Artist: Iban Coello
Colorist: Andres Mossa
Man Without Fear #3 - Tough to pick one issue of this series to highlight, and the whole thing was a Sad Matt™ thirst trap, but Coello and Mossa served up the saddest, sweatiest Matt so #3 it is. 💦💦💦💦💦 out of 5

Oh my dear dear Sad Matt™…so sad, so sweaty.

Artist: Juann Cabal
Colorist: Nathan Woodard
Friendly Neighborhood Spider-Man #2 - I know this series is about SPIDER-MAN, but Johnny Storm is babysitting in this issue! I don’t even like kids, but every time Johnny is adorable with them I feel that cynical void inside me whisper “oh %$#&”. 💦💦💦💦 out of 5

I think we all need a lot of things, Johnny.

Artist: Sana Takeda
Monstress #19 - A new crossbow wife???! I keep thinking Sana Takeda is done giving me MORE women with the best designs to swoon over but...Yafaela! 💦💦💦💦💦 out of 5

Is this a type? Can this be a type? I think this is my type…

Artist: Ramon Rosanas
Colorist: Tríona Farrell
Age of X-Man Alpha #1 - Rosanas and Farrell absolutely killed it on this. The character designs (largely courtesy of Mike Hawthorne) are all super swoony and it took me about 40 minutes to read because I kept lingering on every page. I’m sure you’ll be hearing more about Nightcrawler, the X-Tremists squad, and Prisoner X here at some point (okay, many points). 💦💦💦💦💦 out of 5

Clearly, this is the thirstiest timeline.

Artist: Adam Kubert
Colorist: Frank Martin
Captain America #7 - *drags hand down face* Steven Grant Rogers. I just want to thank everyone from the bottom of my heart for the cute sweater. That is all. 💦💦💦💦💦 out of 5

The right of people to choose…how hard they totally flip for freaking CAP IN A SWEATER.

The right of people to choose…how hard they totally flip for freaking CAP IN A SWEATER.

Artist: Caspar Wijngaard
Colorist: Mary Safro
Peter Cannon: Thunderbolt #1 - I admit — and maybe this hurts my journalistic integrity in regards to this column about thirsty comics art — this is the first comic in a long time I purchased purely as a thirst read. Gillen knows it!! He compared it to Dream Daddies in a solicit, for God’s sake. I don’t know #$%& about the Thunderbolt property but 1. this was a fantastic first issue, and 2. Peter and Tabu (and Nucleon???!!) are hot. 💦💦💦💦💦 out of 5

I’ll have a glass of that too because this book is seriously thirsty.

I’ll have a glass of that too because this book is seriously thirsty.

Sorry ahead of time for the panel by panel breakdowns of Daredevil #1-2 next month. You may think I’m kidding, but am I?

Check out The Thirstiest Comics of December.

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

REVIEW: In Amazing Spider-Man #14, Nick Spencer and Chris Bachalo payoff plots from the first issue

Amazing Spider-Man #14 is out 1/30/2019.

By Zack Quaintance — It is perhaps telling of exactly how old I am that to me Chris Bachalo is an artist that reminds me of how comics used to be, which is a phrase I think everyone uses to describe the time they first got into the hobbie. Simply put, Bachalo was huge when I was a new reader, helping to launch Generation X (the start of which was still a few years before my time), before moving over to help with some of the main X-titles, maybe even drawing Uncanny for a while as Grant Morrison and Frank Quitely did their thing on New X-Men.

Anyway, this is all a means to say that Bachalo is an absolutely perfect fit for a fill-in artist on Nick Spencer’s Amazing Spider-Man run, which is playing out holistically as a series as another example of how comics used to be, at least back in my day. This entire issue—from the art to the narrative construction to the use it makes of continuity—really feels like just a bit of a throwback to a different time, as has this run overall. The clearest example of this is that these Amazing Spider-Man comics are pretty clearly not written for trade compilations, not even a little bit.

You can really see it in this issue, which is 14 issues and six months into the run...and just now playing out pretty minor narrative threads that were dropped loosely into the background of Amazing Spider-Man #1, specifically thinking here of Peter’s offer from Conners. Now, not to sound like that old guy, but this is something that was once commonplace, back when stories weren’t conceived in six-issue bursts that should leave it all on the page lest the market dictate a sudden ending.

And the Connors thing isn’t the only bit in this issue drawn from #1. The conflict with Taskmaster and Black Ant was also seeded way back, possibly in the same scene with The Lizard (though I’d have to go back and verify to be certain). This is all well and good, and I like it because it scratches my long-form narrative itch as a reader. I think it’s an especially good thing for a book like Amazing Spider-Man, that publishes every other week. There really isn’t a need to so clearly define story arcs when the next chapter is generally 13 days away when you finish any given issue. The book should flow from plot to plot, carrying with it remnants as it moves into new territory. That’s certainly what Spencer and his artistic collaborators, whether it’s back in the day Chris Bachalo or regular series linework provider Ryan Ottley.

In terms of an individual read, this is a dense one, with multiple narrators, long conversations, and some pretty strong ideas jockeying for position, be it Aunt May’s disgust at her deceased husband’s sleazy accountant, or The Lizard’s son heartbreakingly wanting to just be a regular kid. There are so many emotional beats in this issue that it fades into a cacophony of feelings at times, making it hard for any one to move to the forefront and land with major resonance.

For me as a reader, that’s a great problem to have, especially for a comic I’m paying $8 a month to keep up with.

Overall: A dense issue of Amazing Spider-Man, packed with bits of continuity, big feelings, and payoffs to plot threads that have been dangling since the first issue. This series continues to have a narrative construction that calls back to times when stories weren’t written for trade, and it’s refreshing. 8.4/10

Amazing Spider-Man #14
Writer:
Nick Spencer
Artist: Chris Bachalo
Letterer: VC’s Joe Caramagna
Publisher: Marvel 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: Ice Cream Man #9 changes everything you knew about this book

Ice Cream Man #9 is out 1/30/2019.

By Zack Quaintance — Whoa. This issue was nuts, in the best way, and I’m going to do my best to not tip into spoiler territory here. However, I make no promises. So, if you really want to avoid any and all chance of spoilers, I encourage you to skip to the Overall section of this review down at the bottom for a spoiler-free word about whether you should buy this comic. If you have read Ice Cream Man #9, well friend, strap in, because this is about to get wild.

Ice Cream Man #9 up-ended my perception about the scope of this comic. It also sent me back through all eight of previous issues looking for clues. And you know what I found? Tons of them, along with a new sense of what this book is accomplishing. As I wrote in my review of Ice Cream Man #8, I thought this series was a commentary on instant gratification of the soul, on giving into easy feelings of fear and anxiety versus doing the difficult self work it takes to be optimistic, contented, happy. And it is that, to extent, but it’s also quite a bit more.

Ice Cream Man is a book telling an overarching story despite on its surface largely appearing to be an anthology series, albeit one with light connective tissue. The spider from the first issue here, a cop we vaguely know there, plus the titular Ice Cream Man and his weird enemy cowboy guy. A closer look, however, reveals that all along there has been a battle raging between two ancient polemic forces, one of malicious chaos and another that just wants folks to know we’re all friends, all connected, all just trying to live our peaceful lives.

To tell that story, writer W. Maxwell Prince, artist Martin Morazzo, colorist Chris O’Halloran, and letterer Good Old Neon have tapped almost every unique quality inherent to the monthly comics medium, ranging from the slow nature of the release schedule (used to draw the focus to the vignettes, rather than the forces in the background) to juke readers on the format of the narrative to the lettering, which is shaded white in boxes for the evil monologues and black fro the good. This comic has been a true work of patient serialized art, and now in Ice Cream Man #9, the creators are pulling what this book is really about from the background to center stage. And, to be crass, this sh** is f***ing epic.

I read this issue twice. The first time intrigued but bewildered. Then I went back and browsed previous issues for every appearance of the Ice Cream man, and I read it again. That time, I was absolutely blown away at what the creative team is doing. With that in mind, it is perhaps fitting and intentional that in Ice Cream Man #9 the old man character in this story tells the black-clad cowboy Caleb, End, beginning. It’s all the same, because Ice Cream Man is a comic built with no distinct start or end point. It’s a fluid story that demands repeat readings to really grasp its nature. At least the first eight issues play that way.

This issue pushed me to look back and also forward, seeding questions with every new reveal as if it were the work of David Lynch, who is a pretty clear influence on this whole deal, what with the idea that below the idyllic surface of life is bugs, as well as the counterpoint—we’re all the same and connected—which is rooted in Lynch’s beloved transcendental meditation and its universal field. But I digress and I’m getting long-winded here anyway, so let’s wrap things up...

Overall: The end of the beginning of the beginning of the end. An absolutely mind-wrecking read that suggests a more grandiose story than initially promised. Get past issues of Ice Cream Man nearby, because the creators have built something complex and subtle that will re-wire your perception of this series. 9.8/10

Ice Cream Man #9
Writer:
W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
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: Wyrd #1 is a pastiche of classic comics atop some new truths

Wyrd #1 is out 1/30/2019.

By Zack Quaintance — Dark Horse Comics’ new original series Wyrd is a pastiche of classic comics ideas used to uncover deep truths about country, contentment, and feeling out of place in a harsh world. Wyrd is a dash of Mignola, a healthy serving of the most twisted Captain America you’ve ever seen, and a foundation of a main character whose attitude has more than a little in common with John Constantine from Hellblazer. But in between all the homage, a unique writer’s perspective shows through.

That writer is Curt Pires, and in this comic he spins some of the best writerly dialogue in recent memory. There are nice turns of phrases throughout, usage of prose that would hold its own in grad school level creative writing workshops (as much as any prose ever does in those cruel things). Two examples stuck in my mind most clearly after reading. And I’ll get to them both, but first a brief summation of our plot.

Our main character is Wyrd, a freelance monster hunter/weird shit handler for the U.S. government. In this first installment, we learn that he’s troubled, maybe even suicidal, before seeing him shipped off overseas to hunt a super soldier out of control. It’s a relatively simple story in setup but not in execution. Within this solid framework, Pires and his artistic collaborators Antonio Fuso and Stefano Simeone do some seriously heavy lifting with mood, aesthetic, and tone.

Fuso and Simeone’s artwork gets pretty gruesome at times. I’m not always one to appreciate a violent comic, but I had no issue with the way harsher visual storytelling was deployed here. In other words, the proceedings never tipped into gratuitous or repulsive. There are in-set panels a plenty showing the damage Wyrd incurs as he fights, but all of them are necessary to establish his regenerative abilities (add Wolverine to our pastiche, btw). Simeone’s colors push the visuals a step further, especially in the flashback scenes that use a duller set of shades without deploying the sepia cliches. Wyrd #1 is by design a grizzly and rough-looking comic, and that’s good, it should be.

The forlorn beauty of this book is in its language. Let’s get to those promised bits of writing that really stand out. The first is the monster at one point telling Wyrd, I can see through you. Transparent. You’re a ghost in a man suit. A black hole covering memory. It makes sense in the plot but one also gets the impression that Pires might just feel that way period and is using this as a chance to express it. It’s these little gold coins that lead readers throughout the comic.

The second is the gorgeous soliloquy at the end about the joy and hope a child represents in the world. It’s a subtle moment. I might even call it understated if it didn’t serve as a coda for everything that came before, and I absolutely loved it. Wyrd’s self-destructive drinking and sarcasm would run the risk of feeling too familiar if it wasn’t bookended with the poignant reason for his discontent. A great decision by the storytellers that sets up a fascinating series moving forward.

Overall: Wyrd #1 is one part deep comics pastiche and one part introspective look at a troubled man, likely at a point in his (too long) life where he’s lost any belief in the systems. This is a solidly-constructed comic that might just grow into something really special. 8.2/10

Wyrd #1
Writer:
Curt Pires
Artist: Antonio Fuso
Colorist: Stefano Simeone
Letterer: Micah Meyers
Publisher: Dark Horse 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: Peter Cannon Thunderbolt #1 is a superhero romp with a provocative end

Peter Cannon: Thunderbolt #1 is out 1/30/2019.

By Zack Quaintance — If you do not follow my instructions precisely, this planet will be dead before the day is out...but the task is not impossible. This is a mission statement for the comic and also a telling look into the personality and capabilities of the the protagonist—Peter Cannon: Thunderbolt. Which is all well and good for a reader like me, who is only vaguely aware that the character has a long history (dating back to 1966, turns out), created by legendary comic book writer/artist Pete Morisi for oddball Charlton Comics. Incidentally, as interested as I am in the history of DC Comics, I did not know the character had ever cropped up there, but he has. I did know he was the inspiration for Watchmen’s Ozymandias, which will come into conversation later, but I digress...

So, what’s up with this new Peter Cannon: Thunderbolt comic book then? Well, it certainly has the right creative team, or at least one that I’d deemed A List. Kieron Gillen is one of the bigger names in monthly comic book writing, having worked on a number of beloved runs at Marvel Comics as well as notable creator-owned books liked The Wicked + The Divine and, most recently, Die (which rules, btw). Providing the art is Casper Wijngaard of the severely under-appreciated creator-owned comic, Limbo, and his work is brought to such vivid life here by colorist Mary Safro.

This is, indeed, a very visual comic book, which sounds odd to say about a medium that’s always very visual, but it’s true: this book brims with gorgeous splash panels, drawn by Wijngaard and Safro. In fact, more than any of Gillen’s other recent new books—his work on Star Wars, Die—it feels like he spends much of this comic trying to get out of the way here, letting the visuals carry readers through the rudimentary stuff, the introductions to the world, the people, the threat it faces, and the way Cannon is almost immediately able to concoct a solution.

Gillen really makes his presence felt at the end, however, when he shows his hand and unveils the conceit of this comic: this book borrows pretty directly from the plot of Watchmen in some really crucial ways. Not to go too far into spoiler territory, but both the reason the threat has come to Earth and the person who sent are essentially right out of the pages of Alan Moore and Dave Gibbons’ seminal comic. This has been a controversial artistic move in the past when done by the property’s actual corporate owners, DC Comics, but I imagine (relatively) small fry dynamite and indie comics good will hoarders like Gillen and Wijngaard will be given the leeway to tell an intriguing story with this concept. Besides, Ozymandias himself was essentially borrowed IP from the original Peter Cannon: Thunderbolt, which sends my mind down an infinite rabbit hole just thinking about it.

Overall: A pithy and entertaining read with some nice throwaway commentary for much of its duration, the real promise and potential of this comic becomes clear in its final pages. For long-time students of comics as well as recent die hards who’ve looked back even a bit, I highly recommend giving this debut issue a shot. 9.2/10

Peter Cannon: Thunderbolt #1
Writer:
Kieron Gillen
Artist: Casper Wijngaard
Colorist: Mary Safro
Letterer: Hassan Otsmane-Elhaou

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.


Top Comics to Buy for January 30, 2019

By Zack Quaintance — Ah! Here we are on the first fifth Wednesday of the year. Jeez, 2019 really wasted no time in giving us one of those to deal with. Luckily though, this fifth Wednesday is a bit atypical. DC Comics didn’t ship any new books for the fourth Wednesday in December, effectively bumping a ton of titles to this one and making it seem a bit less unusual. So, there’s that little nicety.

And, as usual, the other publishers put out plenty of nice titles too! In our Top Comics to Buy for January 30, 2019, we have another diverse group of titles, coming from publishers ranging from the Big 2 to Dynamite to Image. We’re a bit heavier on the superhero stuff than usual, but, also, Ice Cream Man #9 is so totally bonkers that it makes up for any feeling of staid cliche that might arise from the other choices. Seriously.

Enough banter, though! Let’s move onward to this week’s top comics!

Top Comics to Buy for January 30, 2019

*Pick of the Week*
Peter Cannon: Thunderbolt #1
Writer:
Kieron Gillen
Artist: Casper Wijngaard
Colorist: Mary Safro
Letterer: Hassan Otsmane-Elhaou
His level of genius is matched only by his heroics, and in humanity's darkest hour, he's the hero they need the most-alas, poor humanity.  Peter Cannon-the man known as Thunderbolt-is only too happy to leave civilization to face its end. Kieron Gillen (The Wicked + the Divine) teams up with powerhouse artist Caspar Wijngaard (Doctor Aphra) as he returns to the superhero genre with a dark, humorous and relentless love song to the genre. Well, "Love Song" in a Leonard Cohen Love Song kind of way. Peter Cannon, Thunderbolt: saving a world he hates.
Why It’s Cool: We have a review coming tomorrow that will explain the coolest of this book in much greater depth, but, simply put, this is just a great comic. It reads really well, created as it is by major talents like Kieron Gillen, Casper Wijngaard, and Mary Safro. Moreover, the last page reveal sets up an absolutely intriguing premise that I for one cannot wait to see play out. I didn’t really know what to expect from this title going in, even though I like the creative team. Now? Totally hooked.

Action Comics #1007
Writer:
Brian Michael Bendis
Artist: Steve Epting
Colorist: Brad Walker
Letterer: Josh Reed
Publisher: DC Comics
Price: $3.99
The Kobra Cult conspiracy ensnares Daily Planet photographer Jimmy Olsen, drawing the attention of the Man of Steel. But be careful, Superman-there's more lurking in the shadows of Metropolis than just a snake cult.  
Why It’s Cool: In my humble opinion, Brian Michael Bendis’ ongoing Superman saga just keeps getting better. This issue is a whole lot of setup, illustrated brilliantly here by Steve Epting with Brad Walker colors. Bendis continues to use more and more of the Superman mythos to tell this ever-expanding story, which is apparently gearing up for a big-time summer event centered around Leviathan. Ah well, check it out for yourself!

Amazing Spider-Man #14
Writer:
Nick Spencer
Artist: Chris Bachalo
Publisher: Marvel Comics
Price: $3.99
You know what's annoying? Having to save J. Jonah Jameson's life. Sure, he's been on Spidey's side for a little while, but that's after YEARS of him making Spider-Man's life a living heck. I feel like this amount of responsibility should come with even more power. Anyway, who, other than most of New York, would want to punish J. Jonah Jameson?
Why It’s Cool: One of my other major Big 2 superhero pleasures of the moment is the ongoing Amazing Spider-Man run by Nick Spencer, who is joined this time by veteran artist Chris Bachalo. This book just wrapped up a poignant arc in which J. Jonah Jameson seemed to maybe learn something...and now apparently all of New York City is coming for J. Jonah Jameson. I am 100 percent there for this, since I’m yet to dislike an issue in this run.

Ice Cream Man #9
Writer:
W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
Publisher: Image Comics
Price: $3.99
NEW STORY ARC
"HOPSCOTCH MÉLANGE," Part One
A wild western one-shot which witnesses the way the world once was.
Why It’s Cool: Ice Cream Man has been one killer comic since its start, seemingly dealing in a series of disparate vignettes that share one commonality: the titular Ice Cream Man makes a sinister and brief appearance in each story. Well, now we’re about to learn just a bit more about that (maybe). This marks the start of this book’s first multi-part story arc, and, perhaps unsurprisingly, it’s bonkers as all get out, going full Stephen King’s Dark Tower in the process.

Terrifics #12
Writer:
Jeff Lemire
Artist: Viktor Bogdanovic
Inker: Jonathan Glapion
Colorist: Michael Spicer
Letterer: Tom Napolitano
Publisher: DC Comics
Price: $3.99
The Terrifics disband, but they're going to need to get back together if they're going to save Mr. Terrific from Doc Dread's new team, the Dreadfuls! Plus, Rex Mason takes a huge plunge, Phantom Girl bolts Bgztl and Plastic Man stretches out the family drama with his son Luke, who's struggling with his own super-elastic powers. Will our heroes reunite in time to save Mr. Terrific-from an evil version of themselves?!
Why It’s Cool: Jeff Lemire and his collaborators have somewhat quietly been doing absolutely wonderful work on this little book since its start. That work continues here with The Terrifics #12. Lemire is approaching his end game with just two issues left to go, and here he gives us what for my money is the story currently making the best use of the DC Multiverse. Also, there are some all-time great moments in this comic between Plastic Man and his estranged son. All-time great.

Top New #1 Comics

  • Age of X-Man: Alpha #1

  • Fight Club 3 #1

  • Journey Into Unknown Worlds One-Shot

  • Mysteries of Love in Space #1

  • Wyrd #1

Others Receiving Votes

  • Bone Parish #6

  • Captain America #7

  • Catalyst Prime: Kino #13

  • Crimson Lotus #3

  • Detective Comics #997

  • Exiles #12

  • Flash Annual #2

  • Justice League Annual #1

  • Lone Ranger #4

  • Marvel Knights 20th #6

  • Punisher #7

  • Quantum Age from the World of Black Hammer #6

  • Skyward #10

  • Teen Titans Annual #1

  • Vagrant Queen #6

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: Buffy the Vampire Slayer #1 is a new start with much love for the original

Buffy the Vampire Slayer #1 is out 1/23/2019.

By d. emerson eddy — Into each generation a slayer is born...or reborn as it were. To many my age Joss Whedon's television series, Buffy the Vampire Slayer, Angel, Firefly, even Dollhouse, served as a backbone to our cultural development. Particularly Buffy and Angel since they came first. They informed a lot of our attitudes towards the world, reflected many of our musical tastes and speech patterns, and all around showed a world where it was all right to be the outcast, the fringe, the geeky nerd, because you'd be accepted into a family of like-minded weirdos. And, of course, you'd look fabulous while dusting vamps.

It's been 15 years since Buffy and Angel have been on the air, in that time culture has changed, in some ways evolved, in some ways regressed. In those intervening years, Dark Horse and IDW continued on the legacy of the Whedonverse, sometimes taking it to welcome places, sometimes strange. At times for me it was like checking in with a friend that you've lost touch with and grown apart, but when you see one another you're picking up old conversations like you've not lost a beat. Because the memory remains.

BOOM! Studios' new launch of the series does not continue on from any of the previous comics or television series. Instead, it takes us back to a new interpretation of the beginning, and I'm perfectly okay with this. It feels right to start again, especially when it's being done with as much skill, reverence, respect, and outright love of the source material as it is by Jordie Bellaire, Dan Mora, Raúl Angulo, and Ed Dukeshire. The old, familiar faces of Buffy, Willow, Xander, and Giles are here representing that core configuration. Slightly different than before, but still capturing that same spirit.

With Redlands, Jordie Bellaire has proven that she can write horror and the supernatural very well. With this first issue of Buffy the Vampire Slayer, she transports some of that with the usual vampires and ancient relics and such, but she also shows an ear for the catchy dialogue and banter that was a hallmark of any Whedonverse joint. It's not a copy of Whedon and co.'s dialogue patterns, but like the overall story, it captures the spirit.

Likewise with Dan Mora's gorgeous artwork. His approach to likenesses is interesting, because the characters are recognizably Sarah Michelle Gellar, Allyson Hannigan, et al. yet simplified. He makes the characters his own, such that we don't have any of the common bizarrely over-rendered stars in a comic compared to the supporting and background characters. And equally excels with the action as with the quieter interpersonal moments.

Raúl Angulo's colors perfectly complement Mora's line art, giving the series a somewhat ethereal glow. It reminds me somewhat of the color approach that the “New Riverdale” line from Archie Comics had of mixing some of those classic vibrant comics colours with a bit of a modern haze. It works really well for adding atmosphere to the story.

Ed Dukeshire rounds out the creative team here, performing his usual exemplary job of providing some tight lettering, showing some interesting variation for vampires and the narration.

Overall, this relaunch is very well done. As a longtime follower of Buffy and the Scooby Gang, I think that Bellaire, Mora, Angulo, and Dukeshire have done a very good job at capturing the spirit of the property while also weaving it into a new and compelling story. Even if you've somehow never experienced Buffy the Vampire Slayer before, it introduces well to the cast and the overall premise and tone of this new series. There are also some surprise appearances and a twist in the tale that should have everyone champing at the bit to see the next issue.

Buffy the Vampire Slayer #1
Writer:
Jordie Bellaire
Artist: Dan Mora
Colorist: Raúl Angulo
Letterer: Ed Dukeshire
Publisher: BOOM! Studios
Price: $3.99

Check out past Comic of the Week selections by d. emerson eddy 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.