Read Comics

Written by Marc Bernardin & Adam Freeman, art by Lee Garbett

An entertaining action comic, published by DC under the WildStorm imprint, The Highwaymen of the title are secret agents of some sort.  Well, ex-secret agents, now mostly over the hill, but with one more adventure left behind by a former president (now deceased).  As I said, the comic is entertaining, and a quick read, but you do get the feeling that it was written not so much as an homage to action or buddy films, like Lethal Weapon, as something that the creators could sell to Hollywood.  This is Danny “I’m too old for this shit” Glover, paired with Michael Caine as impossible to kill agents, on the run from the sinister head of a government organization, trying to protect and deliver a weapon of mass destruction to the proper authorities.  Did I mention that this weapon of mass destruction is in the shape of a hot college girl?  Put whichever starlet of the year in that role, and you have a summer blockbuster, full of car chases, car crashes, and car explosions.  Again, I want to say that I didn’t dislike this comic, and in fact, it was fun to read, but the sales pitch was pretty blatant.  The five issue series came out in 2007, and I just read the trade from the library.  I can’t imagine that it would work as well in single issue format, since it is, essentially, an action movie.  Reading one issue, having a cliffhanger and waiting for another month would not have worked for me.

It’s little things like this that just make me grin when I read comics:

In The Punisher presents: Barracuda #2 (written by Garth Ennis, drawn by Goran Parlov), there’s a throwaway line when Barracuda sees a former fellow inmate on a first class flight to a banana republic.  Digby, the former inmate who is shaking in his boots at seeing Barracuda confesses that he now works for Hart Consolidated, who sent him on the trip to look into someone’s financials.  Barracuda says that Hart’s one of the biggest outfits in the country, why would they hire a fraud like Digby?

Anyone know what Hart Consolidated is a reference to?  And the name Digby?

Keith Giffen is a truly disturbed individual.  This is not news.  He’s the guy who created Lobo, Ambush Bug, and reinvented the Justice League, putting Blue Beetle and Booster Gold together.  Bwah Ha Ha and all that.  In more recent years, he headed up the Annihilation series for Marvel.

What shows Giffen to completely off his rocker is a series for TokyoPop called I Luv Halloween, with art by Benjamin Roman.  All three volumes of this series have been put together in a nice hardcover called the Ultimate Twisted Edition.  Which is an apt description.  This is one of the most twisted comics I’ve ever read.  The comics are about four friends who go out trick or treating, each volume starting out the same way.  Finch, our hero, puts on his mask and prepares to leave.  You can see that Finch is the kind of boy who likes to take apart things.  Toys.  Small animals.  But compared to his little sister, he’s the tame one.  Your first image of Moochie is of her dressed as the tooth fairy, pulling out the tooth of a corpse seated at the dinner table.  One can only assume that this corpse is that of their mother.  This is quite possibly the least macabre thing that Moochie does for the rest of the 496 pages.  I Luv Halloween is the cartoon version of a Rob Zombie movie.  Moochie would smile up at Leatherface with her angelic blond face, and then slice his kneecaps off.  She would convince Jason Voorhees and Michael Myers to hitchhike to Canada to escape her, only to find her waiting at the border, where she’d cheerfully stab them in the eyeholes of their respective masks.  This kid would turn Hannibal Lector into a vegetarian, and give Freddy his own worst nightmares.  In fact, I’d like to see a Moochie vs everybody comic.

I Luv Halloween is full of murder, mayhem, and will quite probably cause mental instability in anyone who reads it.  In short, I loved it.  The writing is hysterical, in both definitions of the word.  Even though this is put out by TokyoPop, the art is not in the manga style.  It is very cartoon-like, which works well for this series.

I just finished the latest trade of Invincible, the first trade of The Astounding Wolf-Man, and I’ll picking up the first trade of Capes tonight at the library.  How prolific is this man?  How many continuing series is he going to write?  Would Image fold completely if he was in a plane crash?  Looking at the back page, listing all the available trades, you could go broke just keeping up with his output alone.

Both trades were fun, and the stories keep growing in complexity, bringing in plot twists on the last page.  Now I have to decide whether or not to wait for the next trade, or try to find the single issues.  If I decide to catch up with the Walking Dead (should be easy, they’re a slow-moving bunch), I have friends whose copies I’d be able to read.  I think they also have singles for Invincible, but I don’t think they decided to buy AWM.  I didn’t think I would get into the latter, but the story picked up, and I think there’s going to be a crossover with Invincible soon.

The podcasters at Around Comics (see their link over on the right) decided that they were tired of traipsing all the way out to Rosemont for Wizard World, so they figured, “Hey gang! Let’s put on a show!” Like Mickey Rooney and Judy Garland, they threw caution to the wind and did it. And how! 1500 people attended the show, at five bucks a pop.  Things were definitely popping, too.  It reminded me a lot of the local MNCBA conventions we have here, with a bit more focus on the writers and artists.  The layout of the convention kept the focus on the creators, giving them center stage, so to speak.  Unlike many other conventions of this type, the vendors were around the perimeter, with the creators right in front of you as you walked in, and taking up the front center part of the gymnasium where the convention was held.  There was also some gaming available near the back of the gym, with HeroClix tournaments taking place.

And speaking of Judy Garland, one of the things that I enjoyed in particular about the Windy City Comicon was the venue.  The convention was held at the Center on Halsted, a GLBT community center in Chicago’s Boystown area.  According to the organizers, the space was chosen based on size, cost and proximity.  Me, I just enjoyed the fact that it was in Boystown and afterwards, it was so easy to hit the bars.  Also, most conventions have food options that resemble what you might find at a high school cafeteria with prices comparable to a major league sporting event.  The Center on Halsted is connected to a fully stocked Whole Foods.  Quite possibly the best convention sustenance I’ve ever experienced.

It looks like the organizers are going to give it a go next year, and I look forward to making this a reason for an annual trip to Chicago.

I’ve finally caught up on the main Final Crisis books, which shouldn’t have been hard since there are only three out right now, as well as Batman R.I.P., which is still in progress as well. Ah, Grant Morrison. You kooky, wacky Grant Morrison. I love reading you, I really do. But man, I still think you’re leaving out some of the words. Maybe some of the word balloons. Perhaps even some panels or even pages. Grant, when you read the comic, are there extra panels in your mind that we don’t see? Do you write a page, keep a page in your head, and then write another page? I mean, I understand what’s going on–for the most part–but it just seems like the story jumps a few times. Jumps like Batman jumping from rooftop to rooftop. And sometimes those jumps are really long jumps, which Batman is able to clear a lot better than I am.

Grant Morrison gets spoken about on a lot of podcasts, he gets a lot of press, and feelings about him run pretty strong. There are videos of him, including one of him speaking at Disinfocon, available to view on YouTube. I think the man is a great writer, but I have to be honest. Sometimes I’m unsure about his “storytelling” ability. I also think there’s a bit of “The Emperor’s New Clothes” going on with him. I really do think that there are a lot of people who have a difficult time following Morrison’s writing, but are afraid of admitting it for fear that they’ll be considered dumb, or at the very least, not discerning readers. And some of his stuff is easier to follow than other things. His run on X-Men seemed a bit more straight forward. I haven’t read his Animal Man or Doom Patrol in years, but I know he got a bit out there in those titles.

For Final Crisis and Batman RIP, we now live in the age of the Internet, and fortunately we have resources. Douglas Wolk and Gary Greenwood, who both have sites up annotating Final Crisis, and Timothy Callahan, who is annotating Batman RIP, do a lot of the legwork for us. All three sites go page by page and panel by panel, noting who characters are, what their historical significance is, what their relevance is to the current plotline. Readers guides for these somewhat convoluted stories, if you will. These guys have all gone above and beyond, helping us, the gentle reader, keep from pulling our hair out trying to keep track of everything, especially through delays in releases. Maybe that’s Grant’s diabolical plan–to induce baldness among comics readers around the world, and thus make his audience over in his own image. One of these days, someone is going to collect all of these annotations together into a comprehensive tome: The Annotated Grant Morrison. It’ll be a bestseller.

Kingwood Himself, by Reynold Kissling

Delightfully twisted, this comic reminded me a lot of the more surreal cartoons and kid shows I watched growing up.  The main character, Emily, is very reminiscent of Little Lulu, going on trips to cities in the clouds  and undersea kingdoms.  There’s also a touch of Krofft thrown in, as I expect HR Pufnstuf to come around the corner with Jimmy and his Golden Flute in tow.

I love the solidity of the art, the characters looking like you could reach in and pick them up by their round heads.  The detail and design in the cul-de-sac, and of the various houses makes me want to try to find my way there; it could be in the wooded grove just a block over it seems like.  Guudo’s room is like the fantasies you have of shrinking down and swimming in the fishtank, with the miniature castle and diver for company.

Reynold put this together as a nice looking comic as well.  The front and back cover feature full-page color images from what look like Emily’s continuing visits to the cul-de-sac, and the inside-cover features thumbnail drawings of several of the characters.  There’s a nice little Easter Egg when you go to his website and view Kingwood Himself online:  the cover image extends further then in the hard copy.  While you’re there, check out the rest of his comics.  I particularly like Commute.

Random minicomic from Lutefisk Sushi Volume C (2008)

A painful childhood experience given life in drawing, The Slide, by Jesse Haller, features a young boy who is in over his head, literally.  I remember a number of similar events from my own past, although for me, it was the tornado slide that gave me a fright.  I remember the line of kids behind me, and how far down it looked.  The stricken look on the child’s face is very believable, and I feel that I probably shared his expression.

A few notable things: the first page sets up the location and season, and the slide in the title features prominently, in sort of a cross between nostalgia and loneliness.  There are a lot of little things that I caught as I read through it several times, like the detail in the background houses, and the playground equipment.  The view from the top of the slide, and then again from the bottom.  Toby’s sleeve from his hand-me-down flannel, which won’t stay tucked.  The way Toby is overwhelmed by the word balloons, and in particular the word balloon in the shape of the word GO.  His buttcrack revealed to further his embarrassment after he reaches the bottom.  And then the expression on his face in the last panel…I have to admit, I’m having a little trouble figuring this one out.  There’s something up with his mouth, maybe he got a bloody lip by sliding down on his face.  Could just be dirt.

A short, simple comic, but of such a strong shared memory.

Because my library has them in trade, I started reading the 1980s relaunches of Superman and Wonder Woman.  The Superman trades collect John Byrne’s Man of Steel mini-series in Volume 1, and in subsequent volumes include his ongoing Superman and Action comics, along with Marv Wolfman and Jerry Ordway’s Adventures of Superman, along with some cross-overs with Legion of Super-Heroes and Booster Gold along the way.  The Wonder Woman collections are from the George Perez and Len Wein reintroduction of Diana to Man’s World.  Our heroes re-meet their iconic villains for the first time in these post-Crisis on Infinite Earth stories, which is a little weird, particularly now when you have continuity being turned end over end, and three different sets of Legions meeting each other.  But they’re so much fun to read, and particularly fun to look at how Byrne, Ordway and Perez are drawing everything.  Their clothes, their hair, their computers, everything is so very ’80s.  Is that Lois Lane or a slimmer version of Brigitte Nielson?

The stories seem a little quaint after so many years of darkness that we’ve been seeing recently.  There seems to be less risk, even though these take place before death’s revolving door.  Byrne even makes a point of telling everyone that all these super-villain attacks in downtown Metropolis are taking place on Sunday when no one is any of the office buildings being smashed.  How considerate of the bad guys.  There are some casualties, in the form of the recently introduced minor characters.  But you really don’t feel anything really bad is going to happen to our heroes any time soon.

There is something about these relaunches that makes me wonder, though:  Superman and Wonder Woman got restarted, but what about the third member of the Trinity?  Why didn’t Batman get reset at the time?  Were his books just selling that much more?  Was there some reset that I’m just not remembering?

I have the second Mighty Avengers collection checked out from the library, and I finished it this morning.  Of particular interest to me is issue 9, where the team invades Latveria to arrest Doom for turning most of Manhattan into Venom symbiotes.

What I found somewhat fascinating about this issue is that out of 24 pages (counting the cover), half of the pages consist of little more than a single large drawing.  Six of the pages are double-spreads of the Avengers battling Doombots.  A few others have small ancillary panels, but again, the primary art is one large drawing.  The drawings are quite detailed.  Lots of action is occuring in them.  But without a doubt, this is the “blockbuster action flick” of comics recently.  It’s like the last hour of Transformers.  Talk about your decompressed storytelling!  Six pages in a row of just enormous battle scenes.  It’s like a pin-up magazine rather than a comic.  I really wonder what people who plopped down three bucks for this thought, especially knowing that they would then have to wait another month to get the next issue.  Having got it from the library, I feel like I got the better end of the deal.

I haven’t looked up any other reviews of the comic yet, or any kind of response from Bendis on the message boards, but just looking at this comic as a single entity, you get the feeling that he may have been a little overworked at the time, and told Bagley to fill up some pages with fighting.

I am enjoying what I’m reading of Mighty Avengers so far, except I keep waiting for someone to say “Bwah ha ha!”  Iron Man’s repartee with Doom in the next issue is hugely reminiscent of the dialogue from the ’80s Justice League series, which is not a bad thing.  Super-hero comics could definitely use a bit more humour these days, in my opinion.

Random minicomic from Lutefisk Sushi Volume C (2008)

Okay, this one wasn’t all that random.  The first comic I pulled out had risen flesh-eating dead in it, so clearly I couldn’t review that one.  The second one, I just wasn’t feeling.  So this was the third pull.  Or maybe fourth.  Anyway, I loved it.  It appears to reprint webcomics from David Steinlicht’s All Small website, most of which are one or two page commentaries on life called “On My High Horse”.  The balding, bespectacled narrator of these wry observations covers topics like logo design and ironic packaging.  I particularly liked his dissection of the Superman symbol.

Steinlicht self-compares his art to Chris Ware, among others, what with it’s simple geometry and clean lines.  I have to admit, though, that I’m often left cold by Ware’s work, whereas I felt a much stronger attachment to our High Horse commentator.

Steinlicht currently works for the Pioneer Press doing a comic called “In This Corner”, along with other art chores for the daily (I found a link on the paper’s website about golf courses, for which he drew hole diagrams).  The comic looks to be a similar commentary style, but a little on the softer side than his webcomic, much as you’d expect to find in the Sunday supplement.  He also maintains a blog, in which I really like this entry.

I was perusing various comics fora tonight, and saw a post about Shadowline getting into digital comics, and after a bit of searching discovered that they have a series of webcomics linked through their website now.  There’s a press release on the main page which lists the various creators and titles signed with them, but it makes it sound a bit like some of the comics have been online for awhile, they’re just now moving over to the Shadowline website.  I know I heard about Chicago 1968 at Wizard World Chicago this year, and it’s being appearing weekly since then.  And oddly, aside from a non-clickable URL in the press release, the only link to the webcomics section is a tiny link at the bottom right-hand side of the page.

I like the interface more than either Zuda or Marvel Digital Comics.  They’ve eschewed a lot of unnecessary bells and whistles that some of the others have for easier navigation, and really high quality images.  Some of the comics have only a few pages up so far, like Action Ohio with six, and Hannibal Goes to Rome with eight, while a couple of others give you a bit more to read.  Brat-halla is up to sixty so far.  Of course, a good webcomics junky is going to plow through all of them in an afternoon, but it looks like they plan to add some more titles regularly.

I checked out this black and white graphic novel by Andy Hartzel from my local library.  I’ve had it out for a bit, and I don’t remember what about it caught my eye, probably the colourful geometric cover art, and maybe that it was published by Top Shelf.  Finding it in the teen section, I was expecting a cute funny animal comic good for a chuckle.  I didn’t read the inside flap, didn’t know anything about it going in.  I was quite happily surprised when I found out what it was truly about.

The fox in the title of Fox Bunny Funny could be described as funny.  As in, “You know, that guy is a little funny….you know what I mean?”  A synonym for funny used in this manner is queer, and compared to his fox friends, our hero is definitely a little queer.  Without any words, this graphic novel steps us through the young fox’s life from when he’s discovering who he really is, the tragedy of being discovered by a family that just doesn’t understand, the horrors of supressing one’s inner self, and finally a true awakening.

The art is black and white, which could definitely represent the world in which fox is growing up.  Elegantly simple in design, the characters could’ve stepped out of a Nickelodeon cartoon.  A number of times, the comic style shifts, according to the state of mind of the character.  First six square panels with white gutters, then later the same six square panels on black pages instead.  Then a dream sequence of a decidedly religious nature.  And in the final chapter we have some pages with a single panel, some full page art, even some full bleeds of some really great, very detailed scenes.

Andy has a blog on his website, with some good art, but it appears he hasn’t updated it in quite awhile.

Random minicomic from Lutefisk Sushi Volume B (2006).  

I opened the box, and pulled out a comic.  Much like Jack Horner’s plum, this minicomic from galideous (aka Gail Catheryn) is full of nutritional fiber, in the form of Brainy Broc, and his henchmen, the celery stalk and the carrot stick.  The villainous veggies are thwarted by the Tatorvengers!  In this episode, the Starchy Stalwarts make short work of Brainy’s plan to freeze all of kitchendom.

A fun little story, with very nice line art, clean yet detailed (check out Brainy Broc’s fingertips, and the tator tots are all nice and crinkly).  I love the female Tatorvenger with her Supergirl skirt.  I tried to find a comics website for galideous, but only found her design company.

Chris Coleman, Mayor of St. Paul, issued a proclamation declaring 4 October to be Midwest Comic Book Association Day this year, to honor the 20th anniversary of FallCon.  I’ve been trying to find a link to the proclamation on either the MCBA’s site or St. Paul’s site, but it’s not up there.  I received the news via MCBA’s mailing list, which included an image of the official proclamation with the city seal and the mayor’s signature.  It’s actually pretty cool to read, with lots of information about all the good things the MCBA has done over the years, like donating food and money to organizations, and how the Twin Cities has a more than average number of comic creators here.

I’ll keep trying to find a link to the proclamation, and update this when I find one.

This isn’t really a review of a 24 year old comic, it’s more of a reminiscence. New Mutants #21 was the first issue of New Mutants I ever read, and possibly the first Marvel comic that got added to my collection. I was 13, and living in Alamogordo, New Mexico. Prior to that, I was mostly a DC reader, and really didn’t know anything about Marvel other than random Spider-Man comics that I’d read at the barber shop. It was the cover that drew me in for this issue of New Mutants. I didn’t know who the characters were, and I didn’t even really know the X-Men at that point. Not even Wolverine.

I bought the comic and started reading it. There were all these new characters who were about my age, and they had powers. The girls were having a slumber party, and the boys had been to a ball game. It was set at some boarding school, and there were a bunch of other characters who I also didn’t know. There were references to past events that I had no idea about, like Dani being in a wheelchair.  And then the weird stuff really started happening.  Some really strange looking black and white alien robot shows up and starts acting like a vampire, draining the life from organic things.  The blond girl materializes a sword and armor and pops in and out of holes that appear in the air.  One of the girls turns into lava and another turns into a wolf.  And there was a dragon!  And I loved it.  I couldn’t wait to read the next issue and then go back and find the back issues.  I think I ended up getting a package containing the first 20 issues for Christmas that year.  I had no idea who these people were or what was going on, but that just excited me to find out more.  It was expected that I would catch on by jumping into the deep end of this book, even though I was only 13.

There is no way this comic could make it out the door today. There is no synopsis page telling the “story so far”.  It’s not a “jumping on point.”  I guess my point is this: give people, and specifically kids more credit and don’t worry so much about comics being accessible to new readers.  If the stories are good, if they’re well-written, if they’re compelling, if the characters are intriguing, readers will yearn to learn more.  You don’t have to give it all to them on the first page.  When I bought New Mutants #21, there were no trade paperbacks collecting the issues virtually as fast as they came out.  There was no wikipedia to look things up on.  I suppose you could argue that there were message boards in the form of a BBS, but not the way there is today.  There was virtually no way for me to find out who these characters were aside from learning more about them each month, and seeing if I could find the back issues someplace.  But I didn’t care!  I loved learning about them bit by bit, and filling in the missing puzzle pieces where I could.

At some point, the comics industry lost sight of this, and it seems like they now feel that the only way to sell people on comics is to make sure no one ever gets lost, no one feels like they won’t know what’s going on from the beginning.  I constantly hear people complain about continuity, and how it’s impossible to know what’s going on unless you’ve read 20 years of this or that comic.  I’d say that’s only true if the writer isn’t doing their job, and by that, I don’t mean filling the reader in on 20 years of continuity.  I mean the writer isn’t telling a good story in that issue which makes the reader more interested in finding out more about who all these characters are and their histories.  It’s so easy to find that out today, too.  It’s practically impossible to find a comic character that doesn’t have their own page someplace on the Internet.  A friend recently linked me to a website devoted to international super-heroes (he loves the Phillipino ones).  Everything you need to know to follow along with Final Crisis, or Secret Invasion, or even the latest happenings in Duckburg is all there.  Maybe along the way, we as readers got a bit lazy too, after having everything spoonfed to us.

If anything comes of this mild rant, I hope that people will go and find a random comic on the shelf, doesn’t matter what issue number and give it a chance.  Find one where you like the cover, where something speaks to you, and pick it up and read it.  Even though you’ve never heard of these characters, even though you don’t know everything that’s happened to them.  Read it.  And hopefully you’ll feel what I felt reading New Mutants #21 when I was 13.

I’m reading the recently published first trade paperback from the Geoff Johns series, his first comic work, according to the introduction. Collecting the first 8 issues from 1999 and 2000, it introduces the character of Courtney Whitmore, the new Star-Spangled Kid, who went on to be a member of the Justice Society, in the relaunch of JSA, also written by Johns.

My introduction to the character was in trades of JSA, and I didn’t know too much about the character, or her stepfather, the man in a tin can, Pat Dugan. DC really likes their legacy characters, at least within the last 10 to 15 years, and really likes pairing them up with younger, newer versions of their legacy characters. Pat used to be Stripesy, the sidekick to the original Star-Spangled Kid back in the Golden Age. In this series, he plays the begrudging mentor to young Courtney as she develops her super-hero persona and skills, thanks to the cosmic converter belt formerly owned by the original Kid. I say begrudgingly because he claims to not want her adventuring and that he’s doing his best to prevent it. If that’s his best, I’m surprised she didn’t start going to JSA meetings right off the bat.

I’ve only read the first few issues in the trade so far, but they’re fun. You can tell that Johns is hitting his stride, and setting things up for some wacky happening ahead. So far this is written very much in what I remember Young Justice to be like, and in fact they appear in a one-page cameo, where Robin discusses possibly recruiting her to be on the team. This, along with Young Justice and Impulse, seems to be courting a teen comic reader, and most probably teen girls. It was launched when Buffy was in full stride, and Veronica Mars was still a few years off. It’s very light-hearted, and Lee Moder and Dan Davis’s art is cartoony without seeming childish. Along with fighting super-villains, she’s dealing with being the new girl at school, getting braces, and handling her mother marrying her step-father (the latter, handling poorly).

When I started reading comics seriously at age 12 or 13, I remember my favourites being Power Pack, New Mutants and New Teen Titans, and I think that might’ve been because the characters were closer to my age. I like that Marvel and DC are trying to find younger readers with their Marvel Adventures and Johnny DC lines, but I didn’t feel like the three comics I mentioned were written for me because I was a kid. They were part of the same universes, they interconnected with big named characters, were part of crossovers, and fit into the bigger picture. I think Stars and S.T.R.I.P.E. is a great comic to get younger readers, probably of the middle school age introduced to comics. It’s fun, the writing so far is great, the art is accessible, and there are cameos by other characters, without it feeling like you have to know right away who they are. It’s a taste of other corners of the DCU, kind of a sign at the amusement park telling you there are more rides in Adventureland over this way. All fourteen issues have been collected in two trades, which I found at my local library.

I just saw the trailer for a new series starting in the UK in a few weeks, No Heroics.  It looks like a cross between The Office and Cheers with a little bit of Hancock thrown in.  The trailer is entertaining, but it’s long enough that they could’ve thrown in all the good stuff from the series.

Of course, having a sitcom like this, as well as movies like My Super Ex-Girlfriend, and even Hancock means that we’ve crested the wave, and now are sliding in to the time when a genre becomes a parody of itself.

It’ll start airing on ITV in the UK on 10 September, and is produced by Tiger Aspect, who have a long history of television comedy (League of Gentlemen, Dame Edna, Mr. Bean).

UPDATE: Click here to watch the trailer on YouTube.

I checked this out from the library, the new graphic novel by Jessica Abel, co-written by Gabe Soria, and drawn by Warren Pleece, after having seen it on the shelf at the comic shop.

Fortunately my loathing for Romero-esque walking dead doesn’t apply to vampires. I enjoyed this a lot, with it being kind of a cross between Buffy and Clerks, with a bit of teen dramedy thrown in. The idea of being immortal not really being a good thing, in that you might just end up being stuck in a shitty-ass dead end job for all eternity, kind of spoke to me in my current work situation. And apparently opening convenience stores is what a Central European immigrant does, whether they’re an all-powerful bloodsucker or not.

It makes for a good modern vampire story, although the goth club came across as a little too cliched for me. But I really liked all the various representations of the vampires, from the club of shop-keepers, the spoiled-brat surfer, to our hero, the vegetarian pacifist. Warren Pleece’s art also seemed very natural, and fit well with the story. It’s realistic, with a subtle feel, and makes the idea of the convenience store clerk being a closet vampire believable.

I want to check out some of Abel’s other stuff now, like La Perdida, and I have to start getting together with Mike to try some of the lessons in Drawing Words & Writing Pictures.

Don’t forget, the Read Comics Book Club will be meeting this coming Wednesday, 11 June 2008, at 7:30pm. We’ll have a table in the back of the Source, near the soda machine, and we’ll be discussing Brian Wood’s Northlanders #1-6. We’ll also decide on the next discussion topic that day as well.

The Source Comics & Games
1601 West Larpenteur Ave
Falcon Heights, MN 55113
651-645-0386

We have no idea how many people to expect, so if you think you’re going to make it, please leave a comment below!

Years ago, before I got back into Doctor Who fandom, I was pretty hardcore about Star Wars. My brother and I collected the toys, the books, the comics, but my interest petered about halfway through the Jedi Acadmey trilogy and the Dark Empire II comics. I also started back with Doctor Who collecting. Meanwhile, my brother has taken the Star Wars fandom to a higher level, continuing to by the books and getting some Star Wars tattoos.

Fast forward to now, and I’m looking through the trade paperback section at the library, and I decide to not just pass over the Star Wars collections, but actually look at them this time. The one that really caught my eye is a collection of the Marvel Comics Star Wars books. The Central Library had Volumes 6 and 7, but I was able to request Vol. 1, which I started reading yesterday.

Reading the initial six comics which were the adaptation of the 1977 movie brought me back to being a new comic fan in the ’70s. The adaptation is very faithful, but adds in the missing scenes that weren’t seen until decades later, the ones with Biggs and Jabba on Tatooine. I’m really grooving on Howard Chaykin’s art, thinking about how it’s changed over the years from this to the square jaws and huge racks in his recent run on Hawkgirl. It’s more subtle here, but again faithful to how the film looked.

As far as Roy Thomas’s writing, I’m still in the original adaptation, and haven’t yet gotten to the new stories. I remember loving them as a kid, but we’ll have to see how they hold up. I look forward to revisiting this part of my youth, and then maybe checking out some of the newer Star Wars comics.

I’d already read Captain America #25, the one that was in the news last year covering the death of Captain America. Maybe I should’ve put a spoiler warning there, but really, it was on all the news channels, and even in the New York Times. This hardcover opens up with issue 25, and has the subsequent five issues as well. Basically, this is Captain America without Captain America. It deals with all the aftermath of his death, the wake, how his friends, and fellow super-heroes are dealing with the tragedy. I’m currently on issue 27, with Bucky trying to reclaim a certain item being held in custody. I’ve heard that many people feel the Captain America series got a lot better after Steve Rogers died. While these stories are entertaining, and I’m intrigued with where things are going with it, I’m not interested enough to read it outside of the trades, and those when they are available by the library.

Back when we first started up ReadComics.org, we had multiple plans for what we wanted to do with it. One of our ideas was for some of us to get together and do a book club, but with comics, trades, etc. and maybe record it for a podcast. Now that we have readers and listeners, maybe we should revisit the idea. Much like the podcast, maybe one of us just needs to pick a book, set a date and location, and go for it. So I’ll do it.

First pick will be Northlanders #1-6, by Brian Wood, a Vertigo comic, with issue 6 coming out next Wednesday. The first five are still available at various comic shops around town. We’ll meet Wednesday, June 11, at 7:30pm, location to be announced.

It seems like at one point or another, just about every super-hero has had some sort of film or television appearance.  And if it’s something that never actually aired on tv, you can bet that someone made a pilot for it that never went anywhere.  Just recently, I got the opportunity to see something I had been trying to find for years, the unaired live action Power Pack tv pilot.  Alex, Julie, Jack and Katie might’ve had their very own tv series, had this show impressed some execs just a bit more.  Judging by the style of the show, they were going for a Saturday morning, or mid-afternoon show, seeking the coveted Mighty Morphin’ Power Rangers audience.  What they made, though, was a little closer to Small Wonder.  Most people might say that’s a dis, but at the time, I loved Small Wonder.  And I can see me back then, eating this up with a spoon.  However, being made in 1991, the producers missed the Small Wonder boat by a few years.  Not enough action for MMPR, too young for Saved By The Bell, I’m not sure which fan base they were really going for here.

As far as the story goes, the origin is similar.  The kids still got their powers from an alien named Whitemane, the powers are mostly the same, but they’re not super-heroes.  They don’t fight Snarks.  Their parents know about their powers.  And most of the situational plot comes from not letting the neighbours know about their powers.  They’ve just moved to a new town, and they get a lecture from Mom & Dad about how important it is that they fit in here, so no using powers in public.  Their powers are similar to what they have in the comics, with some twists.  Alex is pretty much the same, Julie is super-fast, but couldn’t fly (at least not in this episode–she does pedal a bicycle at superspeed with the rainbow trailing her), Jack appears to only be able to shrink, and Katie…well, she has some sort of energy powers, but I have no idea what they are.  What was shown in the episode was her creating a glowing globe in her hand, and releasing some sort of energy at a ghost, but not explosive energy.  Plus she doesn’t have to “charge up” by disintegrating matter.

The production quality was that of a pilot, never meant to be aired.  The producers were trying to sell the episode, so the effects are pretty dicey.  The background music during the beginning was from Beetlejuice and in one scene, the radio is playing New Kids on the Block.  I can’t say I blame the executives from giving this one a pass, but I’d like to see what could’ve been had the show been greenlit. It wasn’t unenjoyable, but it was a little bit closer to Alf or Bewitched than it was to the Marvel comic that meant so much to me as a kid.

On a recent sleepless night, I read the Sinestro Corps War saga that ran through the Green Lantern titles last year. At the end of it, I felt a sense of satisfaction with the story, the epic, the huge event. It felt complete, while hinting at the repercussions from the saga that will occur over the next couple of years in the DC Universe. I felt like I got a full story, which stayed exciting right up until the dramatic conclusion. I realized, at the end, that this was kind of a new experience for me: satisfaction with a “comic event storyline”. I think the closest I’ve come to that sort of satisfaction was with the conclusion of Crisis on Infinite Earths over two decades ago, but to be honest, I felt a little let down at the end of that as well. I think that’s the trend with comic book Events. Big E Events, with Earth-shattering ramifications! They’ve become the comic book equivalent of summer blockbuster season, with one event bleeding into the next event, and sequel after mega-sequel.

We’re getting ramped up into the two latest events from DC and Marvel with the upcoming Final Crisis and Secret Invasion respectively. Both of these are sequels or continuations of previous events. Both of them will cause the very foundations of their respective universes (or multiverse) to quake! And as far both of them go, I’m exhausted already. Over the past several years, we’ve experienced event after event after event. Identity Crisis, Infinite Crisis, One Year Later, 52, World War III, Amazons Attack, Countdown, Disassembled, House of M, Civil War, World War Hulk, and that’s not even counting the ones that are exclusive to the X-Men titles. My god, living the life of an X-Man would be tiring. Not just from the pitched battles with your foes, but from having to take part in all these events! You don’t have time to sit down, take a breath, before you’re flung from one cataclysm to the next crisis. It’s possible now that you may be taking part in simultaneous crossovers. There won’t be room on the cover for any art, just event logos. I fully expected to see a comic with World War Hulk at the top, the Initiative listed underneath that, a quarter page of art and a flashback to the Civil War single color bottom half. Oh, with the title listed somewhere among all that.

I’m prepared for the DC events this summer, having just finished Countdown yesterday, which fizzled like a sparkler at the end of its sparkle. What started out a year ago as skyrockets, in the end was merely a punk. I was really looking forward to this series wrapping up and meaning something, but the last issue, Countdown #1 really seemed like the writers had lost their steam somewhere along the way. There were awesome moments in Countdown, like in 52, but at the end, maybe it was just too much, too quickly. And to be honest, all the action happened in the various other mini-series happening around the DC Universe, like Death of the New Gods, Countdown to Adventure, and the mini-epic going on in Batman and Action, The Resurrection of Ra’s Al Ghul and Superman and the Legion of Super-Heroes, respectively. There were some very fun stories to be found in the DCU this past year, but the “spine”, as described by Dan DiDio, was suffering from a calcium deficiency.

The follow-up to Countdown, and the bridge leading into Final Crisis, is DC Universe #0, written by Grant Morrison and Geoff Johns, and illustrated by everyone and their brother. You get a little taste of everything in this issue, with vignettes featuring Superman, Batman and Wonder Woman, the Trinity of the DC church, plus the second tier of character who will be having major stories happening over the next year, including Green Lantern, the Legion (or at least one of them), the Spectre, and a surprise guest (who is really no surprise if you’ve been paying attention). Countdown was a mess that couldn’t seem to tie itself together without massive Dei ex Machina leaving axle grease all over the place. The stories in DC Universe, by contrast, were gourmet hors d’œuvre, served up in a pleasing series of courses, each giving a taste of the multi-course meal coming up. That some of the courses may leave you feeling a bit gassy, bloated or unsatisfied remains to be seen.

I’m catching up on back issues, and just read Spirit #11, from last October.

Great comic, and great rendition of a gay couple….up until the end when one of the gay characters dies heroically. He saves the city, literally, but is fatally shot just beforehand. The part that bothered me, however, is that earlier in the issue, we met his partner, who was left at home, waiting for his husband to come back, not knowing that he never would. The issue ends with Denny Colt looking up and seeing Ellen, knowing that everything is going to be all right. But it isn’t going to be, not for everyone. Cooke’s writing does touch on this, in that Colt narrates the story, saying that every death caused by the villain is his own fault, since he created the villain. I guess this just adds some more blood to his hands.

I’m kind of at odds with the comic. I liked it, I enjoyed it, it had positive gay characters, including the one who saved the day, but I’m a little peeved that it seems inconsiderate in the way that so much is inconsiderate. In the literal sense of the word, it doesn’t consider that part of the story. Granted, there are only so many pages, but in the face of Denny and Ellen being happy, I can’t help but think of the offscreen grief of the husband soon to get that terrible visit from the authorities.

My friend and fellow author on here, Mike, has been after me to read George R. R. Martin’s “Song of Ice and Fire” novels for some time now, and I haven’t shown much interest. I’ve found that I’m not really a fan of high fantasy that much, preferring the humourous fantasy novels of Pratchett. I’ll even admit that I didn’t really enjoy the Lord of the Rings movies. Much like Matt Fraction’s opinion, if you put an elf on a horse, I’m falling asleep. Oddly enough, I remember enjoying reading the Dragonlance novels as a teenager; I wonder what I would think if I picked one up now.

While doing my regular perusal of the graphic novels section at the library, I came across The Hedge Knight, co-produced by the Dabel Brothers and Marvel, along with Raymond Feist’s Magician: Apprentice Vol. 1. I figured that I’d give them a shot, and if I wasn’t into it after the first issue of the collections, I’d just return them unfinished. Colour me surprised. Both The Hedge Knight and Magician: Apprentice were very enjoyable, with the former not really having any true fantasy elements, and instead being more a tale of knights, heraldry, and tournaments. The latter was closer to what I think of as high fantasy, with wizards, firedrakes, and trolls, adding in the regency of the medieval era. Having not read the originals, I can’t speak to how well they were adapted, but the stories were compelling in their own right. There was adventure, humour (though not the broad humour of Pratchett), both were about young heroes in the making.

Mike Miller’s art in The Hedge Knight conveys broad-shouldered knights quite well, although everyone seems to have a very youthful appearance, even the older men. Brett Booth’s art for the first three issues of Magician: Apprentice also worked for me, better than his similar work for Anita Blake: Guilty Pleasures, also from Marvel and the Dabel Brothers. Booth draws pretty men. Extremely pretty men. Painfully pretty men, but likewise his representation of Anita makes her look less like an executioner and more like an ingenue. That same innocence works very well on Pug, the young student magician. The last three issues were drawn by Ryan Stegman, who is billed in the back as an “emerging artist”. I didn’t dilike his art, but the transition between the two styles was jarring, particularly since the transition took place during a cliffhanger. His character designs are so different that it’s hard to think of them as the same people. The linework is also much thicker than Booth’s making the transition that much harder.

Not exactly fantasy, but still by Marvel and the Dabels, Laurell K Hamilton’s Anita Blake, Vampire Hunter: Guilty Pleasures didn’t keep me as entertained as the other two collections, but I had read the original work years ago. It seemed pretty faithful, in that I’m still not sure if Hamilton is writing a romance, a horror, or a detective novel. Art is by Booth, as I said above, and he draws incredibly sexy male vampires. Long and lanky with cascades of hair, I’d say he’d be an ideal candidate for the Queeries category of “Best Non-Queer Artist Who Draws Awesome Male Asses”, but he generally draws more front views than rear.

After reading these collections, I’d like to think that I’m more inclined to read the original works, but I have a feeling that I’m more likely to read more graphic adaptations than check out the text only versions. Maybe if I get that Kindle, I’d load one up on it, but I can’t see myself carrying one of Martin’s tomes with me. As far as sequels to these collections, I know that the Anita Blake series is being continued, but with the Dabel Brothers being split from Marvel, I’d imagine the future of the other series is more unsure. I believe Marvel retained the rights to the licenses so I guess it’s all up to how sales figures worked for Marvel.

Saturday afternoon, I went to Big Brain Comics, the last comic shop standing in downtown Minneapolis, to attend a release event for a couple of local comic creators. Lars Martinson and Tim Sievert were both on hand, chatting with customers and signing copies of their new graphic novels. Lars had copies of his hardcover, Tonoharu: Part One, while Tim’s softcover, That Salty Air was also available.

As a release event, there wasn’t really all that much going on, no reading, no presentation, but both Lars and Tim were very approachable. I got a chance to talk to both of them, nothing really in depth, just conversational. Lars talked about the Star Tribune article, where the story the reporter recounted about the girl he met was the last thing that Lars wished he had put in there. We talked about how the Strib also screwed up the title of his book in its typesetting, both in print and on the web, and how, unfortunately neither Lars or Tim will be attending Microcon. Lars will be traveling back to Japan to study calligraphy, and Tim will be at the Stumptown Comics Fest in Oregon. I bought both of their books, and wandered about the store a bit while they signed and sketched in my books. Coming back a few minutes later, Tim handed me his book and apologized to me, saying that he was sorry, this was the first book he’d ever signed. I handed it back to him and said “Write that down in there!” Lars joked about how I could now sell it on eBay for a lot of money.

I was only there for about half an hour, and they admitted that the release was kind of thrown together somewhat spontaneously. I suppose for many graphic novels, a reading without the use of an overhead projector is a little awkward. I’ll be reading both books this week and will post reviews afterwards.

The New Yorker has an interesting essay by Michael Chabon, the author of The Amazing Adventures of Kavalier & Clay. He talks about superhero costumes and what they signify, but what really got me in the essay is how many names of super-heroes he drops. This man knows his comics, which I suspected after reading Kavalier & Clay, but this goes beyond that. This tells me he can hold his own at any comic book convention he might attend. He is one of us.

Written and laid out by David Lapham, pencils by Ramon Bachs, inks by Nathan Massengill, colours by Jason Wright, letters by Jared K Fletcher

Collecting Detective Comics 800-808, 811-814, this 287 page tome is something to really sink your teeth into. I read this not too long after reading the War Games epic which ran across all the Bat Universe titles, and found a world of difference between the two. Lapham’s thriller is much more cohesive than the sprawling chaos of War Games, perhaps rightly so, considering it’s coming from a single writer of a single comic. While appearing in the issues shortly after Ed Brubaker’s epic, the chronological time for this story is unknown. There are no cues saying whether it took place before or after, but the previous event is never mentioned that I could find. Robin is definitely Tim Drake, Akins is the police commissioner. Beyond that, it could really take place any time.

The title is apt: this is as much a story about Gotham as it is about Batman, maybe moreso. A beautiful gothic Gotham, beautiful like the wings of insect seen close up, a stinging, poisonous insect. Ever since Tim Burton’s film, Gotham has been almost universially represented like something out of Fritz Lang’s Metropolis, ironically enough, whereas Ramon Bachs give his Gotham a warmer feel. It’s the warmth of fresh blood, however, oozing from a slit throat. The first issue in the collection sets this tone, taking you on a journey through Gotham at night, a madman’s tour, pointing out the garishly painted masterpiece of a city. The price of admission is just a small bit of your soul. This is very much a prelude to the rest of the collection, lasting only 8 pages. This was originally a back up story, with the bulk of the issue having a War Games epilogue, but this collection only reprints this one.

Lapham has set the stage, and issue 811 contains the overture. Batman is seen sparingly, more hinted at, while Gotham’s residents go about their violent, unpleasant lives. Even the routine takes on a sinister cast when it occurs in Gotham. And the passing shadow in the gloom, preventing a domestic altercation with a thrown batarang, shows that Batman is there, even when not seen. He is an offspring of this city, but this parent does its best to reject its child, in much the same way as creatures in the wild attempt to consume their young. The characters start coming into play as the issue continues, lining up like a length of fuse, waiting for the spark to set them off, consuming each in turn just before the explosion that you know is coming.

The successive issues extend the plot, bringing in a few classic Batman villains, and hinting at a mastermind. There is much that is gruesome in this arc, and Lapham doesn’t shy away from the adult themes. Batman’s prime motivation in this story stems from an encounter with a Lolita-esque girl and his rejection of her advances. A run-of-the-mill tragedy in Gotham explodes into an atrocity to shake the city apart. We have an interlude in the action in issue 807 as a new act begins, and we focus on a specific neighbourhood. A magnifying glass is held up to a map of Gotham and we see this stretch of streets in detail, from the decaying dog in the gutter to the decaying crones gossiping on the stoop. Bachs’s art is glorious in its grotesquery, where we literally see all the warts. We also get to see Batman in a role that he seems so rarely used for anymore: being a detective. We see him almost as much out of costume as in it. The action ramps back up again for the rest of the arc, until the concluding battle royale.

This story worked in so many ways, compelling to me to keep reading far after I should’ve put it down for the night. It was nearly a compulsion to see what happened next, something that I haven’t found in comics as much lately. I can see where some might be frustrated with some of the convolutions that the story goes through, but it kept me riveted. I want to seek out Lapham’s other works to compare, see what he does with his own stories. The detail of the art kept me looking at panels over and over, picking up new things and little easter eggs with each new look. The muted colour palette fit in well with the noir revival setting, although it may have appeared differently in the single issues, as the trade used newsprint. I assume the single issues used the standard glossier paper, but the pulpiness of this story almost cries out for newsprint. The panels are on a black background, but a yellowing of aged newsprint wouldn’t feel out of place with these comics.

As I said, the chronology of this story isn’t pinned down, but in a real world context, Infinite Crisis is in swing, Jason Todd has reappeared as the Red Hood in the Batman comics, and One Year Later will start in just a few issues. The self-contained aspect of this story lets it exist on its own, outside of all of the continuity laden events going on in the rest of the DC Universe. No special knowledge, no real history lessons are needed here.