Saturday, September 19, 2009
I have been ill for several weeks. This has set me back on almost everything. I apologize for getting this started and then letting it lay fallow, expect it to return at a less break neck pace in the following days. First up is the end of the series on McCloud.
Saturday, August 8, 2009
Little Nothings, Vol. 2: The Prisoner Syndrome
By Lewis Trondheim
Trondheim describes the prisoner’s syndrome as
It’s when someone’s locked up and isn’t doing anything. By Not doing anything, he gets more and more tired and has less and less desire to do anything.
Fearing this phenomena, he decides to do more festivals around the world.
The Prisoner Syndrome is like A Moveable Feast. It is very stream of consciousness oriented and almost diary like. When Trondheim notices something about a place that interests him or has a clever idea, he jots a cartoon of it down.
As a result, there is no narrative here. It is like a hip version of Family Circus. There is an overall theme going on about his life, but there isn’t necessarily any causal connection between pages. The elapsed time and location vary wildly.
It is an amusing book. Probably best read like a joke book, a little at a time. It is funny in places and heart wrenching in others.
Understanding Comics: Chapter Four - Time Frames
By Scott McCloud
In this chapter, our intrepid author talks about time and how it is utilized and conceptualized in comics.
It is a whole lot of theory. To be honest there is nothing super revelatory in this one. To anyone who has read comics for as long as I have, this is old hack.
It is interesting to see that the lingering moody panel is relatively new to western comics. As was his discussion on how the box of a panel can change time completely - its shape, size, content, and lines can be powerful indicators. The rest is all conceptual talk about composition. It is extremely important to anyone who may want to create comics in the future, but not very interesting for talking philosophically. It is hopefully just a breather after the beast that was Chapter Three.
Friday, August 7, 2009
Witchfinder: In the Service of Angels #2
Written by Mike Mignola
Illustrated by Ben Stenbeck
RIYL: Hellboy, The Strange Adventures of H.P. Lovecraft, Proof, The League of Extraordinary Gentlemen
Mignola is laying out a period mystery drama with a supernatural foundation. One would expect no less from him. What is astonishing is that he makes this London of 1879 just as real as the settings he places the BPRD in during the Forties or where Hellboy lives out his story in the present. It is a fertile mind that can handle such diverse locales and times so capably. The mystery is tense in this one, the stakes high, but as of yet there is not a lot of out and out action. This isn’t a bad thing by any means. He is doing solid character work and that is to be commended. This book is as much about mood as it is the horrible.
Mignola is giving us background in his larger epic here. It is great to see how far back his story goes. That kind of world building is what makes such a complex concept work. Here we see Victorian London’s dark corners, its alleys and the men who would profit at the expense of others.
Star Wars: Dark Times - Blue Harvest #0
Written by Mick Harrison
Illustrated by Douglas Wheatley
RIYL: Star Wars, Lord of the Rings, Wasteland
Dark Horse reprints the two Star Wars chapters from their online anthology, Myspace Dark Horse Presents. The story is set up for the "Blue Harvest "storyline that begins in Dark Times #13. Evidently, a large demand for this introduction caused this #0 to see print.
It is easy to see why. Harrison’s dense script is epic and exemplary of the heights of storytelling for which this franchise is known. The scope is breathtaking here. It is almost as if there is an illustrated version of the famous vanishing scroll that introduces each of Lucas’s films and as the score of John Williams quiets down, you can almost feel the fade.
Thursday, August 6, 2009
The Black Diamond Detective Agency
By Eddie Campbell (from the screenplay by C. Gaby Mitchell)
When a train explodes at the turn of the century, a devious plot is unearthed and the Black Diamond Detective Agency are the only people who can solve it.
Campbell hits everything perfect here. The story is a hybrid of a Western and a pulp noir. There are twists and turns, deceptions and mob wars. It is a thrilling and gripping read that will keep the reader at the edge of their seat.
As solid as the story is, it is Mr. Campbell’s art that is truly special here. He captures the feel of the time and the chaos of the explosion perfectly. His use of reds to underscore the mayhem without resorting to graphic depictions of the blood shed contained is restrained and genius. He leaves the more gruesome details to the reader. In fact, much of the action happens off the panel, allowing the reader to determine how a gun fight plays out, where a mark is hit, and what a mess must look like.
The painted style gives the book a kinetic flow that feeds in to the cinematographic feel of the piece. His thick chunky lines make it look animated and his detailed backgrounds give it more of a photo realistic feel. Buildings, trains, and other large objects fill up entire pages with great detail and lifelike recreations.
This is an exciting and worthwhile read with stunning graphics that should entertain anyone who likes the Western genre or is looking for a decent mystery yarn.
Written by Jeph Loeb
Illustrated by Jeff Matsuda
This book was written after the success of Heroes Reborn at Marvel. Liefeld and Loeb branched out on their own and started Awesome Entertainment. This was the first time Matsuda and Loeb worked together. So the question is, is this a masterpiece, guilty pleasure or something else entirely?RIYL: Ultimates 3, Star & S.T.R.I.P.E., Impulse, Young Justice
This reviewer is going to have to say it is a guilty pleasure. There are lots of fun elements. In fact, it would be my guess that the fans of Giffen and Rogers’ reimagined Blue Beetle will find much to enjoy here. It is after all, a comic about a high school kid balancing his life at school and as a hero. For my money give me Star and S.T.R.I.P.E., but the kids seem to disagree these days. In fact, given the popularity of that book and Young Justice, maybe this book started something and if so, then maybe I am being too harsh in the following critical look.
Chapter Three - Blood in the Gutter
By Scott McCloud
Wow. Stunning. While I found chapter two a little hard to digest, Chapter Three exploded with information.
Here, McCloud describes “the gutter.” That space between panels which can take up seconds, years, or no time at all. He breaks down the types of transitions that occur in graphic narratives. I won’t bore you with those details, they are in the book if you are truly interested. Through these methods he notices trends in comics. What is most surprising is the fundamental difference in how Eastern and Western creators craft their stories.
The West tends to be concise, balancing what is needed with what can be left to the imagination. However, in the East, more emphasis can be placed on panels that relate the same point in time, creating a more detailed portrait of a moment. Most often this is used to evoke a sense of mood that can be missing in our traditional comics.
He also discusses a work’s length and abstraction on its effect to synthesize panels. His final conclusion is that the magic of the gutter is what raises comics above the level of some bastard child of visual art and prose.
It is the single most enlightening thing I have ever read about comics and explains many of my own preferences. In Manga, it explains why I enjoy the atmospheric nature of Vagabond over the more dense and Western DragonBall. It is key in understanding why I enjoy Jason and Seth, finding more meaning in their minimalism than in the static realism of someone like Alex Ross. Don’t get me wrong, I like Ross, but am more likely to appreciate a panel individually over the sequence of art as a whole. Most telling is why someone like Bendis, who I enjoy thoroughly, for other reasons, drives me mad with his penchant for confusing panel layouts.
So much of why I enjoy the comics I do is illuminated in this chapter. I feel spent. With six chapters left. I fear for my tiny brain. At this point, a pantomime strip will be a different experience for me. Already McCloud is shaping my opinion and view of my favorite medium. It is revelatory; and to be honest, a little frightening as well.
Wednesday, August 5, 2009
Doom Patrol #1
Written by Keith Giffen; co-feature written by Keith Giffen and J.M. DeMatteis; Art by Matthew Clark; co-feature art by Kevin Maguire; Cover by Matthew Clark; Variant cover by Matthew Clark and Kevin Maguire
Come one, come all! The world's strangest Super Heroes are back, and they brought those robot guys along with 'em! Thrill to the strange adventures of the Doom Patrol, with script by Keith Giffen and art by Matthew Clark! Whether you think you know 'em or you wouldn't know 'em if they bit you on the behind, this Doom Patrol's for you! But that's not all! Read all the way to the back cover for the all-new adventures of those elemental everymen, the Metal Men, featuring the triumphant return of the creative team that brought you JUSTICE LEAGUE INTERNATIONAL! That's 40 full pages of comic-bookery for just under four American dollars. So why not try some Doom Patrol with a side order of Metal Men today?
- DC Universe
- $3.99 US
Little Mouse Gets Ready
By Jeff Smith
The genius behind Bone writes his first book that is solely aimed at younger readers. It is short, to the point and thoughtful. Mostly it is just plum precious.
Little Mouse is going to the barn with his family. He rushes to get dressed, but will his attire be appropriate?
This is a great book for any reader starting out. It is cute and will appeal to some of the Bone audience, but it is clearly meant to be a primer.
Chapter Two - The Vocabulary of Comics
By Scott McCloud
In the second chapter, McCloud tackles a much more complex topic. It is deceivingly simple at first, but builds to a problem that is harder to express.
Here, he starts out talking about the medium through its two major components - namely, pictures and words. The bulk of this part is devoted to pictures, or to be more precise, Iconography.
McCloud defines an icon as "any image used to represent a person, place, thing or idea." The discussion then moves to the simplified abstraction of cartooning. He eloquently states something that I have been struggling with in my reviews for two years. The emotional power of an artist like Jason over that of one like Alex Ross is what is ultimately the foundation of this concept. The universally identifiable abstraction of a cartoonist is more relatable and more real than the detail of the photo realist.
Of course, with comics, it is necessary to examine words as well. They are at once more simple and abstract than a regular icon, but they are reliant on outside information. They are infinitely more complex because of the process which is needed to perceive their message.
This is all followed by a lengthy discussion of the various combinations employed by different artists. He is looking for a single vocabulary to describe the synthesis created by the received information of iconography and the perceived reality of prose. He is successful in as far as stating their iconic importance and differences, but the true complexity of the subject means that his final analysis is not as clear as he would probably like.
It is not that he doesn't express his idea well. He does, but it is difficult to understand exactly what he is getting at. This is due to the headier nature of this topic, it is not as readily coherent as the first chapter. Abstraction is always difficult to define and his effort here is both valant and borders on the sublime. It is like Pirsig's struggle with the notion of quality, it is unattainable as the safe end to his motorcycle journey. It is a necessary step in McCloud's own philospohical journey and despite its awkwardness, it will enlighten the reader on why they may prefer Herge over Jim Lee (or vice versa).
Tuesday, August 4, 2009
By Nick Simmons
Nick Simmons branches out on his own in this title. Long under the shadow of his father, that member of an infamous band, his only previous comic credit is as a writer on his dad’s House of Horrors. Here he not only writes the script, but does the penciling as well.
Radical calls Incarnate an American Manga and that description is somewhat apt. From a panel design and stylistic point of view, Simmons seems to get manga as much as Adam Warren does in Empowered. However, the storytelling, the actual prose of the comic, is more straightforward like most traditional US comics.
RIYL: Vampire Hunter D, Locke & Key, Pixu, Empowered
Flight: Volume Six
Edited by Kazu Kibuishi
It almost seems moot to try to review this book in light of the ongoing feature here on Understanding Comics. To a certain extant, it seems pointless to be trying to review any comic at this point in time, but I will keep trucking forward.
Flight has long been the acme of the comics anthology. It has soared us to the highest heights the format can possible have us expect of it. While I have not been a fan of every story in the five previous volumes, it is easy to say that the love and creative power on display in this series is a testament to comics as a medium.
That being said. This one is the first to falter. It is not to say that the creative energy and effort was not put into this volume. It is as well crafted, beautifully illustrated and entertaining as any of the previous volumes. No, the problem here is content. With the debut of Flight Explorer a couple of years ago, which was this reader's first foray into the series, Flight became the property of the more mature reader. There have been stories that were not necessarily suited to an all ages audience in past volumes - be it through innuendo, drug use, thematics, or what have you. Explorer opened a division in the franchise, a place for the child to revel in its delights but be shielded from what might be viewed as improper for younger readers. It seems now that maybe that was not the intent. Maybe, Explorer was purely an effort in younger reader fare, not all ages content. The difference between Jeff Smith's Bone and his Little Mouse. This should not be problematic, but then why is so much of what was on display in Explorer present in this volume?
On to the actual stories. The return of Daisy Kutter is welcome here. We also have the best entry thus far in The Saga of Rex. Other returning favorites include Jellaby and Fish N Chips. Some of the best Pantomine comics ever are presented in "Dead at Noon" and "Walters". "Mate" is the most stunningly inventive design work of the year. All in all it is an entertaining volume, it is just curious why this volume seems to be Flight Explorer expanded, instead of Flight proper.
Understanding Comics: The Invisible Art
Chapter One - Setting the Record Straight
By Scott McCloud
McCloud begins his journey into the deeper world of comics in a unique way. He starts by poking a bit of fun at them. The writer was not initially enamored with the medium, even though he would grow up to change the face of comics through his work.
In the Eighth Grade, his good friend Kurt Busiek truly introduced him to the world of sequential art. Scott’s world was changed forever. He sensed something deeper in comics, but was met by scoffing of a familiar sort about these feelings. This set his motor running.
Why did people think comics were kid’s stuff, silly superhero books with bad art? So, the first order of business is to define comics. Partly to do away with the stigma, partly to open the discourse of the book.
The simplest definition would be Will Eisner’s. He defined comics as “sequential art.” Unfortunately, McCloud thinks that definition might be a bit too broad. So he comes up with a more detailed definition:
com-ics (kom’iks) n. plural in form, used with a singular verb. 1. Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or produce an aesthetic response in the viewer.
Using this definition, the author proceeds to look at the history of comics. He reaches past Yellow Kid and the onset of modern comics and talks about Egyptian Hieroglyphics, Mixtec Manuscripts, the Bayeux Tapestry and more. He doesn’t attempt to pinpoint the genesis of the medium. History is not his goal here.
His goal is to get the narrow perception of comics recognized as the bunk it is. This is a medium that goes back centuries and has produced a Pulitzer Prize winning tome. It is not Kid’s stuff.
McCloud throws the gauntlet down from the very beginning. He is going to explore the qualities and possibilities of comics in depth. If what you it is all Superman and Spider-Man, he wants your biases out of the way fast. An open mind is going to be needed, cause he intends to expand it.
I hope you will join me tomorrow for day three of this special look at Scott McCloud’s Understanding Comics.
Monday, August 3, 2009
By Gabriel Ba, Becky Cloonan, Vasilis Lolos, and Fabio Moon
Four of comics most, for lack of a better word, avant garde artists team up for one creepy story.
When a strange marking appears in their apartment building, five people begin to have their lives changed.
The story here is not the easiest to grasp. The "monster" is not a physical beast but a plague of the mind. The abstraction that crawls from the walls and windows into the characters is a feeling of dread, confusion, chaos, etc. These various dark thoughts creep into each of the tenants and eats away at them.
This is one of the more disturbing reads in quite a while. As the evil is mental, there is no beast to be slain, outside the apartment and its occupants themselves.
What is most astonishing is that the styles of the four artists blend together. They are, of course, complimentary, but there are moments when it is as if one artist did it all, even though you can definitively say it was this one or that in a particular panel. Collectively, they create a new visual vocabulary that is not present when they work individually.
Pixu is a ground breaking work of horror that will set its seed in the reader, much as it has its players.
RIYL: Locke & Key, Sin Titulo, Strange Embrace
Understanding Comics: The Invisible Art
By Scott McCloud
Okay, so today, I came to a special book on the Reading Pile. One that is remarkably different from any of the other books I have discussed thus far. As a result, The Reading Pile Special is born. In this, hopefully, recurring feature, I will take a deeper look at a book than any normal review can entail.
The first book being covered this way is Understanding Comics: The Invisible Art by Scott McCloud. This book is considered a touchstone in comics. It’s a comic about comics. Not the history of comics (although there is a very impressive one of those, Comic Book Comics). No, this book starts with a definition of the word comics and then goes into detail as to what comics are and what they as a medium mean or are capable of.
I’m excited to read this book. It’s analysis is supposed to be profound and it is regarded as a game changer. Garry Trudeau said, “When the 215 page journey is finally over, most readers will find it difficult to look at comics in quite the same way ever again.”
So join me, as I spend the next nine days look at each chapter in detail. I’ll probably write a more traditional review at the end, but no promises.
A word of warning, even though Understanding Comics is itself a comic book, I will not be criticizing McCloud’s art in these pieces. I will probably rarely, if ever, mention the art at all. I am more concerned with the content and the theories of this book.
I hope you will be here tomorrow for the discussion on Chapter 1.
Sunday, August 2, 2009
Ultimates Vol. 3 #1
Written by Jeph Loeb
Art by Joe Madureira
I have not been a big supporter of the Ultimate Universe. Ultimate Spider-man just rubs me the wrong way, I could care less about Ultimate Power and let’s face it, Ultimate X-Men is where great writers decide to write garbage. All that being said there have been a few titles I have enjoyed. Three to be exact. Ultimate Wolverine vs. Hulk, Ultimate Iron Man and Ultimates. I was a huge fan of The Ultimates 2. I have yet to read Ultimates Volume 1, I have it in hardcover somewhere, but volume 2 started when I was just getting back into comics and to me, it was everything I ever wanted an Avengers comic to be. It was dark and seemed like it could be happening here.
Ultimates 3 seemed like a good idea. Jeph Loeb has always been hit or miss with me, although I really like his Batman and Superman books. However, his recent work has left me cold. The Fallen Son series suffered from being incredibly uneven in it’s writing and in a couple of issues (yes I am looking at you Spider-Man) laughably bad. His recent stint on Wolverine was so bad that after the second page of the second issue of the arc, I gave up until Loeb went away. This book is just nonsense. Am I to assume that Hawkeye’s new darker image is a result of the conclusion of the last series? Well, to drastically change a character like that needs some development and any attempt at actual characterization is absent here. Instead of getting to be introduced to Ultimate Black Panther, we get hints at a mystery. In an incredibly poor choice (that I can’t believe Marvel editorial let happen), Loeb decides to make the book more adult by introducing an incestuous relationship and then never bothers to show why the involved characters feel this way. The rest of the issue is a big fight with a villain that is just an obvious plot device to bring Spider-Man onto the team. All of this leads to what is supposed to be a shocking cliff hanger, but the problem is, I didn’t have any emotional investment in the characters so I didn’t care.
Joe Madureira is the artist on this issue. I work in a comic store, so while I was not reading books when he was drawing them, I get to see the mad passion that people have for his art. The muddiness (that is cause primarily by Lichtner’s colors) and over boxiness of the charaters made me rush to the back issue bins. I had to see what all those folk see in Battlechasers. Well, I lucked out and had an issue six in the regular runs here at the mall store (note Ultimate Comics no longer has a mall store - check the link above for locations). I took a peek, the lines were strong and the colors bright. There was some boxiness, but it just gave a distinctive quirk to the art in that book. I rushed back to my copy of Ultimates 3 #1. Then I rushed to look at the sketches in the back of Iron & the Maiden #0, they resembled the Battlechasers work. I rushed back to my copy of Ultimates 3. I am not convinced these are the same artists. Ultimates 3 is the work of a sloppy amateur. Sure he has been out of the game for a while, but why let the prototype sketches in the back of a book he let someone else draw be more polished then his hyped return to comics? Go back to games, I don’t need you. Your best work is on the cutting room floor and I get this garbage when I spend money?
Ultimates you are on notice, you have one more issue to stay on my pull list. I am even giving "One More Day" more of a chance then that. You better bring it next time.
Daybreak Episode One
By Brian Ralph
A zombie book with two very unique qualities - no zombies and it is told in first person. The first person stands out the most. I don't think I have ever seen a comic from that point of view before. As with all first person narratives (especially in a visual medium), it works to a lesser extant than one would hope. While it is on its surface an awesome idea, it becomes contrived as there is no way to truly make it seamless. No matter the conceit, it is impossible for the reader to interact in the environment of the graphic novel.
The lack of zombies is nifty. This isn't a Walking Dead type thing where you see them in the beginning and end or every once in a while, there are NO ZOMBIES in this zombie book. This forces Ralph to make his characters sympathetic and believable. It is just a tad drawn out in this volume, but it works.
Art wise, the book has a Jeffery Brown type feel. It is a cartoon with rough lines that are surprisingly consistent. The designs work and the story telling is as fine as it can be for the concept.
This is an intriguing idea. Only reading further volumes will declare whether or not it is a particularly successful idea. Unfortunately, I don't think I am ready to commit more time to this one as of now.
For anyone interested in the book, it is distributed by Bodega and first appeared as a webcomic at newbodega.blogspot.com.
Saturday, August 1, 2009
The Mice Templar: The Prophecy
By Bryan J.L. Glass & Michael Avon Oeming
The adventures are Karic are a special journey that begin here. Long enthralled by the local Blacksmith's tales of an ancient order of Mice who keep all of mousedom safe, Karic is a boy prone to fantasy day dreams and eager to play swords and sorcery. When a stranger comes to town with a tale no one will hear, a dark destiny is carved out for our young hero.
The Mice Templar is a love letter to fantasy. It throws in a tablespoon of Star Wars, a cup of Redwall, a knob of Nymh, and a dash of The Lord of the Rings, but manages to come off not only as homage, but as a unique entity. This volume deals almost exclusively with how Karic becomes the last hope for an ancient order and a dying religion. He is not the first choice of the masters who need to see the legacy carried on, but he is a choice and that is something that they have long searched for.
Glass and Oeming's story is magnificent in its density and scope. The schedule of these first six issues was a bit of a problem, it seemed to come out almost haphazardly. The amount of story presented in each chapter and the unfortunate, yet incorrect, assumption that all the mice looked the same, made it hard to follow on a bi-monthly or longer schedule. The momentum of the book was lost in between chapters. The new volume which saw its first issue released this past Wednesday promises to be different with a new artist and its next issue shipping in a mere two weeks.
As you can see below, the review for that first issue of Volume Two showed that there was no love lost to this reader during the wait. That love for the story sparked this rereading and short review of the first part of the epic and it was not time wasted. This is a great story that is massively entertaining. Like those Lucas films that it seems to admire, this is one worth enjoying time and time again.
The Stuff of Legend #1
Written by Mike Raicht and Brian Smith
Illustrated by Charles Paul Wilson III
Imagine if Andy in Toy Story was kidnapped. Buzz, Woody and the gang would run off to rescue him, right? Well, there would probably be a crazy committee meeting where Rex and Hamm tried to get out of it first, but they would man up eventually. That is how The Stuff of Legend begins. It quickly takes on a more serious, brooding and darker tone then the Pixar film though. It’s setting and less playful narrative add to this sense; but do not be mistaken, this comic is no less magical.
The first thing that stands out about this book is the design. This 8 inch by 8 inch square book opens to reveal a wood grained scrap book. (It is flat and on glossy paper, but you get the idea.) It is tattered, aging - brittle at the corners - and the panels make up the pictures filling it. The muted coloring of the book adds to the feel, a monochromatic relic, an artifact is in front of the reader. All of this creates a sense of history unlike any graphic narrative this reader has ever seen.
RIYL: Toy Story, Mice Templar, Unwritten, The Iron Giant, Fables
Friday, July 31, 2009
Afro Smurai Volume 2
By Takashi Okazaki
Volume One was a violent tongue in cheek hybrid of explotation era thematics and the standard samurai revenge tale. It was fun and refreshing in a Tarantino homage kind of way.
This volume, on the other hand, is a complete and utter mess. Afro is still hunting the elusive Number 1, but the story decides to randomly flip between flashback, present day action, and the distant future. There is no rhyme or reason to it, a flashback can come in the middle of a fight or during a quiet dinner scene with no discernable mechanism for distinguishing between the eras.
There are interesting sequences throughout, but the jumbled narrative structure makes the book next to impossible to understand diminishing the important revelations or even more disastrously, the climax itself. Possibly the most disheartening fact of these problems is that this is a reworking of the original manga, yet it still comes off like a rough draft.
Mice Templar: Destiny #1
Written by Bryan J. Glass
Illustrated by Michael Avon Oeming
Oeming pulls all the rabbits out of his artistic hat here. There is a breathtaking splash page, one of the most magnificent ever, certainly among those that feature owls. There is a bloody battle sequence that plays like the opening D-Day salvo of Saving Private Ryan, only here, it's with mice and swords. There are fiery visions, monstrous creatures, eerie forests, and illuminated spirits.
The dynamic layouts, the emotional fortitude of the cast, the sturdiness of the graphic narrative all dazzle, but pale in comparison to Cassius’s recounting of the legend of the wood. The page is turned and like the technicolor brilliance of Oz, there is a water-colored surrealism that literally sucks the oxygen out of the room.
RIYL: Mice Templar, Redwall, Watership Down, Conan, Mouse Guard, Raymond E. Fiest, Star Wars, Lord of the Rings
Eager to keep myself honest and to refine my reviewing skills I joined. We have a membership that has grown and shrunk over the years. Some of us are very passionate about comics, others not so much. There is a rotation, built on some arbitrary list, that we use to determine the book of the week. Basically, you get to pick when it is your turn.
Anyhow, back in those days, I reviewed the first issue of The Mice Templar (which regretably was not a Review Group pick way back then, we reviewed some issue of Teen Titans instead) and thought you guys might get a kick out of reading my review. Which along with my zeal for the book got me a mention in one of the issues for spreading the word. Thanks Bryan and Mike, for the nod, but mostly for a great book that I am still passionate about.
And now without further ado, first published on www.ultimatecomicsonline.com way back in August of 2007, my review for The Mice Templar #1.
The Mice Templar #1
Written by Bryan J.L. Glass and Michael Avon Oeming
Illustrated by Michael Avon Oeming
When you go home and your mother fixes your favorite dish; you know the one that you tell everyone about, the one that you have been trying to recreate, but just can’t get it right. You know how when you walk into the house and the heavenly aroma hits your nose and you start to salivate. That’s the way I feel about this book. When I heard about it several months ago, I just started to get excited. Those kinds of projects only come every once in a while. The ones that make you giddy with anticipation.
Now that it is out. All I can say is boy do Oeming and Glass deliver. They have concocted a delectable stew of some favorites of my childhood. Saute one cup of Star Wars, season it with some Conan and The Secret of NIMH, add a little julienned Watership Down, and steep in a King Arthur stock for several hours and Viola: Mice Templar. In this first issue we are introduced to Karic, a young mouse, who has grown up hearing tales of the fabled Templar. He suspects every stranger to be one, he knows their myths and legends. When he plays, it is as a Templar. He lives in what appears to be a medieval village of Mice. All is great. Then the rats show up, the blood flows and the story hits the stratosphere.
Oeming’s pencils are breathtaking. This is not the comic strip goodness of Powers. This is a new gritty, dark style that is amazing. Shadows abound and the mood of wonder and forboding that is conveyed in Glass’s script is perfectly conveyed. Seemingly simple backgrounds jump off the page. The energy that Glass and Oeming have towards this comic, over nine years in the making, is palatable on the page.
This is a a perfect comic. It delivers in every way. This reader was sold before it was printed. Now, I am more stoked then before. I want seconds now, so I actually forsee myself rereading this book several times before the next issue hits the stands. Spawn and the zombies need to get ready for some real competition, this is the next big thing from Image.
Thursday, July 30, 2009
Violent Messiahs: The Book of Job
Written by Joshua Dysart
Illustrated by Tone Rodriguez
A riff on Frankenstein that is set in a dystopian future. More than that though, it is a biblical epic both in scope and its allegorical allusions. Tackling the subjects of hyper violence, love, and the nature of truth, it quickly becomes more a mash up of King Kong and The Matrix. Things are not necessarily what they seem and even the motives of family may have sinister ramifications.
The tome doesn’t always work. It is sufficiently muddled and even worse narratively jumbled in places. Often, Dysart is over reaching his ability at the time. This may sound damning, but it’s not. What we have here is the journeyman work of a scribe. He is developing his voice. There is much that points to the tale of a certain bandaged soldier.
Rodriguez is one of those indy guys. He worked on the Snake Plissken book and other work that required less realistic rendering (The Simpsons, Urban Monsters). Here, he tries to match the cinematic chaos of the script. Bravely experimenting with layouts. They pop, squeeze and eventually cover each other up. Like the story itself, the art is not perfect. In fact, the first half of the book is painfully amateurish; but as the story progresses, both the script and the pencils become more coherent, more refined, and ultimately find the edge they are looking for.
Immortal Weapons #1
Written by Jason Aaron & Duane Swierczynski
Illustrated by Various Artists
Aaron has showed himself as one of the rising stars in the medium. He has already once shown readers that he can handle the tongue-in-cheek humor and over-the-top action of the best chop-socky films. That book was called Wolverine: Manifest Destiny, even though it felt more like Sons of the Dragons. All of those skills in the genre are on display here.
To add insult to injury for lesser writers, the scribe adds enough emotional depth to the character to make an overweight and egotistical guy into a sympathetic character. His story is haunting and tragic. There is a sense of loss at the end that is inescapable. Certainly, with the majority of his career ahead of him, Aaron will be considered one of the greats of his field.
RIYL: Immortal Iron Fist, Wolverine: Manifest Destiny, Daughters of the Dragon, Daredevil
Wednesday, July 29, 2009
Young Neil had the pick this week and he chose a personal favorite -
THE MICE TEMPLAR: DESTINY #1
Come Join the fun at the Outhouse!
story MICHAEL AVON OEMING & BRYAN JL GLASS,
art VICTOR SANTOS & MICHAEL AVON OEMING ,
cover MICHAEL AVON OEMING,
variant cover VICTOR SANTOS & VERONICA GANDINI
32 PAGES, FC, $3.99
The second chapter in the saga of the Mice Templar begins here!
The Templar have fallen, leaving the natural world in the grip of tyrants and ever-increasing chaos. The promise of restoration for the Templar and the salvation of all creatures now lies in the paws of the newly-knighted Karic. But as sinister powers seek to thwart him, others are desperate to use his mission for personal agendas. Now Karic is anxious to complete his training so that he might rescue his family from slavery. But his new master is Cassius, a bitter Templar exile who does not believe in Karic's destiny. Their journey takes them to the legendary Haunted Wood, a dead forest inhabited by Diabhlan, ancient evil spirits hungry to feed off of living souls.
32 PAGES – NO ADS!
A Dame To Kill For
By Frank Miller
The Hard Goodbye suffered from Miller's penchant for hokey dialogue. Oddly enough it worked well enough for Marv's story.
Here, Miller delves fully into Noir. Dwight's speech is full of the cadence and swagger of Bogart at his finest. The lust between Dwight and Ava is thick, the smell of sweat rises from the page.
What's more, Miller embraces the pulp mechanisms, sprinkling bits from the other volumes here and there. The story becomes a frame and like a Leonard novel, old friends are hiding in corners.
Oh, Ava's monologuing can get overbearing - but it is made up for in spades by the momentum that keeps the pages turning and the story moving.
To this reader, this is a better outing that the first volume. Miller is playing around less and hunkering down to tell a decent story.
The Stuff of Legend #1
Written by Mike Raicht and Brian Smith
Illustrated by Charles Paul Wilson III
Published by Th3rd World Studios
A new mythology is created as this book explores a child of WWII and his courageous toys who venture into the dark closet to save him from the Boogy Man!
The preview book went fast at Free Comic Book day, check the offering here: http://www.newsarama.com/php/multimedia/album.php?aid=27895
This is a stunningly beautiful book that Brian K. Vaughan said the following about
"This is some of the loveliest artwork I've seen in a comic book in a long, long time, and a darkly beautiful story to boot"
Frank Quitely said
"I love it! It's a real page-turner. Economical, effective story-telling, with both story and art complimenting each other perfectly, and hinting at something darker. Very involving"
This one may be hard to find at your local comic shop, but will be worth the hunt.
By Alan Moore and Eddie Campbell
Masterpiece. Alan Moore has at least three books that qualify. There is Watchmen, Lost Girls, and this one. It is probably the least of the three, but it still rises to the top of the greatest achievements in all of comics.
Moore takes the lore of Jack the Ripper and uses it to mark a clear demarcation between the grime and questionable morality of 19th century London and the free for all that has become the 20th century and beyond. By pointing out the evils of that more "innocent" time, he examines the worst of humanity and the evils of the present become a more potent concern.
Along the way there is the cautionary tale of Gull. He is a doctor who strives to be the best at what he does. Slowly, but surely, his unquenchable drive causes him to lose not only his mind, but everything he worked so hard for.
Campbell's art is an acquired taste. The loose line is overcome by his strong storytelling. One has to wonder what a more capable artist could have brought to the table. Would the loss of the gritty mood have been more harmful than the sketchy nature of the art?
A sublime, dark and incredibly dense epic, From Hell takes historical fiction into the realm of the metaphysical.
Tuesday, July 28, 2009
Hellboy: Wake the Devil
By Mike Mignola
More from the uncontrollable stack of books I have yet to read. Like Sin City, I am reading this in the big Library Editions from Dark Horse. This first hardcover (of which this is the second half) took me a while, because to be honest, Seed of Destruction didn't exactly set my world on fire. Fortunately, it was not my first experience with Hellboy. I had checked out what ever mini series was being published when I first got back into comics. I dug it, but after a couple of series... I am thinking I made it to The Black Flame... I realized that this world was rich in back story, so I decided to start at the beginning and then these cool hardcovers were solicited.
This is more like it. After the somewhat empty opening of the first series, the whole ball of wax gets rolling here. Rasputin, Vampires, Gods, Nazis, Mad Scientists, Disembodied Heads. That's what our Demon friend should be fighting. However, the emotional connection to his team becomes clearer here. We see him face his destiny and claim his own path. The wry humor is here. Perfect comics from a genius of the medium.
Monday, July 27, 2009
The Hard Goodbye
By Frank Miller
Having seen the movie, I was a big enough fan that I own the entire series in the big over-sized hard covers, but have never actually gotten to reading them - hence the name of this new feature, brought on by my illness this past weekend, where I didn't read anything new to review and pretty much just lied around reading things from the big pile in my comics room.
This was a solid story. It easy to see why they made the movie focus on this story. Marv is a great character and there is a nice balance between the noir darkness and Miller's sense of humor.
The art is amazing. Miller utilizes the black and white to the nth degree. He has a sense of shadowing seldom seen in comics and the simple palate accentuates this. The detail is amazing.
The only thing that holds this book back is the ham-fisted dialogue. Of course, it is perfect coming from Marv, but still unbelievable. What was once kitschy enough to make The Dark Knight Returns a breath of fresh air is over the top here.
Still, all and all, a great read deserving of the accolades and status it has obtained in fandom.
Thursday, July 23, 2009
By Greg Rucka and Steve Lieber
September 11 marks the next big comic adaptation. This time it is a big Dark Castle production staring Kate Beckinsale. The trailer hits the web today at ign.com, and the official website is up.
Just a friendly reminder that this started out as a comic from Oni Press. Here's how they describe the book.
"You can't get any further down than the bottom of the world - Antarctica. Cold, desolate, nothing but ice and snow for miles and miles. Carrie Stetko is a U.S. Marshal, and she's made The Ice her home. In its vastness, she has found a place where she can forget her troubled past and feel at peace... Until someone commits a murder in her jurisdiction and that peace is shattered. The murderer is one of five men scattered across the continent, and he has more reason to hide than just the slaying. Several ice samples were taken from the area around the body, and the depth of the drilling signifies something particular was removed. Enter Lily Sharpe, who wants to know what was so important another man's life had to be taken for it. But are either of the women prepared for the secrets and betrayals at the core of the situation?"
Reminds me, I should dig this out of the to read pile and actually read it.
By Richard Stark
I was so impressed by The Hunter that I rushed out to purchase a Stark Novel. I was not able to locate a copy of The Hunter or the second book right away, but I came across a copy of this, the fourth Parker novel at the Regulator Book Shop in Durham, NC.
"The Mourner is a story of convergence—of cultures and of guys with guns. Hot on the trail of a statue stolen from a fifteenth-century French tomb, Parker enters a world of eccentric art collectors, greedy foreign officials, and shady KGB agents. Next, Parker works with a group of professional con men in The Score on his biggest job yet—robbing an entire town in North Dakota. In The Jugger, Parker travels to Nebraska to help out a geriatric safecracker who knows too many of his criminal secrets. By the time he arrives, the safecracker is dead and Parker’s skeletons are on the verge of escaping from their closet—unless Parker resorts to lethal measures."- http://www.press.uchicago.edu/presssite/metadata.epl?mode=synopsis&bookkey=1127365
The book is available through The University of Chicago Press. They are currently reprinting all the Parker Novels.
With the launch of San Diego Comic Con 2009, this is the graphic on the Google home page today.
I'm overjoyed that Hollywood has made such a large showing there. I just wish we could find a way to turn those billions of movie dollars into comic sales.
Like Morrison said,
“I don’t care about geeks, you know? Geeks shouldn’t be given power. When geeks get power, you get Hitler. There’s a lot of weird and angry geeks out there. But what (a comic book movie) does is it opens up comics as a medium. It stops being geekish. There’s comic books for everyone. There’s comic books for women, there’s comic books for kids, there’s comic books for teenage Goths. That is the important thing that movies are doing.”
– Grant Morrison, in a roundtable discussion about Comic-Con and the geeks inheriting Hollywood (via Robot 6)
By Darwyn Cooke
Adapted from the first Parker novel by Richard Stark,
"The Hunter is one of those rarest of all comic books. It is a perfect graphic novel. It is expert in its writing and art. It is exciting and intelligent. The perfect fusion of compelling, passionate story and crisp, clear drawings. The entire medium should be striving for this level of synergy. It is quite simply put, the kind of book that should be proudly displayed on any book shelf."
RIYL: Payback - starring Mel Gibson, Criminal, Sin City, the works of Elmore Leonard, the works of Donald Westlake (aka Richard Stark)
Tuesday, July 21, 2009
Today's Choice is fairly recent but not linked here.
by Jeff Lemire
"Those who are being introduced to the artist’s work through this book are in for a treat. It is instantly more satisfying than Essex County, which is brilliant, but only in its entirety. The individual pieces of that epic are not nearly as satisfying or gripping as this entry. The Nobody is as perfect a comic thriller as I have ever read and proof that Lemire is a brilliant graphic novelist."
RIYL: Well that other book by Lemire mentioned above. That Salty Air, Air, Sliverfish, Young Liars.
If you look closely at the comic boxes on the shelves of this pawn store, you might notice a familiar logo. (Hopefully the picture will expand to full size when you hit it).
Here is the cover to issue one:
And the Official Solicitation:
COWBOY NINJA VIKING #1
story by AJ LIEBERMAN
art and cover by RILEY ROSSMO
It started with Dr. Sebastian Ghislain: rogue psychotherapist/covert op/DJ. Tasked with creating a counter-intelligence unit, he turned to those long thought useless to society…patients with Multiple Personality Disorder. These agents became known simply as Triplets. Misguided? Yeah. Impractical? Sure. But did it work? Absolutely not. Now someone has located each Triplet and created a band of ridiculously disturbed, but highly effective assassins. Our only hope? A Triplet known as Cowboy Ninja Viking!
From the artist of PROOF comes a new series presented in the Golden Age format!
COWBOY NINJA VIKING is © and TM AJ Lieberman and Riley Rossmo 2009. All Rights Reserved.
And here's a banner you should feel free to steal to spread the love:
GODKILLER WRITER-DIRECTOR JOINS COMIC CON PANEL
"HORROR COMICS INTO FILM"
- Award-winning filmmaker Matt Pizzolo to discuss turning
horror graphic novel into illustrated film -
Los Angeles, CA, July 21, 2009 - Award-winning filmmaker Matt Pizzolo (GODKILLER) will join the San Diego Comic Con panel "Horror Comics Into Film," moderated by Aintitcool.com's Mark L. Miller, with Kevin Grevioux (co-writer/actor UNDERWORLD), Marv Wolfman (creator of BLADE), Tim Seely (creator of HACK/SLASH), Whitley Strieber (creator of THE NYE INCIDENTS), Todd Lincoln (director/producer of THE NYE INCIDENTS), Jeff Katz (creator of FREDDY VS JASON VS ASH), Steven C. Miller (writer/director of AUTOMATON TRANSFUSION), Ryan Schifrin (creator of SPOOKS), organized by Peter Katz, it was announced today by Katz after Adam Wingard's appearance was cancelled due to a scheduling conflict. Pizzolo will discuss his role as writer-director of the 'illustrated film' GODKILLER (adapted from the horror graphic novel he created with illustrator Anna Muckcracker), which features the voices of horror stars Danielle Harris (HALLOWEEN 4, 5, H1, H2), Bill Moseley (THE DEVIL'S REJECTS), Tiffany Shepis (NIGHT OF THE DEMONS), and Lance Henriksen (PUMPKINHEAD). The panel is scheduled for Friday July 24th from 6:30-7:30pm in Comic Con room 30AB.
"It'll be incredibly humbling to talk about our offbeat and twisted horror-comic-movie GODKILLER alongside these giants of comic books and film," said Pizzolo. "I hope the film's unique format of integrating comics and cinema into a new storytelling style will add another dimension to the discussion."
"When Matt showed me the trailer for GODKILLER the illustrated film, I was immediately sold by its gothic artwork, its dark story of organ thieves, and a particularly creepy character voiced by horror heavyweight Bill Moseley," said Katz. "As a huge fan of all things horror, Matt will be a great addition to our panel packed full of genre all-stars."
Pizzolo will also be signing GODKILLER posters with castmembers Danielle Harris, Bill Moseley, Justin Pierre (singer of MOTION CITY SOUNDTRACK), and Nicki Clyne (BATTLESTAR GALACTICA) throughout the weekend at Halo-8 booth #430 and at the official autograph area in the Sails Pavilion.
Katz previously organized the popular "Indie Genre Film" panel at San Diego Comic Con 2008, which included the Dowdle Brothers (THE POUGHKEEPSIE TAPES, QUARANTINE), Oren Peli (PARANORMAL ACTIVITY), Jacob Gentry & Dave Bruckner (THE SIGNAL), Eric Zala & Chris Strompolus (THE RAIDERS OF THE LOST ARK: THE ADAPTATION), Adam Wingard (HOME SICK), Chad Feehan & Thomas Hammock (ALL THE BOYS LOVE MANDY LANE), and was moderated by AintItCoolNews' Drew McWeeny "Moriarty."
GODKILLER is the terrifying story of a boy on a quest to save his dying sister in a desolate wasteland. Based on the horror/sci-fi graphic novel Pizzolo created with Muckcracker, GODKILLER takes place in a dark-future where nuclear holy war has turned the Earth into a polluted savage land in which fresh blood and organs are prime currencies and humans live in fear of fallen gods and monstrous alien colonists. Tommy and his kid sister Lucy live in an orphanage in one of the few remaining city-states, but Lucy is critically ill and desperately in need of a new heart. Tommy's odyssey to find a new heart for his sister begins when he follows an organ-stealing prostitute named Halfpipe into the borderland of Outer City, where he comes face to face with horrors beyond his wildest nightmares. GODKILLER mixes unforgiving brutality, quantum physics, conspiracy theory, and secret history for an iconoclastic hero's journey like none before it.
About the Godkiller 'illustrated film'
The 'illustrated film' Pizzolo, Muckcracker, and Emmy-winner Brian Giberson created for the adaption mixes elements of anime, radio drama, video games, and motion comics. Utilizing the original artwork from the comic book, the 'illustrated film' adds motion animation, visual effects, elaborate sound design, music, and voice-acting performances.
Pizzolo explained "when we decided to make an anime adaptation of the comic book, I couldn't see how a traditional animated approach would do justice to Anna's incredibly lush and detailed illustrations. It made perfect sense to adapt the medium to suit her art, rather than vice versa."
Although comparisons have been made between GODKILLER and WATCHMEN MOTION COMIC, Pizzolo contrasted the differences in his "Illustrated Films vs Motion Comics" post on the Hollywood-2point0 blog.
Monday, July 20, 2009
Oh yeah. I run a comic shop in Durham, North Carolina.
Once a month on the first Thursday, a group of us meets and talks about a book we all read.
This month the group collectively chose Y The Last Man Volume One.
Written by Brian K. Vaughan; Art by Pia Guerra and José Marzá, Jr.; Painted Cover by J.G. Jones
"Funny and scary…an utterly believable critique of society. A+"
—THE WASHINGTON POST
"The best graphic novel I've ever read."
"This year's best movie is a comic book."
—ALL THINGS CONSIDERED, NATIONAL PUBLIC RADIO
"A seriously funny, nuanced fable...Grade A."
Y: THE LAST MAN, winner of three Eisner Awards and one of the most critically acclaimed, best-selling comic books series of the last decade, is that rare example of a page-turner that is at once humorous, socially relevant and endlessly surprising.
Written by Brian K. Vaughan (Lost, PRIDE OF BAGHDAD, EX MACHINA) and with art by Pia Guerra, this is the saga of Yorick Brown—the only human survivor of a planet-wide plague that instantly kills every mammal possessing a Y chromosome. Accompanied by a mysterious government agent, a brilliant young geneticist and his pet monkey, Ampersand, Yorick travels the world in search of his lost love and the answer to why he'sthe last man on earth.
You can find more info at my shop's website: www.ultimatecomicsonline.com
Our fearless leader, Amlah, had the pick this week.
He chose Immortal Weapons #1
WRITER: Jason Aaron and Duane Swierczynski
PENCILS: Khari Evans, Travel Foreman, Stefano Gaudiano, Michael Lark, Mico Suayan, Roberto De La Torre and Jordan White
Out of the pages of IMMORTAL IRON FIST! Jason Aaron (WOLVERINE) and Mico Suayan (MOON KNIGHT) plus an all-star roster of guest artists kick off IMMORTAL WEAPONS in this double-sized issue! Fat Cobra! No man has fought more heartily, consumed more mightily, or lived life more fully! Fat Cobra! Master of the sumo thunder stomp and the devil’s skullcrusher! Fat Cobra! Immortal Weapon from the Seven Capital Cities of Heaven! But to this day, no man has known the story of Fat Cobra’s life…including the Cobra himself! Discover the shocking origins of this boisterous brawler and witness his decades of adventure! Meanwhile, Danny Rand embarks on his own mission of search and adventure, in a special bonus story by IMMORTAL IRON FIST writer Duane Swierczynski running through all five IMMORTAL WEAPONS issues! Rated T …$3.99
There is still time to join in on the fun of last week's pick Blackest Night #1!
By Darwyn Cooke.
The writer and artist of my most favorite superhero story ever (DC The New Frontier) takes on the writing of Richard Stark. I have to admit, I have never read any Stark but the movie Mel Gibson made based on this character, Payback, was entertaining (even if the acting left a little to be desired).
Mostly I am excited, because I have loved the current resurgence in the Crime genre in comics. Between Rick Geary's true crime tales, Scalped, Criminal, and the up coming Dark Horse Noir, as well as Vertigo's upcoming Crime imprint. It is a great time to read about the underbelly of society.