This Empyre storyline seems like it has it all: conflict-driven storylines; character meetups; past lore building…the story, even, further twists and turns at every corner and much more.
Avengers: Empyre #0 is no different. In this issue, we get a look at the buildup to the conflict from the perspective of Tony Stark, who has been around to see more than the other Avengers. Al Ewing (Loki, Avengers, and Immortal Hulk) has built a story that looks to be vast and all-encompassing and Pepe Larraz (House of X, Thor, and Star Wars) has illustrated the vision perfectly. Overall, the prequel to this Empyre series is excellent and serves as a great building blocks for an even better adventure. 4.5/5 Avengers Agree With This Message.
Clocking in a a whopping 50+ pages for the first issue of Terry (Uncanny X-Men, Red one) Dodson & Matt (Casanova, Sex Criminals) Fraction’s ADVENTUREMAN #1, this book has some heft to it!
ADVENTUREMAN is a Doc Savage-esque pulp hero whose last story ends with him at the mercy of his arch-nemesis, about to be killed. Then… nothing. The series ends. That’s it. Until.. eighty years later the story begins.. again! A single mother Claire and her son seem to be at the center of this new iteration of Adventureman! Claire has gone deaf from a work related injury, feels like the black sheep of his very large overachieving family and is running her deceased mother’s old used book store. THAT’S where things get really interesting. ADVENTUREMAN was just a series of pulp fiction novels, right? Weren’t they?!
Artistically, the Dodsons (Terry’s wife Rachel has been his inker since …. forever) have never EVER looked better! This is a true labor of love and it shows with every panel on every page. This book‘s genesis was close to a full decade ago, but major projects kept getting in the way. Terry’s art is always clean and his storytelling is as crisp and reader friendly as ever. Hell, he’s coloring the damn thing too!
Matt Fraction’s strength is his dialogue and here he’s showing off just a bit, but in a great way. The family scene has humor, drama, tension, loss, and love. It all feels nature and nothing comes across as forced. Where this road is headed, I can only guess, but I know for damn sure it’s going to be an adventure I can’t wait to see more of! 4/5 Bibles.
Another year, another landmark issue of a DC Comics character, this time the 80th anniversary of the indelible Green Lantern. This over-sized anthology issue features plenty of pin-up spreads, and various writers and articles throughout the long, storied career of the emerald intergalactic peacekeeper. As a celebration of the character(s), it has the exact same impact and resonance as the anniversary issues for Superman, and Batman.
The first vignette, “Dark Things Cannot Stand The Light”, is a character-based story centering on original Green Lantern Alan Scott, and his search for the relatives of one of his compatriots on the train ride that granted him his powers. It’s a bit understated, and the art, by the ever-great Gary Frank has the same ethereal sort of quality that accompanied Doomsday Clock to such great effect. Geoff Johns’ writing is always understated, as it is here, and it reinvents Alan in a way that actually seems to enrich him more than it might at first have seemed.
The standout story, however, is Robert Venditti‘s “Four”, which is set in some non-specific future, and features three of the most famous Green Lanterns (John Stewart, Kyle Rayner, and Hal Jordan) meeting up and reminiscing about old times, and what each Lantern means to the other. Rafa Sandoval‘s art works to great effect here, as the story packs a bit of an emotional punch at the end.
All in all, each of these stories are great, if not phenomenal. And with the various exclusive covers being offered, it is definitely worth a buy, especially to read one of the late Denny O’Neil’s last works. 4.5/5 Bibles.
I’m not gonna lie, right away I was drawn to this book by the cover. Thankfully, comic books give us a pass of the classic literary trope because the cover rocks, alright! First time solo artist Jacob Phillips does a bang up, pun intended, job of bringing to life the story of the aging Sheriff Joe Bob. Now thankfully the writing being done by Chris Condon is just as pleasing. The simple, yet witty, dialogue matches the aesthetic of a classic western. I’m IN.
Everybody has a Joe Bob in their life. Whether that be a family member, friend, colleague, etc, the character immediately becomes real for just about everyone. Also, I mean who doesn’t love Texas?! I’m no native, like co-creators Chris and Josh, but they beautifully capture the charm of everything Texas. Each panel makes the fictional town of Ambrose County come to life. A small, rural, town with a frighteningly nice population; so nice it makes one wonder what they’re hiding. Well, like Texas, That Texas Blood is interesting, charming, and a little bit scary because I just don’t know what to expect next and I feel that from this book. Image Comics does it again by taking a swing on a debut ongoing series and are quickly dominating the “must read” shelves. 4.5/5 Bibles.
What’s up, fams? It’s a rare opening hello from your “Monsignor” Travis Moody. I want to thank everyone for their continued visits to GodHatesGeeks, checking out our reviews, peeping our previews, vibing to our podcasts and just being an overall great geek. We love you. We hope you are staying the fuck home if you can, and if you are essential — and we know you are, no matter what — The Clergy of Cool applauds your bravery and tireless work that allows the rest of us quarantinerds everything we need to survive. We can’t thank you enough.
This week, expect a few special editions of our traditional Fistful of Comics and Sunday Stash. Here, in Part 1, our fearsome foursome take a look back at March, a few of the comics you might have missed and a focus on one that even launched today in our opener. Our next couple of features will review current funnybooks and even 1 or 2 that drop next week(!!). Thanks for tuning into our continued coverage and kick-ass features that should help keep your mind off the everyday grind. Stay safe, wash your hands!
BAMF! What we have here is a quick done-in-one shelf filler of an X-Men title. Yes, yes, it’s written by Jonathan Hickman, and yes, yes, it’s drawn by Alan Freakin’ Davis (with colors by Carlos Lopez) and upon first glance? Not much happens. Or, does it?
A team is sent to the former School for Gifted Youngsters (fka) The X-Mansion when someone, or multiple someones tried and failed to operate a transportation gate of Krakoa, a recon team consisting of Nightcrawler, Eye-Boy, Magik, Cypher & Lockheed (you had me at Davis drawing Nightcrawler, adding Lockheed to the book is like finding $20 in the pocket of a pair of pants you just bought) are sent it to see what’s what. Ghosts of the past, both literal and physical make appearances –hence the story title “Haunted Mansion”– with an old villain making its return to the Pages of the X-books since 2014!
That’s not all, as someone’s secret is found out and the X-Books just might of gained a new team member as well. This could of easily just been an issue of an X-book, as I’m not entirely sure why it’s it own one-shot book. However, any time you get 30-pages of art by Alan Davis? Well that’s always worth a couple of Bibles right there. Gains a few more points because of the call back villain as well as the cool cameos. 3.5/5 Bibles.
Going back to work after your first kid is hard. Especially when you’re a superheroine with an overdrawn account who needs to borrow a Jackson to catch a cab home from fighting Doombots. What’s a gal to do?
Well, if you’re Jessica Drew, you go on down to Big Ronnie’s Custom Battle Spandex and get a new black costume (because you want something that looks like your normal costume, but says you get money) before you accept a gig protecting a rich kid from getting kidnapped at her Sweet 16 party.
I literally laughed out loud at Karla Pacheco ’s (Fantastic Four 2099) dialogue; it felt exactly like things Jessica would say. I loved the faces of all the kids attending the party – Pere Pérez’s (Batgirl, Archer & Armstrong) art was not only expressive, but also had great action poses. I also like the new costume; it has the elements of her regular costume, so you recognize its her, but is different enough that you’re not just looking at Spider-Woman’s costume in black.
The back-up story features pencils by Paulo Siqueira (Astonishing X-Men, Spider-Force) and shows off her new costume in detail and hints that its origin ain’t what it seems. 4/5 Mini Captain Marvels Riding A Horse.
Cable returns (of sorts), younger, and significantly less grizzled, in Cable #1. Lean and fast-paced, this story finds everyone’s favorite gun-loving, time-travelling, telekinetic mutant on a rescue mission of sorts, trying to locate the young mutant Fauna, who has gone missing on the “monster” side of the island Krakoa, capitol of mutantdom on Earth.
What follows is the discovery of an ancient alien sword, which gives Cable visions of a long-lost adventurer, and the foreshadowing of a confrontation between our favorite mutants, and ancient, reactivated space-faring knights from the other side of the galaxy.
Writer Gerry Duggan keeps things light and breezy, not bogging anything down exposition-wise that can’t be shown, and artist Phil Noto has such a distinct and airy style, it is refreshing. Refreshing is probably the word that most readily describes this debut issue: Noto’s style is so painterly, almost cartoonish (and that is NOT meant derogatorily), and complimented the story completely. There’s something about this style that fits with the X-Men and their offshoot titles so well, and that’s no exception here. There’s little fat, no wasted panels, and the panels where Fauna is seeing a battle between Cable and a massive monster, having been affected by Pixie’s dust, will probably bring a smile to your face. 4/5 Bibles.
-J.L. Caraballo
Felipe “Deacon” Crespo @F7ovrdrvSUPERMAN: VILLAINS #1 – DC Comics
Superhombre: Villanos is great.
A superhero unveiling his secret identity is nothing new in comics. Hell, doing it with a press conference is nothing new. But the way this book starts exploring the impact of Kal-Kent’s decision on villains is what makes it a delight; I’ve been tired of Joker for a while, but his interaction with Lex Luthor near the beginning is perfect — and to explore just why it is Superman is one of the more interesting characters to me (the impact it has on Toyman and others has quite the impact). Showing Superman as a super MAN rather than a superhero, and how the man influences those around him, was a great touch.
The art is.. fine. It’s fine. They switch in a more realistic style when showing “Lois and Clark” aspects, which I like in theory. There are a few artists this issue, including Bryan Hitch, Steve Lieber, and Cully Hamner, but in execution, it looks like stock photos with a shitty filter applied. It’s bad. The art used for the Bizzaro world, however, is perfect though. Jody Hauser and Matt Fraction‘s writing does wonders where the art sometimes falters. 4.75/5 Daily Planet Press Badges.
Happy Friday, geek. The weekend is almost upon us, and summer is getting into swing! With that, we’re looking at a pair of DC Comics‘ bombshells, events incorporating our favorite metahumans and costumed heroes. What’s worth your time and money? You can only know by checking in with some of our great, esteemed writers below!
“Minister” Keith Dooley @Keith_DooleyHEROES IN CRISIS #9 – DC Comics
Heroes in Crisis has defied the idea of what defines a DC crisis since its first issue. Like Brad Meltzer and Rags Morales’ earlier Identity Crisis, writer Tom King has focused more on character than action with this opus. Unlike any other “Crisis”, however, King has written a story that has unfolded slowly, and in a deliberately meditative way.
In the ninth, and final, issue of Heroes in Crisis, we receive a set-up for future stories, instead of a resolution to the bombshell involving Wally West. King gives us more heroes pouring their hearts out in nine panel pages as well as Wally dealing with the trauma that comes with being a hero and a human. King’s dialogue, Clay Mann’s art, and Tomeu Morey’s colors each succeed in creating moments between heroes that demonstrate why we idolize them, while simultaneously giving them qualities that elicit empathy from us.
Clay Mann brings so much energy to an issue that lacks any superheroic fisticuffs or epic battles. His facial expressions and body language lend a weight to the psychological drama that is contained on every page. Seeing characters such as Harley Quinn and Poison Ivy embrace gives us a sense of how our heroes are embodiments of not only what we strive to be, but also of how we have to keep pushing through our own issues and survive.
King and Mann (as well as the other artists that have been involved with Heroes in Crisis) have shown ourselves through our heroes. 4/5 Bibles.
-Keith Justin Dooley
“The Dean” Gene Selassie @GeneSelassieSUPERMAN: LEVIATHAN RISING #1 – DC
I’ve come to an impasse with Brian Michael Bendis’ work with the Man of Steel. I’ve found his Action Comics (which plays to his strengths as far as the world-building of Metropolis and the focus on Clark & Lois’ investigative journalism is concerned) to be quite enthralling. On the other hand, his Superman, which focuses on some pretty heavy sci-fi elements, does not play to his strengths at all; I am thankful that this event story kickoff plays with elements from the former more so than the latter.
The party responsible for taking out DC’s resident intelligence organizations meets with Metropolis’ newest crime lord to get advice on dealing with the last son of Krypton. Meanwhile, Clark learns that one of the allies of said party seeks to kidnap him for intel. Kent decides to play along to see how far down the rabbit hole this conspiracy goes.
While the story is engaging, the sheer amount of pages devoted to talking heads was a bit of a turnoff. Artist Yanick Paquette is a pro that was destined to make his mark on the Man of Steel, even when Supes guest starred in that first issue of Swamp Thing eight years ago. He does seem to have to expend a lot of energy making dozens of pages of conversation seem engaging. And he’s mostly successful. What was not a turn-off was the colors: every colorist seemed to have the perfect palette for their chapter of the story.
Greg Rucka’s tale about Lois, who grows worried about Clark’s undercover assignment and decides to contact some of Clark’s costumed contemporaries, is quite intriguing. The dialogue and body language shows that Lois is considered on equal footing with even the world’s most powerful beings. Mike Perkins’ art is a bit dark and muddled at times, but will likely fit the seedy tone of their upcoming Lois Lane series.
Matt Fraction’s Jimmy Olsen story is an odd and playful affair, showing Jimmy waking up in bed next to an interdimensional jewel thief in the middle of Gorilla City…and his clothing torn to shreds by the former Red Lantern cat, Dex-Starr. This was hilarious from beginning to end, making perfect use of artist Steve Lieber’s whimsical style.
Marc Andreyko’s Supergirl story catches us up on the fate of the DEO and of Kara’s adoptive parents. The story being told through flashbacks robs a bit of immediacy from the proceedings, but still carries emotional weight with the rift developing between Eliza and Jeremiah. The art was serviceable enough that it didn’t hinder the narrative.
While this wasn’t the most brazen of opening salvos to an event story, it certainly laid interesting enough groundwork for me to want to continue. 3.5/5 Bibles.
Happy midweek here, geeks and geekettes. We’ve got a few titles coming our way, including a bunch of reboots and first issues! We’ve got so much to cover we’re going to just crank these out BANG! BANG! BANG! for a quick read on your morning (or evening) commute!
“Cardinal” Roberto de Bexar @RobBex2ANT MAN & THE WASP #1 – Marvel Comics
Jumping from Captain America to Ant-Man and Wasp, fan favorite Mark Waid brings his dynamic style of writing to the sub-atomic universe! His storytelling is as sharp as ever, and moves into the world of the microscopic superhero easily. Joining him is Javier Garron, who I wasn’t very aware of his work before but absolutely nails it in this issue. His art is bold and colorful and very much brings this comic to life. While I will miss Chris Samnee’s artwork paired with Waid, Garron does a fantastic job. Waid and Garron do an amazing job of hooking me onto a book that, in anyone else’s hands, I probably wouldn’t have cared about. 4.5/5 Bibles.
Starting from scratch while jumping right into the action, Skottie Young takes over writing duties for the Merc with the Mouth in this new series. Young, and artists Nic Klein and Scott Hepburn, forgo the typical multi-issue arc and instead present loosely connected mini-stories. Somehow, this first issue already feels more Deadpool-like than the movie Deadpool 2 did, take that for what you will. The humor, the irreverence, the fourth-wall-breaking shenanigans…it’s all here! The anthology-style structure of the comics is great as well: even if you aren’t keen on one story, there’s a whole new one to enjoy just a few pages later. But hopefully there’s a bit more structure in the future. 3.5/5 Pouches.
-Destiny Edwards
DOCTOR STRANGE #1 – Marvel ComicsJason “Bad Preacher” Bud
Get ready to go cosmonautical Sling Ring with a gumball machine-helmeted Stephen Strangelover, who’ll soon goo-goo-ga-ga for an alien ally (who happens to be the apparent progeny of one of James Cameron’s Avatar Na’vi, who had pyramid sex scheme with Queen Cleopatra’s cat after she gene-spliced the Predator’s dreadwig): ALL in this NEW Marvelous reboot of every comediums favorite magic man, who never needs the top hat stuffed-full-of-rabbits to outwit an interdimensional gallery of arcanery rogues!!! Order your issue of Doctor Who…uhhhmmm…Doctor Strange #1now, and you’ll receive your free I Got Acient Oned iron-on mustache (along with a Limited-Time Offer for a Magical I Got Sanctornup Vape-n-Gape Douche Flute – yours for an extra $6.66 + Shipping & Fondling)!!! Dormmamu-Flavored E-Liquid Sold Separately!!! 4/5 Wizards High On Glass.
-Jason Bud
“The Dean” Gene Selassie @GeneSelassieTONY STARK: IRON MAN #1 – Marvel Comics
Despite me having all the faith in the world in the ability of Dan Slott, this franchise feels like it’s been rudderless since Matt Fraction left the book, so there was mild trepidation.
I’m happy to say that trepidation was gone before I got to page five.
Slott not only gets Stark and some of the classic supporting cast (something we’ve not seen in a while), but he gets the one thing the book has also lacked for a while, super science that is somehow believably grounded. Tony’s newest hire for his new company, Stark Unlimited is someone he inadvertently embarrassed when he was a kid, so Stark tries to make amends. This character becomes the audience’s entry point into this story. The dialogue and pacing were perfect.
Schiti brought an A game that was unlike most others, which you’ll see when a major and minor classic IM villain come calling (the latter in a cool “post-credits” stinger). Valerio was aided by strong coloring and letters. Despite my disdain for the comic Stark acting more wacky and flippant than the movie one ever did (with zero explanation about this transition), Slott seems to have made the best of it. In all, this is the first time in six years that I’m actually excited for the state of this franchise. 4/5 Bibles.
-Gene Selassie
Kimberly “Soulstress” Brock @beerock26HAWKMAN #1 – DC Comics
Hawkman (Carter Hall) is struggling to figure out his identity although he has lived countless lifetimes, and had accomplished many missions. He travels to the Gorilla Kingdom, to retrieve the NautilusofRevealment because he is also an archaeologist. he seeks out rare treasures. He returns with a void in him that he does not know who he is, but with the help of Xanadu’s psychic abilities, Hawkman realizes that his purpose is to save earth from its ultimate destruction. He will sacrifice is life hundreds of times over to save planet earth.
Robert Venditti (Hal Jordan & the Green Lantern Corps) delivers a very solid first issue, with Hawkman finding that he has a very important mission; he adds many different dimensions to his character as a professor, and expands on his many special and interestng abilities. This beginning sets up an excellent foundation to future Hawkman comics as Venditti crisply explores ways that he can save heart. 3.5/5 Bibles.
-Kimberly Brock
IMMORTAL HULK #1 – Marvel“Father” #HeelSean Farrell @IAMSCF
Let us never forget that the Hulk at times may play the role of the hero, the genius, the power trio fantasy, the ID personified. His roots? Horror. Al Ewing and Joe Bennett continue the story of Bruce Banner and the Hulk after the events of Bruce’s “death” during Civil War II. Leaning heavily into the horror monster on the loose aspect. Who is really in control this time? Bruce, or the beast? Atmospheric, dark and menacing instead of superhero action is what is driving this series. You can kill Banner — but then you have to deal with The Hulk. Strong start. 3/5 Bibles.
-Sean Farrell
CLOAK & DAGGER #1 – Marvel“Sister” Sarah G @DarthHistory
Writer Dennis Hopeless (All-New X-Men, Spider Woman) reboots Cloak & Dagger, just in time for the TV crowd to get into it, thanks to the new show. Issue 001 easily sets up the dynamic between the two – he’s darkness, she’s light , together they’re a cohesive unit – while setting up a new storyline. This time, Dagger wants independence and to discover who she is on her own, and Cloak is, appropriately enough, basically creeping in her shadow. The issue is a solid read and Elisabetta D’Amico‘s art helps bring Cloak & Dagger to life. As a new number one, it’s a promising start. 3/5 Bibles.
For all of you Stupor Bowl fans, still sober enough to read this right now; after gorging yourself on processed grease and watered-down domestic lager-swill, let me drop a brilliant passage to you from the seminal novel, 1984, from a dead genius named, George Orwell:
“So long as they (the Proles) continued to work and breed, their other activities were without importance. Left to themselves, like cattle turned loose upon the plains of Argentina, they had reverted to a style of life that appeared to be natural to them, a sort of ancestral pattern…Heavy physical work, the care of home and children, petty quarrels with neighbors, films, football, beer and above all, gambling filled up the horizon of their minds. To keep them in control was not difficult.”
Now, belly up to the comic hog trough, you supplicant swine– it’s the a very special Superhero Bowl edition of the Sunday Stash!!! -Jason Bud
The eclectic and prophetic group of superheroes and heroines forming the Uncanny Avengers makes for a gargantuan crew of supernatural devastation right from the get-up-and-go! Rick Remender (Deadly Class, Black Science)’s second — some may argue 3rd (wink, wink Uncanny X-Force) — volume of the Uncanny Avengers sees Wanda’s recent revelation about her past has caused her to go maverick. Yup, her bff Rogue has no choice to thus rally the rest of the UA to track her down. Wayfaring between cosmic worlds diversifies locations; and gives a great nod to true sci-fi, amidst all of the supernatural half-animal-half-human characters (no sexy-ass Centaurs yet, but I’ll be lookin’ out for ‘em).
This title is intriguingly creative, with its out-of-this-world plot and out-of-this-world visuals (thanks to returnee Daniel Acuna); and a grouping of super-powered freaks you normally wouldn’t see together. The shifting color palettes effectively differentiate the many worlds our ragtag roustabouts inhabit throughout Issue #1. Remender’s story initially gorges on a mouthful of flesh; but passes enough meat along the tongue and tonsils to cause the reader to savor the flavor, and ask for more. The future of this series looks Uncanny indeed! 4/5 Avenging Heroes.
Acedia is the fourth volume in a seven part series by Matt Fraction (Hawkeye, Sex Criminals), and thanks to an amnesiac main character – it feels like a perfect way in for anyone who isn’t familiar with the story of Casanova Quinn. It’s one part Bourne Identity, and one part Casino Royale, with a dash of Transmetropolitan-flavored sci-fi (shaken, not stirred); and yet, Casanova, as a character in Acedia, is a much more refreshing take on the brooding spy with a tortured past genre. Instead of the anxiety that plagues Jason Bourne when he’s not sure who Jason Bourne is, Casanova takes his loss of memory as a gift. The action begins before Casanova really starts to discover anything about his past; and it’s almost tragic that he, and his mysterious employer, have to start digging into their memory banks. Hopefully, the previous two years of adventures that have led up to the main events of this first issue will be re-visited in flashbacks for us in future issues. Fabio Moon and Gabriel Ba, who inked the first four issues of Casanova with Fraction, are back; and they imbue Acedia with an orange-and-blue-tinged aesthetic that seems to recall the feel of earlier cinematic lighting.
The weirder, more Transmetropolitan part of this book is the “elliptical” issue of The Metanauts, that’s packaged at the end. Written by novelist Michael Chabon (The Yiddish Policemen’s Union, Telegraph Avenue), it feels much less cohesive – and this appears to be by design. Metanauts seems to be about an anarchic, transgendered(?) rock star; who somehow expands either another part of the Acedia story, or fleshes out the Hollywood in the Acedia universe. Those few pages definitely maintain the atmosphere and vibe of the book, but it has potential to throw the reader extremely off the previous narrative track. But, like Casanova, it seems that we’ll be finding out ‘why’ very soon. 4.5/5 Classified Dossiers.
BATMAN #38 – DC ComicsJimmy “Apostolic” Cupp @thejimmycupp
Holy D-Day Batman! The Joker is alive and more deathly terrifying than ever! He’s turned all of Gotham into joker zombies, with one goal: KILL THE BATMAN!!! (and anyone else who happens to venture into Gotham).
Scott Snyder (American Vampire) and Greg Capulo (Spawn) continue their flesh-eaters’ story at its heartcore, looming under the arc of the Winged Freak’s shadow. We find Batman racing to find a cure for the populous; with the help of Alfred, his daughter, Jim Gordon, and a visiting Dick Grayson. It’s fast! It’s thrilling! It’s frightening! It needs to be a Christopher Nolan film! With Norman Reedus as Nightwing!
We may be witnessing a deviantly hellacious reboot of the Joker mythos we could have never have imagined before, with this one! I’m flesh-craving the feast that will be Part 5! At the end of each series is a short backstory about five of Arkham’s patients and their doctor; each telling a tale of how the Joker came to them as a dark messiah, turning them onto their diabolical paths. I have to tip my hat to Sam Keith and Ronda Pattison for the incredible artwork! I’m still sweating my bed sheets at night. 5/5 Sinister Smiles.
THE DYING & THE DEAD #1 – Image“Cardinal” Gary Brooks facebook.com/gary.brooks
“Cardinal” Brooks here, with a review of the new Image book by: Jonathan Hickman (the upcoming Secret Wars) and Ryan Bodenheim (Secret, Halycon). Ryan’s art reminds me of Preacher and Punisher MAX‘s Steve Dillon, with slightly more attention to detail. The book is very cinematic, and flows like a film. It’s a story of a man named Canning, a former Colonel, whose wife is dying of cancer. Canning is given the choice to save her, but will it be worth the cost? At what price do you let your love live or die?
The savior’s choice is offered to Colonel Canning, by a group of unknown beings that may be immortal? Are they Angels, Aliens, Gods, or Demons? Perhaps a manifestation of Canning’s troubled mind? It’s appears our Hero may have a previous history with these beings. Perhaps time will tell us what that connection is, and how the Colonel’s relationship with a mysterious female character, named Shurra, will evolve. This Giant-Sized 60-page 1st issue sets up a story that will take our character to his very limits and test the boundaries of life and death. If you’re a fan of Hickman’s previous work, then The Dying and The Dead is a must read! I have an over-sized interest in seeing where these unknown beings take the Colonel too, and whether or not he will fight to save his cancer-stricken wife. And who is this possible interloper, Shurra? Is she bound to make this some kind of supernatural love triangle? I can’t want to see what’s next! 4/5 Necronomicons.
Alright, fellow parishoners: now that turkey’s carved, you are stuffed with stuffing, and the cranberry is done with, but we still have plenty to give thanks to for being geeks. And, as always, we’ve got some interesting and diverse titles to showcase! This week’s comics span the universe, the multiverse, and everything in between. And, this week, we’ve got an extensive review from one of our favorite, most groundbreaking writers! We’ve got our faithful congregation to tell us which of the following books are worth buying, or at least worth a tryptophan-induced read by the fireplace. So, without further ado, our extensive and detailed look at…
GOTHAM BY MIDNIGHT#1 – DC Comics“Reverend” Ryan Ford @nayrdrof
Everyone grows up being afraid of things that go bump in the night… and someone has to investigate them. That’s the basic tagline of Gotham By Midnight #1, which introduces Jim Corrigan (aka the Spectre), and his motley crew into the New 52. And since we’re on the subject of rhyming onomatopoeia (you’re welcome, Burt Ward!), the sound that this comic makes is a resounding “Thud!!!”. Although, there are a few caveats to accompany that statement. First off, writer Ray Fawkes (Constantine, Trinity of Sin: Pandora), does well in setting the pace of the narrative by driving this first installment, kinda like the pre-credit sequence of a Bond movie. There’s plenty of subtle ambiguity and mystery to the dialogue for me to say “Okay, I get it. I see what you’re all about… Batman’s in this? Slaughter Swamp? Alright, I’ll check out where this is gonna go.”
Now on the counter side of the coin, artist Ben Templesmith… Here’s his caveat: 30 Days of Night was awesome. That being said, I would have enjoyed GBM#1 far more had the color palate been more film noir and less like if Bill Plimpton tried drawing Calvin and Hobbes on LSD. The subtext of the writing was overshadowed by the images coming across a little too cartoonish just when the stakes were reaching their peak. Premature animation, if you will. In any case, there are enough easter eggs and deeper connections to the greater universe for me to come back for at least one more entry. GBM#1 serves its purpose in establishing the series, yet it won’t raise the dead. 3/5 Paranormal Superhero Escapades.
Scarlet Spiders #01, written by Mike Costa and art by Paco Diaz, follows three Spidey clones on a mission to another dimension to stop the Inheritors (an organization of clones bent on inter-dimensional domination). They land in a beautiful city that doesn’t seem evil, but soon they learn the truth. The focus is mainly on Jessica, whose backstory I am looking forward to learning more about.
With some surprise guest appearances from some of our favorite Avengers, and surprises around every corner, this issue is a very fun introduction to the series.
You have your brains (Jessica), your brawn (Kaine), and your lovable comic relief (Ben). The three form a hilarious trio most sitcoms would envy. Not to mention the obligatory shirtless Spidey frame early on. Ladies (and some gents), you know what I’m talking about. I am really looking forward to following this series, as it may be a new favorite. 4.75/5 Web Cartridges.
Matt Fraction (The Invincible Iron Man; The Immortal Iron Fist) and Christian Ward’s (Young Avengers, Infinite Vacation) ODY-C, from Image Comics, is a bold and visually compelling retelling of The Odyssey. While transposing the epic tale (no, the proper, correct use of the word “epic”) to a science fiction setting, Fraction also set about reversing the gender roles. Odysseus here is Odyssia, a warrior princess looking to begin her decade-long return home after a long war in deep space, and the trials and tribulations that attempt to thwart her and her stalwart crew.
The mini-series will undoubtedly follow through the entire epic poem, which is quite exciting, as not only is the story beautifully adapted (once I figured out the structure, and figured out it was a direct adaptation), but the artwork and designs are beautiful as well. Ward’s designs are a beautiful science fantasy pastiche, with unique (and distinct) character designs, and color coding that delineates not only character speech (some speech bubbles are red, or blue, or green, and the color corresponds to specific characters speaking), but that hearken back to the pop science fiction stories and comics on which many of the design elements are based. There are several beautiful splash pages that showcase a wondrous, colorful, watercolored panorama, and which would be at home in a frame above a fireplace or an exposed-brick wall. There is a level of imagination and ingenuity with the design not only of the framing, but of the titular spaceship Odyssia commands, that reminds me of Jodorowsky or a brighter, lighter David Lynch or HR Geiger. It will be interesting to see where the series goes (although, if one simply recalls The Odyssey, one has at least some idea), so long as the artwork and designs continue to be so beautifully rendered. 5/5 Future Fantasy Warrior Queens.
The Multiversity: Pax Americana #1 is the greatest single issue of a comic book published this year.
Don’t like superheroes? I don’t care. Don’t like DC, Morrison, or Quitely? I don’t care. It’s so good that none of those things matter. Because this is a comic that uses the medium to its fullest, the kind of intense exploration of the comic book form that you wouldn’t really expect from a Big Two comic. At the very least you should read it to see how phenomenal the storytelling is, even if it’s not a story that particularly interests you. This book is meticulous in its devotion to using every part of every panel to its fullest extent; nothing is wasted. Everything has meaning.
Without context, the book is fantastic.
And yet it’s even better with context.
The most obvious entry point involves Watchmen, because Earth-4 (where this story takes place) features the Charlton heroes who were the inspiration for Watchmen. Legend has it that Moore originally intended to use the Charlton heroes, but the nature of the story made DC nervous, so they denied him the characters. There are also a fair amount of visual nods towards Watchmen, particularly shapes melting into the next panel and background action forming the transition to a new scene. Quitely’s always been very good at these types of movements; Eve’s mother spilling her drink on the magazine is detailed enough that we understand that what’s happening is important, but in that panel the focus is on Eve. There’s a beautiful sense that what’s happening around these characters is more important than what’s happening to them.
But viewing Pax Americana through the lens of Watchmen is doing the book a disservice. While Morrison and Quitely keep many of the original trappings that Moore and Gibbons added to the Charlton heroes, these aren’t the same characters. Yes, Nightshade/Silk Spectre is the daughter of a superhero, but this version wants to follow in her mother’s footsteps. This version of the Question isn’t paranoid as they really are out to get him. This Peacemaker is an ultra violent agent of the U.S. government, but he’s also a believer of the fantastic and a big picture thinker.
In other words, this is a mature version of the Charlton heroes that isn’t mired in depression and darkness. Horrifying opening sequence notwithstanding, this is a story a comic book story for adults that isn’t grim or gritty, and that is saying a lot.
It’s saying that we can be better than we were. That we can evolve.
The book opens with a bullet to the head and closes with a bullet to the head, but in between there’s only a few pages of any kind of violence. In fact, it’s perhaps the least necessary section in the book, save to expand upon the political reality of modern day Earth-4. But, as the West Wing taught us, political realities aren’t forged in flashy ways, they’re formed in the background, in the shadows. Newly anointed president Harley may think he’s the political force in Pax Americana, but he’s out front; he’s the flash that’s hiding the true power, Captain Atom. But even that isn’t the full story.
So where do you begin in talking about a story that is supposed to have no beginning and no end?
How about the brilliant coloring job by Nathan Fairbairn? Even at its darkest, which is arguably the opening sequence, this book is bright and vibrant. The President has his face blown off in the first few pages and it’s crisp and clear, like a big, bold superhero comic. There’s a two-page spread that features 32 panels detailing 3 different points in time and yet each one has its own distinct time of day conveyed by the colors: day, evening, and night. It’s wonderful and keeps the story lines straight.
Then there’s the sequence where the Question is, well, questioning a criminal. The whole thing is tinted red, in context because of the red light from the giant sign. But it’s also a reference to the Question’s political rant, in which he refers to red as the color power (and how much of that rant is a nod towards the Question’s creator, Steve Ditko?).
It’s almost impossible to talk about the work Quitely has done on this comic without noting how he collaborated with Morrison. The two apparently live close to each other, to the point where Fairbairn posted a picture of the two of them sketching out the last page of the issue together. According to Quitely, this issue marks the first time Morrison had ever supplied him with rough thumbnails which he could either work from or disregard.
And while the mad genius of the panel layouts may have originated from Morrison, their ultimate use and the images that filled them could not have been rendered by anyone but Quitely. I am horrible at discussing art because I honestly lack the vocabulary to do so.
In my eyes, Quitely has the unique ability to create stark images that are still incredibly detailed. There’s a wonderful image of the Peacemaker in the air, preparing to fire the shot that will kill the president. He’s literally floating in the air against Fairbairn’s beautifully colored sky. Peacemaker is drawn with so much detail that you’re drawn to him, creating a contrast with his surroundings that makes the image jump off the page. The same can be said a panel later when we see
the ship Peacekeeper is jumping out of. It’s striking.
Quitely also conveys movement in a way that draws attention to the action without overshadowing the focus of the story. One of the greatest pages in the entire issue features a conversation between Nightshade and her father as they walk down some stairs. That’s it. They walk down stairs. But it’s beautiful. It’s ten panels, seven of which are from the same distance, yet the insertion of those other three panels and the shape and layout of all of them, makes the page a joy to read.
What do I even say about the two page spreads? What do you say about 32 panels covering three different stories that take place during three different points in time, but in the same location, yet are all perfectly clear? Then there’s the juxtaposition of the Peacemaker being tortured and what appears to be his last moments with his wife. Then we have two, back to back two page spreads of the Peacemaker dismantling terrorists. It’s interesting to note that all of the two page spreads feature the Peacemaker in some fashion, perhaps because he’s the most bombastic of the characters.
It would take me years to decipher everything on the page where Harvey understands the secret of algorithm 8. Years.
Which brings me to Grant Morrison’s story. Those who can’t stand Morrison’s work are going to find plenty to hate here, because on at least one level Pax Americana is the epitome of Morrison. While there is a fairly straightforward (for Morrison) story here, there’s an awful lot left to the reader to determine. And it may seem like a cop out, but that’s the point.
Pax Americana is the story of the life of President Harley, starting with his death, ending with the defining moment of his life. We see all the important moments of his life: his assassination, the first time he meets Captain Atom, his formation of Pax Americana, his moment of clarity in the form of algorithm 8, and the day he accidentally shot and killed his father (who happened to be the very first superhero of Earth-4, Yellowjacket). It’s all there on the page. He asks Peacemaker to kill him, he asks Captain Atom to resurrect him, he says he has to atone for something and we even see what that something is. It’s all right there, clear as day, just told backwards.
And, really, of all the things that happen in this single issue, Harley’s story is the one that matters. But let’s come back to that.
Harley’s belief is that his resurrection will usher in a golden age for America, a drastic move made by a man who, because of algorithm 8, can see the future, or at least discern it from patterns. Harley is the Ozymandias analog, the Peter Cannon stand in, yet his plan is the complete opposite of Ozymandias’. If you’re looking for a statement from this comic with regards to Watchmen, here it is. This story believes that resurrection — that life and hope — will save the world. Watchmen believed the only way to save it was to burn it to the ground.
But Harley is never resurrected, because Captain Atom is seemingly destroyed by four scientists who create a black hole in Atom’s head (that would do it). Why do these scientists do this? Why does Atom, who is basically a god, let them? He even tells them he knows what they’re doing. Why does Sarge Steel, whose face is never shown, kill the scientists? And why is Nora, Peacemaker’s girlfriend and the only other person who knows the secret of algorithm 8, murdered? And what the heck does any of this have to do with the rest of this series?
I’ve read and considered a half a dozen theories in the 48 hours since I read Pax Americana for the first time and one or two of them hold up well under scrutiny. But which one is right? The answer is all of them and none and believe me when I say I know how frustrating that sounds.
But the whole point of this issue is that these superhero stories are stuck in a perpetual loop, that the band might change but the song remains the same. It is a story that’s determined by the reader, the ultimate interactive comic. It has to be, because if it clearly gives us any of those answers then it ends. We have the answers, so we’d stop asking questions, and the whole point here is that the questions never end. They can’t, or the story dies. It’s why The Question is the detective in the story, and why everyone else is in the background.
Depending upon how you approach this comic, it’s different every time you read. “All the best stories are,” says President Harley.
So how can I claim that a story with no ending is the best comic of the year? Well, because it has no ending. Do any of these stories have endings? Is Superman over? Did they cancel Spider-man for more than a week? This single issue of Pax Americana is representative of an entire history of a comic book.
And all of that would make this an interesting comic, a wonderfully academic comic, but wouldn’t necessarily make it the best comic of the year. I make that claim because besides everything I just said, the last scene of this comic is heartbreaking.
We’re told that Harley’s father was killed by an intruder, “open and shut case,” according to what Harley told the Peacemaker. We also know that he thinks he deserves to die. “Let the punishment fit the crime,” he told the Peacemaker. We know that he believes in the power of superheroes. We know that he spent a great deal of time sitting by his father’s grave.
Then we see it unfold. We see a boy sneak into a room with a drawing table. His movement tells us he probably shouldn’t be in there and the drawing table harkens back to a few pages back when Harley mentioned his father drew comic books. In a few panels, we know this is a young Harley, sneaking into his father’s study.
The radio is on, or perhaps it’s a TV in the next room. They’re talking about how great Yellowjacket is, how he’s the people’s superhero. The broadcaster quotes JFK ta7lking about peace, the kind of peace that isn’t just a lack of war, but one that offers hope for the future. Young Harley finds clippings of his father’s exploits. He finds a gun. A figure crawls into the house through a window and startles Harley. He shoots the gun without thinking. Kennedy’s quote continues in the background. The bullet hits the man in the head.
Young Harley walks over to the body; he has just killed Yellowjacket, but that’s as much as he knows. He walks over to the body, kneels down, and removes the mask.
“Not merely peace in our time. But peace for all time.” The JFK quote ends as Harley removes the mask. The broadcaster adds “Remember? That was when it all made sense, right?” And the next panel, the final panel, is Harley holding up the domino mask, twisted in the shape of an “8” but with a hold in the center where the bullet went through.
“Dad?”
Harley didn’t just kill the world’s first hero that night; he killed his first hero, too. And he would spend the rest of his life trying to fix it. He would spend the rest of his life trying to create heroes, trying to save the world. But he can’t, because that is a job that never ends.
It’s a story that never ends.
– Kyle Garret
There’s a lot to be said about The Multiversity: Pax Americana #1. So much so that I want to keep this short. Once you start to dig into Pax Americana it becomes difficult to stop. It is forty pages of comics from some of the most masterful modern creators almost six years in the making. This is a comic book so meticulously designed and carefully crafted that even the most careful of annotations running twice as many pages as the work itself are bound to miss important elements.
The directive with Pax Americana then is not to provide a comprehensive understanding, but to interpret and continue interpreting. First you may discover a story about the power of the comics form, then one about the infinite effects of violence, then one about post 9/11 politics in America. Of course, if you only focus on these facets, you might miss the strict denouncement of gun violence or the saddening reverie on time’s endless march or the revelation that the realities we construct in fiction return to affect reality. The ideas like mobius loop that is the symbol for infinity are endless.
This infinite dissection and reconstruction is not an easy one to begin. Pax Americana is demanding of its readership. It is not here to feed you ideas or emotions, you must be prepared to discover them. The intellectual challenge of unfolding this comic and learning how and why it has been constructed provides thoughts and feelings far deeper and profound than the ordinary musings found in most paper pamphlets. There is a high bar for entry, one that will deter some readers, but they are the faint of heart. Everything you need to understand is in the text, but you must be prepared to challenge yourself in order to experience it.
I can’t tell you how or why to experience Pax Americana. It is something that defies definition in that it can be defined forwards and backwards and chronologically and as forty separate pieces and in a million different way. It is a mystery box that reveals a new layer every time one is removed. It is something that must be experienced in order to be understood, then re-experienced in order to be understood anew. It is a perfect comic book and one that simply must be read.
Intersect, the new title from Image Comics written and drawn by Ray Fawkes (Constantine, Trinity of Sin: Pandora) is so unique, in every way, that objective criticism is almost impossible. Having said that, Intersect might be the only example of a piece of art that succeeds at what it’s intending to do so well that it almost hurts it. The art of the book is painted in a beautifully, impressionist way that gives more to the emotions running through atmosphere of the world rather than the imagery of the world itself. Various shades of dark green and red color in the eerily ambiguous figures of the creatures that inherit this nightmarish place that rains blood. The panels themselves bleed into one another in a way that makes a few pages seem like they could be an abstract collection of disparate images that have been combined to form one big painting. The whole thing is disorienting in a way that is so easily frustrating that it almost seems like Fawkes did this by design.
The story is of no help, either. No question about the story that begins with “why” could really be answered after reading this first issue, and only a handful of “what”s are really revealed. So far, Intersect seems to be a story about four various entities possessing one body, fighting to navigate said body in whatever direction they think is right, while a flesh-eating creature gives chase. The only relatable part of the narrative are the personalities of the different entities that inherit the body. They’re as emotional, motivated, and developed as non-corporeal-possessing people are. Yet, as familiar as they are as characters, the way that the entities interact with one another is somewhat surreal. At times they share the same speech bubbles, and at times they’re drawn as two separate figures from the body they inhabit. Sometimes their bodies seem to lie within their host’s body. On top of it all, there’s an undefined narrator providing their own thoughts. It can easily feel like a chore to decipher what is being said by whom, but when combined with the otherworldly painted art an ironically outer-bodily feeling permeates every layer of Intersect and makes it a title that cannot be easily dismissed. 3.5/5 Inner Demons.
