What I Buy Wednesdays PRE-SDCC TURBO EDITION

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Pretty pumped for my virginal voyage to San Diego for Comic-Con International. It kind of feels like my comics equivalent of a sweet sixteen party. I’ve ironed my t-shirt tuxedo and everything. Okay, I might not have. I mean, who irons? Really.

Anyway, the comics’ pulse has risen to a cardiologist- alerting level in the time leading up to the Bi-Mon-Sci-Fi-Con. It’s even evident from the books. The publishers are rolling out the summer moneymakers. Everybody’s booked and stressed about whatever they stress about. It’s worse on Twitter! There have been dust ups that are honestly something straight out of the heat wave in Do the Right Thing.

That all goes a long way to say that this is a highly anticipated stack of comics for me, so dig up on what I bought Wednesday.

Blackest Night #1 (DC): I think only Geoff Johns fans get how good Geoff Johns is. I say this because I know people who don’t love his work, but do enjoy the spandexed genre fare, and it leaves me at a total loss. Because for my money, he does superhero stories as well as they’re done. His stories have scale and ethics and inventiveness and, frankly, spark. He just tells stories that matter, and the precision with which he manages the long-form stories of his universe’s corner amazes more and more with each installment. Blackest Night looks like a pretty solid bet to be the most fun story of this Green Lantern run, and it’s great to see the remarkable Ivan Reis getting a break on an “event,” book. It feels like, and is, his story to tell. This book is a totally innovative horror blockbuster that really makes for good comicery. Johns shows absolutely no remorse in killing his darlings, or, in this case, bringing them back. It’s always authentic, and it always matters. While this team has made a lot of this Green Lantern issues, they decidedly step up in the bright light of the moment. Both the imagery and the story are at a feverish pitch. Honestly, I’m just glad a comic this rad is coming out at all.

Creepy #1 (Dark Horse): I was pretty excited when Dark Horse announced this book at New York Comic-Con. It’s a shame they couldn’t convince Gene Colan to get involved, (more on him in a minute), but no matter, this comic’s friggin’ ill. Uncle Creepy brings the terror, tension, and, ah, terror in this horror anthology. Nothing I’ve read has ever made me feel more like a kid reading my uncle’s weird, seemingly dangerous comics. And Angelo Torres is fucking AMAZING. You’ll recognize his style immediately from pretty much every MAD spoof ever done. His story stands out as the high water mark for this inaugural issue, and the rest of the issue is pretty solid in and of itself. Basically, I’m just glad this comic exists. It’s throwback comics in the best ways.

Captain America # 601 (Marvel): It’s a shame Colan didn’t draw Creepy, but at least we got a horror story out of him this week. This was a beautiful out of time WWII horror story, and it’s my pleasure to report that the old dude’s still slick with a pencil in his hand. It was a big break from the recent hulabaloo surrounding this title lately, as it had little to do with the Captain America: Reborn issue that dropped as near to the 4^th of July as you can in comics, or the unconventional release of Captain America #600, both of which I covered for Best Shots. Ed Brubaker has got some real mojo going right now, and as much as I’ve loved Captain Buckmerica, this issue did well to whet the appetite for the real Star Spangled Avenger. It really was a special issue, as the cover promised, as Gene Colan showcased his historic talents for a totally different generation of comics’ fans. If the Captain America title has to go away for a few months to make room for Reborn, this was a worthy send-off.

RASL #5 (Cartoon Books): It’s as if Jeff Smith is flipping off everybody who wouldn’t try Bone because of its “childish,” trappings. This book is smart, sexy, and only growing. Smith’s proclamation that it will be moving from vaguely quarterly to vaguely bimonthly is just about the best news I’ve heard yet, because I just want more of this book.

Wednesday Comics #2 (DC): I didn’t really get a chance to celebrate this awesome new series’ debut last week, but what a success this book is in the early going. Stripping the “books” away, leaving us with the high-grade purity of comics as the world was first introduced to them looks like the most inspired move by DC in recent memory. It’s a funny bit of reverse-engineering, as the first comicbooks were folded up newspapers bound on their spine, and now the process has come full circle. The format is a story unto itself, but the real meat of this project is the talent. The comics market is, generally speaking, character driven. Even when it isn’t, it is “name” driven by highly marketed talent. The point is, it is almost always “brand” driven. There’s always recognized commodity at the center. Now, there are names on this book as big as any in comics, but due to the format, Wednesday Comics is uniquely art-driven. The canvas is the artform, in a way. The ambition alone is worthy of tremendous praise, and the story’s aren’t too shabby either. This is basically like mainlining awesome comics.

Deadpool #12 (Marvel): Daniel Way has successfully transmogrified Bullseye and Deadpool into the Daffy Duck and Bugs Bunny of the Marvel U. And it is very much duck season. All told, I think this series has leaned a little heavily on Dark Reign as it’ guiding light through these 12 issues, but I’m still enjoying it. Penciler Paco Medina has had his ups and downs as far as I’m concerned, but with his comedic range on full display here, he shows why he makes such a complementary cohort for the slapstick wit of Way. And trust me, the last page of this issue will bring out your inner Luke Wilson-in-Anchorman with an exclamatory “I did NOT see that coming!”

Incognito #5 (Icon): Well Ed Brubaker and Sean Phillips, I hope you’re happy. Thanks to your tremendous work on Criminal, and the masterfully repackaged Sleeper series, you’ve fully addicted me to your wares. The only problem is, (and I mean this in the best possible way), all the other stuff you’ve done has left me feeling coolest on Incognito. It’s not that there’s anything wrong with this book, it’s got all the grit and tone of the other masterpieces. My issue is that, frankly, superheroes are the least interesting aspects of the collaborations. It’s the true-crime, the human element, that I find so fully engrossing. I suspect that, among other reasons, part of the intentions with this book is that it is somehow more commercially viable than, say, Criminal- it’s always going to be easier to get comicbook readers to buy stories with superheroes, or, in this case, supervillains. I’m all for anything that will get more eyes on Criminal, though, so I begrudge them nothing. Don’t get me wrong, this is still one of the best comics you’ll find on the stands today. But it’s not my fault Bru and Phillips have set the bar so neck-strainingly high. Also, I absolutely loved Jess Nevins’ essay on the history and influences of Fu Manchu. Like a true nerd, I love comics where I learn.

Amazing Spider-Man #599 (Marvel): American Son was the first story in the thrice-monthly era of Spidey that I felt completely tied to reading as it came out. The Joe Kelly/ Phil Jimenez teaming looked like it had the all makings of a modern classic. It was timely and current, sporting a mean Dark Reign masthead, and promising to fully utilize the premier Spidey villain’s standing as king of the world. It promised payoff for long-form post Brand New Day plots, marking a huge step for Parker BFF Harry Osborn. And it had even longer-form consequences, as Harry and Norman Osborn are the biggest Spider-Man characters that don’t wear webs, and it’s fair to say that their relationship will never be the same after this storyline. It was a big story, and it didn’t need to work too hard via marketing or tie-ins to convince you. Story-wise, I really loved it. Joe Kelly wove a great summer blockbuster for the Amazing title here. I couldn’t help but notice that his take on the cast is a tad more adult than his Web-mates, but that’s something I have no issue with. The only drawback to American Son was that after the promise of Jimenez’ outstanding lead issue, he was pulled from the project, I guess to step in for Simone Bianchi on Astonishing X-Menwith Warren Ellis. You can never blame anyone for taking up an X-project, never mind an Ellis collabo, but it did end up making this story a little less than it could have been. It pretty clearly showed the drawbacks of a near-weekly comic, as a horde of artists were required to keep the training running on time. In this issue alone the chores were split between Stephen Segovia, Marco Checchetto and Paulo Siqueira. Everyone held the line, and there were no poorly executed pages, but it’s always better to have a single artist tell a story than a team of them, unless there’s some in-story framing that makes it work. Anyway, such is the nature of the beast. Nobody bats 1.000.

And that’s where we’re at! Stay tuned, the next WIBW will be broadcasting live from San Diego, likely trapped under a pile of comics or something.

What I Buy: Deluxe bank-breaking collected edition

Or: The Finely Organized Bookshelf

I’ve wanted to do this for a bit, because I accumulate a lot of trade paperback and hardcover ‘graphic novels,’ (or, y’know, to be less pretentious about it, collected comics). It’s funny, but reading a collected tpb is actually quite different from reading a periodical comic, and not just because of the length. It is a different commitment to read a full on book of one story than it is to taste a book’s flavor amidst the sprawling bevy of books I buy each Wednesday.

Ultimately, collectors be damned, comic magazines are disposable things. They are rarely built to last, unless you acquire the right and proper bags, boards, and long-boxes designed specially to house them. Books, though, are different. A book, and a hardcover especially, denotates a mark of quality that suggests permanence. A permanence, I might add, that saddle-stitched staples simply don’t offer.

So I don’t want to buy a collected edition, (or trade, or tpb, or graphic novel, or OGN, or whatever the hell package I’m purchasing), unless there is some sort of guarantee that it’ll be worth keeping. A mediocre comicbook, feh, I can afford to lose that, or give it away. But a bad trade? I’m pretty much stuck with that poor investment.

This all means that my trade-buying habits are a somewhat peculiar mix of books I know to be high-quality by reputation, books that I’ve already read in single-issue-format but enjoy so much I crave the prestigious packaging, and titles that I’ve read in part, but avoided for a period so as to be able to one day read the stories in their completed glory. Weekly stacks of books are my buffet meals, but good graphic novel purchases are exhaustively prepared main entres.

In the last few months, I’ve come into the possession of a quite a few such collections, and so, in the Merry McGuirk Tradition of What I Buy Wednesdays, allow 1point21jiggawhatts to present

What I Buy: Deluxe bank-breaking collected edition!!

The Starman Omnibus vol. 1 (DC): I was lucky enough to intern for DC Comics. My first day at the office, as I was kindly shown around their premises, my tour guide would point out the various framed covers that adorned the workplace walls. The covers ranged from old war books to modern painted classics, but the series most disproportionately represented on the walls were of James Robinson’s Starman series. “We here all really love Starman,” I was told. Considering the wide range of tastes from editor to editor, this spoke volumes.

I’ve heard the many praises of this series, but had relatively little exposure to it. I’d read the first collection, and a few straggling issues, but I hadn’t experienced the run in its full. Well DC Collected Editions had just the solution to that. After letting the trade paperback editions run out of print, a new Omnibus initiative of run-collecting HCs are being released, and the package is gorgeous. This is an edition worthy of the series critical acclaim, and I’m eager to make my way through this modern superhero classic that I’m lucky enough to have not yet experienced.

Popgun vol. 2 (Image): Look, we’re cool, right? We’re friends- I can speak my mind in this space? Well hey, one of my goals is to be able to write some good funnybooks someday. It’s on my to-do list, in permanent marker. It’s not all I want to do in this life, but, as I say, it’s on that list with the heavy ink. Well, in the service of my creative endeavors, I find nothing more inspiring than good anthology work. Everything I like about doing WIBW, the wide swath of comics’ culture you can cut on a week-to-week basis? A good anthology is like that, from page to page. Popgun is possibly the most respected antho out there, and after making my way through this volume, I can see why. There’s pretty much an endless supply of cool shit in this mega-book of comics. You get a chance to see the guys right on the fringes of broader success, something exceptionally intriguing with an older volume like this, where many of the talents have already moved on to higher visibility projects. You also just get to hear the voices of the people who want nothing more than to create strong, original comics just so that they exist, and who might move on to the worlds beyond comics before long. It is eclectic and superb, and I was thrilled to pick it up.

The Invisibles vol. 1 (Vertigo): Sometimes a series intimidates you. Vertigo series, with their 8-10 collections and “high concepts,” require a strong commitment to even start them. You’ve got to be willing to get into it for the long haul. Grant Morrison’s Invisibles series is a good example of that, because really all I knew about this book was that it was the most “Morrisonian,” work the comics’ shaman had ever worked on, and that a kid in my comicbook-history class during college (yes, my college offered such a course) once told me he’d masturbated on a page of one of the issues, per Morrison’s command, to somehow magically stave off cancellation for the series. So it wasn’t that I wasn’t curious about the series, but I was a bit daunted by it. After reading this first collection, I’m still not entirely sure I have a handle on what it is supposed to be. Morrison is somehow defining his own counterculture here, folding in some high-literature with his own sense of rock and roll revolution. I hear it takes a bit longer to get a good handle on just what’s so great about this series, but as with all Morrison projects, if you’re not confused, you’re not reading it right.

Wolverine: Weapon X (Marvel): Suckered by hyper-marketing, but wary of the studios’ capability of living up to its promise, I got a hankering for some Wolverine fare a few months back. With that in mind, I decided the time was nigh to finally read Barry Windsor-Smith’s acclaimed run from Marvel Comics Presents. This story is famed, and as such, a devout comic reader can become aware of the story and its consequence without ever having read it. I mean, I watched the X-Men cartoon, and had the Weapon X Wolverine action figure, so I already possessed ambient knowledge of the framework to this story. During a time when Logan’s origins were still deeply shrouded in mystery, classically brilliant illustrator BWS gave the first account of how the Canuck had come into the possession of his indestructible Adamantium skeleton. This story lived up to the hype. It was beautifully drawn, for one, and really played with the conflicting nature of Wolverine as a human animal. The writing, while perhaps a tad dated, was a pitch-perfect match for the art, never overpowering or overstating that which was portrayed on the page. It was a trip to hearken back to the days when Wolverine was a relatively untouched character, limited to his own occasional miniseries, and the pages of X-Men, and wasn’t the most overexposed character this side of Barack Obama.

Transmetropolitan vols. 1 & 2 (Vertigo): When a series is good enough, it leaves me infuriated that A) I wasn’t smart enough to conceive it, and B) frustrated that I might not reach the heights of creativity it represents. Transmet was like that. Spider Jerusalem is an outlaw journalist in an overwrought but familiar dystopian future, and his greatest weapon is his written voice. He uses his tool, along with indignation righteous enough to topple kings, to spread his seed of knowledge around the world like a sailor would an STD. This book is over a decade old, but the only prognostications that feel dated are the ones that have already come to pass. Spider seems like a pretty strong analogue for writer Warren Ellis himself, as his steely pessimism reads as a cover for an underlying humanity that is desperate for the world to live up to its promise. Darrick Robinson shows off his all-star talents in rendering the dirty, criminally commercialized but still charmingly diverse urban sprawl that surrounds our fair journalist. If Transmetropolitan doesn’t make you want to change the world with your words, well, probably nothing will.

Johnny Hiro (Adhouse Books): This is an example of the kind of book I have no problem buying twice. I proudly purchased each of Fred Chao’s masterful modern fairy-tale comics, and sung their praises to any and all in earshot. My socks were remarkably rocked, so when I saw this new collection, with new stories, well, it was among the easiest purchases I’ve ever made. I’ll keep buying this book until Fred Chao is a gajillionaire, if I have to.

Point Blank & Sleeper Season 1 (Wildstorm): Well hot damn were these among the finest comics I’ve ever come upon it. Much like Transmet, this was a book I’d held off on until it was cleanly repackaged, but it was very worth the wait. I’d already been loving Sean Phillips and Ed Brubaker’s collabos on Criminal and Incognito, but it was a blast seeing their work on Sleeper, the book that put them on the spot. I’ve never really been scared for a character, especially in genres outside horror, but the story of the operative so deep undercover he’s not sure when the assignment ends and he begins is powerful enough that I was genuinely worried. Point Blank makes for a great introduction to Sleeper’s dark underbelly, as WildC.A.T.S.’ Grifter bridges the gap from the superheroic world to the super-criminal one. This is the best crime you’ll read. I won’t even call this series “great comics,” I’m just going to call them “great fiction,” and leave it at that.

Mesmo Delivery (Top Shelf): Rafael Grampa is part of the Pixu gang, which is kind of like being a comics’ Crip- it offers immediate credibility and swag. He’s got a fine style, and his line packs a ton of personality within. This is a deceptively direct story, just off-kilter enough to upset the reader’s equilibrium. The obsessive detail of Grampa’s lines are downright 1990’s Image-ian, only his storytelling is crystal clear. This book is fast paced and hard livin’ with a dash of the devil in it. Guess it earned it’s Eisner nod.

Astro City; The Dark Age vol. 1 (Wildstorm): I had been dying to read this series. You don’t understand- dying. I’d read one random issue of the sequel series, and I wanted it all. But I wanted it when I could get through it on my time. It’s no secret that the book has fallend on an irregular schedule in the last few years, but none deny that the book is worth it once it arrives. There’s something appropriate about having Busiek and Anderson’s story covering comics’ darkest, most sobering hour be told in a multi-volume, series spanning epic. Astro City has always been rife with allegories and allusions to comics’ history and tradition, and it is exciting to see these esteemed creators’ take on the era in which the comics industry grew up.

Look for more WIBW: Deluxe bank-breaking collected editions to come, but for now, go break your back and bank with that roll of books.

What I Buy Wednesdays: June 3rd 2009

June 2--- The Return



Been a few weeks since we reflected on What I bought Wednesday- luckily we’ve got a whole new comics’ landscape to go over. Holler.

Batman and Robin #1 (DC): was first off, because there aren’t many creators that win multiple awards for their superhero work. Grant Morrison and Frank Quitely (or his real life alter ego, Vin Deighan) are the rare team that earn universal acclaim. They’re just great together. I was extra pumped to read this because I had just done an interview with the Quite Frank one himself for Newsarama He’s such a thoughtful and thorough interview, it’s really rewarding. Anyway the issue itself rocks, just panel after panel after page after page a constant stream of good ideas and good comic-ery. This book has a lot to live up to, not in the least because of how well the passing of the cowl in Brubaker and Epting’s Captain America book. Thing is, it has an asset Cap and Bucky didn’t- Dick was always supposed to become Batman. Maybe we would never see it, but we knew it would happen. This story is just a chance to show us that future, and there’s no reason to predetermine a ceiling for how successfully this concept might play out. Either way, like the book says, “Crime is doomed. “




The Muppet Show #3 (of 4?!? >:-[ Boom): I’m really not okay with the fact that there’s only one issue of Roger Langridge’s Muppet Show left, especially with last week’s lackluster Muppet Robin Hood. This was my favorite issue thus far, not surprisingly given the spotlight on Gonzo the Great. Langridge’s Muppets feel more like the originals than every project since Henson’s passing- that’s really what I think. The voice and writing is perfect, and I just love revisiting all the sketches, from Pigs in Space to Bear on Patrol. It all just feels right. Never mind the sketch with Gonzo’s nourish and almost-properly-spelled Gumshoe McGurk act. I love the energy of this book, and I never want it to go away.



Buffy, Tales of the Vampires #1 (Dark Horse): Speaking of energy in comics, Becky Cloonan and Vasilis Lolos might be the most energetic creators making comics right now. Both of their works’ just feel like young adulthood, almost an ugly/ beautiful manifestation. Maybe that doesn’t make sense to anybody but me, but I don’t care. Anyway I could give a damn about Buffy, but with Cloonan writing and Lolos artin’, I wanted to check it out for myself. Glad I did, because this book had all the ambiguously awesome storytelling that was offered in their Pixu book. I think this issue was kind of about boredom and luxury, but it might be a story that’s different things to different people. It’s sexy and sad and kind of damning. Anyway, it got me to buy Buffy, so they must be doing something right.



Amazing Spider-Man #596 (Marvel): Paolo Siqueira does an admirable job, but it’s hard not to be disappointed by the lack of Phil Jimenez in this second chapter of the American Son storyline. The first issue was so starkly powerful, it just would have been nice to see this project through by one artist. Alas, not all things can be. The art is still good enough, and Joe Kelly’s story is a perfect summer blockbuster. Of all the stories in the new era of Spider-Man, (I would love if we could stop citing One More Day and Brand New Day altogether, and move on) this one has the makings of being the most memorable. Harry’s just a ticking time bomb at this point, and Pete’s going undercover. Like I said, perfect summer fodder. I’m plenty on board.



Atomic Robo: Shadow from Beyond Time 1 & 2 (Red5 Comics): Somehow I missed the first issue of this series hitting the shelf. Understand, this is very unlike me. Curious. Anyway, I’m thrilled with the new storyline. I think we’d just reached our max of seeing the army-style Robo, so the pulpy Lovecraftian plotline is welcome. This book is as funny as Spider-Man in its prime, with storytelling as crystal clear as any superhero book on the stands. It’s actually so good I don’t always know how to talk about it. It’s just everything I want my comics to be.



Superman: World of New Krypton #4 or 12 (DC): I’m still loving Pete Woods’ work on this series, and given that this is the only book starring Superman, this is the only Superman book I’m buying. It’s a thrill to see him playing a true espionage role, because it undercuts all of the points of Superman haters. He’s showing his ability to inspire and be “Super,” without the luxury of his dominant powers. It’s nice to have as grounded a science fiction story as this is, because it allows us to see the Green Lantern Corps from the perspective of those they are expected to police. Hal and John are fun guest stars, and I think this book has a lot more adventure left in it.



Dark Avengers #5 (Marvel): Norman Osborn’s never been more powerful, but the eerie thing is that he’s never seemed so totally in control of his own demons, and that was makes the entire Marvel Universe such a tense place to be right now. From the early going, I think I like the adversarial relationship between this book and New Avengers more than I ever liked the interplay between that title and Bendis’ Mighty Avengers. Hawkeye went public to the media with his concerns over Osborn’s stability and general villainy in NA, and here Bendis delivers an all-too familiar response, with a deft showing of media manipulation from the erstwhile Green Goblin. Between this title and Deodato and Ellis’ Thunderbolts work, Norman Osborn has become the most compelling character in the entire Marvel U. Ares provided my favorite moment in this book, by calling his teammates out, and reminding them that, hey, from here on out, they can be whoever they choose to be. Maybe one or two will choose to take the side of the righteous, but this book will be a lot cooler if they don’t.



Deadpool: Suicide Kings #3 of 5 (Marvel): I just like seeing Wade Wilson get into all kinds of wacky hijinx with Marvel’s greatest street level characters. He and Punisher make perfect foils, and Daredevil is the quintessential straight-man to ‘Pool’s shenanigans. While I’m digging the ongoing series, I really appreciate the use of Agency X in this book, and think this miniseries has done well to integrate Deadpool into the Marvel U at large. It and the ongoing series are serving different masters. Frankly, I don’t care- Marvel can put out as many Deadpool books as they like, and I’ll probably be on board with all of them. I’m stubborn that way.



Astro City: The Dark Age Book 3 #2 (Wildstorm): Kurt Busiek and Brett Anderson can make superhero stories about just about anything, and the epic Dark Age set of books is no exception. I might go back to reading this in trades, not as an indictment of the singles, but rather as a testament to how well the series works in total.



Jersey Gods #5 (Image): Okay, so I was late to the party in figuring out just how this book worked. I was a little weirded out by the main hero’s nomenclature- because really, are we ready for a white space god named “Barock?” Maybe we are… but I’d have waited it out a bit, or something. Anyway, this issue wraps up the introductory arc of this series, finally getting together the two romantic leads; Barock and Zoe. I dug the direct way they handled all the potential Superman similarities, as it allowed Brunswich and McCaid to fully differentiate their book from the icon by stating the disparities explicitly. Barock the Jersey God is strictly on Earth for the chance to be with his love. Going forward, will a romantic relationship with part of humanity be enough to motivate the extranatural being into the role of hero? We’ll find out. This book seeks to be the perfect blend of superhero comics and romance ones, and now that the couple’s got together, it will be interesting to see how the creators continue to innovate and challenge the title, without resorting to trite superhero cliché stories. With a great look, and a story that makes that visual style necessary, this is a title I plan on paying attention to for as long as it’s hitting the shelves.



Chew #1 (Image): This was what I’d call a “buzz” book, because when Ed Brubaker is telling you a book should have been picked up by Vertigo, you’re gonna read that, and that’s buzz. Detective Chu is cibopathic, which means he gets psychic impressions via food consumption. That’s the hook I’d heard, and that was a decent one, to be sure, but to me it’s the other part of this story that makes this book so intriguing: it seems that the world’s lost its mind over bird flu, and as a result all fowl is outlawed, making deliciousness like chicken a controlled (read: narcotic) substance. See, to me it isn’t Chu’s kind of cool power that makes this book worthwhile, it’s the backdrop that utilizes that trait in to the strongest degree in-story. Concept’s good. Art’s good. Writing’s good. Comic’s good.



Astonishing Tales #5 (Marvel): I’m buying this book for Mojo. I refuse to make any bones about it. C.B Cebulski’s Punisher/ Wolverine story has its moments, and I like the idea of the 2020 Iron Man, but the only thing that’s satisfying me month in and month out in this series is the hilarious New Mutants meets Mojo meets modern Hollywood storyline. I don’t mind reading the rest of this book for the potential of finding another gem, but I would personally prefer to see only one or two ongoing stories in this anthology, and a smattering of shorts and vignettes. I thought the ongoing serials were what killed Marvel Comics Presents, and I hope this series avoids the same mistakes, and sustains as fertile grounds for fresh talent.



Skaar #11 (Marvel): I’ve just got such a soft spot for Ron Lim’s style, and I’m glad to see him on a book like this, because it suits him well. Hulk’s bastard son has descended on Earth to hunt down his jade, gigantic dad, and to show him the what’s what. I like the new wrinkle of a meeker alter ego for Skaar, as it is nice to see him saddled with the burden of his parent’s issues, as we all are. Pak has made the Hulk mythos his own, and I can’t wait for the day that we get the Skaar/ Amadeous Cho ongoing he must have up his sleeve. It will be glorious.



Ultimatum #4 (Ultimate Marvel): Look- hate the sin, not the sinner. It’s not my fault that Jeph Loeb is writing a miniseries that turns the tide on my beloved Ultimates line. And no, I don’t particularly want to support this series, or the concepts that drive it, but goddamn it, I was there at the beginning of Marvel’s 21st century, collection- focused publishing initiative, and goddamn it, I’m going to see it through. I read this issue completely unmoved, and really felt like it was just a level of a platform video game, but I bought it with the green American money, so I guess I can just stuff my opinions in a sack and let Loeb laugh all the way to the bank. Just know, sir, that I’m shaking my clenched fists towards the sky, ruing your base villainy.



Ultimate Spider-Man #133 (Ultimate Marvel): I just wanted to make sure I read that other book so I could fully appreciate this one. I think it’s been this to many people- but hot damn if Ultimate Spider-Man isn’t the book that kept me in comics, and challenged me to begin to analyze what I thought made the comics I enjoyed good, and why I was so drawn to them. I’m sad to see this title come to a close, but not really since it is soon to be relaunched as Ultimate Comics Spider-Man. But hey, we gave Conan O’Brien his moment of reflection when he moved from Late Night to Tonight Show , so I’m going to take a second and go over just what this iteration of the Web-Head has made it so important to me for a decade now.

Understand, when Ultimate Spider-Man launched, I was as close to Peter Parker as I’d ever been in my life. I was fourteen years old, he was a shade over fifteen, I had a girl best-friend that I had aims to make a best-girlfriend, as did he. I wasn’t the biggest loser in school, but I had my share of foils and nemeses. So did Peter. I just didn’t have powers, and until the very last page of the first issue, neither did he. I’d read comics all of my life at that point, and Marvel Comics to boot, but I’d never followed Spider-Man intently until that series. Suddenly, it was the most anticipated book I read each month. It all clicked- I finally saw what made Spider-Man the transcendent character he was. His everyman-ness, his resilience, his ability, well, ultimately… Amazing, it all came together. He was funny the way I tried to be funny, he was embittered in the teenage fashion I was, I know, I know, that’s how every Spider-Man fan in the history of ever has felt, that’s what makes him an “everyman,” but still, I was profoundly affected by thi s book.

That was ten years ago. The decade of one’s teen years into one’s young adulthood is funny because, within the confines of one’s mind, it is one long narrative of a constant central character. I think of myself as pretty much the same person as I did when I was 14; my inner monologue sounds the same, my life-goals are pretty much the same (although that might say more about who I am at 24 than who I was at 14), but, of course, I’ve acquired all the life experiences a 14 year old only thinks he has. In any case, it’s surreal to think that month in, month out, during that entire era, this book has been there, and been a model of consistency. Sure, people can gripe about the Geldoff story, or the Carnage one, and claim that the title fell off in quality, but I would contend that those people simply outgrew their need for, and maybe thereby their ability to understand and relate to this book.

The lesson of this book has been pretty much a constant- Peter, for all his capabilities, is someone whose desire to be a great agent of change has been outclassed by the world’s ability to stay exactly the way it is, despite the efforts of the young and idealistic. The only thing that’s really happened is that Peter’s world has become more complicated. He has more battles to fight, and maybe he’s gotten better at managing the struggle, but the struggle has also gotten better at managing him.

I hope the revamp of this title doesn’t change too much of the book’s core strengths. I hope I haven’t outgrown it. The ability to read the same book, chapter by chapter, for 10 years is one of those qualities exclusive to comics.

Maybe there’s nothing profound to draw from the decade of this run, maybe it’s just a book I’ve read for a long time. But I can’t help but feel like when this book started, I was that Ultimate Peter Parker, and here at issue #133, I’m the aged Peter of the 616 Marvel. It’s just a bizarre sensation… and it feels a little too much like growing up.



Until next time-

I wrote the Internet

My Threads on the Web















It's been a while since I did a comprehensive wrap-up of my contributions to the info-tapestry-net, so that should be remedied. I must say, I don't think I've ever been as satisfied with the books I've been able to cover. That is mostly because I don't think there has ever been a better, more diverse array of comics available in my lifetime. Of course, being a pretty normal comicbook reader means that the plurality of what I buy is superhero fare, but it's the other genre stuff that usually comes out the most exciting.

Also, the new WIBW has allowed me to give a little look at everything I get, which allows me to more fully develop my features for Newsarama. As a critic for a news' site, it's my obligation to cover the most important books of the market, and the ones that I feel would reacher greater success with greater attention. With WIBW, it is just an unapologetic take on my personal taste in comics, not always a barometer of quality. Long story short, WIBW is what I like. Best Shots' are things I think you would like.

Well, for the most part anyway. Kevin Smith is counter-culture god, and earned a rep as a Hollywood-type who legit loves comics. Most of the work he's done has been nothing short of top-notch. He swung that influence into a gig with his homeboy Walt Flanagan on Batman Cacophony, and you can see what I thought of it. As I posted the negative review, I couldn't help but think of MoviePoopShoot.com in Jay and Silent Bob Strike Back, but this was an honest assesment on what I thought was really an underqualified artist. Others might disagree, but for me it just didn't ring right. Maybe it wasn't a case of weird comic-industry nepotism, but I just felt like there had to be other artists who would have killed for the chance to work with Kevin Smith that could have done a better job. But that's why critiques are subjective.

I really have little to no problem with renumbering, especially if it garners a cool aniversary like Thor #600. I've said it all before; I love Thor, and as such am predisposed towards loving things about Thor. It's funny, but I think only comicbook fans can understand how frustrating it is to have one's favorite character go unpublished and left by the wayside for years on end. Editorially, I understood the wisdom in both waiting for the right creative team to become available and for the best time to promote the book within the shared universe and the publishing line, but it still sucked. Actually, it is probably similar to how Cleveland Browns fans felt when the team skipped town. Only when Thor came back, the book was really good, so it all seemed worth it. Probably Browns fans don't feel that way.

Now, if I love Thor, there's a good chance I like vikings. I suspect Ivan Brandon knew this with Viking #1. Okay probably not. But I am psyched to see vikings growing as a genre. There's no reason to let Brian Wood have all the fun on Northlanders. As I've said, the whole book is just beautiful, and it seems to me like it will be the biggest breakout book at Image since Cassanova. I see that book going far.

I like Black Adam because he's a character that exists right between Namor and Dr. Doom. He's a villain with a god-complex, or a hero with a villain complex, or something. Anyway when DC did its villain month I was happy to see a Black Adam Faces of Evil. His tragedy is so effective because of its melodrama, making each storyline he stars in to an act in his great saga.

I don't know if I could have enjoyed any convergence of interests more than BOOM!'s The Muppet Show. I don't even know if I have anything more to say about it besides I snicker at each and every page. What more could a man ask for?

I loved Groom Lake as soon as I read it. Then I heard the Wordballoon interview with Ben Templesmith, where he shared that it was his choice to add the cigarrette smoking flourish to the IDW's brand of aliens. That, my friends, is comics' genius.

I was so impressed with the Messiah War Prologue I don't know what to do with myself. Do I have to go back and read Messiah Complex? Does this mean I have to buy 6 X-titles a month again? I feel dirty and confused.

I dug Killer of Demons, and then found out from artist Scott Wegener that the book was actually done a few years ago, only to be released now. Color me impressed, because to me Wegener's art there is just about as strong as his stuff on Atomic Robo.

Some sequels take forever, and Marvels: Eye of the Camera is no exception. Busiek is such a great writer of superheroes when he's on his game, and I think he is here.

I did some reporting from New York Comic-Con 2009 for Newsarama, covering panels for Dark Horse's Creepy and Aspen Comics. Both companies seemed to have some cool things up their sleeves.

Mark Waid writes superheroes well, which is why it is interesting when he decides to write villains, as in Irredeemable. I'm eager to see if Waid can live up to the promise of the strength of his concept, here.

With Muppets, Irredeemable, and even the Incredibles comic, BOOM! was rolling for me. Or it was until Cars: The Rookie. I don't know, maybe that property is just among Pixar's weaker forays, but I had a hard time coming up with reasons to tell someone else to read that comic. I actually hate giving negative reviews, because I know that almost no comics get made without some serious loving intent put into the process, but I also can't shirk from honest assesments. Maybe some kid out there will totally love the Cars movie, and this book will be his or her bridge into comics- I just don't see it.

Some books just need to exist on the fringes, and Destroyer and Haunted Tank are good examples of that. I got pwned on the Newsarama boards for not realizing that the Destroyer was actually an old Marvel character, which was embarrassing in a way that only a nerd could understand, but I think I'm over it. I had held off from doing a full HT review until the series had wrapped, because I was really curious about how the series would read from the wide angle. That turned out to be the right call, because I think in the end the finale was the best issue of the series, and like The Dude's rug, really brought it all together.

I wasn't sure what to expect out of Lovecraft, but that was what made it exciting. This was basically a structurally sound historical meta-fiction piece that set the man Howard Lovecraft in a Lovecraftian horror story, (which, come to think of it, is more succintly put than I ever managed to get in my review, alas...). I'm no expert in the ways of the Cthulu, but it was a well told comicbook, and that was enough for me.

Rarely have I been more excited and inspired by the first issue of a series than I was with Warren Ellis' Ignition City. Steampunk evolved into space-frontierism just seems like an idea that should have been there all along, and Ellis is casually introducing it to us. This guy just consistently challenges the boundaries of the comics' creative community, and ever once and a while he belts one out of the park to remind us.

I couldn't help but weigh in on the big farewell issue for Geoff Johns and Dale Eaglesham on Justice Society of America. And apparently I couldn't weigh in fast enough, because not only did I let a totally uncouth typo out on the first goddamn line, but I also had a total brain fart and created my own American in my mind named "Norman Rockafeller," who I can only assume mainstreamed iconic but propaganda like art designed to enslave suburban minds. Or maybe he's related to this guy. Anyway I loved the run by the creators, and I thought the issue was a fitting farewell. I was also pleased with review itself, which furthers my theory that better books make for better reviews. I totally invented that theory.

Finally, I was thrilled to spotlight MC Esoteric's Serve or Suffer album. As rewarding as it is to give my perspective on the biggest releases in comics each week, ultimately critque is only a small offering to contribute to the broader discourse. Spotlighting a local hip-hop artists' high concept Silver Age inspired album was an opportunity to clue in a large audience to something I knew they would have had no exposure to otherwise. Chances are, if you are reading my JSA review, you were already going to read the comic, but an average Newsarama reader isn't likely to be able to find hot tracks like Galactus Trilogy or Steve Rogers on his or her own. And if you're a Newsarama reader, you really want to know those songs. Believe me. In any case, I've never watched the traffic on a story so intently as I did on that one, and I really hope that it was able to connect with the people who needed to read it, because it was a cool treat for that not-so-rare someone that loves his comics as much as his iTunes.


And that's pretty much a wrap to date. Somewhere in the throes of these NBA playoffs, Bruins chase for the Cup, early part of the Red Sox season, and beginnings of Patriots training camp, I expect I'll have some thoughts longer than tweets to collect on my other great obsession. But only if I can avoid writing my own version of Bill Simmons articles, because now that he's on twitter, I'm not sure I'd be able to fly under the radar. Or something. I'm going to be smart from now on and link to my stories as they go up, because the more time I let pass before I do one of these, the more likely I am to totally forget to link to one, and thus lose it to the vast void of the Interspheres. And that shit won't fly.

Now, to close with a fun little ditty, here's the video Esoteric was kind enough to put together to better share his sound with the nerd-republic. Give it a listen and I guaran-goddamn-tee you'll be humming this shit all day.

What I Buy Wednesdays: April 15th 2009

Abandon individual opinions, all ye who enter here

Once again, I reflect on the merits of my weekly funnybook purchases. You are enraptured, I am sure-

Beta Ray Bill: The Green of Eden One-Shot (Marvel): I'm not sure there is an analogous phenomenon to the “spin-off character” in realms outside of comics. But in comics, you've got a sidekicks, cowl-sharing families, and stubbled, gritty knock-offs. Why create an original character when you can slightly alter an existing one, and call it “brand new”? Well don't let my tone fool you, I actually generally love spin off characters, and Beta Ray Bill is no exception. An alien, horse-faced version of Thor, Bill is kind of like Thor without any baggage. Not tied to Earth or Asgard, as a character Bill offers all the scope of Thor, but casts the mythological character to a harder sci-fi backdrop. Forget Thor-Frog, Bill is Walt Simonson's greatest legacy on Thor. Okay, and the frog. Anyway, following up on Fraction and Braithwaite's Secret Invasion, this one-shot squares the other hammer-bearer against the vagrant Skrulls across the universe, aimless and desperate for something to believe in. Dan Brereton provides the pencils here. They're very strong, but I must admit I was a tad disappointed to learn that he wasn't doing the fully-painted interiors he has made a trademark with. Still, the coloring by Jose Villarrubia is masterful, managing to sell deep emotions without contradicting the science fantasy. Moreover, I am just pleased that Marvel is invested in putting out Beta Ray Bill material, and taking care of this classic, if perhaps somewhat unoriginal, character.


The Strange Adventures of H.P. Lovecraft #1 (Image): In writing classes, students are told that writers, or artists, or most any left-brained type folks, make for poor protagonists. Introverted, prone to indecision, and generally just too contemplative, the conventional logic is that by going the other way, for an action oriented “doer,” allows for stories that move faster, and that audiences are more prone to root for, or something. Well fuck that noise, this book proves that a writer can make a helluva hero, provided you pit him against circumstances that force him out of his comfort zone, and demand action. This book casts the enigmatic Howard Lovecraft in its leading role, and before long action, intrigue, and fantastical horror nips at his heels. There are many books that tap into the creative energies of thE Cthulu master, but this one found the unique angle that made it must-see for me. Mac Carter and Tony Salmons, two creators I am admittedly unfamiliar with, really knock this first issue out of the park, and deliver on the promise of this great premise.


Incognito #3 (Icon): I LOVE seeing what all-star talent chooses to do when left to their own devices. With Brubaker and Phillips, the product of that labor is usually the damn near perfect comicbook Criminal, the book that forgoes a lead character for a series of interconnected ones, and tells the secrets of their underworld. Incognito is a perfect compliment to that series. Ostensibly still crime noir, this series embraces the realm of superheroes and villains. Brubaker has made himself one of the best superhero writers working, but he clearly has an affinity for the seedy underbellies opposing the shiny good guys. Power to him, because he, along with the art team of Phillips and Staples, create the most active, exciting, unpredictable adventures on either side of the law. I wouldn't even know how to miss one of these installments.



Punisher #4 (Marvel): I dig what Remender is doing with this title. He knows how to enjoy the Punisher, make him dryly funny and balance the street sense with the superhero contrast. Jerome Opeňa matches style perfectly, no surprise given their collaborative history on Fear Agent. I don't think the Punisher is a particularly difficult character to crack, because his motivations and desires are pretty straightforward. The challenge then becomes finding both the right antagonists to cast him against, and cooking up the sadistic, but efficient, means by which Frank Castle does his dirty business. The Hood, the leader and organizer of the super villain syndicate, makes the perfect foil to ol' skull-chest. The Punisher basically works alone, with the occasional tech-exception, and the Hood rolls about 400 deep. They contrast well. And the thing is, Punisher doesn't really fight villains, he fights criminals. The Hood is really less of a super-villain than he is a super-criminal, and that puts him right in Frank's wheelhouse. So far, this series was worth it just for the Punisher's utterly ridiculous assualt costume revealed in this issue. Plus, the cover to this issue paid homage to the #1 of the 1987 ongoing series, which was the first semi- valuable #1 issue of anything I ever bought. So that's cool.


A small week, I made up for it by acquiring a wholly irresponsible number of graphic novels and trade paperbacks. I'll justify those excess purchases next time.

What I Buy Wednesdays: April 8th 2009

Or, How I Learned to Stop Worrying and Surrendered My Life to Comics

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I looked at the release list this week, and figured “Oh, this will be a small week.” But everything's relative, I guess:

Ignition City #1 of 5 (Avatar): Despite my belief that he's the finest author working in comics, I don't actually follow each and every one of Warren Ellis' creator-owned endeavors. Instead, I find solace in the knowledge that they exist, and that whenever I need a shot of romantically pessimistic fiction in my life, his extensive backlist will be awaiting me. This issue demanded my attention, though, as it was a wholly fresh take on steampunk, updated to the mid-20^th century. After reading it, I would compare it favorably to Ellis' masterpiece in collaboration with Chris Weston, Ministry of Space. Similarly to that work, it is a ficticious history of the 20^th century, wherein space flight became possible perhaps at the dawn of the century, and popularized by the mid 1940s. In this book it is so commonplace that it has actually become unfashionable, and thus this is the story of the last woman whose dreams lie in the stars. Ellis is smarter than you or I, and if we don't try to siphon knowledge from his retro-future brainslice, I fear we will all become outmoded.

Superman: World of New Krypton #2 (DC Comics): I'm not following the ins-and-outs of this latest Superman megasaga, but the high concept of Superman on a planet of Supermen intrigues me enough to draw in. James Robinson and Greg Rucka are commodities as writers, but it is actually the work of artist Pete Woods that made this a must-buy for me. Woods was fantastic on the Up, Up, and Away Superman arc of a few years past, and has really established himself as the Superman artist I most closely associated with the modern era. I just dig his sensibilities. This New Krypton status quo wouldn't work as a “forever” sort of deal, but it makes for one of the most interesting Superman stories I've ever read.

Deadpool: Suicide Kings #1 of 5 (Marvel): First of all, I'm disgusted with myself that I didn't recognize the cover work of one of my all-time favorites, Mr. Mike McKone, until I read the credits. I'm supposed to be a pro, goddamnit, I can't allow such rookie mistakes. I could blame the coloring for throwing me off, somehow, but I'm above such excuses. Anyway, the realization made me wonder why we aren't getting a Mike McKone penciled Deadpool book, and really why there is so little McKone interior work in general. I want more! Getting back to this book, Mike Benson and Carlo Barberi have already done some work on 'Pool in recent months, it seems editorial decided to get them to push more Deadpool product, and release this mini to supplement the main ongoing series. As a reader who spent years pining for more 'Pool, color me satisfied, (which I assume is some sort of turquoise). This book doesn't do a ton to separate itself from the main series, but it does prove that old saying- more is more. And this is more.

The Amazon #2 of 3 (Dark Horse): Seagle and Sale are veteran industry all-stars, and as a young, sometimes aspiring comics' mind I cannot overstate how valuable it is to see their early efforts. It isn't that the mini is rife with flaws to harp on, it is the fact that the book is so pure, and the concepts and methods so primal, that it makes a great tool to see how creators create. It is also interesting, and kind of sad, that in the late 80's two young creators could put out a work like this, and expect it to be somewhat visible. Nowadays, this book might be DOA, due to its non-adventure story and that it maybe has a social agenda, if not for the names adorning the cover. That might be a tad fatalistic, but given that this series is about the destruction of the rainforests, that might just be appropriate.

Green Lantern #39 (DC Comics): I was so ready to dislike Philip Tan's work on this book. I'm not sure I had any rational reason, except that the preview art I'd seen had been very rough, and was worried his style might be too jagged for this book. I was wrong. Tan is really consistent with his work here, and the matching with inker Jonathan Glapion is pitch perfect. It is detailed without being overdrawn, and moody enough for this story about the emotional spectrum. I'm no longer surprised by how much I enjoy this mega-scale Blackest Night storyline, I only wish I could stay away from it long enough to build a bit of a que, and read multiple parts at a time. But I'm just not that patient.

Wolverine: Weapon X #1 (Marvel): If you were Marvel, and you had a Wolverine movie about to be released, wouldn't you flood the market with related product, and cash in your cash cow? Don't bullshit, you would. Jason Aaron won me over with his work on Wolverine in the Manifest Destiny miniseries for the way he made Logan fully interact with the city of San Fransisco, (this was extra vital to me, given that I lived there for a time). He collabo'd with artist Ron Garney on a short run of the main ongoing series a while back, and the powers-that-be decided it would make sense for the two of them to launch their own book. This is well and good, except that Garney just launched a book with Greg Pak, Skaar: Son of Hulk, and I don't think his work was done there. It isn't a personal thing, I just think that if the care is taken to invest the time in launching a book with a writer and artist, it is a disservice to the process to pull part of that creative team after a mere few months. Weapon X is a bit more high profile, I suppose, so this pairing may be better fated for a longer run. Although that's really only warrented if they prove to be the best there is at what they do, and lord knows there's plenty of competition.

Secret Six #8 (DC Comics): Gail Simone makes me laugh. She made me laugh on Agent X, and she's been making me laugh with this assemblage of villains ever since she corralled them in the Villains United miniseries. When Deadshot goes on a date with three women in this issue, two of whom could likely kill him, I can't help but think how very much that is like my own life. True, two of these women are on a date with one another, but even that social incongruity echoes familiarly in my own life. You think I'm joking, but really, it happens to me all the time. Okay, fine, the only thing that happens all the time is I hang out with women who can kick my ass. What can I say? I probably learned to like that sort of thing from comics.

Dark Reign: Hawkeye #1 of 5 (Marvel): This is just the simple tale of a sociopathic muderer who has assumed the identity of a longstanding hero who was once a villain and the hilarious, bloody mixups that ensue. Andy Diggle seems to be a bit more freewheeling in his enjoyment of villainy here than he does in his recent Thunderbolts work, I would guess because the scale is much more focused here. This issue is just nonstop classic “Bullseye being Hawkeye,” rendered masterfully by one of my favs, Tom Raney. With diligent beat reporter Ben Urich hot on the case, I full expect to enjoy this entire mini.

Timestorm 2009-2099 #1 of 4 (Marvel): I can't escape my past; I loved Marvel's 2099 books when they came out. I didn't know how not to. I'm not defending this. Now that it's 2009, it seems appropriate that we celebrate this bygone era of comics, even if no one particularly misses it. With a beautiful cover that I'm going to guess is by Skottie Young (no credit is listed), and with interiors by the kinetic Eric Battle, I'm just enough of a sucker to want to see where this series goes.

What I buy Wednesdays April 1, 2009

Welcome to Week 2 of the internet's most popular selection of subjective sequential greatness. Let's get to the goodies;

The Flash: Rebirth #1 (DC): Sometimes you have to go with the known commodity. Johns and Van Sciver know their shit. They know how to jam together, and they know how to successfully revamp characters in such a way that they maintain their classical identities, while updating them to the extent that they can operate within the modern context of comics. They don't disappoint here, setting up the Silver Age iconoclast Barry Allen for his uneasy reentry to the modern DCU. While I think the new, CSI detective angle on the character will be a strong one, I'm more interested to see what Johns will cook up for the other parts of the Flash family, like sometimes Kid Flash Bart Allen. The thing that Green Lantern: Rebirth did best was not only bring Hal Jordan into the limelight, but also better define the other Green Lanterns in contrast to him. If this title can do that, we can expect the Flash franchise to sparkle as brightly as GL. Plus, my first exposure to this creative team came on the hard-to-find Flash: Iron Heights one-shot, and all the nods to that story here shows how committed to this story and character these guys are. Despite Final Crisis, this is probably DC's most important book of this year.




Amazing Spider-Man #590 (Marvel): I'm not quite sure why I don't buy every issue of this series. I think it's because I can. That's actually a compliment to the creative and editorial team of this book, because while I enjoy each and every issue I read, and while I know there are plotlines and stories I miss, I never feel like the title has gone so far that I'm out of the loop. Also, due to their really unparalleled patience with regards to long-term story threads, there are still a bunch of questions set up from the first issue of OMD to be answered. This Fantastic Four team up issue finally begins to address the mystery surrounding Spidey's once public, but now once again secret identity, and how that affects people who consider themselves his friends, like the Human Torch. Plus it's a classic team up of mighty Marvel proportions from Dan Slott and Barry Kitson, so there's really no good reason to miss it.Unless you hate fun, that is.





Haunted Tank #5 of 5 (Vertigo): Again, this is a title I've seen gestate and evolve from its early stages. It's a really cool story with subjects spanning race, America history, foreign policy, Confederacy etiquette. Frank Marraffino delivers aggressive scripts, and Henry Flint portrays an unflinching Iraq. Sometimes to be successful, a Vertigo book need only be different enough from its peers on the shelves to deliver on the brand's promise, and I think this book does that.











Killer of Demons #2 of 3 (Image): I bought the first issue of this series because of Atomic Robo pencil-man Scott Wegener. I bought the second issue because writer Christopher Yost delivered a strong enough concept with the first issue to warrant the follow up. The teeny-bopper Satanist vixen sociopath was, ahem, an interesting inclusion. You don't usually get that many panty-shots in an adventure comic. Oh, plus, foul mouthed angels kick ass.










Destroyer #1 (Marvel MAX): Any time Robert Kirkman and Cory Walker make a comicbook together, I buy it. I don't care if it's Invincible or Mille the Model Spends Too Long in the Ladies' Room. I'm there. Never mind the fact that in this issue a guy impales an opponent with a rifle while screaming "Guns are for pussies!" Yeah. Sold.













Seaguy: Slaves of Mickey Eye #1 of 3 (Vertigo): I don't think one needs to have seen an original to enjoy the sequel, and that was the thinking with this pickup. Grant Morrison and Cameron Stewart have made their bones enough in this industry for me to want to see what this book's all about. If anything, this new book is more likely to make me check out the old stuff. Which is, y'know, exactly what Vertigo editorial and collected editions is hoping for. Happy to oblige.










Jersey Gods #3 (Image): I'm trying with this book. They've had no shortage of Hall of Fame cover talent, (with Paul Pope bringing it here), and the Kirby- infused artwork by Dan McDaid belongs on the highest top shelf you've got, but I've really struggled to get invested in this story. No slight to writer Glen Brunswick, because I don't think he'd be able to wrangle all this talent if he didn't have one helluva hook, but I'm still waiting for it. I've found the dialogue stilted, and the characters flat, but I'm trying. My hope is that once all the world-building is complete, and the premise fleshed out, the voices and characters will breathe a little more, and ring more true. Great covers and art can keep my mighty dollar coming for a while, but eventually I'm going to need more substance.






Marvel Assistant-Sized Spectacular #1 of 2 (Marvel): Marvel's at its best when being free-flowing and letting creativity guide content. Today's assistants are tomorrow's hiring editors, so checking what they get up to when left to their own devices is a vital exercise. This special was in line with Marvel's fun-loving image, and gave various talents a chance to work on less-known properties. I was surprised, actually, that there weren't more unknown creators working on these books, but I suppose that was left to-










Astonishing Tales #3 (Marvel): I don't know why this book is succeeding for me everywhere Marvel Presents failed, but man am I digging it. Each of the ongoing plotlines have been just strong enough to sustain my interest issue to issue, and the talent is just off-beat enough to warrant their own platform. Jonathan Hickman and Nick Pitarra are the breakout stars of this book, with their hilarious buddy story set in the Mojoverse. This story is just a distinct enough flavor that it couldn't exist without the platform Astonishing offers, which is exactly how it earned my $4.









The Freedom Collective: Communism's Mightiest Super-heroes (Rough Cut Comics):Looking at the cover, and peeping the first page, I saw that the whole pitch for this book was “What if the Avengers were communists.” So, yeah, I was sold.














Justice Society of America #25 (DC): Johns really integrates artists' talents into his stories as well as anyone in comics. All of his collaborations with Jerry Ordway have either hearkened to the classical stylings of Earth-2, or channeled Ordway's earlier success, as in this arc's Marvel family focus. Black Adam is the single most compelling character in the DCU to my mind, and I never tire of seeing his rise, or fall. Johns puts his prized toy on the shelf here, but there's not a doubt in my mind that he's just being saved for the right story, in the future. Also, I am super bummed that Johns will be leaving this book, but all good things, I guess. I also hear really good word on upcoming writer Matthew Sturges, so maybe hope is on the horizon. After seeing the train-wrecks that were the follow-ups to Johns' runs on Teen Titans and The Flash, I can only hope.






Deadpool #9 (Marvel): This Thunderbolts crossover has been a fun celebration of the Marvel U's more morally challenged corner, and this issue keeps pace. The only thing more hilarious than mass-murderers in love is trite sitcom-style hijinx of body doubles and girl-fiending. I don't know why Marvel bothered teaming up 'Pool with Cable for a series when Wade and Taskmaster so obviously make the best blade-wielding duo since Starsky met Hutch... and they found swords.











Secret Warriors (Marvel): Jonathan Hickman has made Nick Fury the badass he needs to be. It says a lot that I empathize more him than his punk squadron of young operatives. Caselli is doing the work of his life with the pencil, selling the quiet drama as effectively as the loud action sequences. The story is as layered and complex as one would want a spy book about secret worldwide organizations to be, and it features a cast that has been tempered in the greatest battle of recent MU memory. I think this book has rode the wave of Secret Invasion as well as anyone could have hoped.




War of Kings (Marvel): Sci-fi (or Sy-Fy if you're a fucking dumbass network) is always best served as parable. The more outlandish the situation, the more vital the grounding. Jim Starlin got this, which is why even the most ridiculous Infinity saga had, at its heart, very real, basic, philosophical debates. After years of positioning, Marvel editorial finally has the pieces in place for a massive, intergalactic 'world' war of each and every fleshed out alien race in the Mighty Marvel stable. The story is regal and grand, and Paul Pelletier is as strong a penciler as there is in the game. I don't want to care about the far corners of the Marvel U, but there I am anyway.