Click on the link to take you to all of our Denver Comic Con 2014 articles
It’s a week since the third annual Denver Comic Con got underway. From everything that I saw and experience, it was a glorious weekend. This, like many of you, was my third time attending DCC. I have a unique perspective on the DCC experience, you see I’ve attended all three years in three separate capacities . I’ve been an exhibitor, an attendee, and now as press with Hush Comics. So far, every year has yielded different results, and completely different experience.
For the inaugural year, I had a table in Artist Alley and never had I been more excited to be part of a major event. I sold posters and a preview issue for a comic book that I wrote. By Sunday, I actually had attendees – and even fellow artists – coming to my table specifically to see my work. I’d never experienced anything like that before. I got to be on the ground floor of what is the largest growing comic book convention in the country, and that’s pretty damn cool. Now, because I was an exhibitor and wanted to be the face of my work, I spent almost the entire convention at my table. For the short amount of time I wasn’t at my table, I was nabbing some signatures from great creators and artists, and picking up a few souvenirs for myself. In the end, I didn’t get to experience much of what the convention had to offer. On the upside, I scared the crap out of Billy West and got to high-five Colin Ferguson.
I almost did not attend DCC year two. My first son was due just a couple of weeks after the scheduled date and, believe it or not, there are things I hold more dear than Denver Comic Con. My son decided that he was going to show up a month early though and my wife and I made the decision to bring the little guy to his first ever convention being only a few weeks old. After the excellent experience I had the year prior I was very excited to be back for the second year. Sadly, it appeared that the DCC crew were not very well prepared for the growth between the first and second year. The convention floor was over-packed with extremely narrow aisles. Attendees were funneled through lines and stopping to look at anything made me feel like an inconvenience to those around me. My family and I did make it out of the exhibitor’s hall to check out some of the other goings on at DCC, most notably the William Shatner Q&A. The second year wasn’t nearly as enjoyable as the first time around but still not bad enough to keep me away for the third year.
This year, thanks to the fine people here at Hush Comics, I was able to attend as a part of the media. People might not think that attending in the this fashion would be very different than being a regular attendee, but knowing that I was there to properly document the event this time made me look much closer than before at the guests, events, and the thousand of fans all there for a great time. Really paying attention to these details made me appreciate what was going on around me more than ever before.
Now, I only made it for Sunday this year, and traditionally that would mean there would be a little less to see than usual. I was pleasantly surprised to find Sunday was just as good of a day to be there as any. I was in attendance with family and friends and did spend the majority of my time in the Exhibitor’s Hall. This is, of course, where the majority of the con goers can be found, and it was packed. It was great to see that the show runners learned from last years and really expanded the floor space because walking down the aisles in a small group, and pushing strollers was easy and didn’t cause half the headache that it did last year.
One thing that DCC has always done right is how easily accessible the comic book creators and artists are. It’s a magical feeling being able to walk up really meet the people that make us who we are. The growth of DCC has helped pull some really big names, like Fiona Staples and Tim Sale, a couple of my personal favorites. I had the pleasure this year of getting some photos with Tim Sale and John Layman. It’s the people in comics are the reason these conventions even exist, sometimes I’m worried that con goers forget that. The tv and movie celebrities are great, but for me it’s always been about the extraordinarily talented artists and writers that bring us or favorite characters in their best forms.
One of my favorite parts of any convention is the excellent cosplay done by extremely talented fans. My personal favorite was Pyramid Head, whom, it turns out is also the man inside the Humping Robot costume. Among the other excellent costumes I saw were Jareth from Labyrinth, Kanto from Fooly Cooly, The 10th Doctor and Scorpion from Mortal Kombat. One real show stopper was the Skeksis from Dark Crystal. I hope you had a chance to take your photo with this one, I know I did.
A fun attraction that they expanded on from last year was the all LEGO city scape. Like last year, there was an impressively elaborate entire LEGO city with a running LEGO train doing laps. And if that wasn’t enough European-based building toys for you, next to famed artists Fiona Staples was a giant recreation of the Saga #8 cover done in the tiny colorful bricks. I really enjoy these setups because they aren’t what you always expect to see at conventions like these.
I did watch a future generation of LARPers learn how to handle a themselves in a fight with an assortment of mid-evil weaponry. The Knights Academy was a great weekend long panel for children. It was entertaining to watch these fantasy fights play out before your eyes, and watching a large group of kids being legitimately interested and excited to be a part of something so different even in the realm of nerd. The kids events did really seem to take a major forefront this year, when compared to the two previous years. I mean, Adam West, among other celebrities, held reading sessions in the Kid Corral. I’m sure if you were to have asked him LaVar Burton would have been proud of the focus on literacy this time.
From year to year Denver Comic Con has gone through some serious changes. A large part of that is the unexpected speed at which the convention grew. It’s hard to keep up when one year you more than double your capacity. There were definitely growing pains. Luckily, it seems that DCC handled themselves much better and learned from past mistakes. If the convention continues to grow and those running it take the time to actually look back at the previous years and find what they need to do to improve, even just a little, this will be a great convention for years to come.
We were just walking around Denver Comic Con, minding our own business, when Yanick Paquette decided to be the coolest guy in the world. About a month ago, we decided to spotlight our favorite guests at the convention, and Yanick was quite impressed with our research on his piece. When we met him at the convention, we saw not only his extreme talents, but his charisma at work. After chatting it up for 10-15 minutes at his booth, watching him draw a commission for Jean Grey, he asked us if we would like to interview him the following morning. YES! We tried to play it off cool, but we were really excited to meet him. One day and a full night of research later, we were ready to go. We discussed everything from Swamp Thing and Wonder Woman: Earth One to independent books and colorists. He is a full transcription of what went down when Robert and Sherif sat down to interview Yanick Paquette.
Click on the link to take you to all of our Denver Comic Con 2014 articles
Hush Comics: You just got back from an insane touring schedule in Europe. How does the comic book convention scene abroad compare to how it is in America?
Yanick Paquette: Well, a few years ago, in Europe, you would not charge for sketches and it was more about meeting the fans, I guess. The way I see it, the modern convention, the American structure where fans come and pay for sketches and fans interact, is really the model for everybody now. Except maybe France, who will always resist. In the U.K. for instance, the shows are getting bigger, better and longer. This is the case in the United States, too. Here, it is the third year in Denver. It is a pretty decent, huge show. In Montreal, I’m from Montreal, and there were little shows trying to pop up now and then and there were crappy shows and they didn’t last. We have a show in Montreal. I’m not sure how many editions there are, maybe the 5th edition. Now there is some traction.
I am doing a lot of shows, only because my schedule allows it. As I’m not doing a monthly book, I can agree to more. For instance, in August, I am going to Argentina. Eduardo Risso has a small show there. He’s invited just a few people. That is going to be fun. I’m doing Malta. I’m doing a few other shows abroad. [This weekend] it is Charlotte for me. I’m all over the place. It’s good. When I started doing comics, the idea was, ‘Can I get a living out of just drawing? That is good enough if I can get a living out of drawing. Not even a big living, just drawing and get some money.’ That was good enough. But it turned out it’s a way to travel now, so I am traveling all over the place. That was unexpected, but it’s great.
HC: Checking out your Twitter feed, we see that you do as much promoting of other creators as you do for yourself. Is there any work out right now that you feel that the world needs to know more about?
YP: There is Jeremy Bastian, over there. He has a booth here. He is doing something called Cursed Pirate Girl. His stuff is absolutely amazing. He is shy and gentle, and he works his thing. It’s, of course, not Marvel and DC, because it is way too good. He’s been doing his thing forever. Now he is getting some attention in Europe. Obviously that kind of material will work super well in France. I think he is getting there now. Everyone should be aware of this man’s existence because he is just a miracle.
Taken from Jeremy Bastian’s Blogspot. Buy Cursed Pirate Girl here.
HC: A couple of months ago you expressed the need for DC to start trying to keep their elite colorists in their staple. Can you go into some detail about how much a colorist contributes to the work of the book?
YP: It is a massive contribution. I’m not going to give names, but I’ve been colored by people who have just destroyed my entire month of work. As you open a book, it is the first thing you see. You don’t see the story, because you have to read it. The picture takes some time to acknowledge, but the color is the first thing that is going to punch you in the face. A good colorist can help you with the story telling, can push forward the understanding of the page – the atmosphere and everything. I’m inking myself. I’m penciling and inking, and the only other guy on the team is the colorist. It’s a two-man operation. There’s a lot that I leave for him to do, and it’s truly a team effort. Back in the day, in the 80’s for instance, colorists could do 10 or 20 books a month. It didn’t matter because it was just flat, simple color. But now it is complex stuff. And when it is complex you can really screw it up. [Doing his best colorist impression] ‘I’m going to airbrush everything. I’m going to paint over things.’ Sadly, there are a lot of people in DC and Marvel, mostly at DC, that is part of the problem that will go into not-so-great coloring.
It is obvious that talent is required and talent has to be recognized and paid accordingly. I couldn’t say if DC pays the colorists less than Marvel. I think DC, in general, will pay more. We have overseas royalties. I think they treat the artist better, but the colorist’s stature is still part of the production department more than on the art team, which was the case for both DC and Marvel. Years ago, Marvel did change that structure. DC I’m sure will, sooner or later, follow into that legal structure with their colorists because it won’t make sense. They are always on the same bracket, but it has been a few years that DC hasn’t complied with that new definition of what the colorist should be. When you have your name on the cover and the little on the royalties, it’s not going to be huge money for anyone, but it is a symbol that you are part of team and that you are responsible for the success or the failing of the product. And we recognize that.
On that subject, when I went out and said that [referring to colorists getting paid], Bleeding Cool, spun the story saying that I’m challenging DC to pay. But it isn’t confrontational at all. I have total faith in DC to do it. If anybody needs to take a breath and play ball it is the writer and the artist. That world is a pie. DC allows a piece of the cover price to be split between the art team. I am asking to revisit the pie. Let’s take a bit of my money, of the writer’s money, and the inker’s money, and let’s share that with the colorist so he is part of our team. The challenge might be to get some of the writers and artists to give. It’s more the art team that I challenge to recognize the colorists.
HC: So speaking of colorists, are there any who you specifically love and would really like to work with?
YP: I’m working with Nathan Fairbairn for… He’s my man. We have been working together for a long time. He was working with me, and Chris Burnham, on Batman Inc. We work together because of our friendship, because we have been working together for a long time and because I trust him totally. We have a good working relationship of respect. He brought forward that it’s not so cool [colorists not being paid]. Especially, Wonder Woman: Earth One has a long shelf life. Who knows how much it is going to sell? It wasn’t so fun for him to come aboard on this and not get any piece of it. In part, it was for him that I came forward saying that we should change. I had a hard time to convince him to stay on Wonder Woman. ‘I need you! I don’t want to go onto 120 pages with someone I don’t know.’ It’s very intimate. My artwork is super intimate. I spend so much time and it is very personal. And you are inviting other people in your bed to share this thing with you, you don’t want someone that you don’t trust or that you don’t know who will screw this stuff up. When Nathan was not sure, I had two other options: Dave Stewart, who is absolutely a miracle, probably the best colorist there is, and Laura Martin. Laura is also an absolute magnificent colorist. I’m glad that we ended up working out something with Nathan for this. As I do a page, I feel confident that my man has my back if something goes wrong, and if he is there, the page is going to look good. He boosts my confidence.
HC: Perhaps your most notable signature your crazy panel layouts and how you split up the panels with different elements of the story. What was your inspiration to do this?
YP: It started a little bit before Swamp Thing. I did an issue of Wolverine: Weapon X called “Insane in the Brain” by Jason Aaron. The story goes that Wolverine is trapped in this asylum and he is getting pushed towards madness by this evil guy. Every panel in that book is crooked. It doesn’t look like it if you look at the book, but none of the corners align. Everything is slightly off balance. As you get crazier and crazier, the stuff gets more crooked. There are a few pages where he snaps out of it and he comes to his senses, and then everything is super straight. It is super-subtle. I’m pretty sure nobody really saw that, but they might feel it on the subconscious level.
When I do crazy stuff, it is for storytelling purposes. In Swamp Thing, the first script came in from Scott [Snyder], a great script, but pretty down to earth. It was a 10-page script and a guy talking. To me, when I thought about Swamp Thing, I thought of an Alan Moore crazy, wild thing. In my own relationship to Swamp Thing through the years, I discovered, my first artistic love was Berni Wrightson on Swamp Thing. And then I discovered my first love in writing was Alan Moore on Swamp Thing. And then I got to do SwampThing. For me it was something personal. It was like coming back home, almost like a full circle. To me, that book had to reflect my past, the past guys who were on Swamp Thing, and my own relationship to comics. I had to put their name in there and also part of their style. The script was very down to earth. So I figured that maybe just the panel layout could be enough to give you a sense that this is not going to be like other comics, it would be pushing forward in trying things in terms of story telling. So I made a code for everything that happened in that story. If the Green is acting on reality, if the Rot is acting on reality, if you are in the Green… When Abigail is there, the panels are not straight. They are more angular because she is more hard edge, now. All sorts of details like that. You can combine, or you can dial down the fact. But they are always aligned with what is happening in the story. It didn’t take that much time that every single thing in Swamp Thing was bizarre, so every single panel was bizarre. You give what you got. It was really freeing.
At first, I did that by doing something different to reflect what Swamp Thing should be. But I wasn’t sure if people would buy it at all. Maybe it was too confusing. There are things that are challenging. But people absolutely loved it. After 2 years, as I am doing my layout for Wonder Woman, I can’t do straight borders. It isn’t the same set of codes, because what I did on Swamp Thing was for Swamp Thing. It is harder to plan with Grant [Morrison] because [Wonder Woman: Earth One] is a long story. It is hard to see it in its entirety because I don’t have the script for the whole story. It’s hard to plan the element of design. But I try to do other things that I feel are cool.
HC: Your resume is full of work with fantastic writers, even before the New52. Are there any writers who you have worked with at your days with Marvel that you would like to reconnect with?
YP: When I worked with Jason Aaron, that was the absolute best. I’m talking to you Jason! That script was so intelligent. I had fun with Matt Fraction, too. I was lucky enough to do Uncanny X-Men, which was a self-contained story, so I really made that mine. It was very packed with emotion. There were impossibly deep emotional moments. In comics, you can end up having people fighting for 3 or 4 pages. I don’t care for violence; I don’t find it exciting. What I find exciting is these impossible emotions. In that issue of Uncanny X-Men, Dr. Nemesis goes back in the past. He has to meet his mother and father then sees his father dying. His mother is dying, too, but she pregnant, too. So he delivers himself out of his dying mother. He is always pristine white; he is like Mr. Perfect. But the last few pages, he is coming out of his mom’s bedroom with himself in his arms, his coat is full of blood. What are these moments? They are so intense. They give you goose bumps. Swamp Thing was full of those moments, too. There are huge sacrifices. It’s a love story. But it was crazy and weird at the same time with profound moments. I do comics for those moments.
HC: Let’s talk about Wonder Woman. How does it differ from the monthly series?
YP: First of all, it’s Earth One. So, you know the other Earth One’s, it’s kind of like Marvel’s Ultimates. There are no rules. You can reinvent stuff. Archetypes and elements can come back because they are expected by readers. Because of that, you can play with those. We have free-reign to do whatever we want. Outside of continuity we can do anything. Wonder Woman somehow has a hard time getting a movie for herself or attention beyond the T-shirts and lunch boxes and figurines; to get her to mainstream solo status like she was in the 70’s was very hard. You can do that with Batman or Superman, but not Wonder Woman. People were like, ‘You should do the regular series! She needs help now.’ I love Azzarello’s work. I think it is great. I don’t think she needs that much help in the New52. All the usual revolutions, the big changes for the characters, like Batman for instance, The Dark Knight Returns was not part of the continuity. It was a futuristic story, like an Elseworld. I don’t think Elseworlds existed in the time of Frank Miller. But that thing was so strong, it defined what Batman was. He is now the injured vengeance-ridden kid. Same for Kingdom Come that really rebalanced everything with the DC Universe. If you look at all the films of Marvel, it is not the Thor of the regular series, but it is the Ultimates. It is the Mark Millar work that makes it to the screen. But then again, these alternate stories were so efficient and make so much sense because they have the liberty to redefine what they are in the context of today. Now, even the regular books, which are not the Ultimates, are tainted with the stories of The Avengers, stories of Aaron, and they have all been Ultimate-ized. You almost can’t tell them apart anymore. It is a revolution for a character. Try it outside of the box, and if it is good enough, the box will absorb it.
HC: How does drawing for a script oriented like Scott Snyder on Swamp Thing differ from a writer like Grant Morrison?
YP: It is hard to tell, because I am really proactive as an artist. I’ll take a lot of liberty. I consider my domain to be more than drawing what they ask. I am going to claim some land, for creation purposes. In the case of Scott, at first I had a full script. OK, we are going to do concept drawing – like the panel borders. My job was to tell the story but also push my own graphic agenda. In the case of Grant, Grant will give you a script with very basic dialogue. He will think about the big chunk of concept and all the craziness. Sometimes he locks attention to the little detail. ‘In this scene, these guys need to walk to one place or another,’ just the physicality of the mundane story telling aspect. And you will give this to your artist to make it make sense. You need to trust your artist and to give them some rope. I figure that is why he is always working with the same 5 or 6 guys because he trusts us to bring the kind of script he is giving us to a place where he is satisfied on which he can do the last pass before printing. It is a trusting, touching moment that he gives me so much room. You have to trust him too to bring that ship to the port at the end, because sometimes I’m sending pages and I’m not exactly sure where it is going to land. I trust him the way he trusts me. Because he works with the art finished, he adapts himself to what he gets. In my case, he never asks for redrawing. If I make a decision to fix something that I feel will work better, he doesn’t mind. It is always a work in progress until the last minute. He is always able to react to the art and be creative. As I do a page, I know Grant will make something out of it.
HC: Your first monthly gig was Wonder Woman. The coolest thing I remember about it was the armor with the eagle head.
YP: I did not invent that costume.
HC: I thought I had seen an earlier armor version but not one with the American flag and the eagle helmet.
YP: It’s been a while. I know that in that run of Wonder Woman, I did invent the Fortress of Solitude with the huge flying coliseum with animals in there and armor galleries. It was the new Invisible Plane, because that thing could turn invisible also. I remember designing that. Maybe I updated the armor, but I wonder if it wasn’t Adam Hughes who did it for the cover. Or maybe it’s a spin on an Alex Ross design. It’s funny that today I get to do Wonder Woman again after all these years in probably the most different context possible. Back then, I didn’t know what I was doing. I was just trying to learn in front of everyone. A lot of those pages are like [he groans]. The idea was just to get the stuff done on time. That was the challenge of the day. Learning the craft. Getting my stuff done on time. There are a lot of pages in there that I am not proud of. But I was unknown, so that was the deal. Now I have the chance to represent the character, but with no deadline, and prestige format, with a massive writer. Now I know exactly what I am supposed to me. I am fully armed and geared for the process. I am going to redeem myself.
HC: DC Collectibles is releasing a Wonder Woman Art of War statue in the image of your Wonder Woman in October. Did you have a hand in the 3D design for that?
YP: Yeah, I did the design. So, I did the turnaround. Funny thing, though – that costume that I designed for Wonder Woman, not to spoil any of the story itself, but she came to the island with that design from the man’s world. Most of the story is a flashback from before that where she doesn’t wear that. I don’t know how that is going to play out. There are still a few pages to come that I have to draw still. It might very well turn out that the design for the statue is like two pages worth of what is going on in that book. She actually wears another costume. I designed that a long time ago, way before I had a decent chunk of script. If I had to redesign it again, I might have used the version I’m using in the book, which is a little different. But yeah, I did the turnaround. That was my first statue. I had no idea how to do it.
HC: It’s cool to see that you actually had a hand in designing.
YP: Because it is a statue, they ask the artist ‘Can you figure out a pose? Can you figure out a design?’ Action figures [are different]. They did a huge Swamp Thing with the wings. It is a massive toy. They sent me a box of those that made me pretty happy. But that, I had nothing to do with. All the design is obviously mine. There is a page in Issue #8 when he is coming down at the Rot with the wings. It is a massive toy. It is bigger than everyone. It is part of the New52 set of toys. I don’t know the scale, but Swamp Thing is just a monster so he goes in the massive monster box.
HC: I know everyone is asking you when the book is coming out. Can we assume that since the Wonder Woman statue is coming out in October, there might be something around the corner?
YP: No. I haven’t done all the pages. I have good chunks of stuff to do. I feel like October might come a bit too soon. Maybe DC’s promotional department might want to gather a bunch of Earth One’s together for a big event. I know Gary [Frank] has another Batman [Earth One] going and there’s another Superman going. I think it is in their ballpark. They will find a way to sell that thing at an appropriate moment. I have a feeling that it might be at the very beginning of 2015. My goal is to finish it this year. I have been on it too long. I over-think. Working with a flexible deadline, I am doing my best. At the end of the day, the extra perfection that I have managed to put in there is the one that takes the most time. Without it, I would have totally done the book super fast and nobody would recognize there is a little… If I would just give it up, nobody would care, except for me. I could make that book super fast. That’s the problem with a long deadline, I want to do the best and then it takes even more time.
HC: Working on a non-monthly book, it must allow for a more balanced lifestyle. We were wondering what hobbies you have on the side?
YP: I do travel a lot. I do a lot of conventions. That’s what I do. I used to do a lot of music. I write music and record it. There is some stuff online.
YP: The Swamp Thing is a more orchestral film soundtrack. When I write serious stuff it’s mostly string quartets. But I’ve been writing a long time. With convention schedules, you travel and then come home and then I’m exhausted. Then I have to do two or three pages. It’s just a lot. Honestly, I don’t think I’ll say yes to too many people in terms of shows this year. But I will survive and I will take it as a warning.
HC: How did you get into writing music?
YP: It was a hobby when I was a kid, reading and writing music. In my teens I would write stuff. The things I really enjoy, there is no market. Classical or Baroque music – nobody cares for that. I went into Biology first and then I had a reality check and figured it wasn’t what I wanted to do. I considered Music for about an hour and half and then I went into comics instead. I may have ended up doing a movie score or having an orchestra. But there are so many good guys in movie scores; it’s such a huge market. I didn’t want to do jingles for advertising. I figure I will keep my music as pure as I want with no compromise. I’ll do my own thing for myself. I don’t need the public for that. I’ve posted it online because people have said, ‘You should post it online. It’s funny.’ But it’s for me really. And with the comic aspect, I’ll play ball a little bit more. And I did at first. Now I’m pickier with what I want. And maybe because I can do whatever I want in comics, I don’t feel the need to write music anymore.
HC: You have worked on a lot of established franchises. We wanted to know if you had any interest in doing something creator owned for an independent publisher or are you with DC forever?
YP: Honestly, I am looking for a creator owned in a very serious way. As I look at the industry now, DC and Marvel, every book you do, you can rest assured that the next book, even though you do your best the book is going to sell less. They are never going to sell more unless you kill a character or you put Jim Lee in the book. Every book will sell less than the one before. That trend has been going on with every single book of DC and Marvel for the past 5 or 10 years. The only places where I actually see growth is in the independent. Granted they start lower, so they have room to go up, but they do. They offer something different, something fresh. A few years ago when people would come in with a portfolio who were prime for DC, I would push them to try Image or do something independent and then come back to DC with that name. Now I am seeing the opposite. Get to DC or Marvel and make a name for yourself, then go to Image and cash in. Do something you own. From that point of view, if I would do something at Image and sell five times less, but do more money and do whatever I want. I don’t have anything against spandex and superheroes. I’ve done it a lot and enjoyed it as a kid. But it is a limited a genre. After a while you have told the story you wanted to tell. Spandex guy punching another spandex guy. I have done all the angles. I want to tell other kinds of stories. In other media, in movies or books, you get all different stories and they sell to different markets. But comics have been trapped into one mainstream, one little type of fiction. It makes no sense. But now Horror is coming again, I may not want to do pure Horror stuff. I won’t tell what I am looking into because I am not sure myself. I think the typing is good with miracles like The Walking Dead. Which is a fluke. You can’t say, ‘[In his best American accent] Oh! I’m just gonna do The Walking Dead. That seems like a profitable business plan.’ It’s a fluke! It’s something weird. But what happened is that people in the mainstream, and when I say mainstream, it’s not comic mainstream. This is not mainstream. This is a little bubble of weird geeks. The true world realizes that The Walking Dead came from a book. They enter into a comic book store with no geek preconception about qualities of DC and Marvel and the rest are amateurs. They don’t care for that. They’ll look and maybe by Chew or Saga. The readership has expanded. That is why The Walking Dead and some of these independent books are getting good numbers because it is fresh readership. It is fresh blood. It is people from the outside world coming and seeing that we are doing something that kind of makes sense.
HC: Our wrap up question is, what can fans except to see you in soon and where is the best place to reach you?
YP: I’ll be Charlotte this coming weekend. I’ll probably do New York. I will be in Portland this year, too. I will be in Malta for the Italian people who may read this. I’ll be in Argentina. There is a show in Montreal. I’ll drop by there and say hello. I am fairly easy to reach over Twitter and Facebook. I am pretty well-versed in the Web 2.0. [Also check out his DeviantArt page to see some of his beautiful commissions!]
The mythical A+: Classic comic book material. Belongs next to your copy of The Notebookand The Joy of Cooking.
A: Would definitely recommend to all comic book readers. Even more so to fans of the genre or characters
B: Enjoyable read. Fans of the genre or characters will especially like.
C: Non-essential read. Can be enjoyable for fans of the genre or characters, but likely for only one or two events in the books.
D: Unenjoyable book. Read at your own risk. Might find satisfaction if major flaws are overlooked.
F: Please don’t buy this book. Donate your money to a local comic book writer’s workshop instead to inspire future generations to write something better than this trash.
Pick of the Week:
Deadly Class (Image Comics) #2 – A
This book is awesome, it’s a classic high school scene like Harry Potter or Freaks and Greeks, except the children are there to learn how to be assassins. I just love the story behind this book and what it is going to develop into. At first, when Sherif told me about Deadly Class, I honestly thought it was going to be stupid and not very entertaining, but I have been proven wrong. With so many cool characters, and an interesting concept, Deadly Class has tickled, no, molested my fancy and I cannot wait to continue to see what comes out of this comic. In issue #2, we get our very first look into the school it’s amazing to see where everyone comes from and how everyone there plans to become an assassin. Even though there isn’t a ton of action in this issue, the writing is enough to keep the reader engaged and interested through the entire book. I can truly appreciate a comic that doesn’t need action to make the story great. If you have not started reading Deadly Class yet, I highly recommend it. – E
Other Reviews:
DC/Vertigo:
Superman: Lois Lane #1 – B
Lois Lane hasn’t been a major part of Superman’s life like she has in the past thanks to the reboot of the New 52 and Superman knocking boots with a goddess now. This story proves that Lois Lane is still a badass reporter that doesn’t need to be rescued by the Man of Steel. The plot revolves around Lois’ sister and some sort of trouble that she got into with drugs that have crazy side-effects. Lois of course sets off to investigate and get into all sorts of hijinks related to the investigation. The story overall isn’t too bad and the art is great, which also matches the artwork from the new 52 superman book. I wasn’t sure what to expect from a one-shot like this but I can say that Lois didn’t disappoint. She is still the only woman I can see Superman ending up with. – R
Batman Superman #8 – B-
I’ve finally woken up from the bad dream that has been the past couple months of Batman/Superman and found myself back in the real world. I’m not sure what kind of hell was happening with the last few issues, but we are back in the Greg Pak/Jae Lee universe that we signed up for in the first place. Issue #8 saw an alternate universe’s Robin and Supergirl (now Huntress and Power Girl) meeting Batman and Superman for the first time. Seeing Batman’s estranged daughter interact with him for the first time is worth a laugh, and Superman’s attempt to protect Power Girl from himself is exactly what you’d expect. The plot is just a transition to what will happen in the next issue of World’s Finest, so don’t get too attached to the story. Really, though, the art is what will save the book. It’s just beautiful, and it’s reason enough to invest in the series going forward. – S
Dark Horse Comics:
Tomb Raider #1 – B+
This issue is about what I expected it to be when I heard there was a new series coming out. This issue is an introduction to a few key characters and the buildup for the first arc. What I didn’t expect was that it is a continuation of the story from the latest Tomb Raider game that came out. I absolutely loved the game and if you haven’t played it yet, I would highly recommend it – you owe it to yourself. This continuation has me especially excited because I was left with a sense of wanting to know what happens next after the game. If the writing is as good as it was in the game, then I expect there to be great potential in this story. This is still a very young Lara and that leaves tons of room for development beyond anything we have seen before in games or film. – R
Serenity: Leaves on the Wind #2 – C+
If the debut issue of Serenity: Leaves on the Wind was the honeymoon, issue #2 is like the awkward first week back. The Serenity crew is forced with a tough decision regarding Zoë’s condition, and they pick up an old pal in Jayne Cobb. With Jayne on board, things should feel back to normal, but the identity just isn’t there in this book… yet. There are many moving pieces in Leaves on the Wind: the new revolution, Zoë, River, and an unwelcome visitor by the name of Jubal Early (last episode of Firefly). So far, nothing has been established to make me feel part of the experience. Hopefully the next issue will make me feel the magic. – S
IDW Comics:
Teenage Mutant Nina Turtles #31 – A-
As the turtles regroup in Northampton from the events of City Fall, we’re finally getting to see our heroes in their familiar light: joking, training and feeling like family again. There are some really awesome moments with Casey and Donatello (very nostalgic of the first TMNT film) and Raphael and Alopex. Even Leonardo and Splinter iron out some issues. This issue isn’t all feels though, as a new mutant assassin of the foot emerges. What really sets TMNT apart from other books is that even in the lulls, there is always something to push the story along. The dialog may seem lengthy at times, but it’s heavily tied to the story and character development. The art of Ross Campbell is beautiful, and is greatly complemented by it’s bright colors. Enjoy it while it lasts, as after issue 32, Mateus Santolouco takes over. Regardless of who is drawing, with Tom Waltz at the held, TMNT can do no wrong. – S
Teenage Mutant Ninja Turtles: Utrom Empire #2 – B
In this Krang-centric book, we get a look at the bigger picture. Krang, although ruthless and power-hungry, cares deeply for the fate of his people. It’s almost admirable, in a creepy kind of way. As he battles extinction from all angles, Krang proves he is willing to do whatever is necessary to save the Utrom people, even at the cost of his own life. The 80’s action flick vibe is still in full effect, here. Vog, the triceratops mutant, is quickly becoming one of my favorite villains in the book, and I just hope that the turtles never have to face such a foe. I’m not nearly as interested in this side-story as I have been in the past TMNT mini-series (the best among them being Secret of the Foot Clan), but Utrom Empire has managed to take the turtles most dangerous foe and make him the protagonist… sort of. – S
Samurai Jack #5 – B
BOSS FIGHT! We were just saying in our review of issue #4 that it’s time for the story to pick up steam and progress the story. Like the top of a roller-coaster ride, all this issue needed was a light push and the story went from 0-epic in one page. In fact, it might move too quick, as the art and dialog is all over the place, and a bit jumbled. That being said, Jack confronts Aku, and it’s every bit the showdown we were waiting for. The Threads of Time play a big part in his strategy, but the turn-around from start to end is so fast, it seemed a bit rushed. Pace aside, Jack is still a great pick-up for those raised on the series and genre. – S
X-Files Conspiracy: Transformers #1 – B-
Above most other aspects in creative media and storytelling, I appreciate creativity and new ideas. IDW supplies in X-Files Conspiracy. The fourth installment of this series merges the adventures of Scully, Mulder and their cohorts with the infamous robots in disguise – Transformers! Being one of my favorite childhood interests it was great to see Optimus and others in still panel form. The premise is simple; the X-Files team is out to unravel a conspiracy and in the process, save the world. Continuing on from the previous issues featuring the Ghostbuster’s crew as well as our favorite heroes in half-shells (TMNT!!), the Autobots assemble in support of the cause. There were a lot of humorous moments in the pages of this issue that really add to the enjoyment factor. It wasn’t the most action packed comic, but all in all this was a fun read. I recommend it if you’re looking to add a little bit of light-hearted variety to your comic stack. – T
Image Comics:
Black Science #4 – A
Of the numerous volumes of comic books I’m reading right now, very few come close to Image’s Black Science. This series tops even the Star War issues in my current stack (and that’s saying something). Don’t sleep on this one, people. Rick Remender’s (writer) creative genius has brought us a story with depth, intrigue, adventure, conflict/plot variety and everything that makes the Hush Comics family giddy! An issue hasn’t passed where I wasn’t left anxious after at the very last page and panel! Issue #4 plays out is similar fashion as the debut issue – a race against time before our dimensionaughts are forced to jump again to another dimension. The intensity is juxtaposed with powerful character monologue and gorgeous art work. I give, yet again, another big round of applause to Matteo Scalera (artist) and Dean White (painter). What they put on the page…it’s like love-making for eyeballs. By the conclusion of the issue, the plot has taken on a completely different pace and tone. This beautiful evolution opens up vast possibilities for the continuation of Black Science. I hope Remender and team keep this unique adventure engaging and exciting. – T
The Revenge #1 – B
Uhhhh, I’m not entirely sure what I just read, but it was good! This is definitely unlike other comic books that I have read in a long time. With lots of blood and boobs, The Revenge is a comic for a mature audience. This story is pretty clear and laid out, but I still have no idea where it is going to go. Some points in this comic and just demented and gruesome, yet I can’t find fault in it because that is the identity that the book has found for itself. Honestly, I found the book strange but a good strange, not like a “this is so weird and stupid I don’t even know what is going on strange.” So if you are in the search for a comic book unlike the rest, and are up for some boobs and blood, then I would recommend The Revenge. – E
Sex #11 – B-
After last issue’s tease at what a world with the Armored Saint looked like, we are back to the foreplay of the other nine issues. While the tension is certainly rising in Saturn City, I can’t honestly see the Saint making a comeback for at least another five issues if they continue at this pace. All the major characters and motives (or lack thereof) have been established and the only logical next step this story can take is to introduce the Armored Saint to save the city. They show us in the beginning that Simon clearly still has the skill but he just doesn’t have the proper motivation to break his vow yet. Simon is reminiscent of how Oliver Queen was behaving in the beginning of his New 52 run; they both desire to be something else yet neither one quite knows how to make it happen. I’m sure that wrinkly old ball sac called the Old Man will help him out with that. Speaking of ball sac, there has been a marked increase in the amount of penis that they started showing since its first introduction a few issues back – perhaps we could tone that down a bit. This isn’t Game of Thrones or Spartacus, after all. – R
The Walking Dead #122 – C-
Uggghh! If you’re wondering whether I’m disappointed or practicing my walker impression, know that it is the former… Chalk another one up for an uneventful TWD issue. As various members of the Alexandria and Hilltop communities cope and adjust to the aftermath of the savage battles the plot remains in a state of limbo. Minor developments and hints as to what will happen next pepper the page, but I’ve already lost track of the number of times an issue has lead me to believe, “oh the next issue is gonna be crazy!”… And I can count pretty high. Kirkman’s focus on the All Out War arch is far too centralized war rhetoric and how it affects everyone. I don’t know about you, but the impacts of war are lost on me in this post-apocalyptic time frame. The world has already gone to shit and a series of skirmishes termed as “war” adds little to the series. Only four issues remain until the All Out War story ends. I hope for the sake of continued TWD support that the conclusion is epic. It may not be long before this TWD fan is walking away from this dead series. – T
Marvel:
Hawkeye #15 – B+
It feels so good to be back in New York with Hawk-guy. I’ve had enough of Kate as Hawkeye, with her disastrous exploits living on her own. I really enjoy Clint Barton’s everyday adventures: the guns, the butt-kicking, and most especially, the Bros. The Russian (?) Bro Mafia is hilarious. They are one building away from owning the whole neighborhood – a building illegally owned by Hawkeye. Sometimes, it’s the most humane stories in the Avengers’ world that make for the most clever and entertaining books. Throw in a legitamite villain to the mix, and you have plenty of gas in the tank for Matt Fraction’s best book out. – S
Fantastic Four #1 – B
After an exciting first few pages, I was actually pretty excited to continue reading to see what was coming next. It started on such a serious and mysterious note that it grabs the reader attention right away. Yet, the rest of the book didn’t really carry that same mood and tone up until the end. Seeing that it is a first issue, I can understand the need to set up plot lines and background story, I just wish all that middle stuff was a bit more interesting. However, I am still interested to see how this story is going to play out. It seems like it is going to be more of a somber comic than a typical superhero book. And by getting a glimpse at that somber tone, it allows the reader to want to know how it got there. What went down in order to bring these people to the places they are at now? I guess only time will tell, but I would enjoy finding out. – E
Origin II #3 – B
Three issues in out of five and I’m still not sure what the purpose of this book is. I have enjoyed the art immensely but there hasn’t been any actual character development. So far Logan hasn’t actually said a single word, unless of course you count onamotapeia as language. I get the feeling that given the direction some of Wolverines other books are taking that this will perhaps be an origin for how his feud with Sabertooth ultimately began. Somehow, Sinister also fits into the picture, too. Being a major fan of Wolverine, I can’t help but continue to read this but I also can’t help but as why is there a sequel. – R
Indestructible Hulk #19 – B-
As of right now, there is a lot going on in the Indestructible Hulk series; yet with this particular comic, I felt like not much was happening. We got to see the effects of another one of Banner’s solutions to a problem and the consequences that happened because of it, but a majority of the comic was just uneventful. We did get to see some pretty cool action toward the beginning of the comic; however, it wasn’t able to carry the book by itself. I’m hoping the next issue can bring more excitement following the events that have transpired over the last couple issues. – E
Deadpool #24 – C+
Issue #24 ends the long saga of Agent Preston being stuck in Deadpool’s body. It’s drawn out, and uncharacteristically emotional, but it’s still the same Deadpool you know and love. There are a couple moments in the mush-fest that stick, though, as Deadpool is truly alone now – excluding the cacophony of voices in his head. It’s a decent transition issue, but it’s not much more than that. With all the hoopla at Marvel over a Deadpool wedding, I can see the need to explore those feelings, but #24 really forces the issue. Overall, I’m happy with the direction the book is taking, but turning Deadpool into a soft-hearted murderer won’t sit well with me. – S
Wolverine #2 – C
Heroes and villains have a way of dying or having a major crisis that somehow majorly affects them all the time. It’s the comic book industries way of reminding us that we should appreciate what we have because at any minute it could be taken away. Just look at Peter Parker; not only did they kill the Amazing Peter but they also killed the Ultimate universe’s version of Peter, too. Logan has a run-in with Superior Spider-Man‘s “Peter Parker” that shows a side of Logan that I don’t really think we have experienced before. This is a Wolverine that is de-powered, broken and, for the first time ever, afraid. I can’t help but think that this is just some plot to bring him back better than ever, or maybe change him in some major way kind of like what they did to Jubilee. That being said, this depiction of Logan pretty much shits on the whole idea of the character. I hope that Paul Cornell knows what he is doing. Too much of this Wolverine is definitely a bad thing. – R
Superior Spider-Man #28 – C-
After such a stellar display in issue #27, Superior Spider-Man feels like an awkwardly-long continuation instead of an expansion upon the Goblin Nation story. Some secrets were revealed, and it still feels like this is going somewhere, but I had gotten my hopes up after the last issue that things were finally turning around. While Otto is dumb-founded that the Green Goblin has out-smarted him, the subconscious of Peter Parker is getting sucked further and further into Otto Octavius’ psyche. Maybe Superior is trying to avoid taking the easy way out (segueing into April’s re-emergence of Amazing Spider-Man), but it just seems now that it is stalling for time until Parker returns. I’ll still keep reading, but I wouldn’t recommend this to new readers. – S
George Romero’s Empire of the Dead #2 – D
This issue is pretty much nothing but buildup for the inevitable plot arc involving some ridiculous rise of the zombies with consciences, or perhaps some type of battle between zombie and vampires with humans caught in the middle. The story remains vigilant that there is a way to domesticate zombies and that they have some feeling or memory of their former selves. I know that George Romero is considered one of the greats but I think he has crossed over that fine line of innovative into ridiculousness. This doesn’t even feel like fresh material after watching his last few subpar films. He has already explored many of these ideas in his earlier work and it didn’t pan out very well there either. I am left wondering how he thought it could pan out better in short spurts that don’t really have any coherent ideas so far. And as a bit of a personal gripe, the art is a bit all over the place. It is hard to determine who is who sometimes when the art doesn’t even match from one panel to the next. – R
GPA by Publisher:
DC Comics: 2 B’s, averaging out to a 3.00
Marvel Comics: and 4 B’s, 3 C’s and 1 D, averaging out to a 2.38
Independents: 3 A’s, 6 B’s and 2 C’s, averaging out to a 3.09
Funniest Panel of the Week:
Epic Panel of the Week:
Cover Art of the Week:
Fantastic Four #1 Alex Ross variant
That about wraps it up for our reviews this week! Look for next week’s previews coming soon. Any comic books you didn’t see reviewed that you want reviewed? Any grades you didn’t agree on? Let us know in the comments!
All images taken from ComiXology app and the credit for them goes to the respective publishers; thanks to IDW Comics, image Comics, Dark Horse, Boom! Studios, Dynamite Entertainment, DC and Marvel for putting out great books.
The mythical A+: Classic comic book material. Belongs next to your copy of The Notebookand The Joy of Cooking.
A: Would definitely recommend to all comic book readers. Even more so to fans of the genre or characters
B: Enjoyable read. Fans of the genre or characters will especially like.
C: Non-essential read. Can be enjoyable for fans of the genre or characters, but likely for only one or two events in the books.
D: Unenjoyable book. Read at your own risk. Might find satisfaction if major flaws are overlooked.
F: Please don’t buy this book. Donate your money to a local comic book writer’s workshop instead to inspire future generations to write something better than this trash.
Pick of the Week:
The Bunker #1 (Oni Press) – A
If you were one of the lucky few to order this book in print form, give yourself a pat on the back! The Bunker tells the story of a group of friends in the process of creating and burying time capsules in the woods. Instead, though, they stumble upon a military bunker, and self-addressed letter from their future selves. If that’s not trippy enough, the letters explain how each of them have a part in ending the world. No pressure. The Bunker did a really good job of pacing the story, and giving it enough detail that each character gets their own voice and personality. This could easily be made into a television show or movie. I highly recommend you pick this up digitally, or try to find a coveted physical copy. – S
Other Reviews:
DC/Vertigo:
Batman #28 – B+
After the crazy cliff-hanger from issue #27, Batman picks up in a completely different time, with a completely different cast. If you remember Harper, she’s the rambunctious orphan that has followed Batman around, and even saved his life when he was reeling from the unfortunate death of Damian. The break in action from Zero Year was a little bit annoying, especially when you realize that this issue was just a promotion for the weekly Batman: Eternal series out in April. All is forgiven immediately, as we finally see Harper, or Bluebird as she is called, knocking around the bad guys. There’s also a very awkward stand-off between Batman and Catwoman, who is very much a woman scorned. Bonus points for the underground club called The Egyptian. And a huuuge Spoiler at the end of the issue (get it?). Although issue #28 was a fun ride, and did make me want to read Eternal, it was an unneeded distraction from the superb Batman issues that preceded it. – S
Superman/ Wonder Woman #5 – B+
It is said that behind every strong man is an even stronger woman, but in what world is Wonder Woman significantly stronger than Superman? So strong, in fact, that she is able to handle two Kryptonians with little issue while Clark gets his ass kicked all over the forest. This time around, Wonder Womans resolve seems to be shaky as to the future of her and Clarks relationship. While it is way too early for them to break up, relationship issues have the potential to effect up to four different publications, depending on how writers portray things. Not to mention that after three issues of Zod, we still don’t really know why he is here or what he was locked in the Phantom Zone for. Despite all of that, this was still a great issue and I am convinced that this is just setup for something big. – R
Injustice: Year Two #2 – B
Injustice has easily become one of the most enjoyable books out. I love how original the story is, and the fact that I really don’t know what comes next is very appealing to me. With Batman out of commission, the people of Earth must look to others to try to stop Superman’s regime. There’s a lot going on in this issue, which hurts it a bit. The last few issue runs felt very focused and I think that helped guide the story much better than skipping around like a television series. I was in no way disappointed in the issue, it just felt like a big lull amidst the incredible action-packed issues preceding it. – S
The Royals: Masters of War #1 – B
In the mood for a spot of tea and a jolly good read? Why my good lad, you should take romp down to your local comic book shop. Cheeio!! Pip-Pip!! God Save the Queen!! Sorry… I’ll go back to American text now. The Royals: Masters of War #1 is now on comic shelves. The setting is London, 1940’s, WWII. The focus – A royal and lavish British family, the House of Windsor. Only this royal family is way more exciting than even Prince William, wife Kate and their little bundle of royal joy. They have superpowers. Superman with a charming accent? Swoon m’ladies. And what’s a better use of kingly superpowers than to stick it to Hitler and his evil regime? However, the head of House Windsor, Albert, has his children under strict order to never demonstrate the greatness of their unique gifts. Turns out super powered nobles don’t have the happiest of histories – you know that usual bit about not everyone being welcoming and accepting of those that are “different.” Thankfully for the citizen of London, not everyone in the House of Windsor agrees with father’s orders. As the fight is taken to the invading Germans we learn that the Windsor family is not the only “gifted” royal family on the block and it’s likely to spell trouble for both the Windsor family and London. I’ve got a good feeling about this six part series and it’s unique twist on pivotal events in recent history. – T
Nightwing #28 – B-
I’ve been really impressed with the way writer Kyle Higgins has managed to build a new world for Dick Grayson without using Gotham to lean on; Nightwing has a real home in Chicago, and it’s not just about Tony Zucco (the man who killed his parents). Unfortunately, some of the art seems a little awkward when showing Dick Grayson outside of being Nightwing. This issue pushes things along, as a little girl in his life is thrust into the same situation he was in when his parents died. It’s a really interesting angle, but it was entirely too rushed – for multiple reasons. I wish Higgins would have taken this over the span of an entire six-issue arc, but I can understand where this is going. All while reading this issue, I had a gut-wrenching feeling. After the events that opened up Forever Evil, you know we are building up to a major tragedy in Grayson’s life, but it just won’t come. – S
Justice League 3000 #3 – B-
Takron-Galtos! The prison planet that has three of the five cloned Justice League members trapped and searching for a way off. After a nasty encounter with Locus, the reality bending blue-alien tween, Superman, Batman and Wonder Woman experience “Hell” in the year 3000. The images and artwork showcasing the expanses of Takron-Galtos are awesome. Porter (artist) has consistently delivered gorgeous landscapes and cityscapes every issue. It’s one of the most alluring elements of the series. Whereas the last issue of JL 3000 was a little disjointed, I felt a strong refocusing back on the big picture plot even though the story is being told from various angles. Bit by bit the mysterious villains are being to reveal themselves. The ever developing and at time hilarious dynamic of the genetically engineered superheroes carries the story well. There are lots of pieces working in the background and it’s all going to come to a head very soon. Oh… and Superman is still an ass-hat. – T
Batgirl #28 – C
I finished this issue more confused than when I started reading it. After an enticing Gothtopia issue, it seems as though they’ve completely abandoned the Detective Comics-centric storyline. That wasn’t explained very well and then to snap into the current story with zero mention of the last issue was disappointing to say the least. Barb is back to fighting form and wearing her yellow bat after her self-imposed exile. This new story arc introduces a vampire hunter who is given no real introduction or back story. We also get to experience a nice tag team duo with Barb and Strix that has the potential for some cool moments. I continue to enjoy Batgirl, as usual, and this story arc seems to be like filler until the next major plot line or the next cross over event. I’m personally hoping for the latter. – R
Dark Horse:
Star Wars #14 – C-
As Ensign Nanda continues to tow Vader across the galaxy in what I call an “epiphany quest,” I continue to be underwhelmed by this story arch in the revitalized Star Wars comic series. Brian Wood’s attempt to highlight the brutal and ruthless nature that so perfectly describes Darth Vader falls far short in my opinion. On top of that, the last few issues of Star Wars have failed to move the plot along. No major revelations, twists or epic moments were to be had. The most redeeming aspect of this 14th installment was getting to see Vader and his super-elite, black-ops Storm Troopers in action. Even at that, those sequences left more to be desired. At the conclusion of this issue it appears as though the story is preparing to steer back on track to a likeness similar to the first five or six issues. There seems to be a ton of Vader focus in Dark Horse comics these recent months. I hope the oversaturation slows down so that new characters and stories can be shared with all the hungering fans out there! It is the Will of The Force! – T
Image:
The Walking Dead #121 – B-
Another issue goes by, and a whole lot of nothing happens. I’m not even sure that this will read better in the trade format. Negan has a few inappropriate lines that just make me laugh out loud. He’s the nastiest one in the bunch, and I find myself rooting for him more than I do The Survivors. Meanwhile, Rick has become a caricature of himself, the self-righteous leader. Honestly, it’s like a soap opera, because even though The Walking Dead has given me nothing notable since a main character’s gratuitous death in issue #100, I still keep reading it. Every issue, I just can’t wait to see if our heroes will be about to crawl out of whatever hole they dug themselves into. Well, sigh, this isn’t the one – better luck next time- S
The Fuse #1 – C-
Seriously, what the hell is a cabler?? In what has become tradition with new publications from Image, I left the end of the first issue not really knowing anything that was going on. Unfortunately, unlike Black Science and Deadly Class, I really am not invested in The Fuse. The debut issue takes us to a futuristic planet, not Earth, where we follow a new guy, recently transferred from Munich, and an witty older woman who has been doing this for a long time. Together, they search for the cause of death of these “cablers” around the city. It has kind of a cliche vibe – the buddy cop thing has been done before. To boot, the art looks raw, and not in a good way. It, in no way makes the cut when compared to other Image titles like Walking Dead, Saga, and the aforementioned two titles. I’m not turned off yet, but it’s gonna have to take a convincing second issue to get me on-board with The Fuse – S
Marvel:
Superior Spider-Man #27 – B+
Now this is what I’ve been waiting for! Finally, a villain fit for a villain. After Green Goblin had taken control of the Goblin army, he makes his move to tighten his grip in the city. Meanwhile, Spider-Man is swallowing the pill of defeat when he learns of Goblin’s idea to cloak his army from the Spider-Bots that Spidey had created to survey the city. Peter’s consciousness also plays a part in trying to escape his own body’s sub-conscious (props for including the original Doc Ock quote from Amazing Spider-Man #3), but gets sucked even further down the rabbit hole. Everything is going to hell and all that’s left are Otto Octavius and Norman Osbourne, playing chess as the city burns to the ground around them. – S
Kick-Ass 3 #6 – B+
Kick-Ass 3 has been slowly moving along, as Hit-Girl has been imprisoned for the entire six issue run. You know what though? I love Kick-Ass. I love the brutal nature and the realistic portrayal of teens playing vigilante. Most of all, I love the story of Hit-Girl and how her dad trained her as a little girl to be a superhero – and not no “liberal asshole” like Spider-Man. The flashback takes up nearly 3/4 of the issue and I just wish it was longer. Issue #6 also ends on a Mother-F***** of a the cliff-hanger (get it?). Anybody who can handle the crude language and content of this book written and drawn by legends Mark Millar and John Romita Jr. should pick up this awesome third installment. – S
All-New X-Men #23 – B+
The Trial of Jean Grey has added some much-needed excitement to the series, which has been waning up til recently. Jean Grey is captured by the Shi’ar, an ally race whose planet was destroyed by The Phoenix. Of course, poor Jean Grey has no idea of any of this, as she is a pre-Phoenix version of herself. The Guardians of the Galaxy come to the rescue, conveniently, and are on a rescue mission to save not only Jean, but the series along with her. The writing of Brian Michae lBendis is on point, and there are plenty of hilarious moments in the book. This story is really heating up, and the inclusion of the Guardians of the Galaxy own makes it that much more enjoyable. Throw in the inclusion of a nearly-forgotten fan-favorite, and we’ve got a heck of a family reunion. – S
Deadpool #23 – B
I don’t know how or when it happened, but somewhere between that god-awful issue with the Wakandan alien monsters and here, Deadpool has found his identity in the Marvel NOW! universe. Deadpool vs. S.H.I.E.L.D. draws to a close in this issue, and it does so in epic proportions. It’s a non-stop thrill ride, and I laughed almost the whole way through – mostly at the goons who work for U.L.T.I.M.A.T.U.M. The way particular scenes mirrored Alien (which you could have guessed from the cover) brought it back to the good old days of Merc With A Mouth, which showed Deadpool for what he truly was, a bad-ass and a psycho, but above all, a comedian. – S
All New X-Factor #3 – B
Serval Industries, the company that employs mutants and mission statement is all for the betterment of people finally starts to show a bit of its true nature. Some questionable acts and curiously unexplained motives are revealed by CEO Harrison Snow through the panels of All New X-Factor #3. I for one am glad to see this development begin to take shape. Its final form is definitely going to make this series fly or flounder. For added juiciness – there appears to be ulterior motive for some of the Serval mutants as well. I’m anxious to see how it all plays out. I’m in love with Giandomenico’s pencil work. Even the small and uneventful panels are nicely detailed and do much to bring life to the page. The issue was exciting and I’m invested in the grand plot enough to keep money stashed away for the next issue. – T
The Winter Soldier #1 – B-
The debut of Winter Soldier was not really what I was expecting. This initial story goes back to the time when the Winter Soldier was still a myth. It’s hard to tell whether or not this book will be a collection of short stories that involve the Winter Soldier or if it will be a normal story arc. We did get to see some classic Nick Fury action which is nice after all the Sam Jackson portrayals. The art is great and the depiction of the Winter Soldier is much closer to what they have setup for the upcoming Captain America movie. I knew that this book was supposed to come out to give the new Captain America movie some exposure so I can’t help but wonder if the government replacement for the Captain will be present at some time. I am excited to see where this story goes and will definitely keep my eyes on this book. – R
She-Hulk #1 – C-
Damn, I’m pretty disappointed with this book. I don’t know if it’s because I expected something different from the world’s strongest woman or that I’m just not getting the point of this book. I thought a good 90% of it was just so boring. I haven’t seen a wordier comic than this one in such a long time. I don’t think there is anything wrong with comics have tons and tons of dialog, but when there is no action to back it up, it becomes stagnant and boring. Now, I understand that they are trying to transform and introduce a new side to this hero. Rather than follow her superhero career, we follow her lawyer career. That’s all fine and dandy, and I understand it’s nice to see the human aspect to things some times. Call me a poor judge of comics or whatever, but the bottom line is that I didn’t enjoy reading this comic. For others, this will downright be a great read. However, what I read comics for and what I seek to enjoy was nowhere in this comic. The artistic side of the comic made the people look aquatic or fish-like, which was weird. Nothing really popped or stood out. I’ll stop here because I realize I’m going on a rant. Some positives about this book, however: it has the makings to make a pretty good story in the court room and there is a lot of valuable information presented within this comic. Like Hawkeye and Daredevil before it, it is nice to see the human side to our heroes. I’m sorry to say that it simply isn’t enough for me. – E
GPA by Publisher:
DC Comics: 6 B’s and 1 C, averaging out to a 2.86
Marvel Comics: 6 B’s and 1 C, averaging out to a 2.86
Independents: 1 A, 1 B and 2 C’s, averaging out to a 2.75
Funniest Panel of the Week:
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Epic Panel of the Week:
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Cover Art of the Week:
Jerome Opena’s Kick-Ass 3 #6 variant
That about wraps it up for our reviews this week! Look for next week’s previews coming soon. Any comic books you didn’t see reviewed that you want reviewed? Any grades you didn’t agree on? Let us know in the comments!
All images taken from ComiXology app and the credit for them goes to the respective publishers; thanks to IDW Comics, image Comics, Dark Horse, Boom! Studios, Dynamite Entertainment, DC and Marvel for putting out great books.
The mythical A+: Classic comic book material. Belongs next to your copy of The Notebookand The Joy of Cooking.
A: Would definitely recommend to all comic book readers. Even more so to fans of the genre or characters
B: Enjoyable read. Fans of the genre or characters will especially like.
C: Non-essential read. Can be enjoyable for fans of the genre or characters, but likely for only one or two events in the books.
D: Unenjoyable book. Read at your own risk. Might find satisfaction if major flaws are overlooked.
F: Please don’t buy this book. Donate your money to a local comic book writer’s workshop instead to inspire future generations to write something better than this trash.
Pick of the Week:
Injustice: Gods Among Us (DC Comics)#12 – A
All of those who have been reading the series digitally, ahead of times, now you can pat yourself on the back and say “I told you so.” Gods Among Us has been much more than a video-game adaptation, and this issue is the best one yet. Superman has completely lost his marbles, and Batman seems to be the only one who has the gall to deal with it. We’ve reached the end of “season one,” but it’s only the beginning of the end for this world under the iron rule of Superman. The Batman-Superman bromance comes to in end in a BAD way. I can’t recommend this series enough! – S
Other Reviews:
Boom! Studios:
Revelations #1 – B
Image ushers in the New Year with the brand new mystery-thrillers series, Revelations. The series opens in Vatican City, Rome one stormy night. A potential successor to the Pope is dead – impaled on iron fence spokes after taking a long fall from a cathedral window, dropping a mysterious object on the way down. Enter Charlie Northern, a long-time atheist, fan of hardcore sucker for conspiracy theories and London detective. Charlie is asked by an old friend and member of the Catholic Church to investigate the mysterious death of the would-be Pope. By the end of the issue it’s obvious that the circumstances surrounding the death are sure to keep Charlie busy for a while. For any fans of the Da Vinci Code or National Treasure stories – this series is for you. While I’m not a crazy fan for the religious themed plots, I’m never bored by murder mysteries. Paul Jenkins (writer) peppers in just the right amount of intrigue and teasers to keep this series on my radar. That and Charlie’s hilarious inner monologues. The real seller for Revelations though – the art work. Humberto Ramos (art), Leonardo Olea (colors) and Edgar Delgado (colors) present jaw dropping panels. The detail and contrast is worked in very nicely in environments that are inherently dark and dreary. I’m looking forward to experiencing Charlie’s unraveling of the mystery and soaking in more gorgeous panels in future issues. – T
DC/Vertigo:
Superman Unchained #5 – B+
Superman Unchainedhas had the honor of having the best creative team in comic books, with writing by Scott Synder (Batman, American Vampire) and art by Jim Lee and Scott Williams (Batman: Hush, New 52 Justice League). This series has suffered from being under-developed, but that stops in issue five. This issue has finally picked up steam, and there is phenomenal dialogue between Wraith and Superman before things get real. This isn’t your father’s Superman. No longer the Blue Boy Scout, Superman has no blind allegiance to the U.S. government. Wonder what it would be like if Superman fought somebody just as strong was. Oh, and a huge nod to Jim Lee playing with watercolor on flashback scenes, as they are simplistically beautiful, as well as the first appearance of Jim Lee’s Batman in over a year. Every comic book fan should hop on board with Superman Unchained. – S
Batman: The Dark Knight #26 – C
The entire issue had no dialogue, but it still says a lot. Chronicling the story of a family torn by tragedy, a girl is taken from the safety of what little family she has left and forced into child labor. The ring leader is none other than the heartless Penguin. Batman catches wind of the scene and investigates, only to be trapped by Cobblepot and Co. The story tells itself with subtle imagery and great inflection. I’m not sure who the Voiceless are, but I’m intrigued enough to find out – something I haven’t been able to say for another Batman title since the New 52 launch. – S
Damian: Son of Batman #3 – C
Andy Kubert has regained a bit of momentum in this third issue, but there’s still not enough going on here to really sell it home – and with one issue left, I really don’t know where this is going. Damian is struggling with being a non-lethal Batman, and one of our Bat-family members kicks the bucket. I love the outfit and the thought of Damian trying to bring Gotham back under Bats protection, but I’m kinda over it. Even the re-appearance of “The Joker” couldn’t pique my interest. I will finish out the mini-series because there is only one issue left, out of respect for Damian, but I’m not expecting much else to come from this series that should have been buried along with Damian Wayne. – S
Dead Boy Detectives #1 – C-
Based off Neil Gaiman’s Sandman series, the two ghost detectives Edwin and Charles are back at it in their own series, Dead Boy Detectives. The debut issue has our duo following a young girl at a art show robbery. They narrowly save her from death and, as a result from her near-death experience, she is able to see them. It’s not a very engaging book thus far, and I’m struggling to see how much more in depth this mini-series can get when there have already been two adaptations of Dead Boy Detectives. Here’s to hopng that we’re not beating a dead horse or dragging Neil Gaiman’s name around for exposure. – S
Justice League Dark #26 – D
In this issue of Justice League Dark (Forever Evil tie-in), the Dark team (Pandora, Swamp Thing, Nightmare Nurse, Phantom Stranger, and Constantine) are confronted face to face, or rather consciousness to consciousness, with Blight. The dialogue within this issues is corny to say the least; the art however, was a semi-redeeming quality, especially within the first few opening panels. Most of the dialogue wasn’t intriguing or fascinating, and the story itself was moving at a fairly slow pace. With very little action happening within the story until the end, I wouldn’t recommend continuing this story over others. – E
Dark Horse:
Bad Blood #1 – D-
Bad Blood is the story (sort of) of cancer patient/college student/former footballer Trick. He sulks around and his best friend Kyle tries to cheer him up. Trick gets bit by a vampire who proclaims that Trick has poisoned blood. But then the vamp immediately bites and kills Kyle. Trick feels bad, tells the police what happened, and then tries to find the vampire on his own when that doesn’t work. In theory, this comic seems pretty cool. In reality, it didn’t take a bite out of me (trust me, that pun has more personality than this comic). The main character doesn’t evoke sympathy for his bad health. We don’t know what kind of cancer he has; at least a nod to maybe leukemia would have made the title ironic in the first issue. Also this vampire, he comes out of nowhere and claims to have been eating rodents underground for centuries and that he fears the living world? That just doesn’t make much sense. And after his killing spree, he is never to be seen again. The only redeeming factor about this issue was the nod to the modern age. Trick tries to find the vampire and wonders whether he should check Facebook or Craigslist. It seems that would be where one would start in today’s times. Otherwise, there was no connection to plot or characters in this first issue. The 2nd issue will really have to step up to keep me interested. – A
Dynamite Entertainment:
Twilight Zone #1 – C
Nee-nuu-nee-nuu-nee-nuu-nee-nuu…bong!! The Twilight Zone was brought to us via comics this week. Issue number one explores the life and times of Trevor Richmond, a successful and savvy businessman that’s grown bored with the routine he’s worked himself into. Looking for a change, Trevor seeks out one Mr. Wylde who heads an enterprise that specializes in giving people “new lives.” Lives that guarantee full and thorough dissociation from the previous – even in a person’s physical appearance. The plot thickens when we learn that Trevor is not just bored with his life; he’s in fact seeking an escape. With all the wealth he’s been earning for his company, he couldn’t help but skim some of the lucrative profit for just himself. Trevor and Wylde strike a deal that will sever all ties Trevor has to his current life and send him back out into the world scot-free and with no risk of repercussions of crimes previously committed. In good Twilight Zone fashion, there is a twist. We’re left with an intriguing cliffhanger on the very last panel that’s got me anxious for the next issue. Other than the allure of the Twilight legacy, there’s nothing outstanding with the issue itself. The artwork is fairly basic, characters are archetypical and the story is heading down a fairly predictable path. The comic book medium may not be the ideal place for a franchise like The Twilight Zone, as I flip back through #1. I’ll pick up the next issue, but if I’m not blown away by pages end I’ll likely opt to continue to get my Twilight Zone fix from the good ol’ black & white series that’s been blowing minds for over 50 years now. – T
Image:
Todd, the Ugliest Kid on Earth #8 –B
Ok, I’ll admit, this is the first issue of Todd, the Ugliest Kid on Earth that I have read. But I think it says a lot that because of this one issue, I want to go back and read the first seven issues. It is well drawn and colored and hilariously funny. The inside cover alone had me rolling, with explanations of who different characters were, including Mohagany Davis Jr., possibly the daughter of Sammy Davis Jr. The jokes are off-color and not appropriate at all, despite the main character being a little boy, who, because he is ugly, constantly wears a bag over his head. It reminded The story got a little confusing for me, especially because it was a Christmas issue, and I felt I was missing a lot of background, but overall I laughed throughout the entire read. – A
Marvel:
New Avengers #13 – C
Issue 13 of New Avengers Inhumanity arc continues the story of the Illuminati (Black Panther, Black Bolt, Mr. Fantastic, Tony Stake, and Doctor Strange) and the eventual collisions of universes – referred to as The Incursion. Personally, I enjoy how grim this story is. It’s clear that everyone is willing to sacrifice almost everything for one reason or another- the Illuminati to ensure their survival, and Doctor Strange to restore his power to the level it once was. This book brings a dark and somber element to the comic book world, which makes it very easy to get sucked into the story. I can see big things getting ready to happen in the Inhumanity arc, yet I struggle a little bit with how quickly they switch between universes and which group belongs to which Earth, at times it can be a bit overwhelming. I would recommend sticking with this story, though, especially because it is the beginning of a brand new arc where things are beginning to reach their climax. – E
The Superior Foes of Spider-Man #7 – C+
Women make the best super villains. That’s not a slight at the female gender. On the contrary – it’s a compliment. A successful super villain has to have drive, ambition and a ruthless passion to be the best at what they do. Janice of the evil Beatle-team exemplifies these traits in issue #7 of The Superior Foes of Spiderman. From the first panels, readers venture back in time to the humble beginnings of Janice and her “job.” She pulls a sweet rope-a-dope as a pre-teen at a “friend’s” birthday party all the while being encouraged by her mobster father, Tombstone. We skip ahead in time and continue to witness the makings of a superior villain in Janice as she graduates from college (head of her class) and quickly makes a name for herself at a reputable law firm – all a means to an end to becoming the super-villain leader of her own crime syndicate. The comic as a whole is light hearted and fun to read. Janice is a dynamic character and one that’s easy to root for; mostly due to the humorous nature of the issue. The downside to all this is the obscurity of the characters. Granted, I’m not a die-hard Spidey fan. Even so, I was left wanting more insight and background on the supporting cast. The banter was entertaining at least. This origin story issue is a good read, but I’m going to need some conflict in the next issue if Nick Spencer (writer) wants to keep this fan onboard. – T
GPA by Publisher:
DC Comics: 1 A, 1 B, 3 C’s and 1 D, averaging out to a 2.33
Marvel Comics: 2 C’s, averaging out to a 2.00
Independents: 2 B’s, 1 C and 1 D, averaging out to a 2.25
Funniest Panel of the Week:
Todd, The Ugliest Kid on Earth #8
Epic Panel of the Week:
Injustice: Gods Among Us #12
Cover Art of the Week:
The Superior Foes of Spiderman #7
That about wraps it up for our reviews this week! Look for next week’s previews coming soon. Any comic books you didn’t see reviewed that you want reviewed? Any grades you didn’t agree on? Let us know in the comments!
All images taken from ComiXology app and the credit for them goes to the respective publishers; thanks to IDW Comics, image Comics, Dark Horse, Boom! Studios, Dynamite Entertainment, DC and Marvel for putting out great books.
After a great run in the Infinity arc, Avengers.NOW begins the Rogue Planet arc with this issue. Thoroughly entertaining and full of mystery, #24.NOW is a great jumping on point for Avenger fans. While Stark and Rogers talk shop in the lab of a potential expansion of Avengers members, are heroes on the balcony, throwing a BBQ, are paid a visit from the future. It’s a great issue to build towards the rest of the arc. I’ve always thought that Esad Ribic’s art was a bit too fantastical for an ensemble cast like The Avengers, but with the subtle humor and nerd talk to break up the talk about other-worldly threats and inter-galactic battles, I feel like I can really relate to the story.
Other Reviews:
DC:
Justice League #26 & Forever Evil #4 (DC Comics) – B
Knee-deep into the Forever Evil/Crime Syndicate story arc, we’re really starting to delve into these mysterious characters – an element missing from their canon material. Introducing the origins of Power Ring, Johhny Quick and Atomica to the readers give a great yin and yang comparison of these characters to their Justice League counterparts is very entertaining. Frighteningly so, Grid, who is the self-actualized machine part of Cyborg’s body, looks like he dropped in from the Terminator series. What really makes this arc great is that, through all the twists, turns and secrets, there is enough juice in the orange to squeeze out another entertaining issue while still keeping enough in the dark to make it suspenseful. It’s evident that DC is going to take their time with this story, and with Geoff Johns at the helm (and some great art by Ivan Reis), did you expect anything different?
Forever Evil #4 (DC Comics) – B
Meanwhile, in the Forever Evil arc (notably also written by Geoff Johns and penciled by the great David Finch), Batman has finally made it above ground. There’s not a lot of breathing time in the issue, which equates to some badass panels and reveals, but really doesn’t do much in terms of story. The tease of Batman wearing a Yellow Lantern ring in the variant cover was poorly realized, but the appearance of another ring bearer more than makes up for it – even though an epic panel by David Finch gave me an 80’s fist-pump moment. I’m also thoroughly enjoying the bromance form between Bizarro and Lex Luthor. It’s okay to let love in, Lex! This is shaping up to be an epic alien invasion, with the gravity of an “us vs. them” mentality amongst the Rogues.
Image:
Saviors #1 – C-
An alien invasion, lots of marijuana and a lizard that practices active listening – that’s what you will find in Saviors #1. Centered around a small-town pothead who is content with his mundane life, he accidentally stumbles upon the town sheriff and another man in stripes casually talking but with lizard faces. His friend tries to convince him that it is just paranoia, but it turns out that there is a much bigger conspiracy at work. The raw art of the book is something that has become a staple of image Comics. I find it endearing, but would like to see a little more detail in a series that can’t quite carry itself based off story alone. I’m interested enough to read the second issue, but not enough to recommend the book to anybody else.
Marvel:
Origin II #1 (Marvel Comics) – A-
After the enthralling first chapter of Wolverine’s origin through Joe Quesada and Andy Kubert’s Origin: The True Story of Wolverine, it’s evident that exploring the primal side of James Howlett is necessary to tell his tale. Fortunately for fans that read the original origin series, you can pick up Origin II and understand what is going on immediately. Wolverine has become an animal, and found his home with a pack of wolves. There is no dialogue, just a narrated internal monologue. The art is crisp and the colors are beautiful; most fans won’t even realize that it was penciled by Andy’s brother, Adam. I mean, the Kuberts are to comic book art what the Kennedys are to politics. The best aspect of this book is the thoughtful pace put into making you want to feel every moment that Logan is feeling, instead of rushing the natural progression. This is a must-read for any fan of Wolverine.
Funniest Panel of the Week:
Welcome to the Thor-B-Q in Avengers #24.NOW
Epic Panel of the Week:
Batman has a surprise for Power Ring in Forever Evil #4
Cover Art of the Week:
Forever Evil #4 Variant cover by Ethan Van Sciver
That about wraps it up for our reviews this week! Look for next week’s previews coming soon. Any comic books you didn’t see reviewed that you want reviewed? Any grades you didn’t agree on? Let us know in the comments!
All images taken from ComiXology app and the credit for them goes to the respective publishers; thanks to IDW Comics, image Comics, Dark Horse, DC and Marvel for putting out great books.
Hush Comics 