Stumptown Comic: Finding the Thorns in Rose City

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By Taylor Pechter — A missing girl, a run-in with MS-13, gambling debt...these things are a regular part of the life of Dex Parios, the private investigator at the heart of the Stumptown comic. Dex runs the aptly named Stumptown Investigations in Portland, Oregon. First seen in comics from writer Greg Rucka, artist Matthew Southworth, and colorists Lee Loughridge and Rico Renzi, the series has now been adapted for television. With more attention surely coming, now is a great time to take a closer look at the original comic series from Oni Press. 

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GET HYPED: Greg Rucka and Mike Perkins’ Lois Lane

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By Taylor Pechter — Lois Lane #1 by writer Greg Rucka and artist Mike Perkins is dropping in a couple short weeks (July 3!), and I could not be more excited. Not only is this the first solo series she has had since the Silver Age—granted, this one is in a more limited capacity being only a twelve-issue maxiseries compared to an ongoing—but this new book is being written by Greg Rucka. I have sung Rucka’s praises many a time on this site, whether for his work on mainstream projects like Wonder Woman or Checkmate, or for his indie projects like Lazarus or Queen and Country.

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REVIEW: Lazarus Risen #1, same fantastic comic, new deeper format

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Lazarus Risen #1 is out 3/20/2019.

By Zack Quaintance — I really don’t think it’s possible to heap enough praise atop writer Greg Rucka and artist Michael Lark’s immersive dystopian near-future comic epic, Lazarus. I recently re-read the entire series, and once I got about mid-way through the second volume, I almost literally could not put it down. The world is so well-built, the characters compelling and complex, the dilemmas they face suspenseful. All in all, this is one of the smartest and most compulsively readable comics on the market, a must-read for any fan of the medium.

To date, there have been 28 issues of Lazarus in the main series, plus a six-issue auxiliary series titled Lazarus: X+66, which fills in the gaps of side characters and the story’s broader world over the course of a 12-month period. All told, that’s about 34 incredible issues of content, plus some other supplemental material with more information that help support a Lazarus RPG. This is all a means of saying that even though Lazarus: Risen #1 is a a new #1 issue, it’s set in a thoroughly explored world during what seems like not-quite the midway point of a long story.

The reason this issue gets the new #1 treatment is that the book is back with a new format: quarterly releases that clock in at an extended length. Let me start this review (three paragraphs in, streamlined I am not) by noting that the story, artwork, plot, and characters are just as strong as ever. The quality in Lazarus never wavers, not even a little bit. Rucka and Lark are a skilled and veteran team that have worked together for years, and it shows. This is the most fully-formed comic on the market—bar none—and as a result it often feels like the creative team is a conduit for the truth of this plot. Nothing is ever contrived, not even a bit, and Lazarus Risen #1 is no exception. It’s as compulsive readable and utterly immersive as all that’s come before it.

So, what then of the new format? Surely, it must have changed something. I suppose it did. Rucka and Lark being such a veteran creative team means each issue of Lazarus to date has tread that rarefied ground in which the individual chapters feel both episodic and part of a larger narrative. Each issue has story beats and damn near close to a three-act structure. Extending the length allows the team to pace the story just a tiny bit differently, opening up a few pages for quieter and more subtle character work and plotting. Rucka points this out in publication, but in this issue that means we get a very telling moment between Bethany Carlyle and and her husband. It’s the type of scene that maybe didn’t fit into any of the tighter issues of the past.

This issue hums along, and Lazarus remains the type of comic you start, blink, and realize you’ve devoured...before going back to pour over every page again. Few comics feel as real as this one, and Lazarus Risen #1 does a number of interesting things with the ongoing plot and characters, moving pieces into place that speak of a larger coming battle, at home and with the forces abroad. It’s not really a jumping on point for new readers—indeed, the previous five volumes at minimum are necessary here—before for those who have followed this journey in recent time or come to it lately, this comic is everything they could hope for from a return.   

Overall: Lazarus Risen #1 with its new extended format feels like a natural evolution of one of the best comics on the market today. At this point, the world is so well-realized and the plot so compelling, nothing is lost with a longer wait and much is gained with more space for additional complexity. 9.8/10

Lazarus Risen #1
Writer: Greg Rucka
Artist: Michael Lark w/Tyler Boss
Colorist: Santi Arcas
Letterer: Simon Bowland
Publisher: Image Comics
Price: $7.99

Get caught up on the book with our Lazarus Retrospective!

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

Top Comics to Buy for March 20, 2019 - Lazarus, Criminal, Wild Storm, and more

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By Zack Quaintance — Someone pinch me, I must be dreaming...this week’s comics seem like they were precisely custom-tailored to my tastes. Indeed, many of the books that I gush about on the regular (which is admittedly a long wish) have new issues coming this week. That includes a long-awaited return of Greg Rucka and Michael Lark’s Lazarus Risen, the steady drumbeat of horrifying excellence that is Immortal Hulk, and top-tier creator-owned books from Image, be it Monstress or Criminal.

There’s a lot of my old favorites among the Top Comics to Buy for March 20. There are also some notable new books arriving too. I’m thinking specifically here of Dark Red #1 from AfterShock Comics (a rapidly rising indie publisher) and Invisible Kingdom #1 from Dark Horse. The latter is a trippy visual tour de force laced with complex ideas about everything from commerce to religion (see our Invisible Kingdom #1 review) while the former follows a vampire who works at a rural gas station in Trump’s red state America (see our Dark Red #1 review too). It’s all good stuff.

So, without further adieu, on to this week’s comics!

Top Comics to Buy for March 20, 2019

*PICK OF THE WEEK*
Lazarus Risen #1 (read our review!)
Writer: Greg Rucka
Artist: Michael Lark w/Tyler Boss
Colorist: Santi Arcas
Letterer: Simon Bowland
Publisher: Image Comics
Price: $7.99
NEW STORY ARC! "FRACTURE I," Part One LAZARUS returns in an all-new prestige format! New series, new story arc, new size, and a new quarterly schedule!
Introducing a new ongoing LAZARUS series-at 64 pages, perfect bound, LAZARUS: RISEN continues the story of Forever and the Carlyle Family... featuring an oversized, 44-page story by Eisner winners GREG RUCKA and MICHAEL LARK, an all-new short story exploring the larger world of LAZARUS by Eisner-nominated writer LILAH STURGES, an all-new supplement to the Modern Age: World of Lazarus Roleplaying Game by Green Ronin, original design artifacts and art supplements, and more! Two years have passed since the Carlyle Family was betrayed in battle, and the Conclave War encroaches on every side. As a new era dawns, Johanna Carlyle goes on the attack to ensure the survival of her Family, relying on the loyalty and support of the Carlyle Lazarus-her sister, Forever-remaining at her side. And while their united front may be enough to turn the tide, the cracks are beginning to show…
Why It’s Cool: Lazarus is one of the best creator-owned comics of the modern era. It’s complex, suspenseful, immersive, and compulsively readable. Now, the book is transitioning to a prestige quarterly format, which means fewer issues per year but just as much content (hopefully). In this first issue back, the comic hasn’t lost a step at all. In fact, I’d argue that it’s actually better than it used to be in monthly installments. Rucka and Lark are veteran creators who make compressed comics that are rewarding to read both in installments and trade. As such, this book hits certain story beats within each issue. Having the extra pages of the quarterly format allows them to do much more, like a TV show expanding from 30 minutes to an hour. It’s really something, and this series gets my full recommendation. Simply put, if you love comics you really ought to be reading Lazarus.
Read our Lazarus Retrospective!

Criminal #3 (read our review!)
Writer: Ed Brubaker
Artist: Sean Phillips
Colorist: Jacob Phillips
Publisher: Image Comics
Price: $3.99
"THE LONGEST WEEKEND," Part Two-Jacob's weekend taking care of his old mentor takes a turn for the worse.  As always, CRIMINAL contains back page art and articles only found in the single issues.
Why It’s Cool: In this new volume of Criminal, you can practically feel writer Ed Brubaker and Sean Phillips fighting to change the narrative that monthly comics are dead. They do so in a couple of ways in this issue. First of all, they wrap up an incredible two-part story that they started last month, making it so it fits into the larger arc of this comic while also standing on its own as a satisfying bit of graphic sequential storytelling. Second, they make it a meta story in the best way, one steeped in comics history and culture that literally reminds the reader that comics have been dying since 1954. In the hands of lesser creators, this could feel preachy, forced, or even self-indulgent. But a master team like Brubaker and Phillips pulls it off flawlessly.
Read about Criminal’s previous volumes!

Immortal Hulk #15
Writer: Al Ewing
Artist: Joe Bennett
Colorist: Paul Mounts
Letterer: Cory Petit
Publisher: Marvel Comics
Price: $3.99
Dr. Leonard Samson is a gamma mutate and part-time superhero who recently came back from the dead. He's been wanting to discuss that with an old patient of his... But he's not here to see Bruce Banner. Take a seat on the couch, IMMORTAL HULK. It's going to be quite a session.
Why It’s Cool: Phew, that last issue of Immortal Hulk was a doozy. But, really, I could probably say that after every issue of Immortal Hulk. This is, simply put, Marvel’s best comic in years. The concept and creative team from the start have been sound, but you can say that about a lot of Marvel’s books. What really sets Immortal Hulk apart is that it hasn’t ceeded any quality in the service of deadlines or events or anything. It’s been as unmovable in that regard as the Hulk himself. At the same time, it’s pushed into increasingly new and horrifying plot territories, keeping the feeling of unpredictable storytelling tension that powered its earliest issues. One way the story has done that is withholding much of the Hulk’s ample supporting cast before bringing them in slowly one by one. This issue looks to be the one in which Doc Sampson enters the fray. So, hurray for that. One last note: I only read this book after dark and strongly suggest you do the same.

Monstress #21
Writer: Marjorie Liu
Artist: Sana Takeda
Letterer: Rus Wooton
Publisher: Image Comics
Price: $3.99
It's a turning point in Maika's life when she comes face-to-face with a stranger from her deep past.
Why It’s Cool: Love! War! Family! It’s all here in the latest issue of what has fast-become the most grandiose arc of Monstress to date, which is really saying something when you think back to the opener. Monstress #21 really has an overload of the things that make a single installment of a long-running story pop: new revelations, new characters, the promise of action to come soon, a clear push toward the climax, and a set of artwork as varied as it is stunning. I’m constantly impressed with the work Sana Takeda has done with this book, yet I’ve rarely seen her hit such a versatile range of visuals as she does in this issue, be it the adorable renderings of Maika as a child to the intricate character and equipment designs we get in the modern day. Writer Marjorie Liu also writes some of the best and pithiest dialogue for her heroine yet, bantering as she does with a key figure in her life (no spoilers). From start to finish, just a stunning issue.

The Wild Storm #21
Writer: Warren Ellis
Artist: Jon Davis-Hunt
Colorist: Steve Buccellato
Letterer: Simon Bowland
Publisher: DC Comics - WildStorm
Price: $3.99
The experimental subjects code-named Apollo and Midnighter have broken cover. Combat-optimized superhumans are now loose on the Earth.
Why It’s Cool: Last month’s The Wild Storm #20 was the best issue of this series to date. After 19 issues of slow burn, the creators finally unleashed Apollo and The Midnighter, giving nearly the entire issue to a prolonged action sequence followed by a bit of romance. Was it fan service? Perhaps a little, but it was earned and also executed in the best possible way. This issue brings the focus back to some of the other characters, but make no mistake—the march to the assembling of The Authority continues, and oh what a thing that will be when it happens. There’s only three issues left. Two years ago I’d have guaranteed that this was building into the launch of a new The Authority comic, but with DC scaling back publishing plans under its new corporate owners, I’m inclined to estimate these three issues will be the last we see of these characters for some time. But, hell if I’m not going to savor every page of it. With a writer like Warren Ellis collaborating with an artist like Jon Davis-Hunt, this comic is just too good.

Top New #1 Comics

  • Dark Red #1 (read our review!)

  • Dungeons and Dragons: A Darkened Wish #1

  • Invisible Kingdom #1 (read our review!)

  • Life and Death of Toyo Harada #1

  • Monstrous European Getaway #1

  • Rise #1

  • Spider-Man: City at War #1

  • Spider-Man: Life Story #1

Others Receiving Votes

  • Aquaman #46

  • Archie #703

  • Avengers #17

  • Batman #67

  • Bitter Root #5

  • Black Badge #8

  • Electric Warriors #5

  • Friendly Neighborhood Spider-Man #4

  • Guardians of the Galaxy #3

  • Justice League #20

  • Middlewest #5

  • Naomi #3

  • Stronghold #2

  • Thor #11

  • Uncanny X-Men #14

Check back to the site later this week for reviews of Lazarus Risen #1, Criminal #3, and more!

See our past top comics to buy here, and check our our reviews archive here.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

A Lazarus Retrospective: Family Above All

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Lazarus Risen #1—the launch of the series new, quarterly super-sized format—is out 3/20/2019.

Lazarus Risen #1—the launch of the series new, quarterly super-sized format—is out 3/20/2019.

By Taylor Pechter — What family truly means can be complicated. Is it just the people that are closest to you? Or is it something greater? It’s a complex question, and in many ways the answer is a core focus of Image Comics’ soon-to-return series, Lazarus. Written by Greg Rucka, illustrated by Michael Lark (with inking assists from Tyler Boss), and colored by Santi Arcas, the world of Lazarus is one rooted in dystopia. After an economic collapse and a war that led to an event known as the Macau Accords, the globe has been sectioned off into regions run by certain wealthy and powerful families. Each family has a specially engineered being called a Lazarus, which acts as both a liaison and the leader of its military force. Forever Carlyle is the Carlyle family Lazarus. This comic is her story.

Who is Forever Carlyle?

Staring in the year X+64 (which means 64 years after the Macau Accords divided the planet), we are introduced to Forever. In this introductory scene, she is shot, killed and subsequently self-revived. She is being monitored from afar by her family members Johanna, James, and Bethany Carlyle, who watch everything from her actions to her vitals.

As James goes over her trauma report, the audience slowly becomes familiar with the unforgiving world of the series. This is a world where the ruling families are in constant conflict over land, where they preside too over civilians separated into a quasi-caste system. The civilians who work directly for the families are their Serfs. Everyone else is Waste, treated as second class. Occasionally, they have a chance to be Lifted to become Serfs. It’s all very frightening.

In the story of Lazarus, the two factions spearheading the conflict are the Carlyle Bloc and the Hock Coalition. Caryle rules most of the Western United States while Hock oversees the Eastern regions. Both of them have allies in conflict across the world. Forever is the pride of the Carlyle Family. She is the commander of their elite strike force called the Daggers. However, Forever gets a mysterious message in the middle of the night that sows seeds of doubt about her role in the family.

The message reads “He is not your father. This is not your family.” As Forever ponders her place in the world, Hock and his allies start to move on Carlyle territory while Carlyle moves on Hock. This conflict comes to a head at the Conclave, driving the plot forward.

The Conclave that Rules the World

Not all of Forever Carlyle’s battles in Lazarus are physical.

The Conclave is a meeting of the families where they discuss terms regarding territory, and—if worse comes to worse—war plans. The meeting takes place on Triton 1, the floating base of the Armitage family, who is officially neutral in the ongoing conflict but has heavy ties to Carlyle. As tensions rise, Forever confronts her brother, Jonah. Jonah was kidnapped by the Hock’s while planning treason to his family. This is the first betrayal that Forever is subjected to and it won’t be the last as she helps Jonah escape custody. She is then thrust into a fight with Sonja Bittner, Lazarus of the Bittner Family, which is then a member of the Hock Coalition. Forever fights to prove her family’s innocence. She prevails in the contest but her father and patriarch of the family, Malcolm Carlyle, is subsequently poisoned and left in a coma. Little does Forever know, Malcolm has been secretly training a younger version of her to possibly be a replacement should she falter.

As the Conclave War rages on, the forces of Carlyle, Hock, and their allied families are in all-out conflict. In the middle of this, Forever’s crisis of conscience reaches its zenith. Not only has Jonah’s betrayal hit her hard, she also starts to forgo her normal regimen of medication, which keeps her stamina in top condition and also allows her family to control her. This does not go over well with her sisters Johanna and Bethany. Johanna breaks and tells the truth to Forever, about her development and her potential replacement, thinking it would build trust with her again. It has an opposite effect.

Forever denounces Johanna, not only for her personal actions, but for the overall way the family has treated her. Forever has been betrayed by the people she holds closest to her. It is then she sets out with her allies on a final push. Along with the forces of Morray and Bittner, they start a Lazarus hunt, targeting first the Rausling family in Central Europe.

The Conclave War

The gritty, photo-realistic artwork in Lazarus makes for one of the most immersive reading experiences in comics.

After a decisive victory over the Rausling Lazarus, Sonja Bittner along with Forever and the Morray Lazarus Joaquim (who is romantically engaged with Forever), set their sights on the most dangerous and secretive Lazarus of them all, the Vassalovka Lazarus, simply known as the Zmey, or the Dragon. As the name implies, Vassalovka’s seat of power is in Russia, and they remain a question mark until at last entering the war against Caryle and its allies. The fight against the Vassalovka Lazarus is brutal, with yet another betrayal, with Forever’s paramour Joaquim being forced to turn on her by the chemical control maintained over him by his family.

Meanwhile, after his escape from the Conclave, Jonah Caryle washes up in the Danish town of Agger in disputed Bittner territory. It is there where he creates a new life and eventually falls in love with a local and have a baby. However, a tragic event cuts that relationship short as we move into the Fracture storyline in the upcoming Lazarus: Risen #1, which is due out next week (stay tuned for our review!).

With Lazarus, Greg Rucka weaves a tale of intrigue that is predicated on the concept of family. Forever is a woman trying to find her place. Who she really is as a person is tested not only through her psychological inwardness but also her interactions, not only with her immediate family, but also their allies and enemies. Joining Rucka is his collaborator from his classic work for DC Comics, Gotham Central, Michael Lark. Lark adds a layer of reality with his rough and textured style. The pages are perfectly paneled, whether they are dynamic action scenes or emotional character beats. Adding hues is colorist Santi Arcas whose colors are mood driven, including  moody blues, stingy greens, warm oranges, abrasive reds, or even drab tans and browns.

All together, these creators have made a lived-in world that has both its light and dark sides. Overall, Lazarus is an achievement in world building and storytelling with a deeply thought out setting and relatable characters with resonant themes. As a parting gift, I leave you with the Carlyle family motto: Oderint Dum Metuant...which means, Let them hate, so long as they fear.

Read more of Taylor’s writing on our comics analysis page.

Taylor Pechter is a passionate comic book fan and nerd. Find him on Twitter@TheInspecter.

Essential Espionage: The Best Spy Comics

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By Taylor Pechter — In comics about espionage and spying, the stories usually don’t focus on the political or personal ramifications of the craft, instead dealing in flashier things like action, intrigue, and sex. On rare occasions, however, those more realistic aspects do shine through, creating a grounded look at the world of espionage. The best spy comics find glory in the monotony of the work, using a stronger focus on the real people involved as well as how their escapades affect their lives.

While these books might be rare, they are out there, and today I’d like to look at some of the best spy comics of all time. Now let’s get into the books...

The Best Spy Comics

Queen & Country

Writer Greg Rucka,  a 25-plus years veteran of the industry, wrote Queen & Country from 2001 to 2007 for Oni Press. Queen & Country follows SIS agent Tara Chace, designate Minder Two. and the book is broken into sections that follow separate operations undertaken by the organization. For example, the first story Operation: Broken Ground has Tara in Kosovo on an assassination mission trying to take down a former Russian General turned mob enforcer. She gets the job done, but in response, the Russian mob puts a bounty on her head. However, more important than the operations is Tara herself, and it’s this focus on character that makes Queen & Country so special.

Tara is a headstrong and sarcastic (if a bit in-over-her-head) agent. After the assassination, she is put into therapy. It is here Rucka plays with the psychological aspects of the profession. In therapy, Tara is jittery and untrustworthy of the doctor. As she opens up, however, you really see how important her job is to her, even though it wreaks havoc on her personal life. Another aspect Rucka focuses on is the political ramifications of the craft, whether it’s dealing with the home office (MI5) after a rocket attack or capturing a politician selling secrets to the Russians. Politics take center stage in most of the stories.

This creates intrigue, and Tara and her team of Minders (special agents) have to be sanctioned by C, the head of the service, to go on missions. On these missions there is action, but action scenes are few and far between. What readers see is the real monotony of spy work: tailing, gathering information, and reporting it back to superiors. Within this monotony is where characters shine through their interactions. All of these aspects make Rucka’s creation what I consider to be the quintessential espionage comic.

Sleeper

What happens when you are an agent left in the cold, no one to help you, and you work for a madman trying to take over the world? This is the story of Holden Carver, the lead character of the WildStorm series Sleeper, which is one of the earliest collaborations between the superstar creative team of Ed Brubaker and Sean Phillips.

Sleeper is a tale focused on morality. Holden Carver is an agent for International Operations, the most prominent intelligence agency in the WildStorm Universe. Carver’s mission is to infiltrate a corporation run by former Wildcat-gone-bad TAO (Tactically Augmented Organism). To complicate things, however, John Lynch, former director of IO and Carver’s handler, is stuck in a coma after an assassination attempt and having his file burned. With an expunged record and no help, Carver must find a way to make sure TAO and his men don’t discover his secret while also proving to the agency that he is actually on their side.

It’s through this dichotomy that Brubaker crafts a story of a man who has done despicable things for both sides searching for purpose. Will he be corrupted by sex and violence, or will his humanity shine through? It’s a stark contrast from TAO, who is devoid of morality. In his final confrontation with Holden, TAO exclaims, You want to know the main difference between you and me Holden? You’re like the rest of humanity, you have two people inside. One is the person we see. The other is the person you think you are. It’s a powerful idea and it brings Holden’s arc full circle. This, along with the raw and unrefined art of Sean Phillips, grounds the series in a dark and twisted, yet fantastic world. Sleeper is often overshadowed by Brubaker and Phillips’ later works, but it is one of the definitive superhero noir comics.

Checkmate

Another series penned by Rucka, Checkmate follows the exploits of the eponymous UN sanctioned organization in the wake of Infinite Crisis and the death of its former leader, Maxwell Lord. Checkmate in this story has been restructured via the Rule of Two, which states that for every powered member of the team, there must a non-powered member. Checkmate’s mission is monitoring metahuman activity and defending against metahuman threats.

Like Queen & Country before it, this book focuses heavily on political ramifications, especially when it comes to conflict between Sasha Bordeaux (the Black Queen), and Amanda Waller (the White Queen). Through this, Rucka explores themes of duty versus morality, the price of deception, and new beginnings. At the series’ start, Sasha is more carefree with her actions. During a raid on a Kobra outpost in the Gulf of Aden, she instructs Beatriz Da Costa, also known as Fire (Black King’s Knight) to set the compound ablaze, killing upwards of 50 cult members. Sasha’s own Knight, Jonah McCarthy, dies in the crossfire.

This disregard for human life contrasts with the views of Alan Scott, the White King at the time, who believes they should value human life over mission objectives. This, along with Sasha’s relationship with Mister Terrific (Alan’s Bishop) also gives Waller ammunition to drive her out of the agency. Speaking of Waller, this is her at her most deceptive, which is saying a lot. Throughout the first half of the series she conspires with her Bishop, King Faraday, to throw out the other Royals for violating Checkmate’s charter on the Rule of Two. Amanda’s deception is called out by Sasha and Terrific, and she is later dismissed. It’s all dramatic and well done.

Lastly, there is the hope for new beginnings. At the start of the series characters try to get out from under the shadow of Lord. At the halfway point, following Amana’s dismissal, they become more welcoming of outside help. At the end, after a raid on a Kobra stronghold, much like the beginning they realize the cult is engineering infants into weapons. As Batman confronts Sasha about what happened, Sasha monologues, How do you fight a bad religion? You give it a fresh start. You play the long game. But we can do that. We have time, Checkmate isn’t going anywhere.

Overall, Checkmate was one of DC’s first major modern espionage comics. Sasha Bordeaux was later reintroduced in current continuity by Rucka in his second critically-acclaimed run on Wonder Woman. Here’s to hoping we get a reunion sooner rather than later.

Velvet

Imagine your entire life was taken away by the people you trusted the most. This is the story of Velvet Templeton, secretary and former agent for ARC-7, a top-secret intelligence service. Written by Ed Brubaker, illustrated by Steve Epting, and colored by Elizabeth Breitwieser, Velvet crafts a story that deals with the burden of secrets, spy life versus regular life, and the bitterness of betrayal.

The story starts with the murder of an operative by the name of Jefferson Keller, designated X-14. This sets off a search for the answers Velvet craves, which ultimately ends in her going rogue to find them. With her on the run, the agency has to deal with her and the ongoing investigation of the murder of Keller, plus a possible mole. With this comes the burden of secrets, which is hidden beneath every layer as Velvet uncovers more. Each answer leads to more questions. Not only that, Velvet also has to accept that being a spy has forever changed her life—a life of sulking in the shadows and not trusting anyone, even the ones closest to her.

Last, she has to deal with her entire life being a lie and her closest allies in the agency setting that lie up. Whether it be the death of her husband, a supposed double agent, or the death of Keller, etc. Brubaker’s writing is sharp and at times darkly comical. Epting’s art is gorgeous in its dynamic brutality. Heavy shadows accentuate the lush colors of Breitweiser. Velvet is a brutal and realistic take on espionage that, like Sleeper, is often overlooked in Brubaker’s catalogue.

Grayson

Dick Grayson has been many things: acrobat, boy wonder, caped crusader, team leader, and now, secret agent. This exploration of identity is a key aspect of the 2014 series Grayson. Spinning out of the events of Forever Evil, Grayson is written by Tom King and Tim Seeley with art mainly by Mikel Janín with help from Stephen Mooney, plus colors by Jeromy Cox.

The story focuses on Dick after his supposed death at the hands of Lex Luthor. He is inserted as a double agent into spy organization Spyral as Agent 37. Under Batman’s orders, he is to uncover the organization’s secrets and ultimately dismantle it. Within Spyral, he is partnered with Helena Bettinelli, or Matron, who is the head of the boarding school that is Spyral’s cover. As Dick goes on missions, he discovers Spyral is stockpiling information on the secret identities of League. The heart of the series really shows through in issue 14, wherein Dick returns to Gotham. This story demonstrates how important Dick was to the Bat-family, in all of his interactions. Whether it is conversations with Alfred about Bruce, speeches to Barbara about the love they shared, or reminiscing with Damian about their Batman and Robin days, there’s a focus on the Dick’s core experiences, showing us how he became the character he is today.

Janín and Mooney’s artistic styles contrast, but they are brought together by the expert coloring of Jeromy Cox. Janín’s lines are cleaner, adding a Brosnan Bond-esque tone with high action, while Mooney has more lines and darker shadows. These art styles, along with clever writing, combine to make a fun, exciting, and introspective series that redefined Dick Grayson.

Ultimately, the spy genre is one of the most fertile in comics. Spy books are uniquely able to focus on many different aspects that readers don’t find in normal superhero comics. From the psychological aspects of Queen & Country, the moral ambiguity of Sleeper, the politics of Checkmate, the brutality of Velvet, to the journey of Grayson, these comics craft compelling stories with relatable characters. That is what makes them essential espionage material.

Taylor Pechter is a passionate comic book fan and nerd. Find him on Twitter @TheInspecter.

Gotham Central: How Characters Like Renee Montoya Make a Story

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Gotham Central #6 by Greg Rucka and Michael Lark starts the classic Half a Life storyline, which centers on Renee Montoya.

By Jack Sharpe — In December 2002, DC launched a new comic that was very different from the usual adventures of Superman or Batman or Wonder Woman. This comic would run for 40 issues, focusing not on super-powered heroes themselves, but instead on the members of the Gotham City Police Department, the everyday people working to make a living and keep the city safe. This comic is Gotham Central. Written by Greg Rucka and Ed Brubaker, with art from Michael Lark, Stefano Gaudiano, and Kano, Gotham Central is, simply put, one of the most important comics of the 2000s.

A large part of what makes this book so important is the characters at its center. The protagonists in Gotham Central are not aliens from other planets, and its villains are not trying to take over the world. No, this comic’s story is small and personal. Gotham Central is the story of the GCPD, the story of Renee Montoya, Crispus Allen, Maggie Sawyer, Marcus Driver, and others. It is the story of Gotham City, the very same inhabited by Batman, seen here through the eyes of police officers and detectives. Seen in a way that makes Gotham City feel real. From Renee Montoya revealing a deep secret to Stacey the GCPD intern and her fantasies, Gotham Central presents a wide array of characters who are rich with relatable humanity and realism.

What I’d like to explore today is one of the stories found in Gotham Central, paying special attention to how it makes this series such an important work of superhero fiction.

Renee Montoya

Gotham Central’s unique and thought-provoking storytelling shines most clearly through the character of Renee Montoya. Renee had been a recurring character in Batman comics dating back to her introduction in 1992. First created for Batman: The Animated Series and later adapted to comics, Renee was a detective who spent most of her time partnered with Harvey Bullock.

At the start of Gotham Central, Bullock has been kicked out of the GCPD, and Renee is now partnered with Crispus Allen. The storyline Half a Life, which appears in Gotham Central #6 - #10, focuses on Renee, who experiences an emotional ride that includes everything from sadness to anger. Renee’s story is told in a way that really makes readers empathize with her, really makes them feel her pain. It is, quite frankly, one of the best stories to ever be told through superhero comics.

To understand Renee’s arc in Gotham Central, one must first understand Renee. She is a no-nonsense cop, dealing with both her police career and her family life. She is also hiding something from many of those closest to her: Renee Montoya is a lesbian, currently in a relationship with another woman. She is also a latina from a very Christian family. Renee’s struggles with her sexuality and her family’s reaction to it in Gotham Central are something many people all over the world face. She fears being disowned by her family and looked down upon in her work place. Essentially, Renee knows that being honest about who she is could be disastrous for her relationships. Sadly, Renee also has enemies in Gotham. And in Half a Life, one of those enemies discovers her secret and outs her in her workplace.

As a result, Renee’s relationships at the GCPD and with her family change. She is shunned at work by many of the officers and detectives. Perhaps worse, Renee’s parents disown her. The scene of Renee in her lover Daria’s car breaking down in a flood of tears as she tells Daria about her parents is truly heart-wrenching, written and illustrated by the creators in a way that really makes you feel her pain.

Basically, writer Greg Rucka and artist Michael Lark craft a story here that shows how we as humans all have a breaking point, no matter how tough we are. Half a Life builds to a crescendo, while also planting seeds for continued growth for Renee throughout the series. By the final arc of Gotham Central, Renee leaves the GCPD, disgusted both by her treatment and the corruption she has seen in the department. The events of Gotham Central and the story of Renee Montoya are later followed up on in 52, where Rucka again takes the character and creates wonderful stories for her.

The Importance of Gotham Central

There are other stories and character moments throughout Gotham Central that also show a real side of Big Two comics that we do not normally see. But to me, the best example of these moments and the style of storytelling that makes this book so important is still Renee Montoya. Before I read Gotham Central, Renee was a character I did not know all that much about. Now, I know who she is, and, more importantly, I know why so many readers hold her as a beloved favorite.

Her story is one of identity, sadness, anger, betrayal, and ultimately growth. In Gotham Central, Renee faces difficult circumstances and obstacles, and she faces them in a way that shows who she is: someone who can overcome challenges and feelings, who can deal with suffering and use it grow into much more. Her pain and how she responds to it is something all readers can relate to, can aspire to emulate. Renee Montoya becomes a question (more on that in 52) and an answer. She is a special character and her story makes Gotham Central a special book.

Check out more great writing about comics!

Jack Sharpe is a huge fan of history and comics. When he's not in the trenches surrounded by history, he's reading and studying comic books. You can follow him on Twitter at @JackJacksharpe5

Wonder Woman: The Hiketeia…A Greek Tragedy Told in Comics

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The physical battle between Batman and Wonder Woman in this story is less meaningful than the ideological conflict.

By Taylor Pechter — “…But all tragedies end the same way…”

This is the theme that permeates the 2002 original graphic novel Wonder Woman: The Hiketeia, scripted by Greg Rucka, illustrated by J.G. Jones & Wade Von Grawbadger, and colored by industry veteran Dave Stewart. It’s a story told in comic form, yet it possesses many of the essential elements of a modern Greek tragedy, including impossible situations and a heartbreaking downfall.

This story follows Wonder Woman/Diana Prince as she becomes honor-bound to a woman named Danielle Weelys through the ritual of Hiketeia, an ancient tradition from Greece in which a poor or destitute individual supplicates oneself to a wealthy benefactor who must then protect them. If either the supplicant of supplicated disobeys the commitment, the Furies come to inflict punishment. From here, we enter Diana’s story.

Our narrative starts at its end. Diana is Themyscira’s ambassador to Man’s World. As she stares out her window at the Erynies or Furies, she recalls all that transpired to lead her to this moment, as well as how it could have been different. We transition then to three weeks ago in Gotham City, where for the first time we see the character Danielle. We know little about her at the start, save that she hunts down and ultimately murders a man. She is then confronted by Batman, who for all intents and purposes is the villain of this tale. A chase ensues, and Danielle throws herself into Gotham Harbor. She then supplicates herself to Diana using Hiketeia, thereby setting into motion our central ideological conflict.

Again, Batman is unofficially the villain of the story. What Rucka does more than anything in this story is contrast Diana’s sense of duty and honor with Batman’s sense of justice and righteousness. This ideological conflict drives the story as Danielle eventually becomes caught between her loyalty to Diana and her own sense of justice.

In a very emotional scene, we watch as Danielle explains her story to Diana, who uses the Lasso of Truth to extract it. We learn about Danielle’s younger sister, Melody, who moved to Gotham City from Webster Groves, Mo. to try and make it big. Insidious Gotham, however, swallowed her: she was taken advantage of, raped, and later murdered. It is here Rucka deconstructs modern day American society: we see police finding a needle that was used to drug Melody during her assault and making immediate presumptions, ultimately labeling her just another junkie whore…all of which Danielle describes.

Batman's hard-line stance against murder puts him into conflict with Wonder Woman, who is honor-bound to protect a woman who kills to get justice for her lost sister.

Danielle subsequently sets out to get justice for her baby sister by killing the men who hurt her. This revelation does not hasten Diana’s resolve to protect Danielle—it doesn’t need to, as they are still bound by the ritual. Soon a second confrontation with Batman occurs, wherein Danielle defends her actions to the Caped Crusader. Danielle’s predicament is much like the old paradox of a poor man breaking into a pharmacy to get medicine for his sickly family…is he wrong because his actions are against the law, or is he right because he is doing what is best for him and his family? Is Danielle right for murdering those men because they did the same to her sister, or is she motivated by selfish vengeance? This is the paradox. While Wonder Woman is forgiving of Danielle’s situation, Batman is not. As we all know, Batman’s views on killing—even when killing seems more than justified—are quite staunch.

We now reach the climax of the story, as the ideological tension between Diana and Bruce finally builds into a fight. This fight is a footnote, however, with Diana making quick work of her mortal foe. Batman tries to appeal by supplicating himself, but Diana denies the request. In the commotion, however, Danielle runs. With the Erynies whispering in her ears, she leaps off a balcony onto the rocks below. As the book draws to close, we see Diana in contemplation again—much as we did at the start—wondering: Why is Man’s World so cold…It was never this cold on Themyscira.  

With Hiketeia, Greg Rucka weaves a quintessential Wonder Woman tale. We see Diana struggle with Man’s World and her obligations, as well as with her own sense of duty and honor. It creates a poignant contrast with Batman’s own sense of justice, which has been explored time and again in comics, leading to a central conflict that is engaging and emotional. J.G. Jones pencils and Wade Von Grawbadger’s inks infuse this story with both bleakness and hope, while Dave Stewart’s hues give it added weight.

Following Hiketeia, Rucka went on to write two critically-acclaimed Wonder Woman runs (one that began in 2003 and lasted for three years, and another that started with DC Rebirth and ran for 25 issues), solidifying himself as a preeminent voice for not only Diana, but for female superheroes in comics.

Taylor Pechter is a passionate comic book fan and nerd. Find him on Twitter @TheInspecter.

52: The Importance of DC’s Missing Year

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By Taylor Pechter — It is often asked what would the DC Universe be like without Superman, Batman, and Wonder Woman? With the year-long weekly series 52, launched in May of 2006, DC answered that question.

52 is a rare glimpse into a DCU without The Trinity.

After the universe-shattering events of Infinite Crisis, which reinstated the multiverse after it was consolidated 20 years earlier in Crisis on Infinite Earth, DC’s continuity jumped to One Year Later. This was a way for DC to continue publishing while also keeping the events of the latest Crisis fresh in readers’ minds. Many fans, however, asked: What happened in the missing year? Enter 52.

52 was an editorial gamble for DC, a weekly series that spanned an entire year, following C and D-list characters dealing with the fallout of an event in real time. To keep the book on schedule, DC needed more than one writer. So, they turned to an all-star foursome of Geoff Johns (Infinite Crisis, former co-President and CCO of DC Comics), Mark Waid (Kingdom Come, seminal DC writer), Greg Rucka (critically-acclaimed writer of Wonder Woman), and Grant Morrison (multiverse nut, another seminal DC writer), along with breakdown artist Keith Giffen, to craft different intertwining stories that formed a 52-week epic.

Today we’re entering that missing year to take a look at how the DC Universe was and still is so much larger than just Superman, Batman, and Wonder Woman, as well as the various meanings beneath these epic stories.

Booster Gold and Supernova: Who is the Real Hero of Metropolis?

“Hey Metropolis! You want a big shiny star to light your skies? Well, here I am.”

Booster Gold and his robotic hype man, Skeets.

We start our journey into the missing year with the main through line of 52’s plot: Michael Jon Carter, a.k.a. Booster Gold, a time-traveling hero who came back to the 21st century because he wasn’t welcome in the 25th century, where he was originally from. We first meet him at the beginning of the story, when he is at his most selfish, a pin-cushion for sponsors who is trying to gain popularity among the people of Metropolis.

Due to information provided by his robotic companion Skeets, however, he knows something is amiss. It does not help that a new unnamed hero shows up in Metropolis to steal his spotlight, a hero dubbed Supernova by the press who is largely the opposite of Booster in every way, willing to risk himself for others, not just for fame. This selflessness is his undoing. When a giant tentacle monster attacks Metropolis, Supernova risks his life—and the Metropolis power grid—to defeat it. It is in this moment Booster’s values change. He is not seen throughout most 52, not until the end, when it is revealed Supernova was actually Booster all along.

Meaning: The final reveal hits home, completing Booster’s arc about how real heroism isn’t the sponsor on your chest, but rather the pureness of your heart. In the end, Booster accepts his place in the multiverse, comes to terms with his arrogance, and becomes a beacon to the superhero community.

Renee Montoya: Questions and Answers

“Some questions can only be answered by wearing a mask. But you have to know the question to find the answer.”

Renee Montoya as The Question.

We all know Renee Montoya, tough-as-nails detective in the Gotham City Police Department. However, she is a far more complex character than her depiction in Batman: The Animated Series. During the mid-2000s, writers Ed Brubaker and Greg Rucka wrote a comic called Gotham Central, which followed members of the GCPD as they solved crimes in the shadow of the Bat. This story focused on many officers during its three-year stint, but none as important than Montoya and her partner, Crispus Allen.

In the series, Rucka deconstructs Montoya, revealing she is a lesbian, which was significant during the time of don’t ask, don’t tell. She is also disowned by her overly conservative Dominican parents. Near the end of the series, Crispus is shot and killed by corrupt police coroner Jim Corrigan, subsequently ascending to become the host of the cosmic being, The Spectre. As guilt rocks Renee, she decides to give up her badge. When we see her again in 52, she is wasting away in a bar. With no direction and no job, she gets drunk every night.

It’s at this low point she is confronted by a random passerby, a man later revealed to be Charlie Szasz, a.k.a. Vic Sage, The Question. After a few run-ins on the street, Montoya decides to join him and track down members of Intergang and the Religion of Crime. Intergang is an international crime organization run by Boss Bruno “Ugly” Manheim, who frequently collaborates with Darkseid. However, they have been following a new modus operandi: scriptures from the so-called Crime Bible, which prophesizes the fall of Gotham City, the death of the twice-named, and the rise of a new Question.

The twice-named is a former flame of Renee’s and heiress to the Kane fortune, Kate Kane. As they get closer to tracking down Intergang, Renee also notices something off about Charlie—he has an uncontrollable cough, later revealed to be cancer. He slowly deteriorates and becomes delirious. Renee decides to go to Nanda Parbat to save him. As they get to the temple of Rama Kushna, the God of Nanda Parbat, Vic dies and passes his wisdom to her, It’s a trick question Renee…Not who you are…But who you are going to become?...Time to change…Like a butterfly. Renee decides to train under Richard Dragon, who also trained Charlie.

Meaning: Through her training, Renee learns that life is full of questions and it’s just a matter of how you answer them. Ultimately, she embraces her destiny as the new Question, taking over where Charlie left off.

The Rise and Fall of Black Adam

“The people say these are her tears. They say the queen weeps not for her herself, nor for her brother, nor even for me, but rather for Kahndaq and her people.”

Black Adam.

Black Adam is many things: the corrupted champion of the Wizard Shazam, the ruthless leader of Kahndaq, and a husband and a brother. As we join his story, the context of the previous tale helps. Renee and Charlie at one point visited Kahndaq, where we first saw Black Adam as he ripped a low-level villain named Terra-Man in half on live television. Later, he is confronted by two members on Intergang who offer him a slave, an Egyptian woman named Adrianna Tomaz, as a prize if he so chooses to join Intergang’s crusade.

He denies the request, however, and Adrianna is taken prisoner. Black Adam, along with Russia and other foreign powers, devise a treaty that bars American superheroes from their soil. As Adam grows closer to his prisoner, though, he soon falls in love. Gifting her a portion of his power, she becomes Isis. Trouble strikes again when Adrianna’s brother, Amon, is held by Intergang. As they inch closer to the wedding, Adam promises Adrianna that they will find her brother. Then comes the wedding.

Captain Marvel is the minister, Captain Marvel Jr. is the best man, and Mary Marvel is the maid of honor. When the couple locks lips, lightning crashes in the sky. However, Intergang puts a suicide bomber in the crowd. They know it won’t harm Adam, but their actual target is the crowd. The attack is diverted by Renee, who makes a difficult decision to shoot the kid, killing her. As the search for Amon continues, they happen upon a base belonging to Intergang. It is there they find Amon, whose legs are shattered. Like Adrianna, Adam gifts him his power, turning him into Osiris.

Now Adam has a family, one soon taken away from him. As time continues, Osiris befriends an anthropomorphic crocodile, which he names Sobek. Sobek is later revealed to be Yurrd the Unknown, one of the four horsemen of Apokalypse, and he tricks Osiris into turning back into his human form, killing him the process. Isis is later met with the horseman Death. She then dies in Adam’s arms, infected by disease. With his family dead, Adam is filled with rage and decides to decimate the entire country of Bilaya. It is then that he instigates World War III, where every superhero faces him. He is eventually defeated but at a cost.

Meaning: Black Adam is not a villain, but rather a man who just wants what’s best for his people. With Isis and Osiris, he finds the best within himself; with them gone, however, he is nothing.

Ralph Dibny: Resurrection and the Meaning of Life

“You don’t get it! You had no chance, because I was not caught in your spell! You were caught in mine!”

Ralph Dibney battles Felix Faust.

Like Renee, Ralph Dibny, a.ka. Elongated Man had been through the wringer before 52. During Identity Crisis, his wife Sue was murdered by Jean Loring and revealed to have been raped by the villain Doctor Light. When we first see him here, he is about to commit suicide. But, he gets a call saying his wife’s gravestone was vandalized and goes to the cemetery to find a Superman S-shield sprayed on the gravestone, an S-shield that is upside down.

We all know the shield stands for hope, but when inverted it means something else—resurrection. During the first leg of his arc, Ralph tracks down the Cult of Conner, a band of zealots who believe the resurrection of Superboy (Conner Kent, killed at the end of Infinite Crisis) is at hand (later revealed to be a scam, of course). Ralph is called forward by the Shadowpact, a group of magic-based superheroes, to investigate the death of Timothy Trench. Trench is trying on the Helm of Fate, which subsequently melts him.

During his investigation, the helm clings to Dibny, and Ralph is taken on a journey retracing the steps of his life and coming to grips with his wife’s death. As the story nears its conclusion, Ralph figures out that the helm itself is possessed by the nefarious sorcerer Felix Faust. Faust underestimates Dibny though, and Ralph casts a binding spell to keep Faust with him always.

Meaning: In the end, Ralph is confronted by the demon Neron, who kills Ralph with his wedding band, ultimately giving him what he most desires—a reunion with his wife Sue.

The Everyman Project: What Really Makes a Hero?

“Look! Up in the sky!”

What really makes a hero? Is it the powers or the morals? These are the heavy questions answered in this story.

Steel in his altered state confronts the Everyman Project.

We start with Steel’s daughter, Natasha Irons, who is feeling like she is being neglected as a hero by her uncle. To prove to him she deserves respect, she decides to apply for the Everyman Project, an an idea hatched by Lex Luthor to give normal citizens of Metropolis superpowers. Natasha is first picked, given then alias of Starlight, and appointed leader of the new Luthor-sponsored superhero team, Infinity Inc. As time continues, Steel notices something is off.

His skin starts turning to steel, which he suspects is a sick joke put on by Luthor. One fateful night for Infinity Inc., one of their youngest members, Eliza Harmon (alias: Trajectory) is killed by Blockbuster during a battle. After the death, John Henry confronts Natasha, asking, How did a slug like Blockbuster kill someone going that fast? The answer is right in front of her. Yes, Luthor gave people powers, but he also has the power to turn them off.

As New Year’s Eve arrives, and the stroke of Midnight, Luthor pushes the button and his Everymen start falling from the skies, an event dubbed the Rain of the Supermen. Natasha and Steel finally confront Luthor.

Meaning: As Natasha’s arc ends, she accepts that she is wrong, that it is the man or woman behind the mask that makes the difference, and that no one should have absolute power because it corrupts absolutely.

Starfire, Adam Strange, and Animal Man: Lost in Space

“Believe in Her”

Much like Black Adam’s arc, this one heavily emphasizes the importance of family. We start with Starfire, Adam Strange, and Animal Man stranded on a deserted planet. With their ship on the fritz, they have no way home and must work together to survive. On their journey, they encounter Lobo, who has sworn off violence and is harboring the Emerald Eye of Ekron.

Not only that, they are also being hunted by an omnipotent named Lady Styx. As the story continues, we see our threesome grow closer together. However, back home Buddy Baker’s wife wonders when he will return. Buddy ponders the same, and as the story winds to a close we see an unconscious Buddy left on the planet while Adam and Starfire return home.

Meaning: Buddy’s sacrifice is noted to his wife, Ellen, by Starfire. Buddy, as a spirit, then says one final goodbye to his wife, his family, and his planet, making for one of the sadder tales in 52.    

The Science Squad and Oolong Island

“If I say it then no one else will… Feel free to cackle hysterically, gentlemen!”

How does obsession shape who you are? That is the driving theme for the story of Doctor Will Magnus. Will Magnus was the creator of the Metal Men, cybernetic superheroes brought to life by responsometer technology. However, after their deactivation, he took up anti-psychotic pills, which lessens his manic episodes but also makes him a hermit. His only solace comes in weekly visits to Belle Reve to meet with his mentor, Thomas Oscar “T.O.” Morrow.

The Metal Men go into...action? Probably.

Morrow is another infamous DC mad scientist who has tried to create sentient robots for years, both succeeding and failing, most notably with Justice League member Red Tornado. When Morrow goes missing, Magnus takes the case and is dragged into a plot to create superhero deterrents on the top-secret Oolong Island. Along with fellow mad scientists Doctor Thaddeus Sivana, Doctor Tyme, and more, led by Chag Tzu alias Egg Fu, they are out to show that science can trump superpowers. Their work pays off at the expense of Magnus’s sanity, leading to the creation of the Four Horsemen of Apokolips, two of which you’ll remember are responsible for the death of Isis and Osiris, wife and brother-in-law of Black Adam.

Meaning: This eventually leads to World War III, and it all speaks to the dichotomy of Will Magnus, who services his obsession at the expense of his own sanity and of another man’s family, too.

As you can see, many corners of the DC Universe are explored 52. Without the Trinity, different heroes rise up to fill the void. Through all of it, there is a main theme of self-discovery. Booster Gold figures out his role in the multiverse, Renee Montoya embraces her destiny as the new Question, Natasha Irons finds the meaning of a true hero, Black Adam sees that family can change even the coldest of hearts, and so on. This is what makes 52 one of DC’s most seminal stories.

Taylor Pechter is a passionate comic book fan and nerd. Find him on Twitter @TheInspecter.