REVIEW: Relay #2 by Zac Thompson, Andy Clarke, Jose Villarrubia, & Charles Pritchett

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The Relay features a story conceived by Zac Thompson, Eric Broomberg, & Donny Cates.

By Zack Quaintance — The Relay, as those who read the first issue are aware, is an epic science fiction story about messiah figures, the evolution of ideals, the safety of conforming, and colonization. In issue one, we glimpsed daily life on Earth—complete with dissident unrest. In issue two, the focus shifts to how denizens of powerful Earth interact with colonial worlds. The Relay #2, however, is far more than just a statement about imperialism, which has been done often in modern sci-fi.

No, in this issue the book places a welcome and heavy emphasis on ideological debate. It’s nearly impossible to go into specifics without tipping the twists—of which there are nearly half a dozen—but I’ll try my best now to discuss what this story is about and why I found it so engaging.

Essentially, The Relay #2 examines what happens when a dissident’s original teachings evolve into dominant rule, inherently turning them against the values of the dissident who created them. If it sounds familiar, that’s because it’s likely intended to be. There’s a Jesus allegory at work here. Historically, Christianity in its earliest throes was subversive, a loving approach to life under Roman oppression. Christianity ultimately won, of course, and so the society we live in now is shaped by its rule. Basically, the same teachings that were once subversive have assumed power, gaining the ability to do the oppressing or to grant rationale for colonization (it’s all a good deal more complex, but that’s my own abbreviate, comic book review take).

In The Relay #2, this allegory is clearly tipped when one character is surprised to meet another, blurting Jesus, you’re really him, to which the subject character responds, I’ve been called many things, but never Jesus...as Christ-like a line as one could conceive of. It’s all very complex, and this is a text-heavy issue, to be sure, but the team has done such great foundational work establishing mystery and stakes (what’s more important than the fragility of a protagonist with a beloved and deeply-held world view?) that simple conversations in this issue are as tense and compelling as any laser battle or lightsaber duel could ever be.

In my The Relay #1 review, I drew comparisons between that comic and the writing of Ursula K. Le Guin or Philip K. Dick. This second issue re-enforces that comparison, especially to Le Guin, whose own anthropological sci-fi is such a clear influence. Le Guin is my favorite science fiction writer, as well as one of my favorite writers period, which is perhaps why I’m loving this comic so much. Simply put, for fans of hard sci-fi or complex societal explorations in comics, this series is not to be missed.

Overall: The Relay #2 continues establishing this series as one of the smartest comics today, diving deeper into the anthropological concerns of the debut. Heady and dense, the stakes here involve our perception of reality itself. Is there anything more consequential? This book makes readers work hard, to be sure, but the intellectual payoff is well-worth the effort. 9.5/10

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

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

ADVANCED REVIEW: Fearscape #1 by Ryan O’Sullivan, Andrea Mutti, & Vladimir Popov

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Fearscape #1 is out Sept. 26, 2018.

By Zack Quaintance — Fearscape #1 is the latest new series from fast-rising indie publisher Vault Comics, with hints of a diverse range of stories about stories, from movies like Midnight in Paris to famous cartoon shorts like Looney Tunes: Duck Amuck (Google it, you’re likely familiar…). This comic is smart and unique, and it pushes the limits of the sequential graphic storytelling medium, deploying a strong literary voice along with a concept that ranks among the best of today’s creator-owned comic wave.

It’s one part Saga, Monstress, or Wic + Div, and it’s one part that killer short story you read in The New Yorker, maybe by Zadie Smith, T.C. Boyle, or Lauren Groff. It’s an amalgam of your favorite graphic novels and that conversation you had last week with that annoying guy in tweed at your friend’s dinner party, the one who kept referencing his MFA.

Phew. That’s an onslaught of gimmicky descriptors, but this book grows from, speaks to, and stands upon mankind’s storytelling traditions. As such, references are perhaps the best means of giving readers an idea of what they’re in for when they open this comic. Now then, let’s get granular and go into Fearscapes’ plot, strengths, and best lines, shall we?

Plot: An otherworldly being called The Muse comes to take humanity’s greatest storyteller to The Fearscape, a realm of dark magic where human fears exist as living creatures. That storyteller is tasked with overcoming the greatest of all fears, thereby freeing humanity from them. The Muse comes for a venerable fantasy writer and instead finds Henry Henry (perfect failed author name, btw), a fraud who is busy stealing a manuscript from the home of the aforementioned famous writer, who is Henry’s friend/benefactor and is also sick and dying. It’s a lot, but Andrea Mutti’s artwork is clear and imaginative, and it orients the reader, while writer Ryan O’Sullivan makes excellent use of authoritive narration, which brings us to Fearscape #1’s single greatest strength...

...its voice, which is just pretentious enough to remind us what type of guy Henry Henry is (seriously, perfect name) without making us totally hate him, although holy wow is it close. Voice does so much work in this story, conveying that our main dude is a personification of imposter syndrome, oozing insecurity with his pretentiousness cranked to 11. It remains to be seen if the creators can emotionally vest us in the guy, but for now the intrigue and imagination is so compelling it doesn’t matter.

So, let’s get into some of best lines, including: All authors are ultimately translators; endlessly rewording stories and ideas we’ve heard countless times before.

And this resentful take on genre writing: Twenty-seven novels. All of them fantasy. All of them set in the same trope-ridden dragon-infested world.

Finally, this shot at a particularly loathsome subclass of human: Yet, despite this, we shall still find ourselves opposed by the casual reader and, even worse, its mutated older sibling, the critic.

Overall: A nigh-perfect debut, a unique comic that pushes the boundaries of sequential graphic storytelling. Fearscape #1 is one part killer creator-owned comic, one part famous literary short story, and 100 percent not to be missed.  10/10

Fearscape #1 is available Sept. 26, 2018.

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

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

ADVANCED REVIEW: Border Town #1 by Eric M. Esquivel, Ramon Villalobos, Tamra Bonvillain, & Deron Bennett

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Border Town #1 is available Sept. 5, 2018.

By Zack Quaintance — Border Town #1 is the first new comic launching as part of DC’s reinvigorated Vertigo imprint, the main idea of which seems to be let’s run headlong through polarizing and important societal issues with some of the most exciting creators in comics leading the way (Bryan Edward Hill, Mark Russell, and Mirka Andolfo, among others).  

The ultimate goal, of course, is engaging readers with stories equal parts entertaining and personal (that magic narrative combo), and Border Town #1 certainly does that. At its heart, it’s a coming-of-age drama about a new kid in school. That school, however, is located in fictional Devil’s Fork, Arizona on the U.S. border with Mexico. This setting is vital for a comic called Border Town, which examines how borders divide us, and not just borders between countries but also between perception, opinions, reality and mythos...even the two sides of multicultural households.

It’s poignant and relevant territory. Not to make this about me, but after college I spent five years as a reporter in a border town (McAllen, Texas); I’m also from Chicago. Through my disparate lenses, I saw that the U.S.-Mexico border is massively misunderstood, especially by those who’ve never visited, yet it’s a region many have strong opinions about. What writer Eric M. Esquivel—who grew up in Tucson—does so well is draw from personal experience to depict real border life, stuff like cliques at school, family dynamics, etc.

Come for the Degrassi-esque teen drama, stay for the terrifying depictions of Mexican/Chicano mythos and folklore.

This is just one of Border Town’s strengths. Another is, simply put, monsters. Border Town is a horror story that in the tradition of the genre blends teen drama with dark and scary violence. I can think of no better team to bring this to life than artist Ramon Villalobos and colorist Tamra Bonvillain. Their work is uniformly excellent (as it was in the tragically-cancelled Nighthawk), and the monster designs here are intricate and grotesque (perfect). Villalobos is also a great choice to draw teenagers, given his vocal appreciation of things like Degrassi and sneakers. The art is killer, but that's expected.

What caught me a bit off guard was how well Esquivel grasps the genre. I haven’t read his other work, but I could tell he has a deep knowledge of horror movies, comics, and TV. You can also tell Mexican/Chicano folklore is an interest. Essentially, Esquivel’s script expertly takes the usual horror conventions and creates something new by infusing fresh monster mythology many readers haven’t been terrified by...yet.

Overall: Border Town #1 is a strong start for a reinvigorated Vertigo imprint, a relatable coming-of-age teen drama in one of the least understood yet most argued about parts of the country. The art is terrifyingly detailed, and the story leans enthusiastically into time-tested horror tropes while also finding new ground by adding Mexican/Chicano folklore and mythos. 9.0/10

Border Town #1 is available Sept. 05, 2018.

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

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Adventures of The Super Sons #1 by Peter J. Tomasi, Carlo Barberi, Art Thibert, & Rob Leigh

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By Zack Quaintance — You tell yourself that you’ve transcended simple comics fandom (also known as fanboyhood). You tell yourself things like I don’t prefer Marvel or DC, or my allegiance is to creators not characters, or whether something is relevant to continuity doesn’t matter so long as a story is strong. You tell yourself these things, sure, but then a book like Adventures of The Super Sons #1 comes along and calls you on your bullsh*t (sorry).

While the jury is out on most of that, superhero comics being relevant to continuity is (apparently) important to me. I loved The Super Sons first run, which tied in nicely to writer Peter J. Tomasi’s main Superman title. It spanned 16 madcap issues, and it had an adorable Batman/Superman-as-kids dynamic that yielded funny moments like I couldn’t believe. This new book, however, has essentially been set back and away from current continuity, and as a result the whole thing feels a tiny bit off, no matter how hard I fought to ignore it.

This is perhaps most evident in odd fixes made to separate this story from Brian Michael Bendis fledgling run on the main Superman comics: a caption reading in the not-too-distant past, a vague missive about how the boys’ parents have gone away for several weeks, etc. I know these things shouldn’t matter, and perhaps for most readers they won’t.

And to be fair, everything I liked about Super Sons has carried over. The banter is still really funny—Hey look, it’s Superboy and that kid I think used to work for Batman!—the dynamic between Jon and Damian remains strong—I think you’re secretly the greatest villain on Earth—and while Carlo Barberi’s art is a step down from Jorge Jimenez (anyone would be) his style is definitely fits here.

As a result, I think this book will land for many readers, especially those who didn’t grow up obsessing over what counted most within superhero continuity. I know it’s silly of me, but I’ve been trained in an odd form of literacy during my years of fandom, taught by things like Pizza Hut promotional comics to look for little differences used to drain stories of relevance. If I were buying a comic to read with my kids, I’d still have this one at the top of my list. I just had a nonsensical (and cracking) voice in my brain from adolescence, reminding me that this was just a tad bit inconsequential, taking me out of the story even though I knew I was being ridiculous.

Overall: This is still a fun comic with the same wonderful jokes and dynamic from the series’ previous iteration, and it’s a great book for young readers, to be sure. Veteran superhero fans, however, may notice small changes publishers use to make stories less relevant, potentially taking them out of the story. 7.0/10

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

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Green Arrow #43 by Julie & Shawna Benson, Javier Fernandez, John Kalisz, & Deron Bennett

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As a long-time Green Arrow fan, I am absolutely freaking out about Alex Maleev doing covers for this book.

By Zack Quaintance — Green Arrow #43 starts a new chapter for Oliver Queen and company (heh), one written by sisters Julie and Shawna Benson and illustrated by Javier Fernandez. That new team follows an all-time great Green Arrow run by Benjamin Percy with artists Juan Ferreyra and Otto Schmidt. This is actually the second issue of Green Arrow for the Bensons, who teamed with artist Carmen Nunez Carnero on Green Arrow Annual #2 (a No Justice tie-in) in May.

Phew. Now that introductions are finished, let’s get to it...so, like, is this comic still good?

In a word, yes. Green Arrow #43 is a good comic and a great tone-setter for a new run, one that makes a few things clear: Black Canary is going nowhere (and moving in!!), Roy Arsenal Harper is a big part of Ollie’s life, and DC Comics is committed to Green Arrow as perhaps the central lynchpin of its shared universe, a status first seeded in No Justice. In other shared continuity news, Roy also mentions Sanctuary (of Tom King’s upcoming Heroes in Crisis book), which Ollie is presently unaware of, although one expects that to change...

Anyway, those are all big picture story strokes. Green Arrow at its best, however, is a book that lives in smaller moments, in pretty bird pet names and the dichotomy of a family-monied corporate exec dual-lifeing it as a bleeding heart crusader. Thankfully, issue #43 takes aim at the endearing minutiae and nails its target dead-on (arrow joke, get it?…sorry). From panel to panel, this book brims with small but telling characterization: Ollie donning ear guards before going down to see Canary, the banter between Roy-Ollie-Dinah over chilli, Ollie’s posture and demeanor and cool-boss-guy garb at his office—it’s all just so quintessentially Oliver Queen.

Nailing the characterization was something Percy did incredibly well (he brought back the goatee!), and as such this transition to a new team is as smooth as an expertly-nocked arrow slicing through the air toward a bullseye (sorry again!). Fernandez’s clean linework and frenetic action sequences are also a treat, and the Alex Maleev covers bring a fantastic savagery to these proceedings before we even hit page one. The emerald archer, in other words, seems to be in good hands.

Oh! A closing thought...what if the box Martian Manhunter gave Ollie that can destroy the Justice League (the one Ollie gives Roy directions to as an insurance policy...should something happen to me) factors into Heroes in Crisis? That box is the Chekhov’s gun of the DC Universe right now...it’s obviously going off by act three.  

Overall: The Bensons and Javier Fernandez pull-off the difficult double task of redirecting Green Arrow’s larger plot while keeping the book’s characters grounded in the telling moments that marked Ben Percy’s run. This is a great jumping on point for new/returning readers plus a smooth transition for those who never left. 9.0/10

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

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: The Unexpected #3 by Steve Orlando, Cary Nord, Mark Farmer, Scott Hanna, Jeromy Cox, & Carlos M. Mangual

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In its third issue, some of the cost of the deaths in The Unexpected's earlier issues becomes clear.

By Zack Quaintance — If you read The Unexpected #1, you know the book feigned as if it were a story of a new hero (Firebrand) joining some kind of oddball super-crew (Neon and team). But then—spoilers—the book swerved, killing two of Firebrand’s would-be teammates plus also its presumed big bad. In The Unexpected #3, the price for some of that death has now come due.

With its first two issues, The Unexpected established itself as a rock-solid new concept in the DCU, one driven by a pair of compelling leads and their nascent dynamic. Introductions, however, have now ended and it’s time for the plot to push forward as its mysteries and ramifications rapidly expand.

Consequences is a major theme in The Unexpected, and not just consequences for characters but consequences for the world following the recent event story, Dark Nights Metal. Scott Snyder and team’s Justice League is currently exploring all that on a marco/galactic level, specifically the broken source wall. This book, meanwhile, is taking a more nuanced approach, extrapolating upon some of the other effects of Nth Metal (and the mystery of the Nth Metal Isotope at the heart of it all...sorry) as well as the existence of the Dark Multiverse. I don’t want to give anything away, but this issue also fully unveils The Unexpected’s actual big bad (who has appeared briefly in past issues and also in Metal...but I’ll say no more).

At the same time, Orlando, Nord, and team are building new ideas into the DCU with this book. In this issue it is revealed that orcks once ruled the Earth and lived in floating cities powered by Nth Metal (known to them as Uk Metal). This is used to flesh out one of the deceased character's importance, as well as to illustrate the cost of his death, but now that it’s been put on the DC board, it’ll obviously always be there moving forward. Building onto mythos is something Orlando seems bent on doing in all his work, and, in fact, a creation from his Justice League of America—Monster Valley—shows up again here.

Simply put, this is all a very cool approach to superhero storytelling, one that for detail-oriented readers (myself included) is quite rewarding. That aside, this book is also telling an action-heavy story that any reader could just pick up and enjoy (I’d reckon). Living in both of those worlds is most certainly to The Unexpected’s credit. This is easily one of the least predictable and awesomely surprising books at DC Comics right now, and I, for one, can't wait to see where it's all headed.

Overall: The Unexpected continues to be heavy on both action and detail, creating a book with as much to offer casual readers as it does obsessive superhero fans. The Unexpected #3 delves even deeper into Dark Night Metal’s fallout, a nice reward for DC devotees. 9.0/10

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

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Leviathan #1 by John Layman, Nick Pitarra, & Michael Garland

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Artist Nick Pitarra definitely draws one of the better Kaiju in recent memory.

By Zack Quaintance — Leviathan #1 is one of those ultra-polished books you can tell is the work of a veteran creative team, one that’s having a damn good time, too. This comic was written by John Layman (perhaps best known for Chew) and drawn by Nick Pitarra, a frequent collaborator of high-concept sci-fi writer Jonathan Hickman. This book is the first of a five-part series, and I’d describe its first issue as a well-executed madcap romp (albeit one that doesn’t come without a toll).

What’s most impressive about Leviathan #1 is how efficiently Layman, Pitarra, and colorist Michael Garland handle the storytelling basics. The book orients us with a confident, almost-stern narration, introducing us to our hero. They quickly make him relatable by showing us he’s a good host who threw a party in which some unsavory guests drank too much beer (we’ve all been there), and they let us know what he cares about most—his would-be fiance Vee. Then they put her in grave danger (a bit of a damsel in distress thing, but, not to worry, without spoiling anything I’ll just say she has some agency). This leaves us as an audience oriented, vested, and incredibly curious as to how our hero will respond.

Now, this is so far a pretty straightforward concept for a comic book, and so it’s also to the credit of its creators that story beats are made so entertaining. Layman’s voice here is smart and self-aware, funny in a meta way that also does work for the story. Our characters know what kaijus are (as any pop culture aficionado would), so much so that the creative team doesn’t need to explain where the titular Leviathan came from or why (not at the start, anyway). They can just write a few funny quips about how it found its way into a cooling tube of a nuclear power plant, or some sh*t, and we’re right back to the action.

Pitarra’s artwork and Garland’s colors are also quite impressive. There is an impressive level of detail lent to the backgrounds, cityscapes, and the monster, and he tweaks his style to be a bit cartoonish with the human form, one that sets an inherently looser tone that lets readers know crazy things can and will happens. Basically, the artwork in this book is rich to look at and also guided by some great choices.

This first issue (of five) seems to hint that there’s more to it than just being a monster story, and so we’ll have to wait until next month for a better idea of the scope.

Overall: In the end notes, the creative makes readers a promise...we guarantee every issue we’re gonna grab you by the throat and throttle you with insane nonstop action until your brains dribble out your ears. ...I’m not really up for all of that (ewwww), but I definitely liked this comic enough to come back for more. 8.5/10

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

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: The Seeds #1 by Ann Nocenti & David Aja

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The Seeds debuts Aug. 1.

By Zack Quaintance — I’ve hoped for a while that a book would examine some of the themes in The Seeds #1. I’ve wanted a story (one with a smarter concept than I could casually drum up) that takes a hard and knowledgeable look at our current media landscape, how it got this way, where it’s going, and what stands to happen to society as a result. That’s quite a big ask, I know, but, hey, I can hope.

With The Seeds #1, it seems my hopes have been at least partially satisfied. This comic is definitely concerned with media (also sexual dynamics and the environment), and in its first issue (of four) media is an interesting and prominent theme, especially throughout a pair of nine-panel grids wherein our protagonist Astra talks indirectly about the state of the media with her editor Gabrielle.

Gabrielle discusses how rumors and falsehoods that get repeated become true, how sometimes it’s what people want, how truth seeming pliant is a fine justification for inventing stories, and how—more than anything—their outlet needs a scoop. The takeaway, as I read it, is that when you call the media fake long enough, the media eventually bends to that perception. It’s to the book’s credit that this is conveyed via such a well-done, smart, and natural interaction, one that simultaneously raises questions about our own society while establishing baseline facts about the dystopian world of this story. I liked it.

And, really, I liked The Seeds quite a bit. The book is part of former Vertigo editor Karen Berger’s Dark Horse imprint Berger Books, and like other entries in that line, it features veteran creators playing out intricate and literary ideas with little regard for accessibility. The book is written by journalist/documentarian/comic writer Ann Nocenti and drawn by David Aja (Hawkeye), a powerful creative team with powerful aspirations.

It's also a team one can trust to tell a satisfying story. Atop its underlying complexity this book has many great understated character moments. There’s a love story afoot, one in which one party is duty-bound to refrain while the other is hesitant because the first party says their leaving—it’s a story to which many readers will relate.

Moreover, this is a comic that rarely goes page without a really freaking cool ideas of imagery: a nightlife venue called Club Death that simulates dying, a naked figure in a gas mask beneath a giant American flag with a shotgun and an old TV, a lunch of deep fried bugs. Casually bizarre and fantastic. Basically, if you’re into stuff like pop art or pleasantly-abstract indie filmmaking, chances are you’ll dig this.

Overall: The Seeds #1 is the work of veteran and ambitious creators. It uses complex ideas, commentary, and imagery to create a world and themes that linger with readers. The full scope of the story is not yet clear, but there is every reason to believe Nocenti and Aja can be trusted to deliver a satisfying execution. 8.5/10

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

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Wonder Woman #51 by Steve Orlando, Laura Braga, & Romulo Fajardo, Jr.

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This epic panel from Wonder Woman #28 is recreated this issue to great effect.

By Zack Quaintance — Steve Orlando and Laura Braga open their standalone story in Wonder Woman #51 by diving back into a past issue, one in which Diana faced grave danger. They open with a panel recreated from Wonder Woman #28 by Shea Fontana & David Messina, wherein the villainous speedster Mayfly has stuck a gun into Diana’s abdomen and begun to taunt her, asking rhetorically if she’s fast enough to stop a bullet fired at point blank range before it tears through her skin.

Borrowing an opening like this is a bold choice, but it’s a choice that pays off wonderfully, given the panel is not only an interesting visual but also a tremendous starting point from which to unpack Diana’s otherworldly empathy and compassion, as this story goes on to do. The opening reminds us how dangerous and hardened Mayfly is, how if ever there was a foe for Diana to dispose of forever and write off as lost, it would be this one. I know I certainly would with anyone who posed such a threat to me. Diana, however, is a hero, and this story is relentless in its determination to explore the qualities and beliefs that govern her altruism.

I’m really hesitant to spoil anything at all about this issue, even a little bit—I think this is a comic everyone should experience fresh. I will say only that at the center of this story is Diana essentially playing a game of chicken with her own beliefs, not so much risking her physical form (although that does come into jeopardy, because, you know, this is still a superhero comic) but risking her world view, which as many of us have learned over the past two years or so is a painful thing to have shaken.

It’s a great concept for a Wonder Woman story, and the execution that follows is nigh-flawless. Again, not to give too much away, but simply put, this is one of the best issues of Wonder Woman I’ve ever read, ever, from the characterization, to the poetry of the exchanges between Diana and Mayfly, to the way visuals are used throughout.

And let’s talk about those visuals: in addition to how well Diana and her central beliefs are handled and explored, this comic succeeds on the power of the graphic storytelling techniques used by Orlando and Braga. I still don’t want to tip anything, so I’ll just say vaguely that there’s an excellent scene that juxtaposes the heroine's and villain's disparate backgrounds. Also, the form of this issue leans into a core strength of comics—the ability to make fitful yet sensical leaps through time.

Finally, I also want to point out that this book has an ending that was so poignant it nearly brought me to tears. It’s that good.

Overall: This is one of the best standalone issues of Wonder Woman I’ve ever read, ever, and it tells a compelling story that speaks directly to the core of a classic and long-tenured character yet is also strikingly-relevant for 2018. This comic is 100 percent a must-buy. 10/10

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Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Britannia: Lost Eagles of Rome #1 by Peter Milligan, Robert Gill, Jose Villarrubia, Diego Rodriguez, & Dave Sharpe

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Britannia: Lost Eagles of Rome #1 is out July 25.

By Zack Quaintance — Britannia: Lost Eagles of Rome #1 marks the first issue of the third volume of this series. I liked the last two volumes, but I’d somewhat forgotten just how good this book is. The answer, incidentally, is very very good.

Britannia is such an interesting conflux of two genres that don’t often meet: historical fiction and police procedurals. That setup is one of its strengths. Another arguably bigger strength is the attentions to both ambiance and character paid by writer Peter Milligan, obviously a student of mythology, the occult, and ancient Rome. 

The only discernible change from the first two volumes here (aside from plot, obviously) is artist Robert Gill has replaced Juan Jose Ryp. Ryp is one of the most intricate and detailed artists in comics, but Gill does his own thing here and does it well. It also helps the transition that it’s been more than a year since the end of the last volume. If you’re a returning reader just relax and enjoy...the book is as good as ever. If you’re a new reader, you can start with issue worry-free.

In fact, for Britannia newbies I’m fairly certain each volume stands just fine on its own. It’s been many months since the second Britannia book, and I’ve forgotten a lot that happened. Still, the creative team lies all the essential exposition out in a way that oriented me, and my sense is you’ll also be just fine if you’re totally new.

Britannia also stands apart from the rest of the Valiant Universe (no matter how badly I want the Eternal Warrior to show up). In fact, I wouldn’t be surprised if it wasn’t set in it at all, although, admittedly, I may have missed an acknowledgment somewhere that it is. The reason I say this is because Britannia is grounded and realistic, mostly hinting at the occult and supernatural while leaving doubt as to whether it's entirely real. A good comparison might be Greg Rucka and Nicola Scott’s phenomenal Black Magick, which is set in the present day but uses mysticism sparingly as well.

The last thing it’s important to note is that while knowledge of ancient Rome perhaps enhances this book slightly, it’s not vital. Admittedly, my own knowledge of the Roman Empire is scant, and the only effect this has had on me is that when I finished the other volumes of this series, I went to Wikipedia to fill in gaps, which was kind of a bonus, one I hope will be useful for bar trivia someday.

Overall: I forgot how psychologically-complex and engrossing Britannia was until I started this new volume. This is a supremely well-executed comic, one I highly recommend to fans of both historical fiction and police procedurals. One issue in, it's just as good as its predecessors. 9.0/10

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Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Skyward #4 by Joe Henderson, Lee Garbett, Antonio Fabela, & Simon Bowland

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Skyward #4 is out July 18. 

By Zack Quaintance — The first issue of Skyward opened with an inciting event that drastically changed the world: gravity inexplicably lessened so much that people, animals, and untethered objects began to float dangerously into space. One of the victims was our protagonist’s mom, who left to go running and disappeared into the ether.  

This was then followed by a significant time jump in which our main character went from baby to young woman. Quickly, we also learned her dad had become a devastated recluse who spent the subsequent years afraid to go outside. That idea kind of faded into the background, however, as our hero went and had adventures involving the most powerful man in the gravity-light world, who—surprise!—turned out to be amoral and self-interested. What this issue does is slow down our hero’s interactions with that insidious fellow to involve her dad in a way Skyward hasn’t since its first issue.

It’s a great idea. The father-daughter dynamic is basically this story’s heart, and given the dad's reluctance to go outside, overcoming that fear is presumably huge for our plot. On paper, I expected to love this issue. I, however, had slightly mixed feelings about how it was executed (very slightly). I still liked it quite a bit, but the dad was over-the-top cowardly at times. This was likely by design, but, man, did I cringe.

And his daughter’s reaction to his behavior seemed to be too much, in that she didn’t seem troubled at all that she had to literally knock him out and put him in a bag to get him outside because he wouldn’t step up when she needed him most. All I'm saying is it would have maybe been more effective to have a troubled look cross her face instead of playing the whole heartbreaking ordeal for laughs. But then again, Skyward is a pretty cheery book.

It’s a small complaint, one quickly erased from my mind by the creative team working to explore more of the scientific ramifications of how less gravity would affect our world. The art and structure continues to be on point and then some, too. I’ve said it before, but I want to close by again re-iterating that this is one of the most underrated books in comics right now (although that may change...this month Skyward was optioned for a movie...awesome!).

Overall: Skyward #4 continues to take a simple concept and explore its logical repercussions in the world, a device that has been executed to perfection. In this issue, the creative team slows down a bit too, making room for more interactions between its characters.  8.0/10

For more about Skyward, read our review of Skyward #3.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Quantum and Woody! #8 by Eliot Rahal, Joe Eisma, Andrew Dalhouse, & Dave Sharpe

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Quantum and Woody! #8 is available July 18.

By Zack Quaintance — Eliot Rahal took this book over starting with Quantum and Woody! #6, following a five-issue run by writer Daniel Kibblesmith, who is (objectively) one of the funniest writers in all of comics. Basically, to use a cliche, Rahal had HUGE shoes to fill, humor-wise...which is why what he did with the first two issues of this run was so surprising and impressive.

Rahal didn’t try to match or outdo Kibblesmith’s jokes, or even to maintain a similar tone, really. There were hints of the goofy character dynamic that drives this franchise, but Rahal largely pushed it in new directions, writing a first issue that stripped the titular characters of their powers and made them prove themselves as heroes anyway, which they did in poignant fashion. Rahal then followed that excellent story up with a fever dream of an issue that delved deeply into our characters’ psyches.

Now, in Quantum and Woody! #8 he gets to the business of re-grounding the book a bit in this franchise’s signature tone—its humor—but because of the hard work he did as a storyteller in his first two installments, it's easy to be vested in the goofy moments. I’m not tearing up at Woody’s pithy one-liners (of which there are many), but I do care a little bit more about both of these heroes after what Rahal has put them through (and continues to put them through). I also really like how he continues to build on his first issues. This is a new arc and jumping on point, to be sure, but there’s a lot here for readers who are already on the book.

Joe Eisma’s artwork (with colors by the always-great Andrew Dalhouse) is also a great fit. For readers of his recent run on Archie with all-time great comic writer Mark Waid, this hardly comes as a surprise. Eisma is able to oscillate without strain between moments of heavy character reactions and action sequences or site gags—whatever the script calls for, he nails it. His work isn’t as intricate as some other Valiant artists, but Quantum and Woody! is a unique corner of the Valiant Universe, and Eisma expertly draws it that way.    

Overall: All three issues of the Eliot Rahal run on Quantum and Woody! so far have been vastly different yet equally as interesting and great. Rahal and his collaborators are doing a really impressive job drilling into these characters to find new ground for fresh stories. 8.5/10

For more about this Quantum and Woody! run, read our reviews of Quantum and Woody! #6 & Quantum and Woody #7.

Hear Quantum and Woody! artist Joe Eisma's recent appearance on the WMQ&A Podcast!

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Crude #4 by Steve Orlando, Garry Brown, Lee Loughridge, & Thomas Mauer

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Crude #4 is out July 18.

By Zack Quaintance — Crude #4 is yet another intense and emotional installment for one of the smartest series in indie comics. This book has a pair of clearly established plot lines—a father-son revenge story, and a meditation on late-model capitalism curtailing the humanity of individuals—and in this issue they begin to thoroughly intertwine in a way that really pushes the story forward.

Crude #4 opens exactly where the preceding issue left off, with protagonist Piotr Petrovich demanding information about his murdered son from a mob of attackers, all of whom he subsequently dispatches while incurring no greater damage than a cut on his arm. No greater physical damage, anyway. The larger stakes of the battle (as well as this book) involve what our hero learns about his son.

Being able to win fights but wanting instead to know more of his lost son is a value structure established quite well by Crude’s first three issues. Where #4 finds new ground is in its exploration of workers rights, corporations, industrial cartels, and the way individuals are controlled and debased by corrupt systems, no matter how hard they work. It also starts to explore the generational gap that has taken hold in society's across the world: the father as a good trusting soldier, the son as someone striving for change. This may be a reductive, but Crude is sneakily timely as hell.

In one particularly effective scene, a shady besuited executive rages that a single man is causing him so many problems, a man who is effectively acting outside established structures. It’s a telling metaphor, one Orlando and Brown have previously hinted at but kept in the background, wisely devoting earlier issues to vesting the audience in the more poignant father-son story.

One of the things I liked most about Crude #4, though, was the growth for the hero (or the promise of growth soon). It’s the best sort of character development: painful yet exactly what he wanted. Piotr has essentially been broken down of his own volition, continuing to learn that he didn’t know his son at all. Now begins the fascinating work of watching how he responds.

I’ve made this (likely simplistic) comparison before, but the emotional complexity of this comic is a bit like a Russian novel. At the same time, Orlando and Brown are clearly seasoned comics creators, because the usual qualities of great visual storytelling in chapter format are very much present: action, cliffhangers, callbacks to earlier issues. For me, it's this mix of fundamentals and meaning that make Crude so compelling.

Overall: Crude continues to have one of the most compelling hero's journeys in all of comics, one that blends gritty action with emotional devastation and subtle commentary. This fourth issue again ups the stakes in ways I could not have predicted. 9.0/10

For more about Crude, read our previous reviews of Crude #2 and Crude #3.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: The Weatherman #2 by Jody LeHeup, Nathan Fox, Dave Stewart, & Steve Wands

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The Weatherman #2 drops on July 18.

By Zack Quaintance — The Weatherman #1 was a pretty impressive debut comic, one that I like even more after getting some additional context from this second issue. In the first issue, there’s a montage in which it’s established that the titular Weatherman is painfully earnest, an irreverent entertainer who is blatant about his thoughts, feelings, desires, and corny jokes. I wasn’t sure last issue if these qualities were established for laughs, or if there was a greater narrative function for them.

After reading The Weatherman #2, it’s now clear it was the latter. Not to give too much away (ahem, spoilers!), but the central conceit of this series is that our protagonist at some point had his mind wiped. This plays to one of the comic book medium’s greatest strengths: the ability of drawings to create rough approximations for readers to envision themselves in characters better than they can in movies or on TV. Working a hero’s innocence into the plot plays to that strength, engendering a powerful amount of sympathy for our lead, feckless and crude as he may sometimes be. He’s basically a man who likely committed a horrific crime but has been more or less good ever since, cleansed of that memory and persona, turned into an utter innocent.

So, that’s all really strong, and the art in #2 is as captivating as it was in the first issue. The third act also expertly rushes toward a searing cliffhanger, much like the first issue again. Between this book and another new favorite of mine, Skyward, Image Comics is putting out some really fundamentally sound books that incentivize reading monthly versus waiting for a trade. There’s something very endearing and old school about that, and I’m loving it.

Before I give this book my full-on, must-read glowing mega endorsement, however, I should note there’s a scene with some pretty gruesome animal cruelty. This is an adult comic, and violence is to be expected—hell, elsewhere it’s established that seven years ago one of our characters maybe aided a terrorist attack that killed 18 billion people—but there’s imagery in The Weatherman #2 that crosses some usual lines. I cringed. So, be warned that you might, too.  

Overall: The Weatherman continues to establish itself as yet another must-read science fiction comic in a banner year for that genre. The art, pacing, and concept are confident and complex, and I wouldn’t be surprised if the best of this book is still yet to come. 8.0/10

SPECIAL NOTE: For more thoughts about The Weatherman, see our Best Debut Comics of June 2018.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Clankillers #1 by Sean Lewis & Antonio Fuso

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Clankillers #1 is dark and gritty in way readers might not expect.

By Zack Quaintance — Clankillers #1 is a gritty comic, but not in the way you might think. It’s not gratuitous nor extreme. There are violence and hints of sex, some nudity, but any violence is unfortunate for all, any sex utterly bleak and without any glamor or romance. Essentially, Clankillers is gritty in a way that feels real in tone and emotion, so much so the book’s imagery lingered with me for days.

It feels real in how cruel its king is (Padraig the Grotesque), how calloused the child protagonist/narrator has become, how fearful and supplicant the king’s subjects are in his presence. Yet, bits of supernatural Celtic folklore float amidst the story (which is set in feudal Ireland), failing to amaze or even captivate Clankillers’ cast, so comfortable are they with banshees and goddesses existing nearby.

It’s this nonchalance I found so haunting. In one scene, protagonist Finola and her best friend the orphan Cillian play with a severed idiot’s head, obviously not for the first time because Finola remarks: This one’s got good bounce to his noggin. In another scene, she launches into a harsh summary narration about her world...This dark fucking world we live in. Only one thing you can do in the face of it all...be darker than the fecks.

The book’s strengths are how it creates a sense of an unavoidable tragedy, and how it gives our hero a clear (if seemingly impossible goal): to get revenge on a goddess who took her mother and drove her father mad by killing Ireland’s four clans.

The visuals are also captivating, rough by design. The entire first issue is bookended by ethereal imagery in which an as-of-yet unnamed naked woman with mysterious body markings and one eye exhales and inhales our story, as if its entirety is being created on her breath. Lewis also makes great choices with what to include in his panels, incorporating disembodied floating skulls in one memorable scene to emphasize a character’s cruelty, while at other times playing with sizes to depict power dynamics.

The book has a unique look and tone, to be sure, and in a year when so many comic book genres—from science fiction to horror—are so heavily saturated, historical and mythological fiction has been somewhat missing. Clankillers being rooted in Celtic lore sets it apart. The bleakness can be oppressive at times, though, and it remains to be seen if there’s power or poeticism behind the grit and doom and dourness that Sean Lewis has done so well.

Overall: Clankillers #1 covers rare ground in comics, and it covers it well, depicting the bleak darkness of Celtic mythology. The excellent artwork fits the tone, and the hero is given a clear objective to move the plot forward. Essentially, this story feels captivating in a way not unlike a slow trainwreck. 8.0/10

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: The Amazing Spider-Man #1 by Nick Spencer, Ryan Ottley, Cliff Rathburn, & Laura Martin

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Amazing Spider-Man seems to be in good hands with Nick Spencer and Ryan Ottley.

By Zack Quaintance — Taking a beloved superhero back to basics in 2018 seems to mean a new creative team uses a whiteboard to free associate essential qualities that make a character compelling. They undo some of the last team’s work, while keeping other pieces that fit their vision. They then write and draw the hell out of their first issue, inspiring us fans to rush off and Tweet: THIS is the Spider-man I’ve been missing!

It’s not a bad thing, far from it. It certainly works here, as writer Nick Spencer and artist Ryan Ottley take over Amazing Spider-Man, marking the book’s first new creators in a decade. So, what do I think Spencer and Ottley put on their white board? WARNING, here come SPOILERS…I’d it included voice, humor, bad Parker luck, with great power comes great responsibility, and...wait for it…Peter’s relationship with Mary Jane.   

Now, I could spend this entire review discussing how Spencer expertly capture’s Peter’s interiority, how his writing made me laugh aloud, or how he nails Spideys relationship with other heroes—well-meaning but overly chatty and insecure. I could also easily heap 500 words of praise on Ottley’s artwork, which is that good. There’s a two-page spread in particular that made me realize what fans stand to gain by having Ottley on a flagship title.

This is all, however, overshadowed by Spencer’s clear intent to undo One More Day. For those who somehow missed it, in the 2007 story One More Day, Peter trades his marriage with Mary Jane to the demon Mephisto, who revives his Aunt May, effectively making Spider-Man single again. I personally disliked this decision, and I wasn’t alone.

But Spencer bookends this issue with scenes that seem to promise Peter and Mary Jane are getting back together. I try not to be overly prescriptive about comic book writing (much respect for vision and craft), but if I may let down my analytical guise: Holy hell this is everything I’ve wanted for a decade ahhhhhhhhh!

Ahem, now where was I?

Oh right: this issue left me feeling really good about Amazing Spider-Man’s future, both in terms of Spencer capturing what makes Spider-Man special and spinning (heh) interesting plots. Spencer’s take on Spider-Man’s villains is also unsurprisingly great, and not just because he makes them so relatable (Venture Bros.-esque, as he did in Superior Foes of Spider-Man).

In this debut, Spencer includes a ton of Spidey’s excellent rogues, using at least five villains plus a sixth who is discussed but not seen. Spencer, however, isn’t out to re-invent dynamics as Dan Slott seemed to be in his run. Spencer instead appears determined to let shared history between characters influence new battles in ways that feel fresh, which as we’ve seen elsewhere in superhero comics recently (DC Rebirth), is a great way to tell compelling stories about aging properties.

Overall: It sounds cliche, but Nick Spencer and Ryan Ottley really do take Spider-Man back to basics in the best possible way. The Ottley artwork is phenomenal, and the plot and characterization feel both fitting and natural. If this debut is a mission statement for what the new team is planning, I am firmly on board. 9.5/10

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

Monstress #18 by Marjorie Liu, Sana Takeda, & Rus Wooton

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Monstress #18 is the crashing finale to this Eisner-nominated comic's third arc.

By Zack Quaintance — I’ve been reading Monstress issue-to-issue from its start, enthralled by writer Marjorie Liu’s depth of vision as well as the unparalleled artwork produced by Sana Takeda, as lush as it is detailed. The book blends anime stylizations, fantasy novel trappings, and hints of Eastern mythology, creating a unique reading experience. It also seamlessly alternates from subtle issues that explore its world and strengthen the bonds between characters, to issues that serve as high stakes crescendos.

Monstress #18 is decidedly of the latter category, ranking as the most consequential action-heavy issue since the series’ searing debut, which was a statement about the marginalized striking back against abuse. Reading this issue, it struck me that our protagonist Maika’s being part of an oppressed group is an idea that has faded a bit in favor of her own personal hero’s journey, of her growing into an almost mythical savoir from a powerful line.

It’s a transition that has given her more agency than she had at the start. Maika was threatened in early issues by horsemen and soldiers. By comparison, she has now become the living world’s lone defender against a threat that could end it. Maika’s development feels patient, too, a reward to long-time readers that makes her heroism in this issue all the more impactful.

And this is just the first panel.

In the end, we are left with a sense that the threats and bad actors in our story are not quite what they seem, and while this could feel unwieldy—if every development is OMG SO HUGE AND WOW!, no developments are OMG SO HUGE AND WOW!—Liu simultaneously uses her supporting cast to remind us of the relatable stakes for our protagonist. It’s a wise choice, one that ultimately makes this one of my favorite issues of Monstress this arc.   

I’m tempted to call Monstress under-appreciated, although I’m not sure that’s right, as I often see it prominently displayed on end caps in independent bookstores alongside the likes of Saga, Ms. Marvel, and Ta-Nehisi Coates’ Black Panther. This comic has its readership, to be sure, and it is, perhaps, better-suited for trade, so dense is its plotting. I do, however, think there’s quite a bit to like for monthly readers who haven’t tried the book, all of whom are missing out on—at minimum—some of the industry’s best artwork.

Lastly, it should be noted that there will soon be three Monstress trades available, and that there’s never been a better time for new readers to give it a shot.

Overall: The finale of Monstress’ third arc does not disappoint, continuing to illuminate this world’s mythology. This issue is action-heavy, yet it takes time to seed its next arc with a more relatable crisis. Simply put, Liu and Takeda continue to build something truly special. 8.5/10

SPECIAL NOTE: For more thoughts about Monstress, see Top Comics of January 2018.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Wasted Space #3 by Michael Moreci, Hayden Sherman, Jason Wordie, & Jim Campbell

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Wasted Space #3 is this book's best issue yet.

By Zack Quaintance — As Wasted Space progresses, it’s becoming clear galactic dictator Devolous Yam (fantastic galactic dictator name, btw) is a MacGuffin, a writerly term for a plot device many characters pursue with borderline thin motivations. Our heroes want to destroy Yam, our villains want to destroy Yam plus also a planet because anarchy, and an unstoppable otherworldly force wants to destroy our heroes so they cannot destroy Yam because...well, we don’t exactly know yet.

Yam Yam Yam and more Yam. I’m not entirely certain we’ve even seen the guy’s face, but he's all anyone wants to kill or not kill here. We just know Yam eliminated democracy and one of our protagonists—Billy—helped enable his rise, earning great shame and infamy (plus another really painful cost we learn about via incredibly well-done flashbacks in this issue).

And that’s fine, really. It makes for an exciting romp of a third issue wherein various actors intersect after much setup. In #3, writer Michael Moreci, artist Hayden Sherman, and colorist Jason Wordie show themselves just as adept at action storytelling as they’ve been previously at exposition, heady ideas, and character development. Moreci’s sense of humor is on point, too, and Sherman once again makes a strong case for best dystopian action artist in comics.

Yes, as much as I liked Wasted Space #1 and Wasted Space #2, this issue reached a more entertaining level without sacrificing any themes or thoughtfulness. I could get into the weeds about all that I liked, but I don’t want to spoil even small moments. I will say if you’re a new reader, don't be discouraged—reading all three issues consecutively will actually help you appreciate how the various character journeys are being laid out. I certainly know re-reading from the start this time was helpful (if not vital) for me.

Writer Michael Moreci, an avowed Star Wars fan, is clearly having a blast working in homages to his favorite movie franchise.

This book has some of the best side characters in comics, specifically Dust, Billy’s Fuq/Qil Bot best friend who is often comic relief. I’m also a big fan of Legion, the aforementioned unstoppable otherworldly force, who crushes everything and sometimes doles out routine life advice, like, You should take more pride in your work. It leads to a healthier existence.

Lastly, I want to note that there are sneakily relevant bits of ethos and commentary throughout Wasted Space, with Billy flashingback in this issue to himself urging normalcy in the face of dictatorship, an attitude that cost him dearly and sent him into the spiral we find him in when the book begins. I'm curious to see the full scope of the progress he makes as the book continues.

Overall: Wasted Space #3 is this comic’s best issue yet. The creators have built a solid foundation of character and plot, and they’re now clearly having a blast smashing it all together. I have every reason to believe the next issue will be even better as things continue to converge. 9.0/10

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

ADVANCED REVIEW: The New World #1 by Ales Kot, Tradd Moore, Heather Moore, Clayton Cowles, & Tom Muller

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By Zack Quaintance — The New World #1 is a confident comic, no question. Writer Ales Kot has an impeccable elevator pitch at the heart of this—a second American Civil War has reshaped the global order—and he uses it to play out a number of interesting ideas about where things like television, sports, government, immigration, and law enforcement are currently headed. At a time when so many long-held real world American institutions are in flux (some for wonderful reasons, others less so), the book’s willingness to extrapolate is an incredibly effective hook. Simply put, chances are you will have an interest in one or many of the themes envisioned here.

Results are mixed as we proceed through its execution, though, with a clear exception being Tradd and Heather Moore’s artwork, which I found to be nigh-perfect throughout. Everything from character designs, to action sequences, to a reimagined Los Angeles setting, to the book’s lapses into psychedelic bliss—it’s all rendered beautifully with an almost visionary style, one that takes a unique approach to the well-traveled grounds of dystopia. It sounds cliche, but this book really is a joy for the eyeballs.

And the rest of the comic—characterization and story elements, specifically—aren’t bad either, not by a longshot. It’s just that the something intangible that makes a story really special was missing for me. This is a tough idea to articulate—I’ve tried in the past—but there’s something off about how this comic feels. It’s all a little too on the noise, although that may be reductive. The book just doesn’t seem to have a coherent worldview, oscillating a bit too fitfully at times between targets of its satire: local law enforcement? sensationalistic TV? xenophobia? political opportunism? there’s a lot of disparate ground covered.

The New World #1's colorful-yet-bleak reimagining of Los Angeles.

There's also a slight undercurrent of detached cynicism, both in the characters and their attitudes. Or rather, much time spent on the cusp of cynicism. This perhaps has to do with my own worldview fighting so hard lately to maintain optimism. In other words, results will likely vary, and I don’t fault anyone who is immediately captivated or enthralled by this comic.

There’s definitely a scenario wherein the second issue soothes my concerns and I’m back here next month calling The New World #2 one of the most relevant books on the market. Time alone will tell. For now, I strongly recommend this first issue to anyone interested in a solid graphic story about a bleak-but-colorful future America. The art alone is worth it.

Overall: The New World #1 is a good first issue, polished and confident. There’s a lot of disparate ideas, though, and at times it can be hard to tell which ones we’re supposed to care the most about. Still, this comic hooked me for the next issue or two based on the strength of its artwork alone. 7.0/10

The New World #1 is out July 25, 2018.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

REVIEW: Relay #1 by Zac Thompson, Andy Clarke, Donny Cates, Dan Brown, & Charles Pritchett

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What is The Relay and who is Donaldson? These questions give The Relay #1 an intriguing foundation to build its action and philosophy upon.

By Zack Quaintance — Relay #1 is a complex and impressive comic, one as visually stunning as any book in ages. At its core, though, this is a hard sci-fi story with big philosophical ideas in the mold of Philip K. Dick and Ursula K. Le Guin (those all-time great K. writers)—both of whom series creator Zac Thompson has cited as influences. Relay must do a lot to stand out from the half dozen or so other excellent science fiction books released so far in 2018, and, simply put, it does.

Indeed, this year has launched some truly stellar sci-fi comics, including Skyward, Vagrant Queen, Wasted Space, and The Weatherman, among others. Where Relay sets itself apart, though, is in its scope. This is a book concerned with civilization, with the evolution and shaping of society, and it approaches this by incorporating organic discussions between characters about history, religion, power structures, the role of the follower, the role of the good soldier, etc.

It’s a lot, but the book never gets unwieldy. To the contrary, it’s actually a fast-paced and entertaining comic that does a great job of avoiding the first issue pitfall of bogging itself down with excessive exposition. We get a protagonist on page one we can relate to: Jad, just a guy trying to get to work. Then Jad gets a simple task: keep the peace (oh, and find Donaldson if you can), and off we go. Easy. With solid and well-done grounding, our writer Thompson (who conceptualized Relay with red-hot Marvel writer Donny Cates) is free to put us through action sequences as easily as philosophical discussions about this world, all of which remain fascinating because he also establishes mystery: what does The Relay really do and is Donaldson out there somewhere to be found? This is good storytelling 101.

Lastly, Andy Clarke’s artwork is phenomenal throughout, evoking names like Frank Quitely, Jon Davis-Hunt, and Ramon Villalobos. My favorite work sees Clarke impressively transition to a frenetic page design for effect. Not to reveal too much, but sound is used as a weapon. The page design really makes you feel the sonic disruption by ditching traditional panel structure for one that’s jagged and uneven. Once the attack is stymied, the book immediately returns to a normal scheme. Rarely have I seen design so effectively stimulate non-visual senses. Impressive stuff. Dan Brown’s colors are also expert, both gritty and pretty as required by the tone. It all adds up to a fantastic debut comic.

Overall: There’s so much going on in Relay #1, so many ideas and concepts, all of them fascinating, and expert storytelling by the creators keeps the book from becoming unruly. In a market thoroughly-saturated by great sci-fi comics, Relay stands out, a must-read for fans of Philip K. Dick and Ursula K. Le Guin. 9.5/10

Relay #1 is out July 11. See a preview via our friends WMQ Comics now!

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.