REVIEW: Man-Eaters #2 Finds Compelling Character Traits in Quiet Moments

October 30, 2018 by Zack Quaintance in Reviews

Man-Eaters #2 is out 10/31. — **Man-Eaters #2** is out 10/31.

By Zack Quaintance — The inside cover of this comic sports an actual magazine ad, the sort you might see in a magazine like, uh, whatever magazine people still read these days (I really couldn’t think of one...is Time still a thing?). Look closer, though, and you’ll notice the ad is a public service announcement that’s actually set in the world of Man-Eaters, wherein a mutation in humans is causing women to turn into were-cats when they menstrate.

She’s your little princess today, but will she be a monster tomorrow? The add asks, adding: 98% of adolescent females are infected with Toxoplasmosis X. Is your daughter one of them? Get her tested. It’s the law. And below is an actual photo of a young girl playing with a cat, followed by a fine print info box describing the symptoms of the comic’s central disease. It’s a clever way for a book to open, especially one that follows up on the provocative satirical premise laid out by Man-Eaters #1 as well as this comic does.

I, obviously, think this sort of narrative device is effective, or I wouldn’t have gone into such detail describing it, and that’s a good thing, because Man-Eaters #2 uses devices similar to this one often, ranging from intricate tampon instruction pages to lists to quick (and very funny) jump-cut panels that show the gushing blood elevator from The Shining. Writer Chelsea Cain and artist Kate Niemczyk fearlessly interweave these illustrative visuals in with the usual graphic sequential storytelling found comics, using them to both impart info and to continue to set a tone for this book.

“Man-Eaters #2
Writer: Chelsea Cain
Penciler & Inker: Kate Niemczyk
Colorist: Rachelle Rosenberg
Letterer: Joe Caramagna”

This clever use of visuals was everywhere in the first issue, and, indeed, it’s nice to see its use carry over to the second installment. Man-Eaters #2 also remedies an issue I had with the debut of this series. With its premise firmly established, it gets about the business of crafting and interesting and compelling narrative in a way that vests us in our central characters, accomplishing that latter bit mainly by showing us glimpsed of the relatable dynamic between our hero Maude’s divorced parents. There’s a scene with the three of them watching television on the couch. It’s maybe the most understated scene in this entire comic, but, for my money, it also happens to do the most storytelling work. Add on an intriguing (if slightly predictable) cliffhanger twist, and it all adds up to a second issue that has me excited for the future of this comic.

Overall: Man-Eaters #2 continues the clever use of visuals found in its predecessor, while also going into the standard trappings of a good story, mainly character development and a progressing narrative. Cain and Niemczyk are both super-talented storytellers, and they seem in full control of their powers here. 9.0/10

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. He also writes comics and is currently working hard to complete one.

REVIEW: Mood and Tension Still Reign in the WYTCHES: BAD EGG HALLOWEEN SPECIAL

October 30, 2018 by Bo Stewart in Reviews

Wytches: Bad Egg Halloween Special is out 10/31. — **Wytches: Bad Egg Halloween Special** is out 10/31.

Bo Stewart — Horror comics are tough to create. Film and television in the genre can use sound to build tension and establish mood, but comics have to rely on purely visual tools to earn their scares. The best graphic sequential horror stories are those that excel at creating an eerie atmosphere and a prevailing sense of unease this way. Few establish the desired sort of ominous mood better than Scott Snyder and Jock’s critically-acclaimed Wytches franchise.

While reading this week’s Wytches: Bad Egg Halloween Special one shot, I kept having this thought: Man…I’ve really missed Wytches. The first volume of this book was an incredibly strong story, so much so that the sporadic teases of a second volume have only deepened the void this comic leaves in my reading pile when it’s not on the shelves. The Bad Egg: Halloween Special, however, goes a long way toward satiating my impatience, and at a whopping 80 pages, I suspect the special will be enough to tide me over until the eventual release of volume 2. I wouldn’t consider the special required reading for Wytches fans, not exactly, but it does flesh out the world while also laying some groundwork for the second volume in a really interesting way.

The Special exists primarily to introduce us to Sebastian Clay. Snyder promises that Seb will be a key player in the events to come, and I enjoyed spending time with him here, finding him to be a really interesting protagonist in his own right. Seb just wants a normal standard issue life, as he puts it. Everything changes, though, when a friend’s dad tries to abduct Seb and feed him to a Wytch.

After this defining event, Seb has to focus on a larger mission that prevents him from enjoying the pleasures of childhood. He is forbidden from making real friendships, including one with his neighbor Jackson. The stakes are immediately upped when it’s revealed that Seb is going to kill Jackson and his whole family. The story kicks into high gear thereafter and begged to be finished in a single sitting.

Essentially, I think this special is a reminder that Snyder can still excel in storytelling made rich by smaller human moments. According to Snyder himself, Wytches was his most personal work to date, and that intimacy carries over into this special. It really makes me wish we would see more of this intimacy in his DC work, too.

“Wytches: Bad Egg Halloween Special
Writer: Scott Snyder
Artist: Jock
Colorist: Matt Hollingsworth
Letterer: Clem Robins
Publisher: Image Comics
Price: $7.99”

Back to my thought about mood in horror comics…yeah, Wytches has possibly the most distinct mood of any comic out there. Jock brings his A game, particularly when it comes to body language. Everything looks right on the surface, but a closer examination finds most pages have something a little off. It’s a killer way to build mood and atmosphere. Matt Hollingsworth’s coloring is also spectacular. There’s simply nothing like it. The random splotches feel out of place, letting us know something isn’t quite right in cool, subtle ways.

Overall: Wytches: Bad Egg Halloween Special is the perfect Halloween treat. It’s also the perfect antidote for the long-term absence of one of the most spectacular horror stories in all of comics. 9.5/10

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

Bo grinds for the man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram@stewart_bros

Top Comics to Buy for October 31, 2018

October 29, 2018 by Zack Quaintance in Comics

By Zack Quaintance — So, there’s a fifth Wednesday in October this year, and it just so happens to fall on Halloween, which means a couple of things. First of all, it’s a fifth Wednesday so it’s kind of weird and a little sparse, depending on the publisher. Second, it means some books have planned well and have something spooky to offer!

As such, we’re getting some potentially scary comics this week, including the second title from the ongoing Vertigo Rebirth—Hex Wives—and the conclusion to a five-part Wonder Woman/Justice League Dark crossover. My own personal real fear, however, is probably best reflected by Fearscape #2, a comic about a deluded and desperate writer thrown into a fantasy dimension of sorts where his storytelling abilities must be used to defend the world. Gulp! Now, THAT is scary.

Anyway, enough rambling! Let’s get to this weeks must-buy books...

Top Comics to Buy for October 31, 2018

Fearscape #2
Writer: Ryan O’Sullivan
Artist: Andrea Mutti
Colorist: Vladimir Popov
Letterer: Andworld Design
Publisher: Vault Comics
Price: $3.99
Heroic plagiarist Henry Henry faces his first trial in the Fearscape! Within The Weeping Castle, home to The Children of Prometheus, Henry Henry encounters wondrous and fanciful creatures-including The First Fear. With courage and calm, he endures the heart of darkness, refusing the easy temptation of light. No Legs can outrun-no Mind can outwit-no Heart can outlove our hero.
Why It’s Cool: Fearscape #1 earned a rare 10/10 review from us, and so we’re obviously really excited to dig into the second issue. If it grows from the foundation laid in the first chapter, this will be deeper dive into territory, a story about what it’s like to tell stories, and a razor sharp one at that.

Green Lantern / Huckleberry Hound Special #1
Writer: Mark Russell
Penciler: Rick Leonardi
Inkers: Dan Green & Ande Parks
Colorist: Steve Buccellato
Letterer: Wes Abbott
Publisher: DC Comics
Price: $4.99
Set against the turbulent backdrop of the early 1970s, Green Lantern and Huckleberry Hound join forces to take a stand on the issues of that era. Returning from recent duty in Vietnam, veteran Marine John Stewart-now a member of the Green Lantern Corps-contemplates what, if anything, he should do about the issues tearing his country apart. Meanwhile, Huckleberry's comments against the Vietnam war have left him a celebrity outcast, and a visit back home to Mississippi puts him face to face with the Civil Rights Movement. What can one man-and one hound-do? Plus, part two of a Secret Squirrel backup story written by J.M. DeMatteis.
Why It’s Cool: This story builds on the excellent work that writer Mark Russell did in Exit Stage Left: The Snagglepuss Chronicles, which is one of our favorite series of 2018 so far. What’s changed is the time period, jumping forward to the ‘70s and the Vietnam War, from which Green Lantern John Stewart has just returned.

Ice Cream Man #8
Writer: W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
Publisher: Image Comics
Price: $3.99
All around town, folks are in crisis. But this ambulance ain't stoppin' for no one, baby. ICE CREAM MAN continues with another dreary confection.
Why It’s Cool: This psychological (almost existential) horror anthology book is also one of our favorite comics of 2018! Every issue has been memorable, ranging from downright chilling to full-one filled with dread, and Ice Cream Man #8 is no exception. Not to spoil anything, but this single issue could be this fantastic series’ thesis statement. Highly recommend it.

The Terrifics Annual #1
Writers: Gene Luen Yang, Mark Russell, & James Asmus
Pencilers: Joe Bennett, Doc Shaner, & Jose Luis
Inkers: Matt Santorelli, Scott Hanna, Richard Friend, & Jordi Tarragona
Colorists: Hi-Fi & Nathan Fairbairn
Letterer: Tom Napolitano
Publisher: DC Comics
Price: $4.99
It's three startling Terrifics tales, kicking off with a deadly nightmare at Stagg Manor! When a plot to steal Plastic Man's powers goes awry, the Terrifics' new home and everyone in it are at the mercy of stealthy plastic monsters. Looks like Sapphire picked the wrong day to host a Halloween dance for her Stagg Industries internship program! Next up, discover the secret origin of Java the caveman, and the secret he's keeping will shock you. Last but not least, we uncover Tom Strong's hidden adventure in the Dark Multiverse-hold on to your holy socks!
Why It’s Cool: Under the guidance of writer Jeff Lemire, The Terrifics is the stand-out book of DC’s faltering New Age of Heroes initiative. He’s just made it such a charming homage to the Fantastic Four. Now, some of our other favorite writers get to take a stab at doing the same with these characters, including Gene Luen Yang, Mark Russell, and James Asmus. It should be interesting to see what they all come up with!

Wild Storm #18
Writer: Warren Ellis
Artist: Jon Davis-Hunt
Colorist: Steve Buccellato
Letterer: Simon Bowland
Publisher: DC Comics
Price: $3.99
You can never go home again, but John Lynch needs to go somewhere to begin the last act of his life. Jack Hawksmoor never really had a home, especially since he became something other than human. As the war between IO and Skywatch gets hot, Marc Slayton has somewhere for Lynch to go, and Jenny Sparks may have a new home for Jack Hawksmoor...and Angela Spica.
Why It’s Cool: This book is yet another one of our favorite comics of 2018 (this week is one of quality over quantity, to be sure), and the end of last issue has us incredibly excited for what we see as the obvious end game for the title. This, sadly, is the last issue of the book until next January, but hoo man are we here for it!

Others Receiving Votes

Black Panther #5
Bone Parish #4
Britannia: Lost Eagles of Rome #4
Doom Patrol #12
Extermination #4
Faith: Dreamside #2
Heroes in Crisis #2
Lost City Explorers #5
Man-Eaters #2
Marvel 2-in-1 #11
Shanghai Red #5
Tony Stark: Iron Man #5
Vagrant Queen #5
West Coast Avengers #3
Wytches Bad Egg Halloween Special One Shot

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

Of Writers and Wars: Saga #12 is a Nigh-Perfect Comic

October 26, 2018 by Zack Quaintance in Saga Re-Read

By Zack Quaintance — I’m one of those people who count Saga as my favorite comic. I know, shocking. I only Tweet about it at least once a week. I don’t actively realize, however, exactly why that is, at least not on a regular basis, and, quite frankly, I’ve been a little surprised that to date this re-read project has been short on holy shit moments that remind me—until I came to Saga #12.

This issue is just such a great example of all that this book does so well: the varied cast of characters, the range of ideas and meanings, the lofty conversations that lesser writers would bungle into boring heavy-handed tedium. It’s all in here. It’s perhaps telling that our central family doesn’t even make an appearance until the last panel, that Vaughan and Staples could leave them unseen and still make the stakes incredibly tense, the so-far little-used characters so compelling. Anyway, I could keep fawning or I could get down to the meat of what this re-read project is all about: a weekly thorough examination of individual issues of Saga and some quick categorized talk about why I love them.

Saga #12

Here’s the official preview text for Saga #12, first released on April 10, 2013:

Prince Robot IV makes his move.

I feel like that description can be trotted out a few more times between now and #54, not that it even tells us much, other than to expect plenty of one of my favorites, ol’ Prince Robot IV. Let’s do the individual elements thing…

The Cover: As noted above, I am admittedly partial to covers that feature Prince Robot IV, and while this maybe isn’t one of the best of them, it definitely shows kernels of some of the ideas that will make my favorite Prince Robot cover (Saga #49) possible: specifically alluding here to the way Staples uses the character’s face as an actual TV screen that bears familiar TV imagery from our world. It’s a way to draw a direct connection between our daily lives and the fantasy of this story, and it absolutely works.

The First Page: Speaking of a blend of fantasy and reality, the first page of Saga #12 is a case in point. It shows a Wings shoulder holding an injured Prince Robot IV. The prince is dripping his literally blue blood as the soldier screams for a medic. Basically, here we have a man with what look like peacock-esque feathers sprouting on his back holding another man with a TV head as they both fit into familiar imagery from our own wars. After several issues that dealt more in this tale’s domestic issues, this first page here works as a stark and brutal reminder that the entire world is affected by a forever world. Oh! And not to discount the shock to the prurient that is a finely-honed Saga tradition, look closer and you’ll notice that as he’s dying, Prince Robot IV’s face features fellatio (his face and the war around it only get way more graphic throughout the scene—side note: holy hell do I love this comic).

The Surface: There’s a great deal of plot in this comic, even with its first act essentially consumed with a battle scene that has no discernible purpose other than to (as noted above) remind us of the war and suggest that Prince Robot IV might be suffering from PTSD. It’s good stuff, too, a humanization of a guy with a TV head, a tense roller coaster of an interrogation scene, and a last page reveal liable to really bug your eyes and keep them that way until next issue. I like Saga #12 even more on re-read, as it seems to me like this was is where the story becomes a bit less predictable than it has been so far. If I have one knock on this issue, it’s that some of the writer’s voice comes through too clearly in the Oswald-Heist verbal sparring. More on that below...

Saga #12 features the first appearance of Ghus. — **Saga #12** features the first appearance of Ghus.

The Subtext: There’s a really thin line in this conversation-heavy issue between what’s being said and what’s being meant. We’ve delved into some of the subtext in the early scenes above, but what I’d really like to unpack a bit more in this section is what’s beneath the conversation between Oswald and Prince Robot, which bounces from a tense interrogation to a meditation on the cost and meaning of war, with a sprinkling of the role of the artist in society and some thought about whether succumbing to PTSD makes one strong. It’s a lot, but it never feels heavy handed or forced. That’s not the point of this particular section, however, so let me just note that upon a second read I think there’s a very deliberate idea between the two men here that aspires to say something about the roles of individuals in warring systems, as well as about the things we justify to ourselves for the sakes of our children, born or dead.

The Art: And now we come to the fawning. I’m really struggling to make this section more productive, to write something than other Staples DESTROYS YET AGAIN, because she does, every damn issue. Here perhaps the most notable artwork is her design of Ghus, who makes his first appearance before going on to eventually be immortalized as a plush toy with multiple outfits and (for my money) one of the coolest pieces of merchandise to stem from a paper comic yet to be adapted. It’s a credit to Staples’ versatility and skill that in a single issue she can draw scenes of such horror and creatures of such adorable aesthetic.

Check out past installments of our Saga Re-Read.

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

REVIEW: Brubaker and Phillips’ My HEROES HAVE ALWAYS BEEN JUNKIES is a Psychedelic Bonnie & Clyde

October 25, 2018 by Taylor Pechter in Reviews

By Taylor Pechter — When it comes to crime comics, two names are basically synonymous with modern works in the genre: Ed Brubaker and Sean Phillips. Throughout the last decade of their fruitful collaboration, the duo has made some of the most acclaimed series in all of comics, from the down and dirty family drama of Criminal, to the Lovecraftian horror history lesson that is Fatale, to their most recent monthly series Kill or Be Killed, a nuanced dive into mental illness.

Brubaker and Phillips’ latest creation is the original graphic novel My Heroes Have Always Been Junkies, wherein they create a story that involves romance, the meaning of life, and a thorough shattering of the status quo. This is the first time the pair has produced a complete work in the original graphic novel format, and so I think it’s helpful to break it down into individual qualities, starting with the writing and the plot.

Warning Spoilers: The story in My Heroes Have Always Been Junkies follows a woman named Ellie who is sent to a rehab facility by her uncle...or so she believes. In the early pages, readers get Ellie’s view of the world, as well as her thoughts on being a titular junkie. During a therapy session Ellie exclaims, Why do we automatically think getting clean is a great thing? What if drugs help you find the thing that makes you special?

Here in lies Ellie’s arc, during which she recalls past experiences with her mother, who was herself a junkie. Not only that, but Ellie’s story also touches thematically on some of the most famous singers—Judy Garland, Billie Holiday, Janis Joplin—all of whom were junkies and eventually succumbed to their addictions. However, in Ellie’s mind they are the heroes of her story. Through them she learned that junkie carries a negative connotation, even though she believes it should really carry a positive one. Her logic goes: these famous musicians made memorable music while also high on something, be it heroin, cocaine, or speed. Essentially, Ellie sees being a junkie as breaking the status quo of normal life. Doctor Patti, however, obviously thinks the opposite. She thinks that her patient Ellie has convinced herself of this in order to feel special, making her just like any other person in the facility.

Eventually, readers are also introduced to Skip, another patient at the hospital. As time goes on, he grows closer to Ellie and they form a sort of partnership. It starts with sneaking out to take a puff at night and evolves into eventually planning escape. It is during this escape that Skip and Ellie grow closer. They move from house to house, forging a bond, and so romance blossoms. With romance, their dependence on drugs also grows. It is then Ellie monologues, I mean, what young lovers don’t secretly want this? To be bandits on some lost highway… Running until it all burns down?

It is not just through her dependence on drugs, but also her love of Skip, that the memories of her mother and the thrill of the chase bring Ellie’s life full circle. As the story draws to a close, Ellie is walking on a beach, much like we saw her at the beginning of the story. There, she reminisces about the events that have transpired. It is through her ending monologue that she exclaims that life is supposed to be like a clouded memory, and that the things you really remember are the things that are most important. It is in fact the love that others give you that makes life worth living.

In terms of the artwork, along with Brubaker’s detailed script comes, as always, Sean Phillips artwork. Phillips is a master of emotion, an artist who is able to capture the happiness, sadness, excitement, and boredom of each of the characters he renders into life. Not only that, Phillips use of body language also adds an extra layer of realism. This, however, has basically become standard within Brubaker/Phillips works. So much so, that we’re probably all taking how great these comics look for granted. Phillips work really has been that good for that long.

What is new with this most recent Brubaker/Phillips work is the colorist. Joining Phillips on coloring duties is his own son, Jacob. Jacob replaces Elizabeth Breitweiser, whose colors have often paired with Brubakers drawing of late. Jacob Phillips splotchy color palette of bright oranges, pinks, and blues really fits this particular story well, adding a psychedelic feel to the proceedings. The story also features many flashbacks throughout, detailing Ellie’s childhood, and Jacob Phillips lends them all a beautiful monochromatic style evocative of times gone by. Breitweiser is a great colorist, as is another past Phillips collaborator Val Staples, but Jacob Phillips work compliments his father’s in a way that has me hopeful they’ll continue to collaborate in the future.

Overall: With My Heroes Have Always Been Junkies, Ed Brubaker and Sean Phillips craft a beautiful story of a woman trying to find her place in the world. This original graphic novel format adds extra weight to their story, too. With a detailed script and luscious artwork, this work is likely to rank up there with some of the duo’s best stories. It’s a solid offering from today’s masters of the crime comic, one to tide their fans over until the return of Criminal in January. 8.5/10

My Heroes Have Always Been Junkies
Writer: Ed Brubaker
Artist: Sean Phillips
Colorist: Jacob Phillips
Publisher: Image Comics
Price: $16.99

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

REVIEW: The Lodger #1 Sees the Laphams Do Small-Town American Darkness Via Travel Blogging and Crime Noir

October 24, 2018 by Zack Quaintance in Reviews

The Lodger #1 is out 10/24. — **The Lodger #1** is out 10/24.

By Zack Quaintance — Comics can seem infinite. The personal tastes and reading histories that belong to fans of this medium are as varied as any I’ve yet encountered. Both film and literature have canons, bodies of work widely considered to be the most important or influential. These are, essentially, lists of works that all serious fans of those mediums should aspire to experience. Comics, however, doesn’t have that.

Now to get to my point: if it did, my sense is that David and Maria Lapham’s long-running crime noir book Stray Bullets would without question be part of any comic book canon. Furthermore, this is all a long-winded way to establish that I, in fact, have not yet read it (although, now that I’ve officially finished Sandman, maybe Stray Bullets should be next). So, I can’t talk or write intelligently about how their newest comic, The Lodger, fits into their body of work. Consider this intro a disclaimer.

What I can say/writer, however, is that I found this book immensely intriguing, a mysterious and well-crafted introductory issue that works in equal parts to establish a set of thematic interest (small-town American darkness, crime noir, travel blogging, drifting) and a number of questions (what the holy hell is going on and who exactly are our two main characters?). What is perhaps most consequential and worthy of discussion in this comic is its framing device.

This is my first experience actually reading the Laphams’ work, after hearing it discussed often in laudatory tones, and I found it to be as literary as most of the works folks tend to casually canonize. The framing device sees them writing a travel blog. It’s heavy on prose, which is always a dicey proposition for writers in the graphic medium. I find that often times prose-heavy comics are bloated, like the writer is so thrilled to have a little extra space that they lose their capacity for self-editing; that they forget how to be concise. Not so in The Lodger.

This framing advice reads like a first-person short story, the sort that fills readers in on details and also makes ample use of unreliable narration through the lens of whoever is talking. The Laphams go on to make expert use of the comic book medium, tying the visuals abstractly into said narration in a way that enhances the puzzling nature of this entire story. Simply put, this is the sort of comic made exclusively for comics, the work of veteran creators bent on exploring some of the graphic sequential mediums untapped potential. It’s an ambitious book, one that deftly completes a high-wire act that requires withholding crucial information without disorienting its readers. It’s complex stuff, and I can’t recommend it enough.

Overall: Along with Euthanauts and House Amok, The Lodger is part of the Black Crown imprint’s second wave of titles, and boy is it something to behold. These are complex comic books for smart readers, and I can’t recommend them all enough. 9.0/10

The Lodger #1
Writer: David and Maria Lapham
Artist: David Lapham
Publisher: IDW’s Black Crown Imprint
Price: $3.99

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.

REVIEW: Dead Kings #1 Turns Its Anger Toward Failed States

October 23, 2018 by Zack Quaintance in Reviews

Dead Kings #1 is due out Oct. 24. Variant cover by Michael Gaydos. — **Dead Kings #1** is due out Oct. 24. Variant cover by Michael Gaydos.

By Zack Quaintance — Dead Kings #1 sees writer Steve Orlando telling another angry retribution tale, one heavy with grit and swagger in which we get interactions like this one: Bartender: I don’t know that name… Anti-Hero: I’ve punched a lot of faces to get here. I think you do. That’s all very telling about the type of world Dead Kings #1 inhabits.

Plot-wise, this story takes place 30 years after a techno-magic war in a place that must have once been Russia but is now called Thrice-Nine, which the book’s preview text describes as a dirty folklore world that limps along, degenerating into a place filled with paranoid and poison. Indeed, we definitely get all of that. Hell, most (if not every) interaction here is brimming with both of them.

Really though, Orlando writing an angry revenge story that promises violence to come is nothing new. Not after his most recent creator-owned book, Crude, or his breakout DC hit, Midnighter. What I find interesting here is the cause of the anger. In Midnighter, the anger was inherent to the titular character, an effect of his status as an embodied weapon. In Crude, the anger came from repression of self, both from one’s family and from one’s society. It’s only one issue so far for Dead Kings, but my early sense is that the anger and violence in this story will be driven by the failure of nation states, by the peasants who have been abused and marginalized by the namesake Dead Kings.

There are, to be sure, also some familiar themes from Orlando’s past work in play too, themes very much evocative of the recently-concluded Crude, specifically that one of the main characters is out to save a lost twin brother persecuted for loving another man. There aren’t really diminishing returns though. Dead Kings is pretty heavily steeped in both the gritty and the fantastical. I mean, this is a story that on one of its first pages has a kaiju-sized steam-powered bear mech.

Matthew Dow Smith and Lauren Affe are a well-suited art team for this story, too, with their work lending the proceedings a punk aesthetic through every frustrated or pained face (and there are a lot of them). The visuals here are equally as capable of action, and based on some of the outsized splash pages at the start, my sense is that the best is definitely yet to come from all involved.

Overall: A gritty first chapter that seems to promise outsized adventure and fantastical warfare to come. There’s a lot to be said about the way states fail their peoples from generation to generation, and this might be the book we need right now to say it. 8.0/10

Dead Kings #1
Writer: Steve Orlando
Artist: Matthew Dow Smith
Colorist: Lauren Affe
Letterer: Thomas Mauer
Publisher: AfterShock Comics
Price: $3.99

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 October 24, 2018

October 22, 2018 by Zack Quaintance in Top 5 Comics

By Zack Quaintance — This is, admittedly, an odd week, because I’m writing this way sooner than I normally put this column together, due to leaving for Ireland tomorrow (which by the time you read this will be several days ago...which, ultimately, hurts my head). Anyway, this week’s group of books should be taken with the caveat that seismic shifts in the world could potentially occur between now and then, rending all these choices moot (but they probably won’t). Also, apologies to colorists and letterers this week, but those details are way too hard to find online before review copies make their way to me, so I don’t have those either. Gah, the pains of taking a vacation!

Anyway, this is a good week in that we get selections from two of the longest-running series at the Big 2: DC’s Action Comics and Marvel’s Amazing Spider-Man. So, that’s always nice. It gives the week almost a classic feel. Meanwhile, we’re also getting some newness, too, coming in the form of Lodger #1, which seems the Laphams coming to Shelly Bond’s fantastic Black Crown imprint, and Mars Attacks #1, which sees the always-hilarious Kyle Starks writing that property. I know I’ll enjoy both, and I’m hoping that Lodger in particular finds a nice big audience and becomes a hit.

Now onward to the books!

Top Comics to Buy for October 24, 2018

Action Comics #1004
Writer: Brian Michael Bendis
Artist: Ryan Sook
Publisher: DC Comics
Price: $3.99
Superman confronts Lois Lane and wants answers: Where is Jon Kent? What happened during Lois' trip into space with Jor-El? Why didn't she contact the Man of Steel when she returned? And most importantly, does she still love him? Or is the world-famous reporter looking to let Clark Kent down easy? Lois and Clark's relationship gets redefined in this issue illustrated by acclaimed artist Ryan Sook!
Why It’s Cool: I only vaguely understand the concept of shipping, but I guess I ship Clark Kent and Lois Lane? I don’t know, who knows, does anyone know? I just like romantic love as a nice little accent to my stories, and this issue seems poised to have a great take on one of the longest-tenured and most-romantic (if done well) relationships in all of fiction. Plus, Ryan Sook is a favorite artist of mine.

Amazing Spider-Man #8
Writer: Nick Spencer
Artist: Humberto Ramos
Publisher: Marvel Comics
Price: $3.99
The heist of the century is ON! Who are the Thieves Guild of New York? Spidey might dying trying to find out.
Why It’s Cool: This ongoing Amazing Spider-Man run is absolutely a delight, a blast of the humor and minor pathos and battles with guilt that made me first love the character. Nick Spencer does Spidey’s voice very well, which goes a long way. The recent villain-heavy issues have been the funniest yet of this young run. Highly recommend.

Lodger #1
Writers: David and Maria Lapham
Artist: David Lapham
Publisher: IDW’s Black Crown Imprint
Price: $3.99
A handsome drifter murders his way through the midwest while hiding in plain sight as a travel blogger, leaving families in shreds and body bags in his wake. Ricky Toledo was fifteen when she fell hard for "Dante"-until he killed her mother and got her father sent to prison for it. It's three years later, and Ricky will stop at nothing to get revenge. Lodger is a dark, grimy, psychological thriller-a game of cat and mouse between a broken young woman and a serial killer-and like all the best crime noir... a twisted love story.
Why It’s Cool: I was in the room at SDCC when veteran Black Crown editor Shelly Bond unveiled this title for the first time, and her excitement was evident. Bond knows comics, as do the Laphams, who have put together one of the most interesting crime noir stories of all time with Stray Bullets. It is going to really be something to see what they all have come up with here together. It’s also worth noting that Black Crown’s last two books - Euthanuats and House Amok - have been absolute gold.

Mars Attacks #1
Writer: Kyle Starks
Artist: Chris Schweizer
Publisher: Dynamite Comics
Price: $3.99
Spencer hasn't finished a dang thing in his life. So when he goes to visit his dad to see if maybe he can borrow some money, the last thing on his mind is global survival. Now Spencer and his father are on the run, trying to avoid being spaceray'd by a bunch of destruction happy Martians, heck bent on zapping them dead!
Why It’s Cool: Have you read Rock Candy Mountain or Sex Castle? Kyle Starks is one of the funniest original voices in comics. Mars Attacks also seems like a great fit for the work he does. Exciting to see what he and collaborator Chris Schweizer have come up with here.

Sentry #5
Writer: Jeff Lemire
Artist: Joshua Cassara
Publisher: Marvel Comics
Price: $3.99
Bob Reynolds and the Sentry are both dead...so it's time for something new to rise in their place!
Why It’s Cool: This book, initially announced as an ongoing, ended up being a mini-series that didn’t feature the same artist throughout, which is all kind of to really uncool, but a finale is a finale and we love Jeff Lemire, so we’re still excited to see how he ends things here.

Others Receiving Votes

Batgirl #28
Babyteeth #13
Cold Spots #2
Die! Die! Die! #4
Justice League Odyssey #2
Olivia Twist #2
Punisher #3
Redneck #16
Terrifics #9
Titans #28
Usagi Yojimbo #7
Wonder Woman #57
X-Men: Red #9
X-O Manowar #20

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.

Powerful Sacrifice and Saga #11

October 19, 2018 by Zack Quaintance in Saga Re-Read

By Zack Quaintance — Of all the comics I read (and I read a lot of comics), Saga is potentially the one that feels the most immersive, the most real, the most relatable. I attribute this to the depth writer Brian K. Vaughan has given not just to his characters but to the relationships that bind them. It’s one thing to give us establishing details about individuals, but what Vaughan actively engages in here are flashbacks and other touches that let us know not only how characters feel and act toward each other, but also why.

In the second arc, which started in Saga #7, this has meant dual flashbacks exploring Marko’s relationship with his parents as well as the roots of the romance between Marko and Alana. It’s a great choice, one that subtly nudges readers to make connections between the two, and that’s really what I think Saga #11 is all about—exploring how Marko’s father’s life has informed his own, with a touch of foreshadowing thrown in, too. More on all that below.

So then, let’s check it out!

Saga #11

Here’s the official preview text for Saga #11, first released on March 20, 2013:

It's an intergalactic family reunion, as Hazel's parents and grandparents join forces to escape a dying world.

This issue is nothing if not all of that. Let’s get right to the individual elements that make it so...

The Cover: A beautiful cover, one that captures both who Marko’s father Barr was and the story development awaiting him within these pages. As readers, we didn’t get much time with Marko’s father, but the time we did get with him was certainly telling. Indeed, it gave us insight into both Marko’s gentler side, the one aspiring to never use violence again, and into the romantic dynamic that exists between Marko’s parents, which even armchair psychologists like myself realize heavily informs his approach to romantic relationships in his life. Anyway, if this cover is meant to be a memorial, it’s a beautiful and fitting.

The First Page: Yowzer, this is a classic Saga first page, sporting as it does maybe the most graphic depiction of intercourse in the book, although this is Saga, so I could of course be wrong. Sex on its own doesn’t necessarily merit discussion, especially in a book about relationships. What makes this first page provocative is that the next page immediately reminds us our story is being told by Marko and Alana’s daughter. Yeah yeah, so my mom and dad used to have sex, Hazel says, What? Like your parents just willed you into existence? And we’re off!

Saga #11 features one of the series’ first devastating sacrifices made for family…but far from the last. — **Saga #11** features one of the series’ first devastating sacrifices made for family…but far from the last.

The Surface: This issue continues the second arc’s pattern of using flashbacks to flesh out (heh) Marko and Alana’s love story before advancing the plot in the later acts. The key development here is the sacrifice Marko’s father Barr makes to save his son and his young family. SPOILERS. A different sort of sacrifice is to come later for Marko, under very different circumstances, but after re-reading this issue I feel a little bit better about all of that, knowing that Marko is likely at peace with what happened, being his father’s son as much as he seems to be.

The Subtext: This is the second straight issue where the plot on the page is a little light on deeper meaning. There is, perhaps, an undercurrent of sacrificing for those you love running through here, as Marko’s father gives his life to fuel their escape, while The Will risks his to reel in Lying Cat from the depths of space. It’s all pretty overt, though, which doesn’t make it any less dramatic but does make it perhaps a little less apt to fit into this section.

The Art: There’s not really any new ground nor designs for Staples work to cover in this one, although she is tasked with a pretty wide range of scenes. In this issue, she’s asked to depict coitus, an intensely romantic conversation driven by facial expressions, and a man flying through space to save his floating gigantic blue cat, among other things. And she nails it all. Great versatility.

Check out past installments of our Saga Re-Read.

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

Did Marvel Comics Low-Key Launch a Prestige Imprint?

October 18, 2018 by Zack Quaintance in Comics

By Zack Quaintance — Take out your tinfoil hat (or whatever), because I have a theory that might sound a little absurd: I think Marvel Comics is low-key running a new prestige imprint, one where creative teams are kept largely intact and allowed to tell stories independent of constant crossovers and editorial interference.

Don’t get me wrong: I don’t think Marvel is stopping those bad habits. In fact, in sections of its line, it’s maybe worse than ever. Hunt for Wolverine and Return of Wolverine, with all due respect to the talented creators putting in work on those, has a foundation that feels like a direct order from someone in marketing who ran a focus group with 10 randos from the mall who all like Wolverine. Meanwhile, a pair of creators who freely voice opinions via social media have been unceremoniously dumped by editorial in recent weeks.

Problems at Marvel Comics, however, aren’t what we’re here to talk about today. No, what we’re here to discuss is how amid corporate meddling and blatant cash grabbery, a surprisingly solid crop of titles that are concerned first and foremost with long-form narrative storytelling has begun to emerge, and—get this—it’s now been roughly six months or so and there’s nary a crossover in site. Wild.

So, join me as I lay down this theory today in three distinct sections, starting with when this first began...

Marvel’s Fresh Start

In recent years, Marvel has built a seasonal model for comics, rolling out line-wide renumberings roughly every 18 months, with new trade dress, titles, and creative teams, often announced on the same day. Earlier this year, however, the publisher tried something new. Dubbed Fresh Start, its latest initiative has been amorphous, with news of creative teams and titles trickling out slowly and with no clear start date or fancy new trade dress. In fact, I’m fairly certain the words fresh start have never appeared as a label on any Marvel Comic.

This is a strong move. As Don Draper famously noted in Mad Men, if you don’t like what they’re saying about you, change the conversation. That’s what Marvel has done. Fans were loudly complaining about the constant rebranding and new #1s. Now, however, there’s no blast of new #1s, no sensational promise they’ll change comics forever. In fact, this recent wave has been akin to a soft re-focusing, one that’s gotten fans talking with strong storytelling instead of flashy gimmickry. Which brings us to our next section...

The Books of Marvel’s Low-Key Prestige Imprint

Marvel’s low-key prestige imprint is, to be specific, a group of between eight and 12 titles. We’ll look at a list in a second, but it’s perhaps more telling to first look at which books aren’t included. Put simply, Marvel is still putting out plenty of comics feel like cash grabs, complete with insignificant crossovers and events.

This month, it’s been Infinity War one-shots, with their namesake connection to the recent hit movie. They seem to have little (if any) impact on the actual comic book event of the same name (which has been strong). These are far from an isolated incident. In the months and weeks to come, we’re getting something called Spider-Geddon (this may be going on right now), so many weekly X-Men books, and a grab bag of other weekly titles too. There are new books that seem destined to end quickly and clear cash-ins on old ideas.

None of this is unusual, but what has changed is that none of it seems to affect Marvel’s strongest and most high-profile ongoings, a list of which I’ve included below:

Amazing Spider-Man by Nick Spencer, Ryan Ottley, and Humberto Ramos: Even in the midst of Spider-Geddon, Marvel’s flagship Spider-book skates by untouched.
Avengers by Jason Aaron, David Marquez, Ed McGuinness, and more: Aaron is Marvel’s best long-form writer, and they know this, giving him space to do his thing with their flagship team.
Black Panther by Ta-Nehisi Coates & Daniel Acuna: When you have a winner of a National Book Award willing to write your comics, give him space. That’s exactly what Marvel has done.
Captain America by Ta-Nehisi Coates & Leinil Francis Yu: While Black Panther has been hella strong, Coates writing on Captain America is his best yet. Make no mistake, though, both are fantastic. Speaking of which...
Fantastic Four by Dan Slott & Sara Pichelli: Most-telling about Marvel’s interest in getting this book right is they’ve pushed the third issue a month.
Immortal Hulk by Al Ewing and Joe Bennett: This is a runaway hit, a deeply scary and cerebral take on a long-tenured superhero character. This book is being widely praised by critics (myself included). Look for it to win Eisners next year. It’s that good.
Ms. Marvel by G. Willow Wilson and Nico Leon: Thor aside, Ms. Marvel is Marvel’s strongest long-term ongoing, and a beast in trade sales. May it live long.
The Punisher by Matthew Rosenberg and Szymon Kudranski: I’ve been blown away by these first two issue. Rosenberg and Kudranski are a perfect pairing for Frank Castle.
Thor by Jason Aaron and Mike Del Mundo: This is, simply put, the best ongoing long-form run in all of superhero comics.
Tony Stark: Iron Man by Dan Slott and Valerio Schiti: See the above note about Fantastic Four because it applies here, too.
Venom by Donny Cates and Ryan Stegman: Cates is Marvel’s fastest-rising writer. He’s had great success with brief runs on titles like Thanos and Doctor Strange, and now with Venom he’s proving to be great on a longer running book too.
X-23 by Mariko Tamaki and Juan Cabal: The X-line is super chaotic, but this book is seemingly being kept out of the fray of the main line.

Future Outlook

The thing about these titles is that except Black Panther and Thor, none existed in their current iterations six months ago, and so it remains to be seen how Marvel will handle these books long-term. A massive, presumably line-wide event—War of Realms, coming next year in Thor—has been announced, and it seems likely some of these books will participate. If that happens, fine. War of the Realms has been expertly built over the course of like half a decade— merits line-wide participation.

In terms of the future, I also see other titles likely to join this crop. Iron Heart and Miles Morales Spider-Man are both incoming and could rise, and, heck, maybe even an X-Title could emerge too. The real test of my theory, though, will be taking stock at this time next year, to check how many of these creative teams remain intact (or at least just the writers), and to see how many have had their narratives disrupted by crossovers, events, or spin-offs. Here’s hoping we can count them on one hand.

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

REVIEW: Skyward #7 Continues Upward Trend (Heh), Doing Everything Right

October 17, 2018 by Zack Quaintance in Reviews

Skyward #7 is out 10/17. — **Skyward #7** is out 10/17.

By Zack Quaintance — I keep waiting for Skyward to feel tedious or repetitive, even a little bit, and it just never does. Simply put, this book has been rock solid from its start, juggling a number of feats I’ve often seen trip up experienced writers and artists, especially those who move from established corporate properties to creator-owned work. These feats include world-building, orienting readers, and establishing a compelling rate of revelation (all of which I’ve discussed in previous Skyward reviews as being strengths of this title). Skyward just seems to blow past every challenge with expert use of structure and craft, remaining ever-charming as it goes.

I’m happy to report that Skyward #7 does not break this momentum. I don’t want to go too far into plot specifics, but this is yet another installment that throws massive obstacles at our protagonist (massive giant bugs this time, to be exact), and then shows the audience what she’s made of as she overcomes them. In the course of her battling adversity, the story also continues to seamlessly world-build, revealing more details about how the environment has changed in the wake of gravity lessening to the point that human beings float into space if they aren’t tied down.

This issue even takes a double turn into horror, first with the giant bugs that come out after nightfall and second with the secret it reveals about our hero’s rescuers. One thing I greatly admire about Skyward is how compressed each issue feels. It’s maybe telling that writer Joe Henderson has a television background (he’s one of the producers of Lucifer), because the speed of the plotting here reminds me of one my favorite network sitcoms, The Good Place. Both that show and this series speed from one plot development to the next, almost recklessly, checking off developments that plodding stories would have lingered on for whole seasons (or story arcs). The end result is a narrative that feels urgent, and, by extension, all the more important.

That’s what I think has really powered Skyward to such effective heights (sorry): this is a story that feels like it has something vital to tell us, some deep secret about society to reveal, and it’s hell-bent on using an intense narrative momentum to get us to that place. If I have one complaint about this title it’s that the side character feel a bit amorphous and I often forget who they are or what their relationships are to the lead protagonist, but, admittedly, this could easily be solved with a brief re-read on my part. It also hasn’t impugned my enjoyment of the main story one bit.

Overall: Another great issue in what has been one of the most solid and surprising new titles in years. Skyward #7, like the six issues that came before it, is impeccably structured and paced, accomplishing some of the best world-building in comics without sacrificing any tone or suspense. 8.5/10

Skyward #7
Writer: Joe Henderson
Artist: Lee Garbett
Colorist: Antonio Fabela
Letterer: Simon Bowland
Publisher: Image Comics
Price: $3.99

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.

REVIEW: Black Badge #3 Is a Great Comic—Scout’s Honor

October 17, 2018 by Zack Quaintance in Reviews

By Bo Stewart — Matt Kindt and Tyler Jenkins’ Black Badge has been somewhat of a surprise hit for BOOM! Studios, in my opinion. As a fan of the creators’ previous collaboration, Grass Kings, I was initially thrown off by Black Badge’s premise, which is essentially super spies but with boy scouts. It just didn’t seem to fit into their existing body of work. Three issues into this series, however, I am now confident that there is much more to Black Badge than the premise lets on.

That’s not to say that Black Badge has a weak premise. The notion that scouts would make the perfect spies is hysterical, and the creators play off the natural comedy of that scenario without beating the reader over the head with it. Scouts pretending to get lost in the woods truly is a perfect cover for espionage. Kindt sometimes winks at how silly the situation is, but the world is so well developed that he can rest assured that his readers will go with it. The gadgets the scouts use, the casual attitude the team has toward missions (including a trip to North Korea in #1), and the character dynamics of the team all add up to one of the most charming spy tales I’ve read in quite some time.

Like most of Kindt’s work, though, Black Badge’s real charm comes from its central cast of characters. In this issue the scouts are still recovering from the loss of their teammate, Jimmy, desperately trying to figure out how the team will continue, knowing that their friend is no longer with them. They clearly haven’t figured it out yet here, but their superiors don’t seem to care. Instead they hit the scouts with the old I’m tough on you because I care about you argument, and send them out on their next mission. All throughout, this book does a great job of covering up normal teenage struggles with spy thriller trappings.

The highlight of this issue comes from the reveal of how Jimmy died. A mysterious figure called Hook Hand has been sneaking into camps, kidnapping a scout, and leaving only a little red flag behind. The team’s leader, Kenny, fell asleep while on watch the night Jimmy disappeared and has been trying to prove Jimmy is actually still alive ever since. Kenny blames himself for Jimmy’s disappearance, and, over the course of the issue, he makes some rash decisions in an effort to fix things. When little red flags start to literally appear around the scout’s camp, we can’t help but wonder if Kenny is leading the team further down a dangerous path.

Overall: Black Badge mixes spy thriller and coming-of-age conventions to great effect. The mystery of Hook Hand plus The chilling cliff hanger has me eager to continue on with this story. I think you’ll enjoy this book too—scouts honor. 8.0/10

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

Bo grinds for the man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

REVIEW: Submerged #3 Ups the Personal Stakes Amid a Descent Into the Underworld

October 17, 2018 by Zack Quaintance in Reviews

Submerged #3 is out 10/17, with this stunning cover by Jen Bartel. — **Submerged #3** is out 10/17, with this stunning cover by Jen Bartel.

By Zack Quaintance — In Submerged #3, the hints of underworld mythology that have been doled out by writer Vita Ayala and artist Lisa Sterle in past issues become central to the plot. Not to go too far into details, but as the New York City subway system faces threat of a flood caused by a raging storm above, it morphs into a supernatural plane of existence, one our protagonist must maneuver, glimpsing along the way haunting ethereal flashbacks to pivotal moments from past days of life.

It’s a compelling way for the story to blur reality while also strengthening our emotional attachment to our central character. What I find most interesting about the way that Submerged #3 is constructed—especially as it relates to previous issues—is that this is simultaneously the chapter with the most fantasy and the most truth, the one that ups the impossibility of the story while also grounding us in emotions so real they sting. There’s an impressive dichotomy at work that really serves this story well.

Indeed, throughout the penultimate chapter of this four-part story, reality is increasingly loose, with underground doors that open onto the street level, a childlike (spectre?) that oscillates from insecure to aggressive, and a train graveyard that seems to extend forever. There is no overt threat to the lead of Submerged aside from nature and concern for a wayward brother, but the creators have done a wonderful job of fostering an unsafe and eerie feeling throughout, of making it apparent how much this all matters. I once had a writing teacher who said short stories (like this one) should not feel like a slice of life but rather like the slice of life. It’s one word, but it makes all the difference.

Submerged very much feels like the slice of life story our hero will contemplate for years to come, and this sense of hefty narrative weight works in tandem with the aforementioned ghostly tone to really push the book forward. As the plot moves toward a climax, the story also does an impressive job of painting a coherent picture of the lifetime relationship between the siblings at its core—Elle and Angel—the disparate expectations from their parents that shaped their youthful conflicts (often due to gender), the ways they were regarded differently by their traditionalist father, and how it has now manifested for them as adults. It’s a credit to Ayala’s script that this all unfolds so cleanly, that it all feels achingly compelling.

And it’s also a credit to Sterle’s artwork, which has a way of seamlessly intermingling the real and extraordinary without ever tipping into jumbled. The dark underground setting is a potentially difficult one visually, but this book handles it well. Most prominently, however, Submerged #3 delivers a stunning last page reveal, one likely to linger until we get the fourth and final issue of this excellent story.

Overall: Submerged #3 is simultaneously the most fantastical and personal issue of this book to date. The action of the overall story rises along with the water levels in the tunnels, ultimately delivering us to a last page that pays off so much of what this excellent comic has been about. 9.0/10

Submerged #3
Writer: Vita Ayala
Artist: Lisa Sterle
Colorist: Stelladia
Letterer: Rachel Deering
Publisher: Vault Comics
Price: $3.99

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

REVIEW: Cemetery Beach #2 Sees Warren Ellis at His Most Accessible

October 16, 2018 by Zack Quaintance in Reviews

Cemetery Beach #2 is out 10/17. — **Cemetery Beach #2** is out 10/17.

By Zack Quaintance — In the first issue of this series, we got an adequate amount of backstory, enough to ground us in this world: in 1920, a group of industrialists and scientists invented space travel and sent colonizers to another planet...and we’ve had no communication with that planet in the years that followed. Civilization took hold and has since modernized, but, indeed, still looks anachronistic. Now, a scout has arrived to check things out, and what he’s found is chaos and barbarity, with no enthusiasm about reconnecting with home.

It’s an interesting premise, one writer Warren Ellis and artist Jason Howard established briefly before launching their central character (the visitor from Earth) into a prison escape chase scene that set their plot in motion. This second issue gives us a bit more info, opening as it does with a scene that stars a powerful man from the new world, who notes in no uncertain terms that he will do whatever it takes to prevent the visitor from “old home” (as they call it) from escaping, lest he eventually return with an invading force.

The philosophical argument being made by the presumed leader of the colonized planet is, essentially, that it’s best to be defensive. It’s a paranoid knee-jerk move in which he casts himself as victim to justify whatever he will do next (sound familiar?). In the course of this leader elaborating, we see him portrayed as glutinous, uncaring, and obsessively concerned with upholding power structures that serve him. He orders the capture of our hero and the death of his companion (whom he aggressively brands a dissident), and then smiles as he notes that if capture becomes too difficult, death is also fine.

What Ellis’ script for Cemetery Beach #2 seems most interested in is showing the absurdity of assigning all conflicts a pair of equal sides, noting that we all see ourselves as the heroes of our stories but that alone doesn’t make it so. It’s a timely and interesting concept, and it’s also one that doesn’t really stand out as heavy handed. No, just as with the first issue, Cemetery Beach #2 is first and foremost an action story in which two people flee the state, blowing up flying motor bikes and running through underground tunnels in the middle of the night.

In terms of the artwork, Jason Howard continues to make the most of the idea that a space colony was built with the mechanical capabilities and design sensibilities of 1920. The machines, clothing, and weaponry here are all futuristic, yet clearly extrapolated from what was possible in that era rather than in our own. It adds an extra layer of immersiveness to an already entertaining story.

Indeed, this comic continues to be Warren Ellis at his most accessible, even if the ideas its built upon are, as per usual, heady and complex. This approach blew me away in the first issue, as I wrote in my Cemetery Beach #1 review, and I’m still enjoying it a great deal here. If I have a complaint about this second chapter, however, it’s that it didn’t move the narrative forward in any truly unexpected way. We got confirmation that the colony’s leader was the big bad and we learn from the hero’s new friend that there are layers of inequity a plenty at work here, but we could have mostly surmised that from the subtext in the first issue. I’m still very much in on this book, but here’s hoping the next issue will find some less predictable ground.

Overall: In Cemetery Beach #2, Ellis and Howard continue the high-minded adventure started in the debut issue, pulling the curtain back a bit on the political dynamics at work on this forgotten colony established a century ago on some far-flung planet. This continues to be Ellis at his most accessible, expertly crafted in a way that doesn’t sacrifice complexity. 8.0/10

Cemetary Beach #2
Writer: Warren Ellis
Artist: Jason Howard
Letterer: Fonografiks
Publisher: Image Comics
Price: $3.99

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

REVIEW: Gideon Falls #7 Feels Like a Fantastic Season Premiere

October 16, 2018 by Bo Stewart in Reviews

Gideon Falls #7 is out 10/17. — **Gideon Falls #7** is out 10/17.

By Bo Stewart — Gideon Falls ended its first story arc earlier this year with a bang. Our trip into the sinister and supernatural Black Barn was a high point not only for the series, but for horror comics at large. Coming into Gideon Falls #7, I suspected we would likely face a dip in excitement, but thankfully that isn’t the case. Creators Jeff Lemire and Andrea Sorrentino very wisely treat issue seven like a season premiere of television. It’s maybe not as fast-paced as previous issues, but this comic effectively resets the board while also laying the groundwork for what’s to come in the arc ahead.

Gideon Falls is a strange-people-in-a-strange-town story done right. Ever since Twin Peaks became a cult classic, storytellers have tried and (more often than not) failed to replicate this sort of formula. It’s a delicate balance of finding the absurd in mundane moments, and precious few stories have the patience to let narratives like this build to crescendos. Once the town secret is revealed, the story quickly becomes stale. Gideon Falls #7’s greatest triumph is proving that the story of the Black Barn has legs.

The Barn’s origins, nature, and intent are the central mystery of this story. We got a small peek behind the curtain in #6 (in one of the best sequences of the year), but the full mysteries of the Barn won’t be revealed until the main character, Norton, achieves his goal of rebuilding the Barn…using the original materials that he’s collecting and keeping in jars. The undertaking of finding chips of wood, nails, screws, etc. spread all over town, and subsequently using them to rebuild the original Barn is overwhelming, especially as others continue to question Norton’s mental health. It gives the reader a keen insight into Norton’s mind and the suffocating presence the Barn has had and continues to have on his life.

Indeed, the second arc of this story is appropriately titled Sum of its Parts. Andrea Sorrentino’s art plays off this and engages the reader in ways no other book is currently doing. The panel variety is astounding, with each issue featuring at least one type of layout that I’ve personally never seen before. These innovative layouts give us a far better sense of who Norton is than any dialogue or narration ever could. For example, for the final page of Gideon Falls #7, the art is literally flipped vertically on its side. In most books, this would be a distraction, but here, the disorienting effect actively aids the storytelling. Like the title of this arc, each page adds up to more than the sum of its parts.

Gideon Falls is comics storytelling at its finest. It prioritizes mood and sense of place over fascination with a mysterious barn. Each page is littered with tension and oozes atmosphere. I think it’s this focus that makes Gideon Falls such a success where similar stories have been failures. It’s a comic that knows exactly what it is and after#7, I can confidently say I’m in for the long run.

Overall: Creators Jeff Lemire and Andrea Sorrentino treat Gideon Falls #7 like a season debut of television. This issue isn’t as fast-paced as some chapters from the first arc, but it thrives in character-driven moments. I’m eagerly awaiting the twists to come. Oh, and that cliffhanger… wow! 9.0/10

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

Bo grinds for the man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

Top Comics to Buy for October 17, 2018

October 15, 2018 by Zack Quaintance in Top 5 Comics

By Zack Quaintance — It’s a rare week that has a hands down winner for our most exciting book. We are, admittedly, quite pleased with what’s happening in comics right now, and that tends to show via indecision over which series ranks as a weekly favorite. This Wednesday, however, our choice is clearly Black Hammer: Age of Doom #6, which pairs writer Jeff Lemire and his frazzled, acid flashback of a character Colonel Weird with artist Rich Tommaso, who has been teasing some of the artwork from the comic for months. It looks—in a word—fantastic.

Close behind Black Hammer: Age of Doom, however, are a number of other enticing books, including the Brian Michael Bendis and David Mack creator-owned collaboration, Cover, which is quickly rising to the ranks of our favorite titles, as well. This is also just two Wednesdays out from Halloween, a holiday comics folk tend to bring their A games for, and this year that’s taken the form of some really great novelty comics, including this week’s Marvel Zombie one-shot from sinister Ice Cream Man mastermind creator W. Maxwell Prince. There is, of course, more info on all these books below.

Let’s take a look!

Top Comics to Buy for October 17, 2018

Black Hammer: Age of Doom #6
Writer: Jeff Lemire
Artist: Rich Tommaso
Publisher: Dark Horse Comics
Price: $3.99
After the shocking revelations in the last issue, Colonel Weird finds himself as a stranger in a strange land, where reality is ever changing!
Why It’s Cool: Black Hammer is easily one of our favorite ongoing things in comics, and recent issues have really pushed its plot forward, bringing some new light to some of the series long-running mysteries. This book features a guest artist as well as a plot that’s presumably a bit of a diversion. Still, with artist Rich Tommaso coming aboard for a quick arc, we’re super excited to see the results.

Cover #2
Writer: Brian Michael Bendis
Artist: David Mack
Letterer: Carlos M. Mangual
Publisher: DC Comics
Price: $3.99
Nazi-hunters? Escape artists? Some M.I.A. for decades? Exactly how long have comics creators been part of the intelligence community? Follow the latest recruit from the Comic-Con circuit as he falls in with this mysterious crowd. The secrets he uncovers about its legacy will shock and delight, well, just about everyone.
Why It’s Cool: The books in Brian Michael Bendis’ creator-owned Jinxworld imprint are all love letters to craft that pair the veteran writers with uber talented artists he’s been collaborating with for years. The standout of the bunch so far, however, has been Cover, which sees an A List comics pro being recruited as a cultural attache for the CIA, which turns out to be a bit more dangerous than he expected. There have, of course, been comics about making comics in the past, but this one seems to have the greatest potential to become an iconic work. The second issue makes good on the promise of the debut, too.

Gideon Falls #7
Writer: Jeff Lemire
Artist: Andrea Sorrentino
Colorist: Dave Stewart
Letterer: Steve Wands
Publisher: Image Comics
Price: $3.99
"ORIGINAL SINS," Part One...After the mind-blowing events of the first arc, Norton digs deeper into the mystery of the Black Barn, and secrets of his past begin to come to light. Meanwhile, Father Fred does some digging of his own and learns the hard way that some secrets should just stay buried.
Why It’s Cool: Of all the top-tier new horror comics launched in 2018—and, indeed, there have been more than a few—Gideon Falls is easily the most fully-formed. Credit that to Lemire and Sorrentino having worked together so well on past projects with the Big 2, including Green Arrow and Old Man Logan. Anyway, the point is this book is back for a second arc, and you better believe we’re excited about it.

Marvel Zombie #1
Writer: W. Maxwell Prince
Artist: Stefano Raffaele
Publisher: Marvel Comics
Price: $4.99
Years after an incurable zombie virus ravaged the world, a small colony of survivors is protected by the Marvel U's few remaining heroes, including Spider-Man, Daredevil and the Falcon. But when their last chance at salvation arrives, will they be willing to sacrifice their own humanity in the process? From the twisted minds of ICE CREAM MAN writer W. Maxwell Prince and Stefano Raffaele (Generations: Hawkeye) comes the next macabre obsession for fans of The Walking Dead and The Road!
Why It’s Cool: W. Maxwell Prince has been writing one of our favorite creator-owned comics for some time, that being Ice Cream Man over at Image. Ice Cream Man is a varied and excellent horror anthology, one just as adept at focusing one month on body horror as it is on existential crisis the next. As such, it seems like this one-shot return of Marvel Zombie will most certainly be something to pick up.

Skyward #7
Writer: Joe Henderson
Artist: Lee Garbett
Colorist: Antonio Fabela
Letterer: Simon Bowland
Publisher: Image Comics
Price: $3.99
"HERE THERE BE DRAGONFLIES," Part Two...Willa's alone in the middle of the forest, surrounded by giant insects that want to make her dinner. But here to the rescue comes a badass group of sword-wielding... farmers?
Why It’s Cool: Come to watch humans in a minimal gravity world do battle with giant over-evolved insects, stay to enjoy the world-building and the slow evolution of this story into an odyssey that also looks at issues of extreme capitalism and inequality. This is a seriously great book, one I can’t keep recommending highly enough.

Others Receiving Votes

Archie 1941 #2
Aquaman #41
Batman #57
Black Badge #3
Cemetery Beach #2
Daredevil #609
Justice League #10
Justice League Dark #4
Low Road West #2
New World #4
Patience Conviction Revenge #2
Pearl #3
Quantum and Woody! #11
Submerged #3
Thor #6

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.

The Saga Re-Read: Saga #10

October 12, 2018 by Zack Quaintance in Saga Re-Read

By Zack Quaintance — It’s cliched to say, but change is a constant in Saga, which is part of what makes the story so compelling enough to span the 54 issues we find ourselves pouring back over now. This is my way of announcing that we’re changing our re-read format, with a big tip of the hat to Cory Webber, who is leaving us to focus on life…or whatever. Fortunately, I refuse to let life (or whatever) get in the way of my own online comics grousing (for better or worse).

Now, we’re turning this weekly piece into what I think this site does best: a snapshot of how a particular comic was perceived at a given time. In the case of Saga, what that looks like is an ongoing weekly review of the series (one issue at a time) during the book’s hiatus, which—not to spoil Saga #54—currently finds itself at an emotional turning point. I’ve been having a lot of fun writing about it, and don’t expect that to change any time soon.

What that in mind, let’s get to Saga #10! It’s taken two-and-a-half months, but here we are in double digits...

Saga #10

Here’s the official preview text for Saga #10, which was first released way back on Feb. 20, 2013:

Marko and Alana's long-lost babysitter Izabel finally returns to the fold, but at what cost?

Kind of a dramatic summary, given that I think it’s been four issues tops since we’ve been separated from Izabel (and it certainly doesn’t feel like a long time while reading now, even with a week between each chapter). Still, intriguing stuff, right? Especially that capper: but at what cost? Let’s take a look at individual elements of this issue…

The Cover: There was nowhere to go after last week’s cover except for less thirsty, but here we get action of a different type: Marko’s mother confronting his ghostly estranged live-in babysitter with a giant axe on the ruins of a dying world with a rust-colored sky (that old canard). It’s a nice-enough image on its own, but what I really like about this cover is the way it shares so little in common—from color pallette to composition to content—with pretty much any other cover that has come before it. It really sets this book apart, even if overall this isn’t one of my favorite Saga covers.

The First Page: Did I say less thirsty too soon? Perhaps. On re-reading, I’m noticing this stretch of issues is where Vaughan and Staples really embrace the power of the first page, often reserving it for splashes of the grotesque, unexpected, violent, or, in this case, shirtless Marko, literally beckoning the reader to Please. Keep reading. I had forgotten this particular opener, but, also, it was 2013 and I was not (yet) actively involved with the comics Internet. Perhaps most impressively, this framing of Marko isn’t even gratuitous...upon turning the page we find that he’s talking to Alana, who is currently reading the subversive novel so vital to their love story. The thirsty shirtless shot of Marko on the first page is actually him as seen through his lover’s eyes.

On-Page Action: The first act is almost entirely a flashback of Marko and Alana falling deeper into the infatuation that would become love and ultimately give rise to their relationship, and it’s depicted well, indicative of the dynamic that would later take hold between them. Marko is slightly cautious and hesitant, almost resigned to his fate, while Alana is bolder and a little more reckless in a shrewd way, giving him the spark he needs to do what’s best for himself. After this blissful bit, we get right back to our plot...we search (and find) the babysitter, we have some domestic tension, and we hit a plot point at the end that I didn’t remember came this soon—SPOILER—the potential loss of Lying Cat (I say potential because I don’t remember if this a tease or not…if not, I’ll address it more directly next week).

Deeper Meaning: There’s certainly a motif here about the power of subversive art, about defying norms and conventions that have become twisted and unnatural over time, or maybe were always twisted from the start. That was my favorite subtext this issue. The rest of the themes in Saga #10 are pretty blatant and overt.

The Art: First, I love Fiona Staples’ artwork and think she’s one of the top talents in comics. That much should be implicit every week. Second, I’d like to then use this section to talk about new development in her work or designs that become apparent. This week that takes the form of a ghostly space ape engulfed in flames, as well as his cadre of witch aggressors with upside faces (yes, you read that right…also, see the page included here). Oh, and a planet also hatches.

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 of September 2018

October 11, 2018 by Zack Quaintance in Top 5 Comics

By Zack Quaintance — This month is one that has the potential to be infamous, in that it ended with an event—Heroes in Crisis—that saw one of the Big 2 (DC) embrace a sort of grit and darkness that feels outdated. Word is now coming out that in addition to being a viscerally uncomfortable book, Heroes in Crisis also undersold expectations. Really, it almost feels to me as if the larger line itself is working like an antibody to reject Heroes in Crisis, purging its anachronistic themes from a shared superhero universe that is now bent on being brighter.

But, hey, this isn’t a piece about Heroes in Crisis! This is, instead, a piece about the comics from last month that I really liked, and within it you will find talk of some of my usual favorites—Wasted Space and Immortal Hulk—as well as some discussion of comics I haven’t written as much about, including The Seeds and Supergirl. And because I can’t help myself: yes! Okay, fine. I found Heroes in Crisis disappointing, but I still enjoyed September holistically as another great month for comics.

Let’s take a look at why!

Shout Outs

Snotgirl #11. I’m just so happy this book is back. The art is phenomenal, even if the story has seemed to search for direction. Still, there’s nothing else quite like this comic, one of the most singular today. It’s like reading a guilty pleasure Instagram feed.

While I thought the opening arc of Jason Aaron’s Avengers run was maybe two issues longer than it needed to be, Avengers #7 & #8 are two of my favorite standalone Avengers stories in years, Avengers #7 for its biblical qualities and #8 because of its deep focus on team dynamics.

Relay #3. I’ve been enthralled by this book from its start. It’s, to be reductive, mind-expanding sci-fi brought to life with illustrations that oscillate from detailed and realistic to totally psychedelic. It’s a complex read, one I’m doing my damndest to analyze via reviews.

I’m all in on the SuperBendis run these days, and I liked Superman #3 and Action Comics #1003 quite a bit. Supergirl #22, however, was a fantastic surprise. This is a smaller title, but it’s bringing a welcome additional depth to Bendis’ larger aspirations.

September’s Wonder Woman #54 & #55 teamed one of my favorite rising comics writers, Steve Orlando, with one of my favorite underrated art teams, Raul Allen and Patricia Martin. The results were (unsurprisingly) to my liking.

DC Comics is in a bit of holding pattern in a couple places, waiting for new superstar runs to start (Aquaman, The Green Lantern, Wonder Woman, etc.), but Justice League #8 & Justice League Dark #3 continue to establish its team-up book as a true flagship.

In Black Hammer: Age of Doom #5, some of this series’ mysteries become clear, and the team of Jeff Lemire and Dean Ormstron have more than built a satisfying resolution.

I continue to be impressed with the world-building going on in Skyward, a charming comic that’s clearly lasting for a long haul. Check out our review of Skyward #6.

Not to give too much away, but the last panel in The Wild Storm #17 is well worth your time, provided you’ve read The Authority...

Tom King and Mitch Gerads work in Mister Miracle #11 is once again excellent, featuring action, a future classic nine-panel grid of Darkseid double-dipping a carrot, and a promise that mysteries will be unraveled next month (maybe).

Top Comics of September 2018

5. Wasted Space #5 by Michael Moreci, Hayden Sherman, Jason Wordie, & Jim Campbell

This month saw the conclusion of Wasted Space’s first arc, and what a doozy. What I find most compelling about Wasted Space is that it lives a double life, both as a slapstick space opera and as a deep ideological exploration of culture and society. I’ve said this before but it’s worth reiterating: there’s a David Foster Wallace-esque quality to the ideas and concerns in this book, one that is especially evident in some of the lengthiest bits of dialogue as well as in the intelligence woven throughout.

Aesthetically, it’s a bright and vibrant comic with a quick plot and jokes that feel surprising yet never inappropriate. I’m a vocal proponent of Vault Comics, and, as such, I’m often asked where new readers should start. After this issue (and arc), my answer is now Wasted Space.

4. Doomsday Clock #7 by Geoff Johns & Gary Frank

This issue caught me off guard. In Doomsday Clock #7, there is more plot and action than in the first half of this maxi-series combined. Indeed, the first six issues here were almost introspective in nature, carefully building the individual concerns of different Watchmen characters as they moved from their world into the proper DCU.

In Doomsday Clock #7, our principals start to slam together, with a good deal of direct involvement from usual DC heroes as well. The result is a comic that almost serves as a mission statement for this entire event. It’s an entertaining read that has me more excited for the final five issues. There is a little bit of a bittersweet tinge to it, in that one can only imagine what it would have been like had this book kept to a monthly schedule, as well as what it would have meant for the larger DCU, too. Sigh.

3. Immortal Hulk #5 & #6 by Al Ewing & Lee Garbett

September brought us two new issues of my favorite Marvel comic, Immortal Hulk, and so I’m including them here together. It seems to me like these two books together took a deeper turn into the supernatural, opening the door for the titular undead Hulk to explore some darker, perhaps even supernatural spaces.

The glowing red visage of Banner’s demon father is the MVP of this new scary turn. Designed to horrific perfection by usual series artist Joe Bennett, the face is memorable and terrifying, a fitting personification of this book’s ambition to be a different, unnerving sort of Hulk story. I also like that this book is seemingly separate from the usual cash-grabby fray of crossing over Marvel titles. Indeed, it’s starting to feel like the publisher is actively separating prestige titles from gimmicky cash grabs, and discerning readers are better for it.

2. Batman #54 by Tom King, Matt Wagner, Tomeu Morey, & Clayton Cowles

Batman #54 was a comic that made me emotional. As I wrote in my Batman #54 review, I found this issue to be an all-time great Batman story, a father-son take on one of the most famous duos not only in comics but in the entire world. It’s also largely indicative of what I’ve liked most about King’s run so far: its humanity.

I think I’m far from alone in saying King’s Batman has been one of peaks and valleys, and I attribute this to a two steps forward, one step back journey he has Bruce on. King is trying to slowly humanize and grow a character whose owners have everything to gain by keeping him static. His solution seems to be a series of small pushes in lieu of any major leaps. This issue is one of the most blissful small pushes forward so far.

1. Seeds #2 by Ann Nocenti & David Aja (read our review of Seeds #1)

I didn’t know what to make of Seeds’ first issue. It was a blatantly creative comic, one that intrigued me and seemed to have something much deeper to say beneath the compelling visuals that made up its veneer. The first issue, though, withheld much about what the book intended to be about, and, as such, I withheld a bit of enthusiasm. After reading the second issue this has changed. I’m all in on The Seeds, to the point I now suspect that when the four-issue series concludes, it is likely to be praised as one of the best comics of the decade, if not longer.

This is a story that feels both impossible and real, that feels of our moment and also forward-looking. It’s thematic interests are disparate at first glance, ranging from sex between humans and aliens, the environmental death of the earth, and the bludgeoning impact of human reliance on technology. Look closer, though, and you’ll find a creative team that is almost unnervingly prescient. This is a comic book story that in my opinion is clearly laying out what should (or soon will be) easily the most pressing concerns of our time, and doing it with some of the finest art in the industry. Simply put, if you’re not reading this comic, you are making a mistake.

Check out our Best New #1 Comics of September 2018 plus more of our monthly lists here.

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

REVIEW: Infinite Dark #1 by Ryan Caddy, Andrea Mutti, K. Michael Russell, & Troy Peteri

October 10, 2018 by Zack Quaintance in Reviews

Infinite Dark #1 is out 10/10. — **Infinite Dark #1** is out 10/10.

By Zack Quaintance — Infinite Dark #1 is a space survival story, albeit one that functions differently than most stories that fit that description. Space survivalism often sees a protagonist or group of protagonists fighting desperately to return to Earth (or whatever other habitable planet) as oxygen or power or food depletes. What sets Infinite Dark #1 apart is that there is no return waiting for the humans in this comic. There’s nowhere to go at all.

Ryan Cady and Andrea Mutti’s Infinite Dark is set after the heat death of the universe, on a single space arc that has escaped annihilation. There is no pressing concern to be outrun, with the characters here chased only by the knowledge that the vast majority of life has been snuffed out around them. In this story, it’s survivor’s guilt, nihilism, malaise, bleak routine, and lack of a vibrant future that people must confront. It’s powerful stuff, a complex and nuanced dive into human psychology, one that feels forlorn and relatable in ways most dystopian sci-fi stories don’t.

Andre Mutti’s first page from Infinite Dark #1…space has rarely felt so claustrophobic. — Andre Mutti’s first page from **Infinite Dark #1…**space has rarely felt so claustrophobic.

Cady builds Infinite Dark atop painfully universal feelings: these characters are safe, at least in terms of having basic needs met, yet that alone is not enough to make them content. The titular infinite dark comes to serve as an effective metaphor for depression so severe, so palpable as to be almost smothering. The plot grows from an inciting incident that threatens to make life even worse. It’s a compelling murder mystery with a great horror tinge, but mood is really what’s for sale here.

Cady’s narration really bolsters the mood throughout, with a number of excellent lines, including That’s what the Orpheus feels like—humanity’s perfect tomb, outwitting the end of all things, the ultimate habitat...and Mutti’s artwork shines especially well in exterior shots of the ship, making it as small as it must feel to those inside. Space has rarely seemed so claustrophobic. This book also builds toward an intriguing crescendo of rapidfire plot points that culminate in a fantastic cliffhanger (as debut comics must). So yes, while it certainly looks like no fun to be aboard the Orpheus, as a reader I’m signing up for the long haul.

Infinite Dark #1 is also an interesting companion to another major creator-owned book launched this week, Daniel Warren Johnson’s Murder Falcon. At their cores, both books are about unthinkable loss. Whereas Murder Falcon takes a fantastical approach to grieving, Infinite Dark’s perspective is rooted in reality, which is a credit to how real the characters are, given Murder Falcon is set in our world and this one takes place in limitless space.

Overall: Infinite Dark tells an intriguing story steeped in depression with a deep and nuanced understanding of human psychology, plus forlorn visuals to match. This complex comic makes readers feel as if they too have boarded a space arc following the heat death of the universe. A must-read for fans of meaningful science-fiction, with extra points for so adeptly incorporating horror and mystery tinges. 9.0/10

Read our recent interview with Infinite Dark writer Ryan Cady.

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.

REVIEW: Murder Falcon #1 by Daniel Warren Johnson, Mike Spicer, & Rus Wooton

October 10, 2018 by Zack Quaintance in Reviews

Murder Falcon #1 is out 10/10. — **Murder Falcon #1** is out 10/10.

By Zack Quaintance — In the opening of this comic, a kaiju attacks a city, a conversion van speeds to the scene, and a long-haired guitar-slinging protagonist steps out from behind the wheel to save the day, laconic and determined. His early dialogue includes lines like There’ll be no baby eating on my watch; and I don’t need weapons, officer...I brought METAL. The hero (whose name is Jake) commences to rock, creating blue lightning with his guitar riff, from which a muscled and shirtless chicken man emerges and subsequently uses a bionic arm to kungfu fight the kaiju into submission.

This is all in the first five pages of Daniel Warren Johnson’s new comic Murder Falcon, which reads like a Tenacious D song in graphic sequential format. Like The D, Johnson’s new book gleefully embraces heavy metal culture, loving it so hard and so seriously it tips into a delightful self-aware parody of its source material. The opening of this book is, simply put, exactly what its perfect name and kinetic cover imply: a love letter to metal articulated through an action comic, a delightful burst of pop art informed by a hirsute and black t-shirted corner of our culture. It succeeds wildly, powered by an unpretentious good time plus also Johnson’s massive talent as a comic book artist/storyteller.

Daniel Warren Johnson’s immense talent as an artist is on full display in Murder Falcon #1. — Daniel Warren Johnson’s immense talent as an artist is on full display in **Murder Falcon #1.**

And if this were the sum total of Murder Falcon #1’s aspirations, it would be just fine, a light and hilarious exercise in craftsmanship. At page six, however, this story becomes something much deeper. It flashes back to our rocker on a bench in calmer times. He’s subdued and despondent, and soon we get a clear sense that he’s in mourning, that’s he severely depressed, that...something tragic has occurred. We don’t know exactly what (more hints in time), but we know nearly everyone in his life is driven to stop and ask how he’s doing, to be kind in a way often reserved for those who’ve weathered a massive loss.

I don’t want to go too far into the metaphors and juxtapositions in this book, but I’ll just note that there is a dichotomy here—heavy metal cornball rocking vs. heart-rending drama—that elevates Murder Falcon #1 into rarefied air of debuts, placing it among the best new #1 comics of 2018. Essentially, this book is more than a corny rocking homage to metal. It’s a deep meditation on how we cope with tragedy and loss, how severe depression can both push us toward and away from the hobbies we’ve come to love in our lives.

Overall: A powerful debut with much to say about love and loss, Murder Falcon #1 succeeds on a number of levels. Johnson is a massive talent, and he nails this story, letting his kinetic artwork shine during moments of high action while knowing when to backoff and frame emotional moments with simpler visuals. This is a MUST BUY comic. 10/10

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.

REVIEW: Man-Eaters #2 Finds Compelling Character Traits in Quiet Moments

REVIEW: Mood and Tension Still Reign in the WYTCHES: BAD EGG HALLOWEEN SPECIAL

Top Comics to Buy for October 31, 2018

Top Comics to Buy for October 31, 2018

Top New #1 Comics

Others Receiving Votes

Of Writers and Wars: Saga #12 is a Nigh-Perfect Comic

Saga #12

REVIEW: Brubaker and Phillips’ My HEROES HAVE ALWAYS BEEN JUNKIES is a Psychedelic Bonnie & Clyde

REVIEW: The Lodger #1 Sees the Laphams Do Small-Town American Darkness Via Travel Blogging and Crime Noir

REVIEW: Dead Kings #1 Turns Its Anger Toward Failed States

Top Comics to Buy for October 24, 2018

Top Comics to Buy for October 24, 2018

Top New #1 Comics

Others Receiving Votes

Powerful Sacrifice and Saga #11

Saga #11

Did Marvel Comics Low-Key Launch a Prestige Imprint?

Marvel’s Fresh Start

The Books of Marvel’s Low-Key Prestige Imprint

Future Outlook

REVIEW: Skyward #7 Continues Upward Trend (Heh), Doing Everything Right

REVIEW: Black Badge #3 Is a Great Comic—Scout’s Honor

REVIEW: Submerged #3 Ups the Personal Stakes Amid a Descent Into the Underworld

REVIEW: Cemetery Beach #2 Sees Warren Ellis at His Most Accessible

REVIEW: Gideon Falls #7 Feels Like a Fantastic Season Premiere

Top Comics to Buy for October 17, 2018

Top Comics to Buy for October 17, 2018

Top New #1 Comics

Others Receiving Votes

The Saga Re-Read: Saga #10

Saga #10

Top Comics of September 2018

Shout Outs

Top Comics of September 2018

REVIEW: Infinite Dark #1 by Ryan Caddy, Andrea Mutti, K. Michael Russell, & Troy Peteri

REVIEW: Murder Falcon #1 by Daniel Warren Johnson, Mike Spicer, & Rus Wooton