East of West v1 TPB

Well, separated from my beloved Avengers (and SHIELD, and the Fantastic Four) I find Jonathan Hickman’s tics and tricks a lot less annoying. All your favorite Hickman elements are here. Mysterious prophecies known only to some of the cast. A looming end of the world conflict. Alternate histories making the reader even more confused. Heck, it even has a protagonist that really isn’t much of a good guy (like many of the Avengers these days). All that said, when it isn’t the Avengers or another Marvel property, I don’t have a problem with it.

I came into this book totally cold, with literally no idea what the book is about. It turns out to be fairly complicated, but by the end of the first trade, things have cleared up nicely. Three of the four horsemen of the apocalypse have been reborn as very dangerous children, and they spend all their time traveling the world making sure that things keep moving the way they are supposed to (towards the end times). Certain powerful individuals are either profiting from or helping those end times along.

The powerful folks helping the Horsemen give us a nice glimpse into the alternate world we are reading about. America is divided, with a Native American nation and a new China, things are very different than the world we know. Add in that the familiar elements of America are either futuristic or Wild West archaic, and that makes for one mixed-up but interesting setting.

The last horseman, Death, has not been reborn as a child. After falling love and fathering a child, Death is instead riding around the Earth avenging the death of his wife. Since this version of Death is a big mean cowboy riding a robot horse with no head, that revenge takes the form of shooting an awful lot of people. Death and his allies are not heroes in any sense, but it is easy to start rooting for them when you see the other horsemen’s corrupting influence. I actually found myself more interested in the dissention in the ranks of the secret society more than anything else.

(I also loved the search for a new President after Death’s visit in the first issue. It was refreshing to see that so many of those government servants were unwilling to go along with the three horsemen’s demands.)

Nick Dragotta’s work isn’t exactly realistic or dark, but he is still a great choice for the book. The world is both foreign and familiar, and the character designs are memorable and easy to “get.” Death’s two Native American companions are going to be hard to top, though; they are pretty dang cool with their simple white and black designs. I also found myself fascinated by Death’s headless horse. I’m glad it seems to have survived the first collection!

This looks and feels like a Vertigo book that I would have gone crazy for back in college. So maybe I’m learning that Jonathan Hickman actually writes GOOD comics, I just don’t like the mix of his ideas and my classic super-heroes!

Wytches #1

So after reading Wytches #1 (along with other Image horror books like Revival and Outcast) I have to ask myself; do I only like super-hero comics? I don’t think that is the case, but none of these horror books have really captured my attention in a way that I must know more. Fatale has certainly been good, but in general, I seem to like my horror with a dash of super-heroics (like The Goon and Hellboy). Anyway, on to this particular issue.

Scott Snyder needs no introduction after turning the Batman title into a sales juggernaut. His work on Batman has been quite strong, but I didn’t find myself as drawn into the story in this issue. Our protagonist is Sailor Rook, a teenage girl whose family just moved after a bullying incident went very, very wrong. It certainly seems like Sailor is either a “wytch” herself, or at least strongly connected to them. Most of the set-up in this issue plays it as a family drama, with the Rooks struggling to find peace in their new setting. I absolutely love that the family seems to be fairly well-adjusted and supportive, and who wouldn’t love the playful father-daughter banter established early in the book?

There are absolutely some scary, horrifying moments in the book. From the cold open to the looming sense of impending danger that closes the book. But… what exactly is a wytch? Are they tree zombies? They have general magical powers? I’m not quite clear. Oh, the book is scary, but I like my monsters with rules, dangit! No Ring-ghosts just running around doing whatever they want! Gimme Draculas, Frankensteins, and Wolfmans any day of the week, at least they have rules!

JOCK nails the scene with moody, atmospheric art. This shouldn’t surprise anyone, as he’s put out fantastic, unique work for years. From the “homey” character design of the rooks to the terrifying scenes in the woods, this is a nice-looking book.

So in the end, this is an AVERAGE comic for me, one that I’m willing to bet will read a lot better in trade format when we can see a bit more of the plot moving along. I’ll add it to the library list! 

Saga v3 TPB

I keep reading this book because Brian Vaughn is telling a compelling enough story that I’m interested in seeing where it goes. But my goodness, isn’t this the most popular book from Image these days? I know the title wins all kinds of awards. But man, it just feels so… manufactured. The sex scenes and Alana’s dirty talk dialogue are clearly there to try and grab attention; it feels juvenile. It reads like something a kid would write and hide from his or her parents.

With the months between my reading of volume 2 and 3, I got very confused about the sequence of events too. Things cleared up for me about halfway through. I find myself much more interested in Lying Cat, The Will, and Gwendolyn than I do in the core cast, though. The introduction of The Brand and the other associates in the bounty hunting world is pretty interesting.

I also love the inclusion of Marko’s mother as a core member of the cast. Not only does she add a fun point of view and source of conflict in the group, but she’s another accomplished fighter in a group that is quickly racking up quite the list of enemies.

I’m not totally bought into the parallel storyline of the journalists yet. They don’t seem particularly heroic, so I can’t imagine they are protagonists. Clearly, they aren’t antagonists. They seem like two likable dudes trying to do their jobs; I’m just puzzled why they are getting so many pages dedicated to them? If I had to guess, they are going to share Marko and Alana’s romance between the two warring societies, showing everyone that peace is possible. I think that’s an admirable place to take the narrative, but if the reporters are going to be the ones showing us this, I’m hoping for more guts and bravery from them soon.

Vaughn’s work has always had a certain level of… preachiness? Superiority? I’m not sure exactly what it is, but I get the feeling that Vaughn’s titles are very pleased with themselves. Now, the reader is included in that; “if you are cool and hip enough to get it and agree, then you are cool and hip too!” Perhaps I’m just reading into it, but I got the exact same feeling when I read Ex Machina. Like Vaughn’s other work, progressive ideas and hipster cred are mixed in with fantastic original ideas like Lying Cat and living tree spaceships.

Fiona Staples’ art is as impressive as ever. Her ability to elicit emotional responses from the reader for all sorts of insane aliens is amazing. Seriously, who doesn’t empathize with Lying Cat? Who doesn’t feel a twinge of pity for Prince Robot? I am amused at how many normal “Earth” animals are anthropomorphized into interesting aliens, but frankly, that just makes the sci-fi setting more relatable. This is solid work

This is a FAIR comic full of neat ideas and compelling characters. My only complaint is, for me, it seems to be trying too hard for hipster cred that it takes me out of the book a bit. 

Happy TPB

So Grant Morrison really wanted to try to write a Garth Ennis story, huh? He even went so far as to get frequent Ennis collaborator Darick Robertson to give him a hand. The result? A violent, profanity-filled one-off story that would be in the lower tier of Ennis’ work. This book is a good reminder that people should stick to what they do best.

Nick Sax is such a dislikable character, I almost feel like Morrison is trying too hard. Heck, he’s described as a “c-word” on the opening page. The story is so predictable that anyone who has read a book before knows how Sax’s character arc is going to go. There isn’t really anything original enough about his descent into the gutter and eventual redemption to make it memorable.

I suppose the titular “Happy,” the unicorn/Pegasus horse that inspires Sax’s journey is a bit memorable. He’s a floating cartoon that only Sax can see, one that can help him cheat at cards and punch thugs’ teeth out. That contrast should maybe go a bit longer than it does. Maybe it is because I already knew the concept behind the series before starting it, but I never found the cartoon/violence mix to be that striking or amusing.

Morrison usually really shows off with his insane villains. But Mr. Blue isn’t memorable, and pervert Santa is too much of a cliché at this point to be impressive. It is another swing and a miss.

Robertson’s art is gritty and realistic, with cartoonish ultra-violence. He excels at it, of course, but again, there is something missing. The sheer joy of The Boys is missing. It seems like Robertson is going through the motions too.

If you want a POOR take on better comics, you can check this out. But I’d rather read Garth Ennis’ filthy book and Morrison’s mad and wild ideas in separate titles. 

Outcast #1

I always give Robert Kirkman’s new series a chance. Hundreds of great issues of Invincible and Walking Dead have certainly earned him that. Thief of Thieves started slow and has gotten better (at least according to the trades I’ve read) and it seems Outcast might be on a similar path.

Kirkman plays around with time and our expectations of storytelling as the issue launches. There is some hopping around between time and locations that sort of throw the reader off. I assume that was the intention; that we would be unsure of which damaged kid we’re seeing in the opening pages is the child-version of our protagonist. It’s funny; I had ZERO expectations coming in to this comic. I literally had no idea what the book was about.

It takes a few moments, but eventually it becomes clear what kind of comic this is. It’s a book dealing with demonic possession in rural West Virginia. Our lead, Kyle Barnes, is the survivor of not one, but two demonic episodes in his past. One occurred when he was a child and the other as an adult as he tried to lead a happy life. These experiences have led Kyle to become a broken man, hiding in his childhood home avoiding contact with the world. Events in this issue conspire to get him back out there.

Kyle is what is known as an “outcast,” something the demons seem to at least recognize, if not value. His blood has unusual properties, and it seems Kyle is also good at punching kids in the face. It seems that Kyle will be teaming up with a local reverend to assist in demonic exorcisms.

Kirkman is ably supported by the moody art of Paul Azaceta. I’ve long had affection for Azaceta’s work; I got some commissions from him years ago at a con that blew my socks off (Taskmaster and Baron Zemo, if you are curious). The art is effective in setting the mood, and most upsettingly, the kids look like kids. Many artists have a hard time getting that look down, but Azaceta doesn’t. It is really upsetting seeing the spiritual and physical damage these kids endure as the book goes on. This is a horror comic; it is supposed to be upsetting.

There have been a fair amount of demonic possession stories over the years, and Kirkman’s holds up fine. Azaceta’s work is very strong, and I’m happy to see him on a high-profile monthly book. But while I love Kirkman’s survival horror and super-hero books, I’m only starting to come around on his horror and crime. I think I’m giving this the “Thief of Thieves” treatment and I’ll check out the next issues from the library.

This comic is GOOD for horror fans who like exorcist style stories, especially if you want those stories in a rural setting.

Southern Bastards #1

So, this isn’t Scalped. And I’m not sure that is a bad thing. Scalped is one of my favorite comics of all time, but man, it is emotionally exhausting. You feel like you’ve had a long day after reading a collection of Scalped stories. Southern Bastards still feels like a Jason Aaron comic, but maybe one that won’t be quite as emotionally exhausting.

Earl Tubb is our protagonist. He’s an escapee from the small town in Craw County where our story takes place. He’s a man who only comes home to clean things up and race back out again, hoping his return lasts only three days, or maybe even two. Earl promises someone on the phone that he’s not sticking around, and in this first issue we never see who it is he’s talking to. That’s a nice narrative lead that Aaron can pick up on later, as is the fact that Earl’s uncle has moved into a nursing home. The Uncle is in a home, not dead, and therefore an excellent source of future drama, exposition, and plot development. Aaron knows what he’s doing.

Craw County feels like a pretty corrupt place from the start. If the pooping dog on page one or the fact that “Boss” owns everything in town, then the orange wash hanging over every panel would probably give you the right idea. It’s a place Earl wants to get away from, but just going out to get dinner starts to get him tangled up.

It’s interesting that Aaron loves these stories about men returning home to places they’d rather leave behind. Dash Bad Horse wanted out of the Rez, and Earl wants out of Craw County. While Dash had orders to stay, Earl gets involved in some local criminal enforcement from someone called “the Coach.” I don’t think the Coach will take kindly to having his boy’s smacked around with a fry basket. That’s another similarity between Dash and Earl; they are both ass kickers.

Jason LaTour does a nice job with the action, everything is clear. The book has a lot of flashbacks, most of them wordless. But the parallels between past and present are effective and striking. LaTour does a nice job with the cast, too. It can’t have been easy to give these similar characters their own look and personality, but LaTour pulls it off. You can get vibes from these characters just from the “acting” on their faces. Especially the reluctance from Earl.

This is a GOOD introduction to another compelling crime comic. But that $3.50 price tag is disappointing. If Image is boosting their prices now, my budget is going to go even shorter than it is now!

Fatale: West of Hell TPB

I’m not sure if I’m being obtuse, or if Ed Brubaker is being purposely vague. I’m not sure if the titular Fatale is immortal, or if multiple women throughout time have served the same role as our current story. 

This entire trade is made up of interludes showing strange women with an amazing influence over men. We get medieval times, the 1930’s, the 1880’s, and the 1940’s. The story plays out in a similar fashion in each time period. Strange men (or un-men) are hunting our heroine, she allies with some strange guys (who may or may not be able to resist her influence), and we fade to black.

This is an effective tragedy, and it is a great work of world-building. Clearly this is some sort of immortal battle that has raged on for a long time. It sure seems like the cultists are hunting the Fatales in order to sacrifice the women to some dark, Cthullian entity. What happens then? I’m not exactly clear. There also isn’t a direct connection to the story taking place in the present.

While I find myself very interested and invested in each tale printed in this trade, I’m having an extremely hard time remember what the greater plot is. I think I might have to re-read some of the earlier volumes before I move on to book 4. I’m just not clear on what Brubaker is trying to say here.

Sean Phillips can hop from era to era and not bat an eye. Fatale maintains her look, but with time-appropriate fashions, and every single one of the supporting male protectors looks like he could star in a film version of the story. The gore is very startling and striking, but never over the top (well, not too much.) I also love it when Phillips gets to draw the REALLY crazy stuff, like the weird bird-ghost slicing up some dude in the woods. Those scenes in the haunted forest are my favorite in the trade.

So this is still a very GOOD series, I just worry I’ve lost track of the overall plot! 

Thief of Thieves v2: Help Me TPB

I dropped Thief of Thieves after one issue because I felt like Kirkman expected us to care a lot more about these characters than we did. After one issue, who cares if people are double crossing each other?

I grabbed this trade to see if things have improved. To the surprise of no one, they really have. Kirkman knows how to spin a good yarn, and Thief of Thieves has really taken shape into a good one. I barely knew who the players were when I opened this book, but I found myself rooting for most of the conflicting players by the end of this.

It is interesting that Kirkman is joined by James Asmus, a writer I’m starting to notice. How is the work split exactly? This pairing seems very effective, both in the amped up plot and in the rich characterization throughout the book.

Conrad Paulson is the star of the book. He’s a professional thief respected by his peers and the police alike. He plans jobs carefully, sets things up perfectly, and never gets caught. Unfortunately, he has a bozo son who keeps messing up. Augustus Paulson is a decent thief, but man, he gets himself into one spot of trouble after another, and he needs his dad to bail him out.

It’s a classic noir set up; the master criminal who is untouchable with no weak spots except for his family. And the family is always full of them.

I thought this read like a TV show in the first issue, and it still does. But by reading the issues in trade format, the pacing doesn’t bother me at all. I found myself anxiously turning the page to get to the next issue. This is definitely a book that benefits from the trade format.

Shawn Martinbrough doesn’t get the credit he deserves. His super-hero work has been fine, but I was never a super fan. But the acting in this comic is superb. With no costumes or other shortcuts, Martinbrough has to sell everything though well drawn facial work and “acting.” He knocks it out of the park; there is never a moment where the direction of the art is unclear.

This is a GOOD crime comic. It is no Sleeper or Criminal, but it would be a great crime show on network TV. 

Revival TPB

I’m not sure exactly what Tim Seeley is going for in his new Image series. Is it a long-form story of a changed world? This certainly has the world-building details I’d expect from that sort of story. There are all sorts of side-characters and mundane details that make his small Wisconsin town feel lived-in. But that doesn’t always lead to a riveting read every month.

Is it a horror story? Make no mistake; there were numerous times where I actually got chills at some of the horrific scenes in this story. The slaughter in barn was gory but effective, but I was a lot more scared at the haunting howls and mumblings of ghosts lost in the woods. But these moments aren’t exactly constant either.

This has got two elements that make for a good story. Good details and a strong, well-rounded setting. But it is lacking an antagonist. At the end of the first trade, I don’t really understand what our leads are fighting against. What exactly are the stakes? What happens if they fail at whatever it is they are doing? This lack of direction does dull my interest a bit.

Fortunately, Seeley has a strong cast to keep the reader invested. Dana Cypress is a local cop in charge of dealing with the “Revivers,” the recent dead who are coming back to life. Most of them seem fine; they are just back, as they always were. But some of them are definitely… off. And they are a little violent. So Dana’s got some work to do. Dana’s sister Martha is the other lead, indulging Seeley’s penchant for hot Goth chicks.

In summary, I’m getting a big TV show vibe from this one. I could easily see this coming on after Sleepy Hollow or a show like that. This lands back in the “Fair” territory of the old ranking system.

Walking Dead #107 and Walking Dead on AMC

The Comic:

I love it. Once again, Kirkman plays with our expectations and has Negan actually act like a sane guy, for once. I also wonder if he’s starting to realize just who he’s messing with in Rick. I mean, Rick surely gets some good licks in during their couple-page fight. Negan comes out on top, but he better realize that Rick is one angry man who usually gets his revenge.

This is a good issue because we’re starting to see the cracks in Negan’s armor. He has fewer men than he’s let on, he’s got basically no weapons, and he actually has to be reasonable or else he’d face a revolt from those under his thumb. Combining that with the Community’s new discovery, I think Rick’s guys might have a chance. Gunpowder and bullets go a long way…

I really like that so many of the other folks in the Community are getting some panel time. The problem is, I seem to be incapable of remembering anyone’s name. I’m always like “Abraham’s girlfriend” or Abraham’s ex-girlfriend” or “weird scientist guy.” I’m not sure if this even needs to be fixed; the book is plenty dramatic and fascinating even with a lack of truly defined second-tier characters. I still care if they live or die, but man; I need them to call each other by name when they first appear in an issue!

Charlie Adlard continues to deliver brutally effective artwork. The fast-moving fight is fascinating for the wild feeling that fills it. Negan is totally surprised, and the constantly switching momentum really drives that home. My favorite panel, though, is a silly one. When Carl steps out with his hat off, there is a ridiculous looking guy with a gold chain that just cracks me up. He looks so smug. Let’s kill that guy too, Rick!

Good

The Show (Minor Spoilers)

Ugh! Tyreese has done nothing since he got there! Are you kidding me? He is everyone’s favorite character in the comic, and eagerly anticipated on the show. So now he just sits there until he’s dismissed by crazy Rick? What the heck?

And Rick. Oh man. The show has extrapolated crazy phone talk to an amazing degree. Honestly, I don’t think Rick would ever be able to take over as group leader again. He is fully insane, and has endangered the group while wandering around after his friend. Ridiculous.

I can’t get a read on the Governor, either. The guy’s dialogue is written totally differently than his actions. That would be one thing, but you can’t be too subtle on TV, you know? It is like the actor doesn’t know how to play the guy. Is he actually somewhat apologetic? Is he simply hiding his insane side? It’s too hard to tell, and I’m afraid it is weakening a fantastic villain.

Basically, I’m worried the show is changing the comic too much. I’m not sure if the rumored split between Robert Kirkman and the show runner Glen Mazzara are over content or what, but I can understand why Kirkman might be interested in re-focusing the show a bit closer to the comic.

That said, Sunday’s episode did deliver some decent action after the snoozefest on Feb 9^th.

Fair

Invincible #100

I’m pleased that Robert Kirkman’s shocking issue 100 didn’t have quite as upsetting a shock as it seemed. I knew when the preview pages were released that it couldn’t be as bad as it seemed; I actually think Kirkman did a nice job giving clues too. When Dinosaurus was battling Invincible in full costume, then Dino blasts out of some rubble with Invincible just in his underwear, I suspected shenanigans.

Things aren’t quite as dire as they seem, although Dinosaurus does succeed in killing a whole lot of people. I really enjoyed seeing Dino rationalize everything he’s done, and do it in perfect confidence. Mark Grayson succeeds in poking some holes in Dino’s theories, and in a wonderful scene, we see it shake Dino’s foundation. If there are angles he hasn’t considered, then he may be wrong, and if he’s wrong, then he is a monster. How many villains have that epiphany? Now I’m not certain that Invincible actually does kill Dinosaurus, as the even happens off panel. I wouldn’t put it past Kirkman to bring back the big lug at a later date.

This 100th issue is about refocusing the book in a new direction, while still retaining a lot of what made the series great in the past. Much like Marvel’s Ultimatum, the Earth in Invincible is now recognizably different from the “normal” world. Tides are gone, and two giant artificial moons now control the planet’s oceans. Even better, it sounds like those two moons will serve as the base of operations for an expanded Guardians of the Globe. That is a pretty radical change in direction.

But Mark Grayson is still Invincible; he’s still tackling relationship issues with Atom Eve and his parents. Best of all, he’s back working for the US Government. So he’s back as an adjunct to the Guardians of the Globe, hearkening back to what I think was the strongest era in this title. There are a lot of familiar elements to keep the long-time fans happy.

Ryan Ottley’s art is once again, stunning. The guy knocks it out of the park every month. I mean, did you know it was even possible for a Tyrannosaurus Rex’s face to show regret? Well Ottley can draw it. Just wonderful. Kirkman is so lucky to be blessed with gifted artistic partners on his flagship titles.

It says quite a bit that this was the first book off my stack this week, even beating out Avengers. That’s what 10 years of excellence earns you! How about 10 more?

Excellent

Saga TPB

It must be me, right? I mean, this is like the most respected, beloved book in comics right now. Everyone online is talking about it all the time. People are holding it up as the current flagship to save comics. But for me, this is a decent space opera, and that’s about it.

I tried the first issue when it first came out, and while I liked some of the world building, I felt Brian Vaughn was trying too hard to be edgy. The opening line of dialogue, the fairly graphic robotic sex scene, it just seemed like it was flaunting its new R rating or something. Now that I’ve read the entire first trade, I can say that while those aspects are definitely reigned in after the first issue, they are still there. There are weird adult “touches” that make it seem a little silly. My wife actually commented on the trade when she saw it, but I didn’t suggest she try reading this one. I’m afraid those moments will make her smirk about comics all over again.

That’s not to say the narrative doesn’t have some good stuff. I like the idea of the infant narrator, and the cliffhanger is an extremely strong one. There isn’t a lot of action to be found, but when it happens, it’s pretty intense. Marko’s swift destruction of a squad of hunters gave me a whole new appreciation for him. (Until then, he was really just kind of a whiner.) Alana is harder to get a read on. Sometimes I think she’s a manic pixie dream girl, other times it seems she’s just a tough-talking smart ass.

The Will and Lying Cat are a fun combination. It’s easy to like them, based on their actions so far, but the narrator’s ominous musings about him add quite a bit of mystery and dread to his appearances. I really don’t care for the new ghost character. Her Earth-style of dialogue and fashion takes me out of the story. The ghosts look and talk like annoying kids at the mall; it depresses me to know that teenagers are the same on alien planets too.

The strongest aspects of the series involve the plot and design of the conflict. The two worlds at war are both interesting, and the denizens of each vary in neat ways. One embraces fantasy and sorcery, while the other seems to be more of a sci-fi type set up. The nicknames like “Moonies” that each faction has for the other makes the setting feel established.

It’s a great visual that Fiona Staples uses to full effect. (My wife did ask why Pink was in Saga, was that obvious to everyone else that she was Alana’s model?) Her design on the spaceships is probably my favorite part of the series. Most of the art is more emotion and “acting” based, and Staples does a great job in that respect too. You can tell just from the faces what is happening in almost every scene, even if that involves a spider/centaur lady or a telepathic cat.

Fair

Invincible #98

Invincible remains a fun, fast-paced comic that delivers everything I want from a superhero comic. But I also have to admit that the history and continuity are getting daunting. I don’t remember where we left off with Angstrom, the mad teleporter. Robert Kirkman gives us some background and helpful dialogue with Dinosaurus and Bulletproof, but man, when the Guardians show up; a new reader wouldn’t have a chance. There are a lot of folks who pop up and don’t get name-checked. 

That said, I love seeing the Guardians showing up and being so effective for the bulk of the issue. Did anyone else notice Shapesmith signing autographs and saving hot ladies in the background of a couple panels? Nice work, Ryan Ottley! 

Speaking of Ottley, seeing the two costumes on the cover really lets me appreciate both. The “Dark Invincible” suit Mark is wearing is a great look for his current proactive attitude. But I can’t be alone in thinking Bulletproof is in trouble during this story, right? 

Seriously, everybody dies is looking like a mighty accurate story title. I’ve got to think this is going to end with Bulletproof dead and Invincible reclaiming his heroic mantle. At least, that’s what I’d expect in a normal comic from Marvel of DC. This being a Kirkman book? I’m just looking forward to the next issue.

Good

Invincible #96

Ahh, Kirkman. Nicely played. You gave us saps the happy ending we’d been pining for, but then you poisoned the well with a good cliffhanger. Sure, Monster Girl and Robot are going to stay together and commit to their relationship, but we know that Robot is still harboring a pretty jerky move in his recent past. Well played.

Ryan Ottley gets a bit more action this month as the Guardians of the Globe take on the alien invasion head on. Once Robot gets involved, it seems like just a matter of time before the aliens get taken out. And as for Monster Girl’s forgotten, warlord-baby? He’s an easy target for a focused Monster Girl and Robot. (I thought Robot usually controlled his armor remotely? Seems unnecessary to risk life and limb at the actual scene.)

I’m not sure I agree with all the job assignments Robot lays out; I might have sent a couple more heroes to guard the refugees. I’m also hopeful that Bulletproof gets some time front and center next month. He’s had an eventful run as Invincible, and I maintain it is a brilliant idea to replace the man in the suit. Change is almost always good in these long-running titles.

Change is not good for Atom Eve when she and Mark try to get intimate with his powers gone. Once again Kirkman comes up with a reasonable, original spin on super-heroic characters; a hero using his powers as a crutch in the bedroom. So silly.

Good

Cyberforce #1

I don’t understand what is happening in this comic. Now I admit, I haven’t read Cyberforce for a very long time. Like everyone else, I read the series in the 90’s when Marc Silvestri first started it up. But that comic was very, very different than the one I just read. So this thing is clearly a reboot, then, right? With some similar names, and maybe a few nods to the original designs? Cause I’m not seeing a lot more connections to what I think of as “Cyberforce” when I read this comic.

Instead of a present-day actioner, Matt Hawkins is telling the tale of a futuristic world of have and have-nots. The main team is made up of different model cyborgs that are resisting the leadership of the elite. It seems this is some sort of post-apocalyptic scenario, but there are still news reports, cops, and other “normal” bits of the world holding on.

I found the narrative style to be a bit confusing. Having out-of-sequence panels with sequential narration, combined with an alternate future story and new characters? But those characters have familiar names? That’s a lot of new information to try and process all at once. I was an English major and I still couldn’t tell you exactly what’s happening here.

I’ve always liked Khoi Pham’s artwork. He tends to use scratchy lines, and those work well on all the rubble and destruction lying around in this future. The design work is lacking, in my opinion. The modern SHOC troops are in big, prong-y armor that just doesn’t seem too effective. The actual core cast look very similar too, I sometimes had a hard time picking out the different team members.

Average

Walking Dead #102

Rick Grimes, you sneaky bastard.

Once again, Robert Kirkman has me excited for the next issue. Negan is a great new foil, and I sure hope that Rick hands out some revenge for what happened in issue 100. That said, this feels like a story that went on too long.

While Andrea didn’t experience the trauma of issue 100, the reader did. So having Rick spend pages re-describing what happened seems kind of pointless. We check in with quite a few of the supporting cast, including a few new faces. Michonne sure sounds like she needs a bit of a vacation, so perhaps Rick’s new attitude might be just what she needs. I love seeing Eugene so angry and hungry for revenge. He had a weird relationship with Abraham, but he’s obviously upset that his friend is dead. And if he can do what he says he can… if he can make bullets… hoo boy.

Charlie Adlard does a wonderful job with the cast’s faces. There are a lot of silent panels where the storytelling is purely in the art, and Adlard pulls it off. At the close of the issue, the anger in Andrea, Carl, and that other gal’s face is crystal clear. Yet Michonne looks accepting with a tinge of sadness. There is subtlety there that is extremely hard to nail in a drawing.

It says a lot that a disappointing issue of Walking Dead is still pretty darn good.

Good

Guarding the Globe #1

So clearly, I’m a sucker for team books. From the first time I picked up an issue of Uncanny X-Men, I’ve always loved the value of a funny book packed with characters. The best part is, if you like the characters, then no matter what happens in that particular issue, you always want more. Robert Kirkman has created a well-rounded, fun team in his Guardians of the Globe, and I’m more than ready to shell out $2.99 to see the expansion of Kirkman’s universe.

The book focuses on Brit, and as one of the few members to carry his own series in the past, that makes sense. Then there is his robot pal Donald, Bulletproof/Invincible II, and the cast from Kirkman’s Capes series. Only a few of the folks in the lineup are new-ish, and they’ve been around since the Guardians’ last series.

I have to admit, I know nothing about Samson, Outrun, or Kaboomerang. Heck, Blind Tiger and the rest of the cast are just as mysterious. They’ve had a few lines of dialogue, but that’s it. It’s a great opportunity for Phil Hester to come in here and give these guys more personality. I am hoping he puts the spotlight more on Bulletproof, Robot, and Monster Girl, our more established Guardians, but I don’t mind new folks like Tiger getting some panel time too.

Hester takes an interesting tack, revealing that Brit’s young son has autism. This is an extremely sensitive subject for a lot of people (my family included). I imagine that someone involved in this book is drawing on personal experience; the dialogue seems pretty personal. If family is going to be one of Brit’s defining characteristics, I’m interested to see how it develops from here.

Todd Nauck isn’t my favorite artist when it comes to big, iconic characters. I don’t love his Spider-Man, or his Wolverine. However, when he’s drawing crowds of new heroes? No one does it better. His storytelling is clear and I dig his take on the Invincible costume. This is a solid debut. It’s not revolutionary or world-changing, but it is entertaining and packed with heroes.

Fair

Fatale TPB 1: Death Chases Me

I think I’m suffering from unreasonably high expectations. I liked this book a lot, it’s great, but I’d been hearing rave reviews for months, Brubaker’s other work ranks as some of my favorite comics ever. I think what threw me was the line of “a noir with Lovecraftian monsters.” Now, that’s entirely accurate, but I was expecting a bit more monster and a bit less noir, at least to start off with. By the end of the book, I think the series is in a place where it will deliver more visceral thrills in addition to the solid characters and criminal atmosphere.

The titular fatale is Josephine, a beauty with some weird powers. It seems she can dominate men’s minds in more than a physical way, somehow domineering their thoughts to make them fall for her. She’s also immortal, explaining how the story is unfolding in two times simultaneously. In the past, she’s Josephine, enthralling reporter Hank Raines and getting him mixed up with crooked cops and criminals whose bosses are from FAR out of town. Raines’ life gets very exciting with Josephine, very steamy. The problem is he forgets about his pregnant wife when his new lady comes into his life. You have to pity the guy as his life spirals out of control.

In the present, Nicolas Lash is Raines’ godson, and he meets “Jo” while attending Raines’ funeral. Jo isn’t the only immortal; the baddies that are hunting Jo in the past are there in the present too, bald headed, sunglass-wearing thugs who don’t seem to fit in. There’s definitely a “low man in yellow coats” vibe to them (for you Dark Tower readers) and that’s a good thing.

The supporting characters are brilliant, and even the outmatched crooked cops have redeeming qualities. The art is wonderful, with Jo shining out from every page she’s on, and the subtle callouts to her beauty like all eyes on panel watching her only inflate her sense of importance. Sean Phillips is an old pro at this stuff, now, his action is perfectly choreographed and the settings are characters on their own. There’s a realism to even the Lovecraftian pieces that gives the monsters the same sense of grime as the criminals who populate most of the book.

(Side note: I was reading this on the plane, but after a page of bloody, beheaded bodies and a panel with Jo hooking up then getting dressed, I figured it might not be best for people reading over my shoulder!)

Excellent

Walking Dead #100

Wow. I'm really upset by this comic. And frankly, the thought that this is going to be one of the highest-selling comics of all time is quite the statement for our pet art form. This comic is absolutely brutal. Just an awful experience for those of us who have spent years with the characters.

I was enraged when Tyreese died. I was saddened when Lori died. I was disappointed when Abraham bought it. But this death here... man, it just crushes your heart, huh? I mean, these are made up characters, but wow, this one is going to stay with any real fans of the Walking Dead for a long time. For the first time, this world feels like it is too far gone to try to survive in. It may be that some of those dead folks got off easy.

And this jerk Negan, I absolutely can't wait for whatever comeuppance he's got coming. I know he's got all the cards right now, but so did the Governor, and even if Rick doesn't make it, I have faith that someone else in our cast is gonna make this guy pay. I'm already anxious for it. In one issue, Robert Kirkman has created a guy I hate as much as the Governor.

And Charlie Adlard. I read an interview how he turns off his brain to draw this, how after he gets over the shock of reading the script, he just turns into a pencil robot. I'd think he had to, because this is just crushing artwork. That one panel, the splash after the initial hit. Ugh. Almost made me sick reading it.

So c'mon Rick. Start working out a plan to kill a whole lotta people, cause I think all these guys gotta go.

Excellent

Invincible #93

I haven’t counted pages, but this felt like a really short issue. Perhaps it’s the multi-splash page battles with the Flaxans, but this was over in a jiffy.

I appreciate Kirkman’s novel approach to the Robot and Monster Girl story, but is it me or is this dragging on a bit? I suppose that’s how the plan must have felt to our heroes while they were trapped, but man! I’m also having a hard time remembering how Monster Girl’s powers worked while she was exiled. I thought Robot had stabilized her back in her adult form, but she’s clearly kiddie-sized on that cover. And we still don’t know what exactly happened during the decades the two lovebirds spent together, but I still hold out hope they can get back together.

I think part of my lack of enthusiasm for this issue is the lack of a voice for the Flaxans. Kirkman excels at writing his villains, and the Flaxans really don’t have much detail to them. They need a Super-Skrull type champion to give them a face I can root against. Maybe that last page is giving us someone like that?

I still love Bulletproof as the new Invincible. The whole “screw-up brother” ostracized by his family is a neat idea, one I don’t remember seeing before. Bulletproof/Invincible II has a “public” ID, it’s just the wrong brother! I’m not sure why Zandalle is putting himself through all this torture, but it’s hard not to pull for the guy when you see these glimpses of his life.

This book belongs to Ryan Ottley. I love the way he draws the entire cast. Cory Walker still does a nice job, but I’ll be happy when Ottley is handling the whole thing again. Maybe give Walker a spin-off?

Fair