Category Archives: comics

comics

The Shadow #1-6 (2012)

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“They call me the Buffalo.”

“They call me sir.”

The latest comic book incarnation  of The Shadow comes from Dynamite. The first story, The Fire of Creation, was written by Garth Ennis with art by Aaron Campbell. Ennis has had a string of hit series for both the major publishers as well as his recently concluded series, The Boys,  for Dynamite. Aaron Campbell is a new name to me but he seems to have worked mainly on other Dynamite titles such as Green Hornet and Sherlock Holmes.

Set sometime in the 1930s, Lamont Cranston is working with US Military Intelligence to prevent an ex-crime boss turned Japanese army officer getting his hands on the “magic rocks” being auctioned among the world’s super powers by a Chinese crime lord. Along the way he must escape assassination attempts by the Nazis and the interference of the Military Intelligence officer sent with him to legitimise the mission.

I gave this one a try because I like the gun-toting vigilante known as the Shadow especially the incarnation from the 80s by Andrew Helfer and Kyle Baker. This version did not live up to that mainly because writers seem to have been restricted in what they can do with the character since that time – the book was pulled from DC without warning in the middle of a storyline. As a Garth Ennis piece it also did not live up to its potential, probably for the same reason, as a lot of the signature Ennis tropes are missing – the black humour, sexual deviancy and gallons of blood and gore. So we get a fairly standard pulp thriller that touches on the origin of the Shadow and his relationship to Lamont Cranston and Kent Allard without going into too many details. The Shadow’s only companion in this story, from his usual selection of sidekicks, is Margo Lane and the action mainly takes place outside of New York in a China under the control of Japan. A good enough read that retains the pulp essence of the character but I think I will stick to my Helfer back issues.

Books received 12/8/12 Graphic Novels edition

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Let’s take a quick look to see what’s arrived at the Geek Compound.

Saucer Country Vol. 1: Run

Saucer Country Vol. 1: Run

Written by Paul Cornell
Art by Ryan Kelly

 Promo copy:

Arcadia Alvarado, the leading Democratic candidate for President of the United States, says she was ‘abducted by aliens.’ As the Mexican-American Governor of New Mexico, she’s dealing with immigration, budget cuts and an alcoholic ex. She’s about to toss her hat into the ring as a candidate for President in the most volatile political climate ever. But then…a lonely road and a nightmarish encounter have left her with terrible, half-glimpsed memories. And now she has to become President. To expose the truth–and maybe, to save the world.

Arcadia’s quest is at the heart of this new title from writer Paul Cornell (DEMON KNIGHTS, ACTION COMICS, Doctor Who) and artist Ryan Kelly (NEW YORK FIVE, NORTHLANDERS, Local). With the help of her quirky staff, Arcadia will pursue the truth of her abduction into danger, mystery and awe.

Saucer Country is a dark thriller that blends UFO lore and alien abduction with political intrigue, all set in the hauntingly beautiful Southwest.

 

Uglies: Cutters (Graphic Novel)

Uglies: Cutters

Written by Scott Westerfeld and Devin Grayson
Art by Steven Cummings

 Promo copy:

Experience the riveting, dystopian Uglies series seen as never before—through the eyes of Shay, Tally Youngblood’s closest and bravest friend, who refuses to take anything about society at face value.

“From the moment we are born, we are considered threats in need of ‘special’ management. We are watched and shaped and exploited by a force most of us never see. . . . All to keep us safe. . . . Do you feel safe?! Or do you feel like you’re in a cage?”—Shay

In Pretties, Tally Youngblood and her daring best friend, Shay, both underwent the operation that turned them from ordinary Uglies into stunning beauties. Now this thrilling new graphic novel reveals Shay’s perspective on living in New Pretty Town . . . and the way she sees it, there’s more to this so-called paradise than meets the eye.

With the endless parties and custom-made clothes, life as a Pretty should be perfect. Yet Shay doesn’t feel quite right. She has little to no memory of her past; it’s as if something in her brain has inexplicably changed. When she reunites with Tally and the Crims—her rebellious group of friends from Uglyville—she begins to recall their last departure to the wild, and the headstrong leader she used to be. And as she remembers the truth about what doomed their escape, Shay decides to fight back—against the status quo, against the mysterious Special Circumstances, even against her own best friend.

 

Welcome to Alflolol: Valerian Vol. 4 (Valerian 4)

Welcome to Alflolol: Valerian Vol. 4

Written by Pierre Christin
Art by Jean-Claude Mézières

 Promo copy:

Technorog is a planet essential to the economy of the Terran empire. For 200 years, it has been a centre of industry, research and agriculture. Suddenly, the indigenous population—believed long extinct—comes back to the planet they know as Alflolol. Earth’s laws are strict: They must be allowed back on their ancestral grounds. But when Valerian and Laureline are assigned to facilitate their “reinsertion,” they see the difference between the letter of the law and its spirit…

 

Earlier this year, I interviewed  Jerome Saincantin, who translated this very volume, as part of my Nexus Graphica column.

 

Green Lantern: 1001 Emerald Nights (2001)

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“Reign of terror? I’m not sure I understand. But you’ve got lots of time to explain it to me. Well, at least the night.”

This prestige format one-shot from DC is part of their Elseworlds series where a twist is applied to a familiar hero usually by changing their normal setting. This mash up of Green Lantern with 1001 Nights was written by Terry LaBan who is more of an underground comic writer/artist but has done some work for major companies including The Dreaming for Vertigo and a Grendel mini-series for Dark Horse. The art was by Rebecca Guay whose work I know from the Black Orchid ongoing series from the 90s and some Sandman spin-offs.

In this story, Scheherazade is a Green Lantern has come to the town of Isafakhar to end the reign of the wicked sultan Ibn Rayner. But once she insinuates her way into the Sultan’s chambers, she finds that he is not the cruel ruler that she was expecting but more of a naive, misled puppet ruler. Through three tales of the reluctant hero Al Jhor Dan and his powerful genie, she tries to educate him in how a ruler show behave personally and towards his people.

A not bad story transposing the Green Lantern mythos onto the tales of the Arabian Nights. As usual with these Elseworlds tales, a lot of the elements of the superhero remain the same just subtly tweaked to fit with the new setting. So in this case the Lanterns do not have rings to start with but summon genies from lamps to carry out their will instead. Perhaps the story was a little over-moralistic but that is the nature of the originals I can live with it. Rebecca Guay’s art is perfect for this tale as she specialises in fantasy illustration and it looks great on the page – especially the leading ladies.

Camelot 3000 (1988)

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“But no need to stand on ceremony. You may call me King Arthur!”

This book is a collection of the first comic book maxi-series, as claimed in the introduction by Don and Maggie Thompson. The series was written by Mike W. Barr who is probably best known for his writing on various Batman titles such as Batman and the Outsiders, the Year Two story in Detective Comics and the Son of the Demon graphic novel. The art was by British artist Brian Bolland who is more often associated, these days, with fabulous cover art but also worked on early Judge Dredd stories for 2000AD and DC’s The Killing Joke.

It is the year 3000 and Britain is under attack by relentless aliens from the solar system’s tenth planet. In it’s hour of need, King Arthur, it’s greatest defender, is reborn. His first act is to restore Merlin to his side followed by the reincarnations of his knights of the Round Table. They discover that Morgan le Fay is behind the alien attacks and so old conflicts are renewed.

I bought this book because it is one of the few examples of a comic series illustrated by Bolland whose work I love. Unfortunately the story did not match my expectations. For a comic that was DC’s first for mature readers, it felt very immature – let’s mix Arthurian legend with the future and an alien invasion and it’ll be cool. It seemed very thin and being stretched over twelve issues did not help. This book has not aged as well as some of it’s contemporaries from the mid eighties. It doesn’t help that a number of later comics, such as Fables, deal with the updating of mythological or fantasy characters much better.

But I came for the art and the art was good but it didn’t blow me away in the same way that his covers can do. Partly this is because it does not have the same detail as his work in black and white does – Bryan Talbot is another good example of someone whose work I prefer in black and white because so much more goes into it. I was also expecting more due to the problems that I know plagued this book as regards to deadlines however I don’t feel that it necessarily shows in the finished page. So all in all a bit of a disappointment – maybe you had to be there to appreciate it.

Getting ready

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So I have spent a little time doing some research on Constantine’s appearances in DC/Vertigo comics and I came across the Ultimate Hellblazer Index by John Goodrich. John has constructed a timeline of John’s career rather than his appearances (though for a lot of it is the same thing). He has pulled in a lot of appearances in other books that I was unaware of as well.

I am going to use an adapted version of this timeline to guide my reading – one that sticks more closely to publication date rather than Constantine’s personal chronology and will ignore one-off appearances in books I do not own. So I have constructed a list of comics that will start me on the Hellblazer re-read and will cover the first 100 issues of the series with some diversions along the way. The initial list is:

  • Swamp Thing 37-40
  • Swamp Thing 44-50
  • Swamp Thing 51
  • Swamp Thing 55
  • Swamp Thing 65-67
  • Hellblazer 1-5
  • Swamp Thing 70-73
  • Hellblazer 6-7
  • Swamp Thing 74
  • Hellblazer 8-9
  • Swamp Thing 76
  • Hellblazer 10
  • Swamp Thing 77
  • Hellblazer 11-24
  • Sandman 3
  • Swamp Thing 84, 88-90
  • Hellblazer 25-33
  • Swamp Thing 99
  • Hellblazer 34-40
  • Books of Magic 1-4
  • Hellblazer 41-48
  • Swamp Thing 114-115
  • Hellblazer 48-71
  • Hellblazer Special 1
  • Hellblazer 72-75
  • Swamp Thing 134-138
  • Hellblazer 76-83
  • The Horrorist 1-2
  • Hellblazer 84-100

 

The Joker’s Last Laugh #1-6 (2001)

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“Didn’t figure you for the prayin’ type, boss.”

“Why? Because I kill people and do really rotten things to puppies and kittens?”

My first digital comics read on my new tablet is this six part series from DC. The series writers were Chuck Dixon and Scott Beatty. There were numerous artists on the series: Pete Woods; Andrew Pepoy; Marcos Martin; Mark Farmer; Alvaro Lopez; Walter McDaniel; Andy Kuhn; Ron Randall; Rick Burchett; Mark Lipka; Dan Davis.

While incarcerated at the Slabside Penitentiary, the Joker is diagnosed with a terminal brain tumour. He reacts by inciting a riot and using the prison’s own defences to “jokerize” the other inmates – may of whom are super-villains. Having created his own super-army, the Joker escapes and lets them loose upon the world hoping that he will be killed by an old friend before he dies.

The annoying thing about this series is that it is not self contained. And for a series featuring the Joker there is not nearly enough scenes in which he appears. The chaos caused by the Joker ripples throughout the DC Universe and some of the action takes place in other comics. This would be fine if the main series told its own story consistently but instead there are scene and plot changes between issues that are just not explained and so the story has unsatisfying holes in it. This is the reason I tend to avoid crossover events, and don’t read too many modern Marvel books where there constantly seems to a crossover happening. I hate the presumption of publishers that either readers are reading all their books or that they will stump up the extra to follow the story beyond a central series.

As I have already stated, the story is less a story about the Joker than it is about the victims of his cruelty. Oracle and Nightwing are the ones to suffer most throughout the story. Their moral stance on the Joker and his continued existence testing them and their relationship to the limit. This could have been a great story in the vein of The Killing Joke or A Death in the Family if it had been allowed to develop within its own pages with a consistent art team but the disjointed nature of the series ruins its emotional impact for me.

As I said at the start, this is my experience of digital comics and using a tablet to read them. In general my experience has been positive. I bought a 10″ Samsung tablet and the size of the visible screen is only slightly smaller than a standard comic page – which is important as I don’t like the directed zoom way of reading comics that can divorce the words from the images. A big plus is the regular sales on Comixology and Dark Horse Digital and, as there is a lot of old stuff I have still to pick up, I can wait for issues to be bundled or sold for 99 cents an issue. For example, the collection for this series is out of print and  I picked it up for $5.94 rather than the $30 which is the cheapest second hand copy on Amazon UK or Abe Books (once shipping is included). The only downside is the price of new comics that tend to be same price as the print version which has never seemed right to me for any digital media.

He Ain’t No Judas: My Conversation with Walter Simonson

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For my latest Nexus Graphica column over at SF Site, I was lucky enough to interview the legendary Walter Simonson about his new graphic novel The Judas Coin as well as other things artistic.

What was the impetus for The Judas Coin?

Back when I was working on Michael Moorcock’s Elric: The Making of a Sorcerer, Mark Chiarello at DC approached me and asked me about contributing to a new comic he was going to be editing for DC. It was called SOLO. Each issue was going to be written and drawn by a single writer/artist. The book was to be a 44 page comic of short stories, at least one of which was to be about a DC character. Otherwise, it was wide open. I was delighted to be asked. I started thinking about what I might do, and eventually had the idea for an anthology of short stories, threaded together by one of the coins Judas was paid to betray Christ. I worked out the plots for each of the stories, but in the end, the Elric book took me longer to do than I’d thought — no surprise there — and by the time I’d completed it, SOLO had run 12 issues and was done. I still liked my idea for the comic, so I spoke to Dan Didio at DC about the anthology. He liked the idea, and suggested I find an editor and write up a proposal for a 96-page hardcover. That worked out, but Mark was the guy whose initial approach sparked the book.

Check out the entire interview over at SF Site.

 

Thor #337  Alien: The Illustrated Story Elric: The Making of a Sorcerer Thor as a frog

Welcome to my new blog

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I already have a long established RevolutionSF blog called The Culture where I record my thoughts on the comics books I read. This new one will have a slightly different focus.

I have been collecting comics on and off for the last 30 years or so and there are a number of series that I would like to re-read – mainly from the eighties and nineties. Most of these will be from Vertigo but there are others from DC, Marvel and 2000AD that I would like to read too. So I will record these readings here separate from my main blog.

The final spur to actually do this is the news from DC that the only ongoing title throughout Vertigo’s 20 years of existence, John Constantine, Hellblazer, is to end with issue 300 and move back to DC as part of the New 52. Like most fanboys, my views on this change are not entirely positive but the closing out of the series on Vertigo means that now is probably a good time to go back and revisit the series as I have been meaning to do for some time.

So all things John Constantine will be my first focus. I will look at some of his appearances in Swamp Thing before moving onto his own series and the associated spin-off series that he also appeared in. I will probably not start before December so you have time to dig out your old back issues if you want to join in.

The New Deadwardians #1-8 (2012)

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“One day I recall, I had to re-kill my entire platoon.”

The New Deadwardians #1 cover

This recently finished 8 part mini-series from Vertigo was created by writer Dan Abnett and artist I.N.J. Culbard. Abnett has had a long career as a writer of prose books, most notably a large number of Warhammer 40K novels, and comics books mainly for Marvel and 2000AD. Ian Culbard has illustrated a number of adaptions of literary works including  Conan Doyle’s Sherlock Holmes, H.P. Lovecraft stories and Edgar Rice Burroughs’ A Princess of Mars.

Set in an alternate history London of 1910, a curse has spread across England since zombies (known as the Restless) first mysteriously appeared in 1861. Attracted by the living, the only cure is to become a vampire (known as the Young) an option taken up mainly by the wealthy and privileged members of society. The rest of the human race (known as the Bright) live in barricaded zones surrounded by hundreds of the Restless pressing in attracted by the living. In this setting, Chief Inspector George Suttle is called on to investigate the murder of a Young aristocrat who death is made more mysterious by not being due to one of the three ways to kill the Young. During his investigation, Suttle has to cross into a Bright zone and deal with the reawakening of long dormant desires as well as secret societies and pressure to close the case quickly without any scandal.

Abnett has taken some very old (and possibly tired) supernatural species and managed to weave a fresh story full of intrigue. The zombies are mostly background threat with a couple of incursions in the living zones of London. The most interesting relationship is between the Young and the Bright and the simmering resentment that pervades the whole series. Suttle goes through a transformative experience when made to interact with the Bright that challenges the life (or unlife) he has been leading for nearly 50 years. I liked the art by Ian Culbard and the subtle colour palette used throughout the book. Worth a look for a different take on some classic horror tropes.