Tagged: review

The Weekly Haul: Reviews for April 17, 2008

  • News
  • April 17, 2008

This past week in comics wasn’t anything too special, with DC essentially laying an egg. Luckily a handful of independents rose to the occasion, and Marvel had some strong offerings, including a big surprise for best of the week. On that note…

ghostrider22cover-5750318Book of the Week: Ghost Rider #22 — Any time a comic is so good I have to read it three times before I can move onto the next book, it’s a lock for the top spot. This is darn close to a perfect issue from the first page, which starts off brilliantly ("I’ll never forget the first time I saw a dead body").

Jason Aaron continues the story of Johnny Blaze searching for answers from the angel who turned him into Ghost Rider, a quest that has led him onto a highway filled with evil, cannibalistic demons. It’s an epic fight, overloaded with crazy elements in the way of Quentin Tarantino (yet less self-obsessed).

In addition to the demons, there are evil gun-toting nurses on motorcycles and a still-living cannibal slowly feasting on a deputy. Aaron slowly pulls all of these elements together, leaving off just as they’re all about to literally collide. Oh, and did I mention it also has the line of the week? "The day I can’t catch a dead horse… is the day I give up and rot."

Lastly, I have to give a ton of credit to Roland Boschi for his art. It’s kinetic and loose in the way of Leinil Yu, though not as busy. Combined with Dan Brown’s colors, it makes for some of the best superhero art on the rack.

Runners Up:

X-Factor #30 — I promise this high ranking isn’t just to placate the great Peter David, who took serious umbrage with my review of She-Hulk #27. No, the latest issue of X-Factor (like most of the run) is worthy of serious praise on its own merits. Arcade’s plans for destroying the team, and all of Mutant Town, play out with expected brilliant insanity, and the weakened X-Factor can barely keep their heads above water (or remaining on their shoulders).

In the previous run of this series, one thing David did exceptionally well was crafting great stories without ever bringing in stock villains. Here, he brings in a stock villain but does it in keeping with the series’ tone. Beyond that, the last page is one of the best I’ve ever seen, with an emotional stomach punch that humanizes one of the Purifiers and a true "Hey, May!" cliffhanger.

Fear Agent #20 — The best of a good crop of small-press titles. I’ve always heard this series praised for its goofy sci-fi plots and fun elements, but this issue is one long emotional swan dive that’s surprisingly touching. Rick Remender intertwines his characters’ harsh pasts with their bleak futures to explain their confused ambitions. A very small story in the grand scheme of things, but a very well done one at that.

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Review: Three Pieces of Middle

These three books have almost nothing in common – they’re from three different publishers, in entirely different genres, and by very different creators. But they all are middle chapters in long-running series, so they raise similar questions about maintaining interest in a serialized story – when the beginning was years ago, and there’s no real end in sight, either, what makes this piece of the story special? (Besides the fact that it’s printed on nice paper and shoved between cardboard covers.)

exmachina-621-7885143Ex Machina, Vol. 6: Power Down
By Brian K. Vaughan, Tony Harris, Jim Clark, and JD Mettler
DC Comics/Wildstorm, 2008, $12.99

Ex Machina gets to go first, since it’s the shortest and it’s also the closest to the beginning of the series. (Both in that it’s volume 6 and because all of the [[[Ex Machina]]] collections are so short – this one collects issues 26 to 29 of the series, so we’re only into the third year of publication.) The premise is still the same – an unknown artifact/item gave then-civil engineer Mitchell Hundred the power to hear and command all kinds of machines, which he used to first become a costumed superhero (stopping the second plane on 9-11, among other things) and then successfully ran for mayor in the delayed election of 2001-2002.

This storyline begins in the summer of 2003, and provides a secret-historical reason for the blackout of that year. (This is too cute a touch for my taste – Hundred’s world is different enough from our own that this “explanation” couldn’t be true in our real world, and so the fact that both worlds had identical-seeming massive blackouts, on the same day, from different causes, stretches suspension of disbelief much too far.)

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Review: ‘Tônoharu, Part One’ by Lars Martinson

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Tonoharu: Part One
By Lars Martinson
Pliant Press/Top Shelf, 2008, $19.95

This is another one of those books where it would be dangerous to assume too much, but it’s so tempting to do so. Martinson is a young American cartoonist who “lived and worked in southern Japan as an English teacher for three years.” The main character of this book, Dan, is a new English teacher in the Japanese town ofTônoharu. To make it even more complicated, [[[Tônoharu]]] has a prologue from the point of view of another English teacher in Tônoharu, Dan’s successor, who may or may not be Martinson. From the prologue, we already know than Dan will only last a year in Tônoharu, and that he’ll go home with “that ever-present look of defeat on his face.”

We also know that Dan’s unnamed successor isn’t particularly happy with his life in Tônoharu – the prologue sees him wrestling with the choice of staying for a second year, or bailing out – and the beginning of Dan’s story shows his unnamed predecessor leaving Japan after only a year, along with the predecessor’s only friend, another American teacher. So what is it about Tônoharu – or about Japan in general – that burns out and drives away Americans?

The main part of the story shows Dan feeling isolated and cut off from Japanese society, but he also doesn’t seem to be making much of an effort to connect to it. He has long periods of idleness at the school, which he’s supposed to use to prepare for class, but his language skills don’t get any better, and he’s always badly prepared. He doesn’t have much of a life in Tônoharu, but it’s hard to tell why that is – he says, at one point, that his hobbies are watching TV and sleeping, and he’s apparently honest about that. Honestly, he doesn’t seem to do anything, or to want to do anything in particular – he just wants not to be doing whatever he is doing.

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Review: ‘Paul Goes Fishing’ by Michel Rabagliati

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Paul Goes Fishing
By Michel Ragabliati
Drawn & Quarterly, 2008, $19.95

[[[Paul Goes Fishing]]] is the fourth in a series of semi-autobiographical graphic novels by an illustrator-turned-cartoonist from Montreal named Michel, about an illustrator-turned-cartoonist from Montreal named Paul.

Nosy Parkers, such as myself, will immediately start wondering just how “semi” this autobiography is. Paul and Michel are about the same age, in the same line of work, from the same city, and have the same family details (a wife and one daughter). On the other hand, these semi-autobiographical cartoonists are sneaky – and someone like Ragabliati could also easily have just done a pure autobio comic (there’s no shortage of those). So I’ll refrain from assuming that anything about “Paul” is also true of Rabagliati.

Like the other “[[[Paul]]]” books, Goes Fishing wanders through Paul’s past, with some scenes set when Paul was young (mostly when he’s fifteen and so frustrated with his life that he tries to run away) and some when he’s an adult (mostly in the mid-90s). There’s some narration, in the voice of a contemporary Paul, to organize it all, and explain when each scene is taking place, but the structure is quite fluid, with scenes flowing according to memory or other connections than along purely chronological lines.

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Review: ‘American Splendor’ #1 by Harvey Pekar

For several decades now, Harvey Pekar has existed in comic book form as a straight-talking, ill-tempered, hypochondriac who can’t go very long without finding something to complain about.

The latest edition of his American Splendor strikes me as an important moment in that career, then, as Pekar is settling into a more mellow existence. In the first issue of this volume (the second from Vertigo), Pekar doesn’t call a pharmacy worker a Nazi (and benefits from the lack of anger) and doesn’t blow his top at a sycophantic fan who invades his life and doesn’t totally trash a critic who didn’t like his book Macedonia.

One of the things that made Pekar something of a phenomenon in the first place was his always-simmering anger (let loose so famously on David Letterman’s couch), so these stories become interesting in two respects: watching Pekar’s personality change and seeing if his fans stay with him through that metamorphosis.

The eight stories collected here are otherwise a fairly typical mix for Pekar, little snippets of everyday life both mundane and striking, and always entertaining.

The two best are: a small moment with Pekar and Hollywood Bob, who makes a random comment that gives an abrupt and bizarre punctuation to a conversation, and a memory of a theater coworker’s painful relationship from Pekar’s teenage years. Though the art is good throughout, the pencil work by Zachary Baldus in the theater story is some of the best pencil art I’ve seen in comics in quite a long time.

Mel Brooks and Woody Allen and Drew Friedman, by Michael H. Price

  • News
  • April 6, 2008

more-old-jewish-comedians-6769250I met Drew Friedman in 1990 through a long-standing friendship with his brother and then-frequent collaborator, the songwriter and social critic Josh Alan Friedman, while we were attending a cartoonists’ convention in Dallas as working artists and comic-book developers. Drew had built a reputation within the industry as a meticulously lifelike portraitist, capable of arraying tiny dots of ink into images of dreamlike accuracy that captured the soul – unflatteringly so, as a rule – as unerringly as it suggested a physical reality.

Poised for a leap into mass-market commercial illustration, Drew had brought to the Dallas Fantasy Fair a work-in-progress assignment for a video-box edition of a pioneering television series, The Honeymooners. The portrait of star player Jackie Gleason shone forth from the over-sized Strathmore page – Drew was working on a scale larger by far than the size of an actual videocassette sleeve – like some impossible photograph. The piece was too richly caricatured to be a photo, but it captured an essence of Gleason in a way one seldom sees in ink-on-paper.

“Needs some cleaning up,” Drew said, surveying the results. He set aside his Rapidograph, a fountain-pen drawing tool capable of dispensing near-microscopic quantities of ink, and went to work with an X-Acto knife, chiseling at one ink-speck after another with unerring near-photographic accuracy. Gleason’s face, already as convincing as if reproduced by a half-tone engraving camera, seemed to engage the observer in direct eye-contact animation under Friedman’s masterful touch.

The intervening years have found Drew Friedman moving ever deeper into pop-mainstream acclaim via such publications as MAD and Los Angeles Magazine and Entertainment Weekly – a far cry from the compassionately acerbic show-business satires that he and Josh Alan once produced for various under-the-counterculture and arts-revue publications.

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Review: Four Books for Pre-Adults

I had a pile of books more-or-less for kids, and thought: why not review them all together? And so I will:

[[[Flight Explorer, Vol. 1]]]
Edited by Kazu Kibuishi
Villard, 2008, $10.00

The popular [[[Flight]]] series, officially for adults but containing a lot of all-ages stories, has spun off a younger sibling. The cast of cartoonists is pretty much the same, and the editor is still Kibuishi, but this book is shorter, cheaper, smaller, and contains many more characters seemingly designed to headline a series of stories.

The stories are all fairly short – there are ten of them in a book just over a hundred pages – long enough to introduce what mostly seem to be series characters and given them a situation to deal with. The cover-featured “[[[Missile Mouse]]],” by Jake Parker gets the most adventurous, and will probably be the most appealing to the boy audience. (There’s nothing obviously aimed at the girl comics-reading audience – or maybe I mean nothing trying to poach some of the manga audience – though there are several strips with female protagonists, like Ben Hatke’s “[[[Zita the Spacegirl]]].”

The art is still mostly clean-lines enclosing solid colors – an animator’s palette – though the book gets more painterly towards the end, in the pieces by Ben Hatke, Rad Sechrist, Bannister, and Matthew Armstrong. It’s all quite professional and fun – all in all, a great book to hand to an 8-12 year old interested in comics.

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The Weekly Haul: Reviews for April 3, 2008

  • News
  • April 3, 2008

A big week, with Marvel kicking off the summer event season with Secret Invasion #1, which earned a separate review. Plenty of other comics came out, with a couple of princes but way too many frogs.

omeg7-4890921Book of the Week: Omega the Unknown #7 — This issue earns "instant purchase" status for the amazing Gary Panter cover (seen at right) and his interior pages depicting a comic as drawn by the hero of the story (wrap your brain around that one).

So we learn a little more about the history of the invading aliens and how they began their essentially nanotech-style war on humanity (and other alien races before that). Back in the present, Omega remains caught in the Mink’s maze and unable to join the fight against the robots. He does, however, catch a rat to eat. I don’t know if that’s better or worse than when he ate a bald eagle in an earlier issue.

Titus, the seeming Omega protege, and friends end up sneaking into the Mink’s base to bust out Omega, only to make a pretty alarming discovery that I won’t spoil here.

This series is big and crazy and reckless, but I still get the sense that writer Jonathan Lethem is very much in control of the story.

Runners Up:

Action Comics #863 — Both in this series and in Green Lantern, Geoff Johns is pulling an interesting trick by going a ways into the past to develop upcoming big events. And while all this time travel and Legion of Superheroes stuff could just be an excuse to show off Johns’ mastery of continuity, this manages to be much more, with a slobberknocker of a fight and some classic teamwork. By the time it was over, I was more excited about Final Crisis: Legion of Three Worlds than I was about Final Crisis.

Nightwing #143 — A mysterious villain is nefariously reviving dead villains on his secret island base, then escapes in a rocket when Nightwing and Robin defeat him. Sounds like something right out of James Bond, albeit without the beautiful women and cocktails. Somehow it works really well, probably because of the great interplay between Dick and Tim, two characters who should work together more often. (more…)

Review: ‘Secret Invasion’ #1

The first issue of Marvel’s big [[[Secret Invasion Summer Extravaganza Skrullfest ’08]]] (or whatever they’re calling it) is here, and there’s just too much to talk about for it to fit in my Weekly Haul reviews roundup. So let’s break this one down between the good, the bad and the ugly. And, be warned if you haven’t read it, spoilers lurk below.

The Good:

First, let me just say how happy I am that Marvel let Brian Michael Bendis continue his partnership with Leinil Yu, who is quickly becoming one of my favorites. His art has a uniquely nervy feel, and it would’ve been easy for Marvel to peg someone more “safe” for their big event. And while I like Yu’s work better when it isn’t inked, his inked work in [[[Secret Invasion]]] is still quite good.

Another strongpoint is the barrel-full of action, making this issue the complete antithesis of the yawner of an opener to House of M. Things develop quickly and the final pages are bang-bang-bang with big reveals and bigger reveals. In a sequence of just a few pages the SWORD base explodes, the negative zone is unleashed in NYC, Iron Man is taken out, Reed Richards is taken out, the “other” heroes show up and a Skrull army says hello.

I also got a kick out of the little details Bendis wrote in. For instance, every Skrull reveal is foreshadowed throughout the book by the art. Every character who is shown only in complete black outline somewhere in the issue turns out to be a Skrull. Well, aside from Sentry and Wolverine, who haven’t been outed yet.

The Bad:

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Review: ‘That Salty Air’ by Tim Sievert

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That Salty Air
Tim Sievert
Top Shelf, 2008, $10.00

For a book about the sea, [[[That Salty Ai]]]r feels awfully Minnesotan. (Or maybe I’m just reacting to the underlying Norwegian-ness of both Minnesota and Sievert’s story – but there is something hard and dour and northern about That Salty Air.)

Maryann and Hugh are a young couple who live in a lonely cabin by the sea, and whose main source of income seems to be fishing. One day, the postman delivers two letters from the local doctor – it’s immediately clear that Maryann’s letter has told her that she’s pregnant, but we get a couple of montages of sea life (red in tooth and claw, for some immediate symbolism) before Hugh gets his letter.

From it, he learns that his mother has drowned, and he immediately turns against the sea, blaming it for her death. Really, he curses the sea and throws a rock, beaning an important squid far below (which action will be important later). Hugh curses his life, runs off to town to get drunk, and generally behaves badly through the middle of the book, while Maryann sits at home, trying to keep things together.

She also hasn’t gotten a chance to tell Hugh she’s pregnant yet, since he flew off the handle so quickly and so completely. He eventually does come back, and they reconcile, with each other and with the sea…more or less.

That Salty Air is an exceptionally symbolic story, very obviously so. Sievert is clearly young and energetic, and I expect he’ll be someone to reckon with once he settles down a bit. This particular book has a lot of strong points – the particulars of characterization, the evocation of a particular landscape, the inky blacks and assured panel-to-panel transitions – but its story made this reader roll his eyes more than once. It’s a bit much to swallow.

But, on the other hand, it’s only ten bucks for over a hundred pages of comics by a real talent. It’s hard to beat that. And I expect Sievert’s next book will add some subtlety to the already impressive strengths of That Salty Air. He’s definitely a talent to watch.


Andrew Wheeler has been a publishing professional for nearly twenty years, with a long stint as a Senior Editor at the Science Fiction Book Club and a current position at John Wiley & Sons. He’s been reading comics for longer than he cares to mention, and maintains a personal, mostly book-oriented blog at antickmusings.blogspot.com.

Publishers who would like their books to be reviewed at ComicMix should contact ComicMix through the usual channels or email Andrew Wheeler directly at acwheele (at) optonline (dot) net.

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