Favorite comics of 2010

I’ve already covered this ground at PopMatters, and will again at some point later this month, but as I suggest in my December column, those selections are more about the themes I address in “Worlds in Panels” than about what I really enjoyed this year.

And that’s what I turn to here. As with my TV selections, these reflect my own idiosyncracies, which is to say, I read what I like, or think I’ll like, and don’t read what doesn’t interest me.

My list is divided into long form works and/or series I’m reading in trade, and books that I read monthly or as uncollected serials. I narrowed my favorites to five for each format, but also have generous additions of ‘honorable mention’ and ‘special mention’ titles.

Long form/trade collections (in no particular order).

Duncan the Wonder Dog Show One by Adam Hines (AdHouse). It is beyond the scope of this blog post to unpack the imagery of this visually complicated, mixed media book, but what has resonated strongly with me on initial reading is Hines’s brilliant effort at imagining what animals would say if they could speak like humans. Most importantly, he differentiates between animals, giving birds different voices than monkeys, companion animals different voices than wild, etc., while clearly individuating between the animals as well. What is at issue in these differentiated voices is not so much how different species, and individuals speak, but how they think, and what they might value. Most affecting for me are the voices of the companion animals, especially the dogs. In Hines’s world, humans and dogs remain fully co-evolved, and co-dependent. The only difference is that we can have actual conversations, and not just imaginary ones. The story of Bundle struck so many chords with me that it made me cry for lost friends, and wonder more deeply about the thoughts and emotions of those still living with us.

The Saga of Rex by Michel Gagne (Image). My initial thoughts on this book can be found here, but as I continue to think about it, one of the additional points of interest is how effectively Gagne uses pages as panels. Maybe this makes Rex veer on the edge of ‘picture book’, but it is also appropriate to convey the scale of the story that the hero finds himself in. Saga indeed.

A.D.: New Orleans After the Deluge by Josh Neufeld (Pantheon). I made this selection largely for the reasons given in the PopMatters column linked above, but also want to mention that I would not have thought that this book would be on this list after I first read it. But the fact remains that I think about the book a lot. Neufeld’s compositions and colors come to mind, often unbidden, leading me to recall the humanity of his art and his narrative. Maybe there’s nothing here that hasn’t been done by people like Joe Sacco already, but it is still done very well.

Batgirl volume 1: Batgirl Rising, written by Bryan Q. Miller, with pencils by Tim Levins, Trevor Scott & Lee Garbett, inks by Trevor Scott, Dan Davis, Aaron Sowd, Sandra Hope & Oliver Nome, colors by Guy Major, and letters by John J. Hill (DC).

Fun, fast-paced with an essentially likeable protagonist, this series offers much of what I read superhero comics for. I don’t have any baggage when it comes to Stephanie Brown vs. Cass Cain, and that undoubtedly helped me to approach this series with an open mind, and while I am not deeply invested in the Batverse, I do read Birds of Prey and followed the final (?) Manhunter story set in Gotham. This book makes good use of Oracle and helps to place the new Batgirl in context. I am looking forward to the next collection.

Fallen Angel Omnibus Volume 0, written by Peter David with art by David Lopez (IDW).

I have been interested in this series, and took this new collection as a perfect entry point. I loved every page. Liandra is a fantastically complicated lead character, and one whose femininity and sexuality are used mostly for good narrative purposes and not treated as liabilities or for spectacle. Even pregnancy, normally a way to place limits on a female character in this kind of context, is used in a constructive way, furthering both the story and the development of Liandra’s character in meaningful ways. I don’t know much about where the series heads after this, but if the Reborn mini featuring Illyria is any indication, I am hopeful that it remained worthwhile.

Honorable and special mentions:

In my most recent column for PopMatters, I cite DMZ Volume 8: Hearts and Minds (Vertigo) and Phonogram Volume 2: The Singles Club (DC) as among the “best” of 2010 and I want to mention them again here for more or less the same reasons as I give in the other piece. I also mention Scott Pilgrim Volume 6: Scott Pilgrim’s Finest Hour (Oni Press) in the column, but want to elaborate on that choice here.

What stands out for me about that series is how Bryan Lee O’Malley skillfully uses Scott’s circle of friends to make the guy seem worth rooting for. On his own, Scott is a pretty self-involved jerk, but the fact that all these other cool people want the best for him, want him to grow up, persuaded me to want that for him, too. I like the fact that the finale makes this part of the narrative clear, in that Scott needs to find a way to reward everyone’s trust in him, and also that it becomes a story about both Scott and Ramona getting over their pasts and trying to move forward together. Whether they stay together or not seems beside the point, another strength of the book. I do think that the final story could have been edited more judiciously for sharpness and length, and while Gideon’s ‘ghost in the machine’ trick provides a reason for why Scott and Ramona made the choices they made during the run of the narrative, it is also, at the end of the day, still a ghost in the machine.

I am also citing Marvel’s Strange Tales collection, and for more on that, read this. In addition, Kieron Gillen’s X-Men: S.W.O.R.D. – No Time to Breath (Marvel) collection was right there with Batgirl for the best superhero trade I read this year. Abigail Brand is a great character that, sadly, is now adrift given the cancellation of the series. Neil Gaiman’s Batman: Whatever Happened to the Caped Crusader? (DC) story is a nicely turned work of meta-fiction, and Andy Kubert’s and Scott Williams’s art is appropriately classic for a reflection on what Batman means. Marvel has been releasing Brian Michael Bendis’s and Alex Maleev’s Daredevil run in big Ultimate Collections, and I mention Book 1 here mostly for Bendis’s early collaboration with David Mack, which is a smart and beautiful meditation and deconstruction of comics and superheroes.

Finally, I have two special mentions of books from 2007 that I read for the first time this year: Alison Bechdel’s Fun Home (Mariner Books) and Adam Warren’s Empowered Volume 1 (Dark Horse), both of which have legions of fans and critical commentaries already available elsewhere, so I won’t go on about them here.

Monthly comics & uncollected serials (in no particular order).

Hellboy (Dark Horse). The mainline of the series, written by Mike Mignola with art by Duncan Fegredo and colors by Dave Stewart, continued the story began in “The Wild Hunt” with “The Storm”. This arc shows the series at its best, adapting folk tales and old mythologies to original characters and purposes, and featuring beautifully drawn figures and landscapes. Stewart’s color palette gives the art an other worldly, mythic feel, especially with how both vibrant and muted the choices are.

Aside from the major stories, in 2010 the title also featured two fabulous one-shots, “Hellboy in Mexico”, a collaboration with Richard Corben, and the crossover with Jill Thompson’s and Evan Dworkin’s Beasts of Burden, “Sacrifice”, both of which are funny, poignant, and beautifully rendered, and I read both more than once the first week I picked them up.

One thing I appreciate about Hellboy is how accessible I imagine it to be. I can pass the one-shots onto A knowing that she will understand the stories, and I suspect that you could pick up collections of the main arcs, read them, and enjoy the narratives without having the advantage of having read the rest of the series. The way that Mignola builds from established myths and legends is what makes this possible, I think.

B.P.R.D./B.P.R.D. – Hell on Earth (Dark Horse).

While this selection maybe predictable given the one above, even though Hellboy and B.P.R.D. come from the same root, they are very different books. Where I think that Hellboy is accessible, B.P.R.D. is far more comic book-y in the depth of its original storytelling, and rewards close reading more than casual. While the change in title this year to B.P.R.D. – Hell on Earth was initially puzzling, I also think that it highlights another difference between it and Hellboy: B.P.R.D. has always been more of the mundane world, while Hellboy seems to live in more of a mythic space. The title change signals an even tighter embedding of the B.P.R.D. with ‘real life’ (and, likewise, Dave Stewart’s colors are different in this title, more immediate feeling than in Hellboy, and Guy Davis draws the team on a much more human scale than is Hellboy).

What B.P.R.D. does share with Hellboy is an open narrative architecture, and this year that was shown in the Abe Sapien mini, “The Abyssal Plain”, another fascinating Cold War-era story from this universe.

Hotwire: Deep Cut (Radical Comics).

There’s one more issue to go in this mini-series, but as I mention here, this second outing for Warren Ellis’s and Steve Pugh’s Alice Hotwire, detective exorcist, has been fantastic, featuring sharp dialogue, quick action, and pointed cultural commentary about science and the state. The painted art style that Radical specializes in is not my favorite, but Pugh manages to make his figures appear more fluid or at least less stiff than is often the case with this form of the art. That and Alice looks so very much like the English chippy that some in the book mistake her for.

Fringe: Tales from the Fringe (Wildstorm).

I have the last issue in this mini-series waiting to be read, but I enjoyed the stories leading up to the final installment probably more than I should. As I write in my upcoming “Worlds in Panels”, these Fringe comics are exemplars of how licensed comics can be good, and mostly what makes these work is their commitment to telling stories that I imagine only fans of the show can really appreciate.

DEMO – VOLUME II (Vertigo).

The second outing in Brian Wood’s and Becky Cloonan’s series continues to stretch the idea of having ‘powers’ into the realm of everyday life, exploring both the idea of exceptional abilities in the context of ‘normal’ problems and dilemmas, #5, “Stranded”, for example, and also thinking about smaller scale quirks, #3, “Volume One Love Story”, for example, as ‘powers’. Cloonan and Wood work well together to tell their stories as much in images as words. Beautiful, thoughtful work.

Honorable and special mentions:

For reasons I spell out in the aforementioned and forthcoming column, I want to mention Gabriel Ba’s and Fabio Moon’s Daytripper (Vertigo), an excellent example of comics as a medium for short stories, but also one where I am still puzzling over the conclusion.

Michael Allred’s and Chris Roberson’s I, Zombie gets mention because it’s the best comic I share reading with A, and for the fun and stylish art. I’m citing the re-release of Matt Fraction’s and Gabriel Ba’s first Casanova (Marvel Icon) series for its frenetic style and self-conscious comic bookness that never tips over into preciousness. The first five issues of Black Widow (Marvel), written by Marjorie Liu and featuring art by Daniel Acuna, is stylish and densely plotted, and both of those creators are sorely missed now. G. Willow Wilson’s and M.K. Perker’s Air (Vertigo) ended this year, and will be missed for its sense of imagination and for Blythe’s unique character. I’m not sure I understand everything in Jonathan Hickman’s and Dustin Weaver’s S.H.I.E.LD. (Marvel) series, but every issue so far as featured gorgeous art and bizarre, inventive twists on history and historical figures. Greg Rucka’s and Matthew Southworth’s Stumptown (Oni Press) took a long time to get through four issues, but the storytelling was strong enough to withstand the waits, and I loved seeing Southworth’s Portland. As I discuss here, the Girl Comics (Marvel) anthology series has much to recommend it, even as it raises questions about what room the major publishers make for women and girls in their sandboxes.

Finally, Marvel produced a pair of one-shots that I was happy to have pulled, Sean McKeever’s and Emma Rios’s Firestar story, and Marjorie Liu’s collaboration with Filipe Andrade, Nuno Alves, and Jay Leisten on an X-23 story that delved deeper into the character, and in more imaginative ways, than has the start of the ongoing series led by Laura. More on Firestar at PopMatters later this month.

All of the graphic novels and trade paperbacks I read in 2010.

All of the monthly comics I read in 2010.

End of September comics

From tfaw this month:

Monthlies:

Avengers Academy #4 (Marvel)

This is A’s subscription. My plan is always to skim, but I end up reading them more intently than that. That probably says something good about Christos Gage’s writing in particular.

B.P.R.D.: Hell on Earth – New World #2 (Dark Horse)

Two major storylines this issue. In one, at B.P.R.D. headquarters, Kate is cracking under the bureaucratic responsibilities imposed by the UN, while Panya is causing mischief, raising questions about her agendas and what she’s contributing to the work of the Bureau.

Meanwhile, in the woods of British Columbia Abe finds Benjamin Daimio hiding out, ashamed of how he left the B.P.R.D. The Wendigo is seen lurking in the forest. Daimio fills Abe in on news of a deep lake in the area where something terrible rests. The issue ends with Abe diving in.

The two major storylines are bridged by a series of panels featuring two unknown men living with an unidentified “she” who shouldn’t be disturbed. The transition from B.P.R.D. hq to the BC woods is handled through a TV talk show where commentators argue over what the horrible events of the last few months mean. We see Johann watching the show, and then are taken to the set, and then to the house in the woods where one of the unidentified men is watching the debate.

As always, reading B.P.R.D. has rewards on multiple levels.

Batman: Streets of Gotham #16 (DC)

I canceled this subscription a few months ao when the Manhunter backups stopped running. So, this is just a burn off.

Birds of Prey #5 (DC)

This issue highlights what I’m enjoying about the new BoP and what worries about the series. First, I appreciate how Gail Simone is able to keep things moving in interesting ways. Even though this issue is mostly about the aftermath of last month’s big fight, and set up for the issue to follow, a lot happens in-between mop up and the shift to Bangkok. The fact that it mostly involves Lady Blackhawk and Huntress, thereby bringing them back into the main action, is even better.

And on that, I also am enjoying seeing Helena with her edge back. After Black Canary left the group the first time, Helena got turned into the field leader/den mother than Dinah used to be, and, in the process, became a softer character. For me, though, she is at her most interesting when you aren’t quite sure what she’ll do. Here I believed that she would kill The Penguin given the chance, despite the fact that I know that is probably forbidden by the Powers that Be at DC.

On the other hand, I am concerned that this reset is beginning with everyone in grim peril, and, now, the team fraying at the seams. I think that Simone loves these characters too much to sell them out for cheap dramatics, so I trust that there will be a settling down at some point, but when you start with so much dire, it’s hard to know where things might go next.

That concern is minor next to my wish for more from the art. I was glad enough to see that Ed Benes is able to moderate his impulse to fetishize certain parts of the Birds’ bodies, but I can still think of a number of artists I’d rather have on the title. I understand from reading Gail Simone on Twitter that Benes had to quit working for health reasons. I would not wish that kind of illness on anyone, but I do hope that his absence creates an opportunity for someone else. Nicola Scott or Georges Jeanty come immediately to mind, or, even though she hasn’t worked with DC before, I would love to see Emma Rios on this book. Right now, predictably, I guess, the art-side is a mess.

Black Widow #6 (Marvel)

A new creative team takes over and gets off to a ho hum start. I appreciate Duane Swierczynski’s effort to write a story that, at the outset at least, is easy to get into without a lot of background, but beginning with the same premise as Marjorie Liu used to launch the series, Natalia/Natasha being framed for crimes she did not commit, is not confidence inspiring.

The art is also missing the uniqueness and flare of Daniel Acuna’s work. Manuel Garcia, in particular, draws all of the women in a disappointingly conventional way (flowing hair, big breasts, long legs).

Still, it is just a start.

Buffy the Vampire Slayer Season Eight #36 (Last Gleaming, part I) (Dark Horse)

Here Joss Whedon scripts and it shows in the mix of wit and drama, including a few nice visual jokes. I also found the issue to be helpful in recapping the Twilight reveal and its implications. In addition to starting the end of Season Eight, the issue reads as if it might be setting up Angel and Spike’s return to Dark Horse (see the Spike: The Devil You Know below).

Daytripper #10 (DC/Vertigo)

Final issue, and the gentlest of the series. Moon & Ba use a device here that I am not fond of, the dispensing of parental wisdom, but in a series about writers and the writing life, I grant them some latitude.

I am also still working through what I think about this last installment ending in a markedly different way than the previous issues – until the end, in fact, I had been wondering if this series really needed to be read in a strictly linear way – but I also think that this book should end up high on the “titles to recommend to adults who want to get into comics” list. Not only is the story entirely against the grain of what Americans assume comics are for, but the art is at a high standard. Ba & Moon clearly love people, and the details of daily life. Both of these are beautifully reflected here.

Fringe: Tales from the Fringe #4 (Wildstorm)

I am enjoying this second Fringe mini. I think that using comics to tell small side stories about characters from a TV show are a good use of these kinds of licensed comics.

Of course, the fact that the stories wouldn’t really carry a television episode sometimes shows. This issue the main story about Nina Sharp lacks a certain amount of imagination (let’s see; we have an older woman in a position of power, childless, no partner, what shall we write about?), but the art is lovely. Subtly styled, Julius Gopez also draws charmingly credible versions of the younger Nina and William Bell. Carrie Strachan’s colors are bright, and I especially like how Nina’s red hair ‘pops’.

The secondary story is also cliched, but Fiona Staples’ typically expressive artwork elevates the narrative beyond its limitations.

Hellboy: The Storm #3 (Dark Horse)

By the end of this mini, it is revealed that ‘the storm’ is the summoning, again, of Ogdru Jahad, a revelation that probably explains why Hellboy begins to feel as if doing what everyone wants him to do, lead an army of the dead against Nimue’s host, is exactly what he should not do. As it turns out, Nimue is, herself, simply a tool in the bringing of the Ogdru Jahad (isn’t that always the way).

Before setting out to face the witch queen, Hellboy appears to express his love for Alice and an intention to return to America and to the B.P.R.D. (following up on last issue’s hint at a crossover). On the road, he sees Gruagach/Grom strung up on a tree, begging for death and expressing regret for where his thirst for revenge has led the world. Hellboy tries to accomodate him, but to no avail. Gruagach seems destined to suffer for all time, which is sad even for a creature so epically small-minded.

More of interest happens in this comic than in a whole year’s worth of other titles.

I, Zombie #5 (DC/Vertigo)

Gwen confronts a moral dilemma and possibly an uncomfortable truth about herself in this issue. Chris Roberson and Michael Allred do an excellent job showing Gwen’s distress as much as telling it to readers. Most keenly for me, A continues to look forward to this book and I continue to feel ok about letting her read it.

Murderland #2 (Image)

After two issues, I am still trying to make up my mind about this book. I had it pulled because the previews promised something that inspired by Homicide and The Wire, and issue two certainly exhibits more of that promise than number one. However, I’m still not sure what’s going on. Narrative strands are being drawn out but not brought together yet. I was thankful for the short ‘FlipSide’ backup for its clearer and sharper story.

Still, David Hahn’s art is eye catching, with a good assist from Jose Villarubia on “Jiggity-Jig, part one” and Guillem Mari on the main story.

Mystery Society #3 (IDW)

This book continues to be fun. Not a lot new happens in this issue, but our heroes continue to outwit their pursuers, at least until the cliffhanger ending. And it would be hard not to at least enjoy looking at Fiona Staples art.

Scarlet #2 (Marvel Icon)

This book seems designed to polarize people and to provoke questions about the medium. What does it mean when a comic book character breaks the fourth wall? Is that even the right language? At what point does it make sense to look at Alex Maleev’s art in terms of photography rather than comics? How does doing that change how you understand his work?

I thought that having Scarlet address the reader was an effective way to set up the story and introduce the character. In issue two it becomes … ponderous. She seems to be rehearsing her justifications for doing what she does. Maybe there’s something to that in terms of character – the ex-cop bartender does the same thing after all – but does it make for a good comic? Not sure.

One quality I like about Maleev’s approach to the art is that the city of Portland becomes a real and compelling part of the story, but whether that works for readers who don’t already know the city, I couldn’t say.

There are certainly people doing what Maleev does here, but badly and on the cheap. I don’t think he should bear the burden of what other artists do. I doubt that a hack would have the vision to move from the dominant photorealism of this book to the panels of pure abstraction at the bottom of the next to last page of this issue like Maleev does.

Spike: The Devil You Know #3 & #4 (IDW)

And so concludes this somewhat undistinguished mini-series, at least as compared to Brian Lynch’s & Franco Urru’s previous series, Spike: Asylum and Spike: Shadow Puppets.

On the whole, I think that Buffy Season Eight is a stronger series than the Angel monthly, and unlike the majority of the earlier books featuring Spike, this mini is of a piece with Angel. What I do appreciate about IDW’s Angel series is the willingness to introduce and experiment with new characters, but I am not quite understanding what readers are supposed to be finding so interesting about Eddie Hope, who co-stars here and in backups to Angel.

I suspect that The Devil You Know was meant to be set up for the forthcoming Spike monthly, and we would have found out more about Eddie and Tansy (no other reason to keep her alive at the end of all of this). But that’s all pretty well water under the bridge now.

Stumptown #4 (Oni Press)

And so the first story arc comes to a close. Finally. The issue is worth it for Matthew Southworth’s soul bearing letter to readers if nothing else, but the fact that I felt like I knew what was going on despite the time between number three and number four (and number two and number three) suggests something about the quality of the story. It would be easy to write Dex off as one of Greg Rucka’s well-rehearsed “tough women”, but I think there is something unique in her just getting by, knock-about quality; male P.I.s get to be this underdog-y as a matter of routine, female detective, not so much. Rucka gives this classic persona to Dex without masculinizing her or turning the book into one about her getting beaten down all the time. In the end, she’s smarter and more resourceful than the people she has to contend with, and that’s cool. Looking forward to more, even if it takes awhile.

Uncanny X-Men #528 (Marvel)

A tightly structured, keep things moving issue. Just fine, and I’m glad that we are well-past Matt Fraction needing to service some big cross-over with the title, but am unsure about Whilce Portacio’s pencils. He has some serious problems with Emma Frost, especially. She’s far too pinched looking, and, while you have to make certain allowances for her dress, she comes across as vulgar more than strongly sexy here.

X-23 #1 (Marvel)

I think this is a good start for the series. I am interested in the idea of helping X-23/Laura learn about helping people by putting her in a situation where she can’t rely on her mutant abilities, and also by the theme of the responsible adults in her life needing to, well, act responsibly. I also like seeing some variation in body-type between the characters, especially the women. Some are more voluptuous, while others are lean and wiry. A good beginning for Liu and Conrad.

Other purchases:
Digital comics:

• X-23: Innocence Lost #1 (Marvel)
• X-23: Innocence Lost #2 (Marvel)
• X-23 Innocence Lost #3 (Marvel)
• X-23 Innocence Lost #4 (Marvel)
• X-23 Innocence Lost #5 (Marvel)
• X-23 Innocence Lost #6 (Marvel)

TPBs:

Captain America Reborn (Marvel)

Looking back through the comics that survived my youth, there’s a fair number of Captain Americas, but I haven’t really been that interested in reconnecting with the character as an adult. Whatever resonated with me as an adolescent is gone. Still, I know that Ed Brubaker’s run on the title is one of the better regarded works by a writer at Marvel and so I’ve been selectively checking those out, and this is the second collection I’ve read, after Winter Soldier.

What I like most about Brubaker’s writing is that he approaches the material completely straight, no irony, no meta-commentary on the superhero. There’s room for that stance, too, of course, but I never like seeing a form taken over by one way of doing things. So, here, even when you have a giant Red Skull rampaging on the National Mall, there are witty bon mots from the heroes, but nothing that takes you out of the moments. This manages to capture some of the pure fun of reading comics as a kid.

Daredevil Bendis & Maleev Ultimate Collection Book 2 (Marvel)

I am glad that Marvel is putting out these collections. Brian Bendis’ run on Daredevil fell into the period when I wasn’t actively reading comics (and the title was never a favorite). For me, the best part of this run is the opening collaboration with David Mack, but consistently entertaining, while also posing interesting questions about superheroism.

Supergirl: Death and The Family (DC)

One of the frustrations with this title, in trade at least, is that it sometimes seems as it deals with characters other than, well, Supergirl. This is one of those collections. It certainly seems as if this collection could just as easily be titled Superwoman, as Lucy Lane gets much more interesting treatment than does Kara.

I also found myself discomfited by the chapters penciled by Jamal Igle. In much the same way as other artists need to devise tricks to keep the skirt from flying up in revealing ways, Igle appears to be looking for ways to feature the compression shorts. Perhaps he is pushing the point about the character design – there’s just no way to make this work – but the showcasing of the shorts can also be read as just a new fetish.

I did find the Helen Slater and Jake Black and Cliff Chiang collaboration that closes the book to be fun, and, most importantly, about Supergirl.

Tiny Titans vol. 4: The First Rule of Pet Club (DC)

Good natured fun as always. I especially loved the bats, and the Stretchy Guys.

Left over in the to-read ‘box’:

TPBs:

A.D.: New Orleans after the Deluge (Pantheon)

Affecting, if not groundbreaking, work of comics reportage. Neufeld has an eye for detail that serves him well in developing the individual stories he chooses for the book. He draws each of his characters in a way that gives them distinct personalities, and all grow on you over time, even if if there is some imbalance in the time devoted to different subjects.

Cinderella: From Fabletown with Love (DC/Vertigo)

For some reason, I had really high expectations for this book. Maybe it’s because Chris Roberson also writes the fine I, Zombie, or because of Chrissie Zullo’s delightful covers, but I was pretty ready for this to be cool.

And it approaches it – the backstory with the Fairy Godmother is a good example of how the The Fables conceit works well – but also falls short. The shoe store story with Crispin Cordwainer felt like filler, and I was waiting for more to come from Cindy’s flashbacks. I’d love to see a series about her and Bigby. And, in the end, being left wanting more would seem to me good things about a book.

Ex Machina vol. 1: The First Hundred Days (Wildstorm)

A God Somewhere (Wildstorm)

This is a curious title. For starters, John Arcudi and Peter Snejbjerg do some interesting things with the superhero genre. Rarely do you get to see a book like this where there is truly only one superpowered, superheroic figure. Arcudi seems interested in exploring what that might be like. What makes the story even more interesting is the focus on the superperson’s best friend, and how he is affected in ways both positive and negative by the acquisition of powers. The fact that Sam is a flawed and not entirely likeable guy adds another important layer to the story. Similarly, the fact that Eric, and brother Hugh, are kind of ‘heroic’ before Eric gets his powers, which actually twist him into something else, also adds a significant layer of meaning to the story.

And yet, the story is too compressed. I think that Hugh suffers the most from this in terms of his development as a character. There is also very little time for Eric to lose his mind. I would have liked to see more about religion and more of a time period where Eric uses his powers in a ‘good’ way, while slowly going crazy from the alienation and sense of superiority to others. And, really, Sam could use more time for readers to see his underlying talents.

Upon finishing I wasn’t sure how much I liked the book, but it definitely improves upon reflection. I just wish that it had been longer or been written as a mini-series.

Heartbreakers: Bust Out (Image)

Women of Marvel: Celebrating Seven Decades (Marvel)

X-Men: First Class – Tomorrow’s Brightest (Digest) (Marvel)

Light and fun. Glad I finally read it. Jeff Parker does an especially nice job of writing stories that are gentle and accessible without being squishy or boring. Also nice to see an contemporary X-Men title that is kind to new readers.

Digital comics:

Moon Girl #4, #5, #6, & #7 (comiXology)

I finished this series over breakfast this morning (Sat, 10/2), and then went back to the beginning to see if I could piece it all together. The historical back-and-forth is hard to track, but this is what I gather about the arc of the story.

The final issues flashback to Clare/Moon Girl’s history with Santana and to Clare’s personal history as some kind of European aristocracy. Santana trained Clare to be ‘the embodiment of the people’, a task that she was, and remains, skeptical about, but Clare’s parents were killed during a ‘Bolshevik’ revolution, and she emigrated to the U.S. hoping to start a new life as a ‘normal’ person. The first three issues show readers how that worked out for her.

This was the first comic I purchased that was meant for digital distribution and you could tell in how easy it is to ‘flow’ through the pages and panels on my iPhone. I also think that this is my favorite ‘painted’ comic; somehow in digital form, the images seem less stiff than this style usually is on the page. The bright colors and clear details also rendered well on the screen.

If you enjoy twentieth century political theory, and pulpy characters, Moon Girl is a good read.

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