Recommended daily reading – 9 February

Despite the time that has passed, only a few items here.

Fun item linked from the Torontoist about a program to tap maple trees outside of people’s homes in the city.

Staying in Toronto, here is another of the “Street Scenes” being posted at Spacing’s Toronto blog.

At Newsrama, Jill Potzzi has a smart discussion of what Dave E. Kelley’s Wonder Woman series for NBC needs to do. I think that this passage is particularly on-target:

Wonder Woman is just as much, if not more ferocious than Superman and Batman yet they won’t let her act that way in live-action. I understand having to have a balance between her feminine side or a secret identity but I can all-but-guarantee you she is going to spend way too much time in the “office” on this show. NBC and Kelley would do themselves a big favor by following what the Wonder Woman animated film by Lauren Montgomery, Michael Jelenic and Gail Simone presented to audiences as far as tone.

And, via Project:Rooftop, yes, please, to this.

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.

Recommended daily reading – 22 December

A few interesting links before I begin working on a new “Worlds in Panels”:

Marguerite Reardon, yesterday on cnet, has a good overview of the new FCC rules regarding net neutrality. In the end, this looks like one of those political compromises that can be cast as the ‘right’ solution because no one is happy with it, but, in fact, no one is happy because the decision makes little sense as an approach to the problem at hand.

At The Unofficial Apple Weblog is speculation as to whether Apple will be a target of “Anonymous” now that the company has pulled the WikiLeaks app from the store. I am disappointed that this choice was made, but have long given up the illusion that just because I like their tech and design sensibilities that Apple is anything other than a profit-maximizing, risk-averse corporation.

In the cities and design realm, on Lost Remote, I saw this piece about interactive bus shelters in San Francisco. The article is really just a ‘teaser’ about the project, but I am certainly intrigued by the possibilities of using public space like this for social interaction and play.

In comics movie news:

  • At The Wild Hunt, Jason delivers the best response I have read to the racist furor over Idris Elba having been cast as Heimdall in the upcoming Thor movie (link via Ragnell on Twitter).
  • And this casting news, from MTV’s Splash Page, is something I like.

Finally, a Christmas memory from Kate Beaton.

November comics

I’ve decided to start these posts after I get my single issues read each month, which still puts me about a week late, but this way I will have some actual content when I provide the lists.

From tfaw in November:

Monthly comics:

Action Comics #894 (DC).

I am not a regular reader of this title, and I almost did not order this issue, but once it registered that Paul Cornell was the writer, I thought it would be worth checking out. For most of the story, Cornell makes it seem like Lex Luthor has been dropped into The Sandman universe, and I found that part of the narrative to be compelling. The final few pages, where it reads more like Death being brought into the mainstream DCU, I found less compelling because I only vaguely understand what Luthor is talking about. I am also left feeling unsure about the resolution in terms of Death paying a visit to someone who isn’t dead, or even near death. That seems like a big liberty to be taking with the character.

Pete Woods’s and Brad Anderson’s version of death is also mixed for me. In close-up the art is often quite lovely, but when drawn from wider angles, her body goes through some weird changes in shape and proportion. I do think that the wide belt is a nice touch for updating the character, but without changing anything fundamental about her look.

The backup with Jimmy Olsen … all I can say about that is aliens who get drunk on oxygen seem entirely like something Nick Spencer would write. The retro futuristic look and feel of the art by RB Silva et al is fun, too, but I did not understand much of the context for this story.

Angel #38 and #39 (IDW)

Elena Casagrande appears to be the leading house artist, and that’s a good thing. Other than that, some wrapping up and a new start. Really just playing out the string with this book.

Angel: Illyria: Haunted #1 (IDW)

Scott Tipton and Mariah Huehner use the first issue of this mini to review Illyria’s biography and set up the story. Most importantly, they get her voice right, which isn’t easy. Few writers in these Angelverse comics have been able to get her cadence, and off kilter thinking, just right, but I think this issue is pretty close. More Elena Casagrande pencils, and I appreciate her ability, and inker Walter Trono’s ability, to render the characters in ways that look like the live action referents, but still making figures that look like comic art, and not bad photographs or something.

Atomic Robo: Deadly Art of Science #1 (Red 5)

All I will say this month is, “Atomic Robo, yaye!”, and that I am looking forward to the book getting back to a longer story arc.

Avengers Academy #6 (Marvel)

Again, I get this for A, but enjoy reading, too. That being said, weakest issue of the series so far for me. Probably because he is the ‘nice guy’ on the team, Reptil does not come across as the most interesting character.

Birds of Prey #6 (DC)

Also a weak outing. I was looking forward to a Huntress-centered issue, but Helena’s voice seems off (“Drippypants”, really?). While the art seems more setlled than it has in other post-Ed Benes issues, I am not liking the blow up doll lips on everyone, and some of the posing is overly softcore. On the other hand, Gail Simone’s reintroduction of Shiva, which I think most readers knew was coming at some point, is spot on.

Black Widow #7 (Marvel)

Most of what’s wrong with this title right now is summed up by the bottom panel in page 3. I also don’t understand why the basic plotline of the the first arc is being recycled here. Is the whole series going to be about Natasha being framed? I don’t doubt this is a problem for her, but still, there has to be more. The uncredited cover is pretty cool, though.

B.P.R.D. – Hell on Earth: New World #4 (Dark Horse)

I feel the need to hold off on writing too much about this issue, as it is the penultimate in the kick off for the reconstituted B.P.R.D. title, but the way the Wendigo reappeared in full view of Abe is worth noting and very interesting.

Bruce Wayne: The Road Home: Oracle (one-shot) (DC)

Ironically, of the two single issue ‘event comics’ I got in this shipment, the one that was easiest for me to follow is the one in the ongoing series. As much as I realize that ‘one-shot’ only promises to resolve a particular story, something in the way these were marketed, led me to think it would be easy enough to read despite not really following the main Bat books. I was wrong. In any event, I took chance because Oracle + Marc Andreyko seemed promising, not because I am interested in the Bruce Wayne storyline. My mistake.

Buffy the Vampire Slayer Season Eight #38 (Last Gleaming Part Three)

Angel embraces the Twilight thing and starts punching people. Yeah, I know what happens next.

Fringe: Tales from the Fringe #5 (Wildstorm)

This issue might put the telling good stories about minor characters device a little too far, but still recommend the series to fans of the show.

Generation Hope #1 (Marvel)

Start of a new series, new mutants. Interesting enough kick off, and a nice prelude in the back.

Ghost Projekt #5 (Oni Press)

I started this subscription because I have become very interested in how the Cold War is being reassessed in pop culture, but I’m not sure that there is much unique or especially deep here, although I do appreciate that Joe Harris and Steve Rolston make the reader work to understand how the story ends. Probably need to go back through all five issues together for a real evaulation.

Hellboy/Beasts of Burden (one-shot) (Dark Horse)

Lovely. Sad. Maybe the best book I read this month. I only wish I knew more about the Beasts of Burden. Waiting for trade to come out for that series.

Hot Wire: Deep Cut #2 (Radical Comics)

This comic is the only reason I hesitated on whether the above is the best thing I read this month or not. Cracklingly fun. Full of smarts and action. I don’t know what the actual working relationship between Steve Pugh and Warren Ellis is on this title, but it has some of Ellis’s signatures, especially a fascination with science and the culture of scientists. Love it.

I, Zombie #7 (DC/Vertigo)

A new story arc starts. Lots of characters with their own threads. Starting to feel like more of an ensemble book right now. A and I continue to enjoy together. Thanks, Chris Roberson and Michael Allred for creating book I can read with my twelve year-old, even on Vertigo.

Mystery Society #4 (IDW)

I am beginning to feel as if the narrative is starting to spin its wheels without going anywhere. The Poe skull seems like a throwaway right now, but we’ll see. Would still buy just for Fiona Staples’s art.

Scarlet #3 (Marvel Icon)

The issue I am having with this series right now is the kind of corruption that Bendis and Maleev are exploring here does not seem to fit the setting. Portland has problems with police use of force, and racial tensions, but the drug money, dirty cops kind of corruption that Scarlet is fighting back against, not so much. This is weird because Bendis otherwise seems to get his adopted city pretty well in other respects.

Spider-Girl #1 (Marvel)

Very strong debut for this series. I am not entirely what the significance of Red Hulk is supposed to be at the end, but up to that point, I thought that Paul Tobin paced the story well and introduced the character in an effective way through a variety of settings and relationships. Clayton Henry draws Anya as a sensible and athletic teen girl. A nice change from some of the other art this month.

Spike #3 (IDW)

Still more fun and sharper than Angel right now. Still setting itself up, fwtw.

Uncanny X-Men #529 (Marvel)

Moving along the Emma, Shaw, Kitty story, pushing Hope forward. If I were more ambitious, I would go back to the previous issues and see if inks and colors were done by new people because Whilce Portacio’s pencils seem somewhat less irritating, better differentiation between characters, Emma less hag-y.

X-23 #3 (Marvel)

Well, I am entirely confused about the direction this title is going in. Write now the narratives are changing on a dime. This does not seem like Marjorie Liu’s fault, but is rather a result of editorial decisions requiring the book to service crossover stories. Making me wish she (and Daniel Acuna) were still on Black Widow.

TPBs:

CBGB (BOOM!)

Fun, works very hard to get the spirit of the subject right. Even though it took the most oblique approach to the club, on first reading, Kelly Sue DeConnick’s and Chuck BB’s quiet story stood out for me, but I also think the opening stories by Kieron Gillen and Marc Ellerby and Sam Humphries and Rob G set the tone of the collection well. I am thinking of devoting a future “Worlds in Panels” to this book.

Daredevil Bendis & Maleev Ultimate Collection Book 3 (Marvel)

The middle book of these giant collections took a more conventional turn, but here Bendis and Maleev are back to deconstructing their subject, attempting to explore what it would mean for someone to be superpowered and to take the law in their own hands, how different people might react to those individuals. The fact that Bendis is willing to be so open about this, the Hell’s Kitchen support group, to work into the narrative makes this even better reading. The opening arc that mixes art styles is lovely work by Maleev and Dave Stewart. I even found myself compelled by the “Ultimate” backups.

Duncan the Wonder Dog Vol. 1 (AdHouse)

See my Favorite Comics of 2010 for my thoughts on this title.

Kill Shakespeare Vol. 1 (IDW)

This book did not take off for me until Hamlet falls in with Falstaff and Juliette. I am glad that writers Conor McCreery, Athony McCall and penciler/inker Andy Belanger made Juliette as a counterpoint to Lady McBeth. While the latter is certainly made in the spirit of the original text, she also is a familiar female villain (dark, red, sexy, evil). Juliette, in the position of rebel leader, is not only less familiar, but has been given a very interesting story arc post-Romeo.

Koko Be Good (First Second)

Jen Wang writes and draws an engaging story about two very different people who nonetheless build a friendship. Koko is especially well rendered in a dynamic way, almost liquid, in how she moves and changes facial expressions. Jon, appropriately, is more grounded and staid. The open expressiveness of her characters is another admirable quality of the book.

Red Mass for Mars Vol. 1 (Image)

Yeah – still need to think about this one.

Saga of Rex (Image)

Wow. So delightful. I only have three of the Flight books, so this collection of Michel Gagne’s creation is wonderful to have. Gagne’s universe is beautiful and complex, but what really makes the story work is the expressiveness of his characters, vitally important to a book with no dialogue, and only ocassional narration.

X-Men: Nation X (Marvel)

I got this to fill in some of the gaps in my reading of X-Men: Legacy and Uncanny X-Men, but the real pleasure in the collection is the collected Nation X issues written and drawn by a variety of independent creators, Mike Allred, Becky Cloonan, and Marvel regulars who tend to work the margins of the publisher’s universe, like Christopher Yost. What makes these stories so refreshing is how free they are, free to explore characters without having to worry so much about servicing the larger narrative and selling issues of the adjacent X-title. I will also say that I find Greg Land’s style to be offputting. In all of the Uncanny X-Men issues featuring his pencils, the characters look like airbrushed models and actors. Who really wants that, especially when dealing with this cast of characters?

Recommended daily reading – 1 December (a new month edition)

A few items I have collected:

At Inside Higher Education is a debate about the value of the humanities that begins with Gregory Petsko’s open letter to SUNY-Albany’s president, George Phillip, regarding his announcement of cuts to various language and arts departments. Petsko makes the case for the humanities as valuable to a variety of life paths, and not just in reference to a specific job or career track, and also argues for the university’s role in ‘preserving knowledge’ as well as training for the present. The comments, of course, are interesting, too, Petsko seems to have his own private troll, and then there is this puzzling follow-up from University of Illinois English lecturer, Kristin Wilcox. I write ‘puzzling’ because, as a few commenters point out, Wilcox, while appreciating Petsko’s defense of the humanities, also sees his perspective as naive, but she does not directly suggest how the humanities should be valued if not in the way that Petsko argues.

On Written World is a pointed comment on a recent discussion of Jessica Alba’s performance in Fantastic Four: Rise of the Silver Surfer, where Alba was directed to “be prettier” when she cried. Alba expressed some anguish at being told to be less ‘real’ in her performance, and more like the object of beauty the director and producers had in mind then they cast her. This story is interesting for how keenly aware of her objectification Alba is, I think many would assume that she would not be, and also because the critique at Written World of the response to her is clear and incisive.

Two items of cool: (via Robot 6) a This American life poster reproducing a panel from the Nation X comics, and this ‘cinematic’ wallpaper at BLDGBLOG.

October comics

Posting this a little late, but here is my October shipment from tfaw:

Monthlies:

Angel #37 (IDW)

I think all anyone needs to know about the current state of this title is that the writing credits are all over the place – three people (four counting the Eddie Hope backup) – with parsing between “plotting” and “writing”. At least the art is fairly settled, fwtw.

Avengers Academy #5 (Marvel)

As always, I read this more carefully than I mean to. This month, Christos Gage offers a typically Marvel take on superheroism and celebrity, with the added background that the kids at the Academy are not, natively, the most upstanding citizens. Add at least one nice visual gag, and you have a pretty good read.

B.P.R.D.: Hell on Earth – New World #3 (Dark Horse)

The crossover with Hellboy is coming! I’ll just stipulate now that there will be very few months when B.P.R.D. and/or Hellboy comes in my shipment and they won’t be the best comics I get.

Buffy the Vampire Slayer Season Eight #37 (Last Gleaming Part Two) (Dark Horse)

The end game for this series progresses. Very much a moving things forward issue. Little new here, but I do think that Joss Whedon’s active involvement in writing continues to bring clarity to the “season”.

Casanova #3 and #4 (Marvel Icon)

These are dense reads, and a close second to the Hellboy titles for best things I get in my box. In these issues, the meta, which I like, seems a little less arch than in the previous two, or, at least, looser (check out the asides and the “I love comics” panel in #4). I love the curves and fluidity in Ba’s artwork.

I, Zombie #6 (DC/Vertigo)

A not altogether successful diversion about Scott. Still, a title that A and I are reading together. Fun.

Lady Mechanika #0 (Aspen)

Intriguing teaser, pretty much what I hoped for, though I wish Aspen were less soft core-y. Mechanika herself is nothing you won’t find elsewhere, but the ads for the other titles … do people really need comics for this kind of material these days?

S.H.I.E.L.D. #4 (Marvel)

More weirdness involving scientists and prophets. Trying to ponder what it means that Newton is the heavy, or how this deep backstory is going to be connected to the S.H.I.E.L.D. that readers already know.

Spike #1 (IDW)

Decidedly better than Angel this month. Of course, Brian Lynch and Franco Urru have these characters down. I like the idea of moving Spike to Las Vegas. The loss of this series might be the one thing the move to Dark Horse might not improve for this side of the Buffyverse.

Uncanny X-Force #1 (Marvel)

Sets up the first arc of the series. Jerome Opena’s art has a strong sense of movement and an appropriately cool color palette. Decidedly better than some of the more photoreal work in X-Force. I also like Dean White’s Gotham-y cover. I started this subscription because of Rick Remender, and whether that pans out, remains to be seen.

X-23 #2 (Marvel)

Well, this is a disappointment. I thought the first issue set up an interesting story, but that turns out to just be a pretext for plunking Laura into a Wolverine crossover event. Blah.

TPBs:

Black Widow: Deadly Origin (Marvel)

Paul Cornell walks that fine line between critiquing sexism, and male desire and fantasy, and participating in it with this series. What tips it on the side of critique is Natalia/Natasha’s refusal to accept how others, especially Ivan, see her. Tom Raney, Scott Hanna, and Matt Milla’s artwork does not help here, counterposing interesting looking and beautiful flashback sequences with a more polished, and soft core look for the present. Unlike on the covers, though, they do keep Natalia zipped up, for the most part.

Dr. Horrible And Other Horrible Stories (Dark Horse)

This book is pretty much what you would hope for: a fun, witty elaboration on the characters and storyworld for the web serial. This success is no doubt due in no small measure to having a single writer, Zack Whedon, who is also a co-creator of the original show. The artwork is supplied by a variety of interesting people, including Joelle Jones and Farel Dalrymple. My favorite story, artistically, is Penny’s, which features excellent, emotionally resonant work from Jim Rugg, but narratively, the Evil League of Evil chapter made me laugh the most. Despite its charms, I doubt a casual reader would get much from this book.

Her-oes (Marvel)

Like many of the books I get for A, I ended up enjoying this one myself, but I am left unsatisfied by an ending that promises more, more that I doubt very much we will ever see.

Hopeless Savages: Greatest Hits 2000-2010 (Oni Press)

I have wanted to dip into this series, and this collection was a perfect way to do that. I prefer the shorter, slice of life stories in the back of the book, to the higher concept adventures that make up the main chapters, but the Hopeless-Savages grew on me as I made my way through the book. I love the idea of the kids as comics geeks, and think that the creators did well to focus on Zero and Arsenal, each of whom, I think, are more unqiue characters than the other members of the family, although I enjoyed the storylines with Twitch, too. I was happy to see the overt tribute to Love & Rockets, an obvious inspiration for the book.

Perhapanauts Vol. 0 (Image)

I pick up these books every time I get to a Powells and when this “0” volume showed up in iCos, I decided to jump in. Reading this book, my attraction to stories about teams of misfits started to come into focus. That may, in fact, be driving my return to reading comics on a regular basis. Might need a whole blog post on that subject.

Secret Six: Danse Macabre (DC)

Many’s the time I’ve picked up a trade collection and said to myself, “I like this series, but what would make it awesome is if it had undead characters randomly showing up, prancing around and babbling incessantly about things like ‘fear’ and ‘death’ and who they want to kill. Because that’s, you know, soooo scary”. And now with this book, my wish has been fulfilled! Perhaps I have been ruined for  all other comics.

In actuality, Gail Simone and John Ostrander make a fair game of adapting “Blackest Night” (I assume) to Secret Six, but even there the, “didn’t I/he/she kill you?”-type jokes only go so far. In the end, I just don’t care, and don’t buy books like this to find out how they fit into the latest ‘universe shaking’ crossover. I wish that DC and Marvel could, every now and again, leave well enough alone and let readers like me hold onto the weird and marginal titles we like, instead of pulling them into storylines devised to make people buy books they don’t normally pay attention to.

Wonder Woman: Contagion (DC)

Gail Simone gives a sweet and heartfelt farewell to Wonder Woman in this collection. The stories themselves are a mix of big fights, and while I prefer the previous collections, which were more tightly drawn together, I appreciate that Simone remained committed to Diana as an epic figure throughout her run on the title. That’s when the character is at her best, I think.

X-Men Forever Vol. 5 (Marvel)

Like a lot of comics readers in my same age group, Chris Claremont pretty much defined the X-Men for me, which is no doubt a major reason why X-Men Forever exists; many of us have disposable income, and pop culture isn’t something you ‘grow out of’ anymore. I like the loopiness of this series, this volume most of that is focused on Kitty, and Claremont certainly knows how to write the soap opera and how to treat the X-Men as one big, complicated family without getting ironic or maudlin. I read this right after having watched X-Men: The Last Stand, and, of the two, the comic comes out much, much better. I also appreciate the series for being in its own little bubble. Indeed, sometimes I wish I had started pulling it monthly.

See last month’s comics.

Read more about this post.

Recommended daily reading – 9 October (heavy on comics edition)

Some items from the last few days:

First, a couple of past due pointers. On Motley Fool an article about Warren Buffett advocating for higher taxes on the super-wealthy, like himself. That’s not so surprising, but the civilized debate in comments is (at least when I last checked). And then on The American Prospect a report about for-profit colleges and their success in lobbying progressive Democrats to forestall student loan reform.

Now, comics.

  • A wicked fun and intriguing reveal in last Friday’s FreakAngels.
  • A vintage, early 80s, panel of Storm on ComicPunx (and, yeah, the site likes to point out the absurdity of a lot of these images, but as A said when I showed her this, “That’s Storm? Why can’t she always look like that?” And it should be noted that Marvel allowed this transformation at a time when it was still culturally relevant – not saying it was edgy, only that punk was hardly passe or mainstream at the time).
  • And a tired or sad-looking rabbit-y thing from Renee French.

Lastly, not a comic, but comics related. OPB’s Oregon Art Beat has a feature on Periscope Studio. I interviewed a number of Periscope members for my documentary, and I think this segment does a good job of conveying the current state of comics art for a broad audience. It takes the studio and the professionals who work there seriously, in the best sense of that word; the piece itself is pretty lighthearted.

Watch here, or from the Periscope blog.