Fatale was the book that started me on my Image kick, which continues to this day. The blending of Noir with Lovecraftian horror is what drew me to it. And Josephine was one of the great femme fatales.
DCs Sept event was "Futures End", of which I only read the Future Catwoman and Wonder Woman titles (digital waiting on others) so that publisher didn’t leave much of a mark on my lists. I am however, looking forward to what they have in store in October.
Marvel closed shop on Original Sin and moved right into set-up issues for their Axis and Spider-Verse events. They are also gearing up for a new era for their Avenger big 3… though it’s not really new. Tony’s been bad before, Caps been dead (here he’s just old and feeble) and Thor’s not been Thor.
And speaking of rehashing tired storylines… another major character is due to kick the bucket, this time it’s Wolverine’s turn (his final days are being penned by Charles Soule, who recently signed a Marvel exclusive which goes into effect in April).
New #1s: I picked up Valiant’s Dr. Mirage Mini, Alice Cooper (Dynamite) Copperhead (Image), Tim Seely’s Sundowners (Dark Horse) and Rucka’s Stumptown (Oni), which is switching to full ongoing mode.
My digital wait highlights include Suicide Risk, And Then Emily Was Gone, Letter 44 and Flash Gordon.
Written by Jen Van Meter
Art by Roberto De La Torre * Colors by David Baron
This my first purchase for this current incarnation of Valiant, and I’m glad I gave it a go. Writer Jen Van Meter is a damn fine writer. For fans of the supernatural investigator genre, it treads familiar ground. But the telling is sharp, characters are nicely fleshed out and there are enough layers to the tale that it requires a second read through. De La Torre’s sketchy art isn’t as ethereal as I’d prefer in such a comic- but it has a raw quality, where much is hidden in shadows. It’s reminiscent of Sean Murphy.
Written by Ed Brubaker
Art by Steve Epting * Colors by Elizabeth Breitweiser
This is a set-up issue, and while its an important one that shows us the other side of the investigative coin. It can’t help but be hurt by the lack of the title character’s guiding voice. Still an impressive and thrilling read.
Written by Jason Latour
Art by Robbi Rodriguez * Colors by Rico Renzi
Latour has to feed us a lot of information in a short amount of space, and he pulls it off with aplomb. He is ably assisted in this cause by the energetic, neon hued art of Rodriguez and Renzi (fresh off their work on FBP). The double pages spread where we get Spider-Woman’s back story is an example of artist and writer working in concert to get us up to date in a way that is interesting and isn’t bogged down by dry exposition. I loved this story, cared about this character and I would buy a Gwen Stacy book from this creative team in a heartbeat. There was a lot of pre-release buzz on this one, and it delivered.
Written by Gail Simone
Art by Walter Geovani * Colors by Andriano Lucas
The final issue in this arc is perfection; it touches on all the key plot points and wraps them up in way that is entertaining and deeply satisfying. Seeing as how disappointed I have been with other comic's endings I've read recently, I was grateful to receive a closing chapter that was an actually success: Plot, pacing and character, it’s all works. And while I don’t consider Simone a great writer, she has proven to me here that she can be a first-rate storyteller.
Written by Jason Bischoff
Art by David Williams * Colors by Wendy Broome
This is a bit of a different spin on Diana's early days as seen from her mother's perspective, and it's very sweet and entertaining. I loved seeing Diana as a wide-eyed kid, trying to grow up too fast, showing her determination at an early age. I liked her fearless wonder when she meets Athena. It offers a new slant on the contest that will send her to America, but it's an interesting one, that ties up the mother/daughter thread nicely.
Written by Kelly Sue DeConnick
Art by Marcio Takara * Colors by Lee Loughridge
This was comedy gold and I think DeConnick is leading us towards a riff on the great Trek ep, “Trouble With Tribbles”. Guest artist Takarta was fantastic, especially in regards to the visual gags, ala the scene where Carol makes Raccoon eyes at Rocket with her fingers. LMAO!
Written by Cullen Bunn
Art by Gabriel Hernandez Walta * Colors by Jordie Bellaire
These tie-ins to Axis were gut wrenching and intelligently scripted, as things come painfully full circle for the (not so) master of magnetism. The art does a fantastic job of conveying the emotional spectrum of shock and horror and shame.
Written by Greg Rucka
Art by Michael Lark * Colors by Santi Arcas
Political wheeling and dealing are at the heart of this intriguing arc, as Malcolm Carlisle is proving more crafty and in control than I imagined. The devil is in the details with this title, and Rucka doesn’t miss a trick: the deliberate yet elaborate plotting, world building and the multifaceted characterization… add it all up and this book might very well be Rucka and Lark’s masterpiece.
Written by Warren Ellis
Art and Colors by Jason Howard
On the surface Trees might appear dull and static, but there’s something exciting brewing here. And what seems like a series of unrelated sequences is actually connected, and is making a broader statement about the nature of mankind. It’s an incisive character and sociopolitical study -- as seen in the contrast of the young man experiencing a moment of Zen, as military forces move toward the city. Or in the scene and dialog with the girl and the old man… who comes of both wise and a little menacing. In addition we get a frightening taste of the invasion at the research outpost.
Written by Charles Soule
Art by Javier Pulido * Colors by Muntsa Vicente
Soule offers up some whip smart insights into legal machinations. It’s also human, with a good sense of humor and it ends on an obvious though pulse-pounding note. Pulido’s art compliments the story and offers entertaining details (always watch the monkey). His work on our cast’s individual characteristics is spot on. From Caps warmth, and quiet confidence, to Jen’s nervous energy derived from the pressure to not fail this hero (or bungle a great career opp)
Written by Joshua Hale Fialkov
Art and Colors by Gabo
Webcritic Cody Mudge called the issue "a work of extraordinary imagination and ingenuity." And he's spot on with that assessment. Here we get an inside look at heaven and God, and if your a Christian, Fialkov's vision of both might not sit too well with you (God is a flying Potato (or lump of poo?) who put the moves on a naive Mary). But if you can handle it, it's pretty brilliant.
Written by Kieron Gillen
Art by Jamie McKelvie * Colors by Matthew Wilson
Gillen gives us more clarity on the plot and characters - and puts Luci back in the spotlight. I like the other Gods, and our protagonist fan girl… but Lucifer is the straw that stirs this drink. The art is slick and excels with expression. McKelvie sets his lens at eye level, using a lot of close ups, sometimes framing his actors off center, and even drifting partially off camera.
Written by Warren Ellis
Art and Colors by Tula Lotay
Confounding, beautiful, brilliant. With this issue Ellis makes a meta-fictional statement on retconing (revision/versioning). I wonder if Dax is supposed to represent the Didio’s in the comic publishing world, or us, the fan… desiring to know, believing it is our right? I haven’t put together all of the pieces, and sometime I feel like a child, trying to understand the mind of genius. But I love that feeling; it’s exhilarating grasping at concepts, exploring the details of the story and art.
Written by Jonathan Hickman
Art by Nick Dragotta * Colors by Frank Martin
HOLY SCHNIKES! This is explosive (in more ways than one) and a game changer. And while the “Beast” (given a new name in this issue) proves to be as frightening as you’d expect, it might be the innocuously named “Balloon” that is the real monster. The end scene gave whole new layers and meaning to the line that has been featured on the covers from day 1… “This is the world we made”
Dragotta's art, his designs, his ability to give a sense of place to each location, is beyond fantastic. There's an ever-present sense of horror, of a nightmare scenario being played out. Even the costuming is eerie.
I think my jaw hit the floor while reading this. Hickman, Dragotta and Martin... you are maestro's!
Honorable Mentions
Marvel: Ms. Marvel #8, All-New X-Men #32, Uncanny X-Men #26, Elektra #6
Image: Velvet #7, Spread #3
DC: Coffin Hill #11, Catwoman: Futures End #4
Others: RoboCop #3 (Boom), Amelia Cole #18 (Monkeybrain)
My All-Star Artist of the Month
Bendis put Asar to work. His story was set in a wide variety of locations, and populated with many distinct characters. Mahmud had to relay a lot of info and emotion, which he does even when his figures are standing still: From Laura’s strong and defiant stance at the game, to Jean’s slumped shoulders when she learns that she’s trapped in an alternate universe.
There are so many other memorable shots: From the majesty of Angel in the Savage Land, to X-23 involved in a kinetic, high speed chase, to an impressive double page spread that’s summarizes Miles’ life, to Jean and Spidey heading off into the sunset in the final page (which was gorgeously colored by Marte Gracia) The only sequence that didn’t pack a wallop was set at the Football stadium -- when you pop up in the middle of a play, there should be a greater sense of chaos and confusion (and players). Aside from that, this was picture perfect.
Honorable Mentions: Nick Dragotta, Jaime McKelvie and Evan “Doc” Shaner
My All-Star Writer of the Month
Yup, him again: A God amongst mortals. Others in the pantheon: Hickman, Gillen and DeConnick
Art Panel of the Month
From Sensation Comics: Diana as a child, story narrated by her mother in a very cute, heartwarming tale, with this panel one the most adorable in the issue...
Head Writer, wide awake nightmare... bids you salutations citizens of Earth!
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