Monthly Archives: October 2017

The Ascent of Consent

What Does Consent Really Mean? original hardcover graphic novel
Writers: Pete Wallis & Thalia Wallis
Artist/Cover artist: Joseph Wilkins
Publisher: Jessica Kingsley Publishers/Singing Dragon imprint
Price: £14.99 GBP/$21.95 US

The significant swing of the social pendulum on the massive problem of sexual assault and harassment in society, driven chiefly by the revelations of allegedly abusive behavior on the part of movie mogul Harvey Weinstein, is a powerfully positive force for societal change. It also comes as an opportune time for the creators behind this British graphic novel, which delves into such issues and chiefly what constitutes consent — and more importantly, what doesn’t.

What struck me right away about this book as I delved into it was the fact that I’m most definitely not the target audience for the book. And I don’t mean because I’m a man. This was crafted with teens in mind, even ‘tweens, depending on their level of sophistication. It’s an interesting read, offering mainly a discussion of sex and consent and dispelling myths. At first, I thought it was mainly designed to be informative, but as one progresses through the book, one discovers the characters develop their own little story arcs that resolve satisfactorily by the conclusion.

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Flea Market Finds: Batman: Dreamland

Batman: Dreamland original graphic novella
Writers: Alan Grant & Norm Breyfogle
Artist/Cover artist: Breyfogle
Colors: Noelle C. Giddings
Letters: John Workman
Editor: Dennis O’Neil & Joseph Illidge
Publisher: DC Comics
Price: $5.95 US/$9.25 CAN

The two Batman artists who made the greatest impression of me in my 40 years of comics reading have been Jim Aparo and Norm Breyfogle, and one could argue they both offered up the least conventional interpretations of the Dark Knight. I loved Breyfogle’s runs on Detective Comics, Batman and Shadow of the Bat in the late 1980s and early ‘90s, so I was taken aback when I happened upon this prestige-format one-shot from 2000 at a local flea market. It’s an unusual example of the work of the creative team of Alan Grant and Breyfogle for a number of noteworthy reasons. It has its flaws, but it definitely satisfied that part of me that loved this team’s work years ago. After reading it, I completely understood why this was released as a one-shot (though it needn’t have been so expensive), because the premise just wouldn’t have worked in the context of serialized DC Universe comics.

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Artful Obsessions: The Art of War

I’ve never been much for war comics, though there have been occasional exceptions of strong storytelling that really grabbed my attention. But my extensive comic-book collection really includes very few war comics, just the occasional issue here and that was a part of a larger lot I picked up at flea markets or the like over the years. I have several issues of DC’s original Weird War Tales among the many long boxes around my place, but I honestly don’t recall if I’ve read them all (I ought to rectify that, especially given the vintage-comics kick I’ve been on as of late).

Despite that lack of nostalgic connection to war comics, when I spotted a page from Weird War Tales for bid online recently, I definitely wanted to try my hand at winning it. The reason wasn’t due to the content, but rather the era from which it originated and the unusual pairing of artistic talents who crafted it. I was fortunate enough to have landed the board and added to my collection, and when I finally got it in my hands, I realized it was a treasure-trove of classic comics craft details.

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Ascended from Nobility

Noble Volume 1 trade paperback
“God Shots”
Writer: Brandon Thomas
Artists: Roger Robinson, Jamal Igle & Robin Riggs
Colors: Juan Fernandez & Sotocolor
Letters: Saida Temoforte
“The Event”
Writers: Priest & Joseph Illidge
Artists: Marco Turini & Will Rosado
Colors: Jessica Kholinne
Letters: Andworld Design
Cover artist: Roger Robinson
Editor: Joseph Illidge
Publisher: Lion Forge
Price: $14.99 US

I’ve been meaning to delve into Lion Forge’s line of super-hero comics, designed in part to offer a stronger array of black characters to a market that’s clearly hungry for diversity in its escapism pop-culture (contrary to what a vocal minority might argue). To be honest, though, I haven’t been following comics news and release dates of emerging publishers and creators nearly as much as I used to, and some of the initial releases escaped my attention when they first hit the stands. So I was thrilled when I had the chance to read this first collected edition of the initial issues of Noble. There’s certainly an ambitious tone set here; like other super-hero startup lines, Lion Forge and editor Joseph Illidge have set out to building a larger, connected continuity, and based on the main story and the backup, titled “The Event,” they’ve done so in a meticulous manner. Part of me thinks such interconnections need to happen gradually, but that’s likely not feasible in modern comics publishing. Super-hero audiences crave and expect those links, and the mysterious framework set out here certainly seems to indicate Lion Forge is off to a strong start in terms of that creative endeavor.

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Flea Market Finds: Captain America: Madbomb

Captain America & the Falcon: Madbomb trade paperback
Writer/Pencils/Editor: Jack Kirby
Inks: Frank Giacoia & D. Bruce Berry
Colors: Janice Cohen, Phil Rachelson, Michele Wolfman & Don Warfield
Letters: John Costanza, Gaspar Soladino & D. Bruce Berry
Cover artists: Kirby & John Romita Sr.
Publisher: Marvel Entertainment
Price: $16.99 US/$27.25 CAN

It’s always fun when Diamond Comic Distributors has a clearance sale, as my local comic shop, without fail, capitalizes on it and offers a diverse array of product at deep discounts to its clientele. Which brings me to the 2004 Captain America & the Falcon: Madbomb collection. Part of Jack Kirby’s heralded return to Marvel Comics in the mid-1970s, his run on Captain America is a keystone in comics history – one I hadn’t read before. Now, I must confess, while I appreciate the creativity, genius and foundational talent of the late Jack Kirby, I was never a huge fan of his work, at least as a younger comics reader and enthusiast. What’s noteworthy about this classic Cap run is that Kirby was the sole creative force; he’s even listed as the editor. That shows in the storytelling, and especially in the occasional clunkiness of the writing. Fortunately, there are still some powerful political notions at the heart of this story. While it shows its age a fair bit, there were moments when the story resonated and made me consider socio-political realities of the now. To achieve that sort of connection with a reader 40 years removed from the original crafting of the story speaks to why Kirby was so successful and integral in comics years ago and why he remains an ever-present force in the medium even years after his death.

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Flea Market Finds: Future Quest #1

Future Quest #1
“Part One: Lights In the Sky”
Writer: Jeff Parker
Artists: Evan “Doc” Shaner & Steve Rude
Colors: Jordie Bellaire
Letters: Dave Lanphear
Cover artists: Shaner (regular)/Rude, Bill Sienkiewicz, Joe Quinones & Aaron Lopresti (variants)
Editor: Marie Javins
Publisher: DC Comics
Price: $3.99 US

I was sorely tempted to pick this comic up when it was released last year, given the creative team and the strong recommendation of the manager of my local comic shop. However, I was reticent, given my lack of nostalgic attachment to the many Hanna-Barbera adventure properties that populate the book. When I saw a copy at a flea market for a steal, I saw my chance to indulge my curiosity and appreciation of the work of writer Jeff Parker and artist Evan Shaner. While I’m pleased I was finally able to examine the book, my initial instinct proved to be correct: Future Quest is for the die-hard fan of these 1960s and ‘70s cartoons, and that’s about it. There’s nothing wrong, per se, with how the writer and artists present the material; it’s solid. But it seems clear to me that appreciation of this comic is wholly dependent on a pre-existing love for these characters.

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