Monthly Archives: December 2018

Postcards From the Edge

Sincerely, Harriet original graphic novel
Writer/Artist/Cover artist: Sarah Winifred Searle
Publisher: Lerner Publishing Group/Graphic Universe imprint
Price: $11.99 US

Sincerely, Harriet is an unusual book, one that’s difficult to pin down. It’s something of a mystery story, but also a ghost story of sorts. It subtly explores psychological and physical challenges, while also espousing the wonder of reading. Ultimately, it’s a quiet coming-of-age story that’s unlike those you may have read before. Honestly, I was a bit confused by Searle’s writing and art at first, but the more I read, the more vested and interested I became in Harriet’s story. This reads something like a Raina Telgemeier graphic novel filtered through the lens of film director David Fincher, instilling it with a little more tension but maintaining the grounded, relatable qualities that makes it such a pleasure to experience.

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Don’t Forget the Secret Handshake

Conspiracy #2
Writers: Joe Brusha, Ralph Tedesco, Dave Franchini & Hans Rodionoff
Artist: J.G. Miranda
Colors: Leonardo Paciarotti
Letters: Taylor Esposito
Cover artists: Leonardo Colapietro/Sheldon Goh & Sanju Nivangune
Editor: Terry Kavanaugh
Publisher: Zenescope Entertainment
Price: $4.99 US

Whenever Zenescope Entertainment releases a new comic that doesn’t feature a buxom, scantily-clad heroine plucked from fabled stories, it prompts me to pause and take a look. While it’s clear the foundation of the publisher’s business is on such good-girl/bad-girl comics, I always hold out hope it might have something more to offer, something more interesting and less superficial. Conspiracy certainly goes against Zenescope’s usual focus, but doesn’t mean there’s greater depth or quality to be found here instead. Conspiracy is a clumsy exploration of conspiracy theories, lacking the complexity and intelligence necessary to make such far-fetched concepts palatable or plausible. The writers seems to focus exclusively on establishing a foreboding atmosphere, and the plot suffers as a result. The art, meanwhile, is serviceable but ultimately unremarkable.

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Web of Lies

Superior Spider-Man #1
Writer: Christos Gage
Pencils: Mike Hawthorne
Inks: Wade von Grawbadger
Colors: Jordie Bellaire
Letters: Virtual Calligraphy’s Clayton Cowles
Cover artists: Travis Charest (regular) Mike Hawthorne, Marco Djurdjevic, Emanuela Lupacchino, John Buscema and Skottie Young (variants)
Editor: Nick Lowe
Publisher: Marvel Entertainment
Price: $3.99 US

Given the recent release of Spider-Man: Into the Spider-Verse in theatres, the timing of this latest Spidey spinoff title is great. There’s definitely an interest out there in alternate versions of the familiar web-slinging hero, so bringing back the Otto Octavuis incarnation of the hero makes sense. However, he comes with a lot of baggage. The character’s history is convoluted, but writer Christos Gage does good job of providing the much-needed exposition. Still, there are some obscure and pretty random characters involved in this story, so even a longtime super-hero comics readers such as myself will find themselves feeling a little lost at times. Furthermore, this new title apparently flows from the events of Spider-Geddon, which serves as another barrier to accessibility. But the greatest challenge with this second go-around for Superior Spider-Man is the central protagonist’s arrogance; this is a story of a quest for redemption, but getting the audience to root for such an unlikeable figure seems daunting to me.

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Career Counselling

I Moved to Los Angeles to Work in Animation original graphic novel
Writer/Artist/Cover artist: Natalie Nourigat
Editor: Shannon Watters
Publisher: Boom! Studios/Boom! Box imprint
Price: $9.99 US/$11.99 US/£7.50 UK

This skinny little book showed up on my doorstep a little while ago, and I’ve been picking away at it over the last couple of weeks. It’s truly a different kind of book, not the sort of read I typically delve into, but I found I enjoyed the change of pace. I didn’t know much about the book or its creator before opening it up, so I had expected something of a memoir, and there are segments here that fit that bill. But the material is much more matter-of-fact in tone. Nourigat offers something of a how-to guide to a career in animation, peppered with caveats about how one’s mileage will vary. But it’s not just about a specific industry and career, but how to navigate the titular locale. People with an eye to a viable career in illustration and art will no doubt find this book of interest, but it’s relatable for just about anyone who faces a big move, a big change, or who’s experienced such moments in their lives already.

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Water World

Actors: Jason Momoa, Amber Heard, Willem Dafoe, Patrick Wilson, Nicole Kidman, Yahya Abdul-Mateen II, Temuera Morrison, Dolph Lundgren, Randall Park & Graham McTavish
Directors: James Wan
Writers: Geoff Johns, James Wan, Will Beall & David Leslie Johnson-McGoldrick
Studio: Warner Bros.
Rating: PG-13

Spider-Man: Into the Spider-Verse (yes, this is an Aquaman review, stick with me) has been heralded for its innovative approach to animation, and justifiably so. The creative forces behind that animated piece of wonder have truly captured the color, dynamics and unrestrained energy of a comic book. While Spider-Verse felt novel and new, Aquaman, its comic-book-inspired brother and competitor at the theatre, feels thoroughly conventional — but in the best possible ways. This latest installment in the DC Cinematic Universe dazzles the eye with wondrous imagery and tickles the brain with its celebration of various fantastic genres. What the movie lacks is a sense of suspense — we know from the very start how the story will turn out — but surprisingly, the flick is strong enough to distract its audience from that. And at the foundation of the fun is a charismatic, everyman performance from Jason Momoa.

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Say Uncle

Freedom Fighters #1
“Chapter One: Death of a Nation”
Writer: Robert Venditti
Pencils: Eddy Barrows
Inks: Eber Ferreira
Colors: Adriano Lucas
Letters: Deron Bennett
Cover artists: Barrows (regular)/Ben Oliver (variant)
Editor: Paul Kaminski
Publisher: DC Comics
Price: $3.99 US

I’ve been obsessed with DC’s Golden Age characters, as well as others from the era it acquired from other, now-defunct publishers over the years, such as the Quality characters, such as Uncle Sam, the Human Bomb and the rest of the lineup that DC rebranded as the Freedom Fighters in the 1970s. When DC reintroduced the characters in one of its annual JLA/JSA crossovers of the time, they were on Earth-X, fighting against the Nazis, who’d won the Second World War. After DC did away with its multiverse with Crisis on Infinite Earths in 1985, the Freedom Fighters just became another group of WWII-eras, taking away that unique mission. With a one-shot during the Multiversity not long ago and now with this new limited series, DC has clearly seen that the characters work better in that alternate-universe setting. Despite my interest in Golden Age super-heroes, what drew me to this comic was news that it featured another hero, a different kind a hero: a real-life one whom writer Robert Venditti had incorporated into a tale of resistance and horror that made a lot of sense. Though I’m a little late to the game, I’m realizing that Venditti is a skilled and powerful creative force in DC’s stable, and I’m definitely going to be paying closer attention for his name on future projects as well.

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Blurred on a ‘Wire

Livewire #1
Writer: Vita Ayala
Artists: Raúl Allén & Patricia Martín
Letters: Saida Temofonte
Cover artists: Adam Pollina, Harvey Tolibao, Paulina Ganucheau & Doug Braithwaite
Editor: David Menchel & Joseph Illidge
Publisher: Valiant Entertainment
Price: $3.99 US

I’ve never had much of an attachment to the Valiant brand. I’ve read and enjoyed a few Valiant titles — from the 1990s to today — but not that many, so I’m not well versed on the publisher’s continuity or lore. However, when I heard writer Vita Ayala was helming this new title, my interest was piqued immediately. She’s a powerful new voice in comics, and her star is rising rapidly in the industry for good reason. Furthermore, it seemed to me as though she was crafting a new character, a new property for the Valiant line. Boy, was I wrong. As I made my way through these pages, I was more than a little confused, and I quickly discovered Livewire is far from a new character. I soon learned she’s been around for a quarter century, and that history definitely plays a role in this new title. Livewire appears to have been fashioned specifically for the Valiant devotee, and that leaves readers such as myself out in the cold. That inaccessibility is a shame, as there’s some strong characterization serving as the foundation for this story.

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Anything You Can’t Do, I Can Do Better

Prodigy #1
Writer: Mark Millar
Artist: Rafael Albuquerque
Colors: Marcelo Maiolo
Letters: Peter Doherty
Cover artists: Albuquerque (regular)/Frank Quitely (variant)
Editor: Rachael Fulton
Publisher: Image Comics/Millarworld/Netflix
Price: $3.99 US

I’ve got a standing order at my comic shop for all new Millarworld titles; I don’t always stick with them (I lost interest in Kick-Ass a long time ago, for example), but Millar is an Idea Machine that rarely disappoints. This new project slipped under my radar, though, so I was about a week behind in discovering its release. The concept isn’t particularly innovative, but it’s executed well, and Millar has managed to maintain my interest despite the protagonist’s arrogance. What struck me the most about this new project is how much it seemed like an edgier take on DC’s Mr. Terrific, so much so that I wonder if this wasn’t originally envisioned as a Terrific pitch before being remoulded to exist outside of a shared-continuity universe.

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Caught En Garde

Fence Vol. 1 trade paperback
Writer: C.S. Pacat
Artist: Johanna the Mad
Colors: Joana Lafuente
Letters: Jim Campbell
Cover artist: Shanen Pae (regular and variant)
Editor: Shannon Watters
Publisher: Boom! Studios
Price: $9.99 US

Boom! Studios has a knack for finding and promoting offbeat and fun new properties that appeal to a wide variety of readers, and a comic book about fencing seemed intriguing to me. Unfortunately, writer C.S. Pacat has constructed a mini-world that represents just about everything I detest about sports. Fence takes us to a place where abuse and betrayal are commonplace, where hardly anyone thinks about someone other than themselves and where one’s skill at an antiquated contest determines one’s worth rather than one’s character. To make matters worse, this first collected volume of the series doesn’t even come close to offering a complete story arc of any kind.

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Artful Obsessions: Grummett Summit

I think the first time I saw (or at least took note of) Tom Grummett’s art was on his run on Adventures of Superman, specifically during the “Reign of the Supermen” arc in the wake of the November 1992 “Death of Superman.” He and writer Karl Kesel crafted an interesting and lasting character in the cloned version of Superboy. I’m pleased to see the character design is about to make a comeback in the relaunched Young Justice comic from DC in the months ahead.

That work, and Grummett’s tenure on the subsequent Superboy spinoff series, really cemented Grummett’s reputation in the comics industry, not to mention some wonderful work on Robin. He offered some memorable visuals on the DC/Marvel Amalgam book Challengers of the Fantastic in the late 1990s, and perhaps the strongest evidence of the height of his “star power” in the mainstream comics industry was his participation in the striking but short-lived Gorilla Comics imprint at Image, through which he and a throng of top-tier talent — Mark Waid, Kurt Busiek, Stuart Immonen, Kesel and many more — delivered some strong creator-owned genre titles.

Grummett’s prominence seemed to wane in the wake of that endeavor, though he’s remained a constant presence in comics, notably contributing to many Marvel titles in recent years. Perhaps the brighter tone of his style fell out of vogue, but it’s a shame, because he always brings a great energy and sense of fun to his work. As demonstrated with his work on Superboy and Robin, he’s adept at instilling a convincing youthfulness in his characters, and he’s shined time and time again when playing with the creations of the late, great Jack Kirby. I’ve always enjoyed Grummett’s style, so when I got a chance to acquire a couple of pieces of original comic art on which he worked at prices that worked well within my budget, I jumped at it.

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Good Cop, Green Cop

Martian Manhunter #1
“A Prisoner”
Writer: Steve Orlando
Artist: Riley Rossmo
Colors: Ivan Plascencia
Letters: Deron Bennett
Cover artists: Rossmo (regular)/Joshua Middleton (variant)
Editor: Chris Conroy
Publisher: DC Comics
Price: $3.99 US

DC has clearly decided to embrace the title character once again, not only placing him in the spotlight in its new Justice League but giving him another shot at an ongoing title. What drew me to this was Riley Rossmo’s art, and his weirder, more exaggerated style suits the alien, shape-shifting nature of J’Onn J’Onzz nicely. I didn’t know what to expect from Steve Orlando’s plot; he’s been a hit-and-miss writer for me. He definitely took me off-guard with his take on the character, exploring him as a much darker, broken figure than we’ve seen before. This isn’t the pure-of-heart vision of the Martian Manhunter with which long-time genre readers would be familiar. Instead, this is the story of a man seeking redemption for past sins. It’s intriguing and challenging, but the creative team might have been a little too successful when it came to capturing and conveying alien culture, physiology and perceptions.

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