REVIEW: Amazing Spider-Man #11 alternates between media commentary and laughs

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Amazing Spider-Man #11 is out 12/12.

Amazing Spider-Man #11 is out 12/12.

By Zack Quaintance — Amazing Spider-Man #11 marks the return of this series’ primary art team (or at least the one that gets top billing): penciler Ryan Ottley, inker Cliff Rathburn, and colorist Laura Martin. As such, it’s a bit of a shift. Nothing is lost in transition, but it does require a few moments of quick re-orienting at its start. Perhaps more consequentially, Amazing Spider-Man #11 is also a slight emotional reset for this ongoing story, which makes sense given that it’s a new story arc (although, arcs have so far been a little amorphous in this young run).

As I wrote in my review of Amazing Spider-Man #10, that issue featured a satisfying emotional crescendo for a team-up between Spider-Man and Black Cat, who have romantic history together but have both very much moved on. It used the concept of mine erasure (a very comics-y concept) to get at universal truths about respecting the emotional impact one’s behavior has on an ex, even if nobody’s carrying a burning torch. It was well-done and went straight for the heart strings with its ending. This issue doesn’t involve Black Cat, which is expected because of how the last one wrapped so nicely, but it also doesn’t involve Mary-Jane Watson either. It doesn’t involve Peter’s love life at all. Thus the shift.

In Amazing Spider-Man #11 we get a Christmas story starring members of Peter’s supporting cast not seen since the first arc with Ottley/Rathburn/Martin, almost as if Spencer had his collaborators pick teams from among the massive Spidey friends and family bunch (there are plenty to go around). What we get here is a story that involves the folks Peter knows from the Daily Bugle, mainly J. Jonah Jameson and Robbie Robertson, both of whom are used well as polemics for philosophies within the modern media industry, plus also for laughs.

Jameson (who scores laughs in almost every panel he’s in) is a cartoon representation of the media at its worst (as he has been for years), wildly oscillating between impassioned stances against/for whatever passes in front of his face. He’s hungry for credit and quick to get egotistical by insinuating his name alone causes seismic shakes in organizational profitability. Robertson, meanwhile, is a thoughtful journalist who Jameson’s behavior has forced into an impossible situation. He can’t pander in the slightest or he’ll be lumped in with Jameson’s ilk, yet a certain segment of his audience is prone to/expectant of blatant pandering. It’s pretty smart media commentary wrapped in an entertaining blanket of Spencer-penned curmudgeonly one-liners. I’m a reporter by trade, and I found it alternately cathartic and funny.

So yes, I liked this individual issue quite a bit. There’s also the question of where does this little story fit into the larger tapestry of what Spencer et. al are trying to do here? It definitely advances Spencer’s commitment to touching more corners of Spider-Man’s deep mythos than have been used in the recent past, incorporating rarely-seen villains like Arcade and the old-timey Enforcers. In an age where the go-to superhero foe has become other superheroes, this book is a well-done refutation to the standard, and I for one am loving it. Spencer is also adept at handling the double-shipping schedule, layering plot developments in a way that blurs the arcs into one long ongoing story. If he can keep it up, a year or two from now we might be talking about this era of Amazing Spider-Man as something truly special.

Overall: Heavy on media commentary, old supporting cast members, and solid laughs, Amazing Spider-Man #11 shifts the tone from recent issues and continues to seed plot points for the team to develop moving forward. Despite the always-tricky double-shipping schedule, this comic is rock solid. 8.5/10

Amazing Spider-Man #11
Writer: Nick Spencer
Artist: Ryan Ottley
Inker: Cliff Rathburn
Colorist: Laura Martin
Letterer: VC’s Joe Caramagna
Publisher: Marvel Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: Fearscape #3 continues its dark examination of a failed writer’s mindstate

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Fearscape #3 is out 12/12.

By Zack Quaintance — In Fearscape #3, writer Ryan O’Sullivan and artist Andrea Mutti’s meta exploration of the darkness inherent to an unsuccessful creative life gets...even darker. Now deep into its story, Fearscape continues to be a comic entirely unafraid of darkness, intent to use its clever pseudo-New Yorker literary fictive voice to unpack the worst sort of artistic impulses. This combination of fearlessness and form is making for a compelling (and intensely singular) comic, one bent on examining why such feelings (as well as the actions they give rise to) occur, what they mean, and the damaging potential they can have on one’s life and morality.

This third issue opens with some of the delusion that has been present throughout. It starts with what seems like a writer’s fantasy—finding a novel finished, exactly as you would have written it, without you having to do any of the actual work. But not so fast. It’s obviously not that easy (nothing is in Fearscape). The found book is not the work of our hero, Henry Henry, but of the bed-bound mentor whose home he essentially burglarized in the first issue before being swept into the mythical realm of the Fearscape. Henry Henry is not finding a book he wrote without remembering; Henry Henry is stealing whole a finished novel from a sick mentor. For shame!

Much of the rest of the issue is spent elucidating the mindstate of a plagiarist. What’s most impressive to me about Fearscape #3, though, is how it shows rather than tells (that old creative writing canard) a set of feelings that are incredibly personal. O’Sullivan continues to play with form for a third straight issue as he does this, putting rectangular narration boxes over the traditionally round word balloons during a mental episode, which creates a writer’s fantasy of what the hero wants to hear versus what’s really being said. It’s used with great effect to convey how someone as delusionally ego-driven as Henry Henry can justify plagiarism, altering the reality around himself to be comfortable with artistic theft in a way that feels heroic, at least to him, anyway.

Other familiar writerly feelings found in this issue include: the ennui (a very Henry Henry word, btw) of publishing fiction and finding out it’s not the cure to whatever ails you, finding that no one else understands your special interiority, and wanting in alternate turns to embrace and disavow the muse that motivates you to write (to say any more about this last one would give away the climax of this issue).

Fearscape had one of my favorite debut issues this year (if not my very favorite), and little has been lost as this story has proceeded. I am admittedly very much the target audience for this—a comic book reader/author of short fiction who has published here and there but not put out a full collection—yet I’m sure this story has quite a bit to offer anyone who has ever contemplated any sort of career in the arts, especially when its full scope becomes visible at its conclusion. I am, however, now ready for ol’ Henry Henry to either start some kind of growth, or to hit rock bottom. I’m just not sure how much more of his continued descent into delusional awfulness I can take (which is something I’ve said more than a few times about our current president—rim shot—thank you, thank you).  

Overall: A literary comic about what it feels like to be a struggling artist, Fearscape continues its descent into delusional frustration, doing so with a clever narrative voice and some visual tricks that convey a mindstate in ways only comics can. This is a must-read book for anyone who has contemplated the art life. 8.8/10

Fearscape #3
Writer: Ryan O’Sullivan
Artist: Andrea Mutti
Colorist: Vladimir Popov
Lettering: Andworld Design
Publisher: Vault Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: The Magic Order #5 establishes this comic as a MUST for fans of Harry Potter

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The Magic Order #5 is out 12/12.

By Bo Stewart — WHOA! The Magic Order #5 gives us this book’s biggest twist yet, and I am still reeling from the implications. I’m not going to get into spoilers here—sorry for the tease—but I will, however, talk about what this series is in broader terms, stressing as hard as I can that if you like Harry Potter, you MUST be reading The Magic Order. Harry Potter for adults is the basic premise of this comic, and it’s a concept that has been attempted before, but no one has been able to deliver on that premise with near the amount of success as The Magic Order.

The Magic Order is the first original Millarworld comic to come out after writer Mark Millar agreed to a landmark deal with Netflix, and like the other new Millarworld projects that have been announced, it impresses with its sheer ambition. Millar has never been one to shy away from a challenge, but with The Magic Order, he’s attempting a story as big (if not bigger) than he’s told before, in the process scratching an itch I didn’t know I had. I’m pretty confident in saying that now that there’s only one issue left for the current run of the series. Millar books always move at a brisk pace, but these past two issues have kicked the narrative into overdrive.

The disgruntled villain, Madam Albany, is pursuing the forbidden spells concealed in the ancient text of the Orichalcum, and a group called the Magic Order is the only thing standing in her way. While similar villains are portrayed as straight evil, Albany is laced with nuance. She is perfectly fine with the Order continuing to exist, in fact she wants it to, she just wants to be in charge. To achieve this goal, Albany has unleashed her top assassin, the sinister Venetian (one of the coolest character designs in recent memory, btw), to eliminate those who stand in her way. To counter Albany’s growing threat, Gabriel Moonstone has been unwillingly forced back into the world of magic after settling down into a quiet and domestic existence. Gabe is a gifted wizard and some of the coolest visual displays of magic in this story come from his wand. Magically imprisoning foes in works of literature has really cool possibilities and is one of the best examples of the power that magic has in this world. I hope they revisit this later in the series.

Anyway, I’m a Harry Potter fan, and a lot of what drew me to that story was the depth of world building and the mythos. That’s also a lot of what I like about this book. In addition to this being a drop-dead gorgeous comic (thank you Olivier Coipel), the creators here have established a similar scope and grandeur to this story’s conflict. The world of The Magic Order feels fully realized, and instead of burying the reader with exposition, the creators expect the reader to keep up and fill in blanks for themselves as the plot progresses. I love it when a creator trusts the reader; it makes it so much easier to get lost in a strong story like this one.

Overall: The Magic Order #5 has a shocking ending that drastically changes the course of this story. I won’t give it away, but, simply put, if you enjoyed Harry Potter, you MUST be reading The Magic Order as it heads toward its finale. 9.0/10

The Magic Order #5
Writer: Mark Millar
Artist: Olivier Coipel
Colorist: Dave Stewart
Letterer: Peter Doherty
Publisher: Image Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Bo grinds for the Man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

REVIEW: Sara #1 is a direct hit for exciting new publisher TKO Studios

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Sara #1 is free at www.tkopresents.com (password: vipaccess).

By Bo Stewart — “Wait…wait…wait.” A call for patience is how brand-new publisher TKO Studios introduces us to its line of comics. Wait for the perfect shot and be sure not to miss. This is the opening to Sara #1, a story about an all-female Russian sniper squadron in WWII. It’s also a fitting one, however, for TKO Studios itself. Just like with comics, a publisher only has one shot at a first impression. TKO had to get this right and if the first issue of war-thriller Sara is any indication, it took full advantage of the opportunity. Like our spirited protagonists on the page, the publisher comes out firing in the real world.

Legendary creators Garth Ennis and Steve Epting are cleverly meta with this first issue, immediately establishing a theme of patience. When main protagonist, the titular Sara, has been tasked with assassinating a Nazi colonel without any clues as to when or where the target will arrive, patience is her only path forward. The result is a perfectly-paced issue rife with tension.  I wanted Sara to take the shot as soon as the colonel is in her sights, but the character knows better. This issue reads as a teaser to the larger story of the book, which is exactly what a good introduction should do.

Allow me also to briefly indulge my inner history nerd. I’ve always been fascinated by the Eastern Front of the European Theater. Something about Nazis fighting Soviets, and the implied clash of political philosophies, fascinates me, and the creators here pick this theater as the setting for their story. We Americans love to point to D-Day as the beginning of the end for the Third Reich, but the East is where the Nazis truly met their demise. This thread of the larger World War II tapestry doesn’t get nearly the amount of attention it deserves, especially not in American media.

All of this is to say that Sara is interested in telling us a story from a perspective we haven’t seen in an under-utilized setting. Following a group of female Soviet soldiers is a stroke of brilliance. We know that the Soviets were very progressive in their views towards women at that time, but we don’t have many fictional stories that explore this dynamic in a military setting.   

I could go on and on about how awesome the creative team is, but most readers already know these guys. We know a book with the names Garth Ennis and Steve Epting on the cover is going to be great. That’s part of the beauty of TKO’s launch. The publisher knows that fans trust these creators and, in turn, that the creators trust their readers. As a result, nothing is over explained and the exposition is mercifully brief. This comic challenges the audience to keep up. Here’s the real kicker–TKO releases the full book all at once, so the depth of the story can be explored without waiting months at a time for subsequent chapters.

Overall: Sara fires on all cylinders. This is a strong, confident debut from industry legends Ennis and Epting. New publisher TKO Studios has its first hit. 9.0/10

Sara #1
Writer: Garth Ennis
Artist: Steve Epting
Colorist: Elizabeth Breitweiser
Letterer: Rob Steen
Publisher: TKO Studios
Price: Free via TKO Studios (password: vipaccess)

For more comic book reviews, check out our review archives.

Bo grinds for the man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

REVIEW: Dead Kings #2, dystopian Russian quest comic finds its stride

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Dead Kings #2 is out 12/12.

By Zack Quaintance — Dead Kings #2 is one of those sophomore issues that feels liberated from obligatory debut tacks—setting a hook, doing introductory worldbuilding, landing the obligatory final page cliffhanger (although we do get another one of those here). With that all previously accomplished, this issue instead move the plot forward at a lively pace. What soon becomes clear, then, is that what writer Steve Orlando and artist Matthew Dow Smith have created an epic quest comic, one with a pair of disparate protagonists venturing across dystopian Russia after a shared objective for vastly different reasons.

Cool. Count me in for that general concept. Where this comic hooks me further is with the way it judiciously doles out insights into each character’s past, showing rather than telling us their motivations. We see glimpses of Sasha’s guilt over how he treated his brother. We see that brother interned in a hellish prison camp (in a lightning quick and disturbing interlude), and as such, when we return to the main questing, things feel all the more meaningful. The same is true of the glimpses into Maria’s experience in the war that molded this dystopian world, we see how she has just as much reason to hate the failed systems and nation states that manipulated her during the fighting (as I wrote in my review of Dead Kings #1, the anger in this book seems most strongly directed at the failures of systems, societies, nation states).

That’s all pretty well done, and, to my mind, is another box this book can check as it moves closer to being able to jump entirely into a plot that pushes forward, rather than continuing to alternate past scenes. Another primary strength of this comic is the world that has been built. The ambience and visual touches these creators have constructed is evocative of vintage Final Fantasy, that one Werner Herzog documentary about Siberia Happy People, and also of the anger toward corrupt officials who’ve been abused the trust the public has placed in them. So yeah, this book is imaginative and timely.

I should note I found the back half of this comic to be far stronger than the first half, an effect of the story still having work to do to orient readers within its world and to introduce us to our characters. That’s why I’m so bullish on this book moving forward—once the introductions are over, the fun really starts, letting both Orlando and Dow Smith show off their abilities as swaggering action-based storytellers. Also, I’m still waiting with crossed fingers to see an epic large-scale mech battle, the mech battle were promised, the mech battle we deserve.

Overall: Dead Kings #2 continues to build this story and this world, evoking things like Final Fantasy video games and documentaries about Siberia in the process. The real strength and potential of Dead Kings really shows through in the glimpses of the action storytelling and larger battles the story seems destined to include. Jump on now and get ready. 8.0/10

Dead Kings #2
Writer: Steve Orlando
Artist: Matthew Dow Smith
Colorist: Lauren Affe
Letterer: Thomas Mauer
Publisher: AfterShock Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete his first.

REVIEW: Shazam #1, by any name, is still an adorable comic about family and fantasy

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Shazam! #1 is out 12/5.

By Zack Quaintance — Geoff Johns had a huge week. At least in terms of writing top-notch comics. He had a pair of titles come out that couldn’t be more different—one part eight of a 12-part miniseries that has been running for a full year now; the other the launch of a new title starring a character we haven’t seen in a while before he gets a movie—and they both accomplished exactly what the creators, publisher, and fans hoped they would do.

The first of the aforementioned titles is (obviously) Doomsday Clock #8, and this is a Shazam! review, so we won’t belabor the talk of that one except to say we liked it...a lot. It’s finally living up to the Watchman characters it somewhat arrogantly set out to use, doing so with a mix of slow-burning and tense storytelling with socio-political commentary bubbling under its surface. It’s good, please go read it, and excuse us while we move on to Shazam!

Shazam #1, on which Johns is joined by artist Dale Eaglesham (and later by artist Mayo “Sen” Naito, who draws the backup story), is as cute as superhero comics get without doing that Fraction/Aja Hawkeye-inspired recent Marvel thing where they tip a bit into self parody (Hawkeye never did that, but boy have its many imitators done that often in the last three years or so). No, Shazam! reads with all the seriousness of most main universe DC comics. The reason it hits such cuteness heights is entirely due to the enthusiasm with which it explores the core strengths of this character: fantasy and family (plus a subtraction of some of the grit and angst that marked the New 52 version).

Yes indeed, Shazam #1 is quite high on both of those, becoming in some ways the perfect comic that adult readers assume they would have enjoyed as a kid, which then has the effect of us enjoying it now because, let’s face it, part of the appeal of corporate superhero comics is feeling just a tinge sentimental about bygone days. Johns lands this comic perfectly in that sweet nostalgic spot, crafting a story with a likable child protagonist, whose problems come as much from bad guys as they do from the rules of his well-intentioned-but-square caretakers...and with him always is the Shazam! family. Yes, in this debut issue young Billy Bastion has it all, unconditional friendship, adventure, and a mystery that comes to find him.

Eaglesham’s artwork renders it perfectly, equal parts sharp and kinetic. He gets the kids moods and faces as right as he does the giant set-pieces that erupt every time the magic word (which is also the book’s title) is uttered, leading to the arrival of mystic lightening. Other strengths of this book include the orienting two-page spread Johns opens with to remind us what this book’s deal is, the ending that seeds the group’s ongoing adventures, and the backup comic that ends the whole deal by straight-up melting your god-danged heart. Oh yeah, and there’s also a great joke that nods to when the character used to be known as Captain Mar—

Overall: Shazam! #1 soars to impressive cuteness heights without ever tipping into self parody, doing so by embracing the two most prominent core tenants of an all-time great character: family and fantasy. Come for the childlike adventure and stay for the promise of much more to come. I have a hard time imagining that very many readers will dislike this comic. 9.5/10

Shazam #1
Writer: Geoff Johns
Artist: Dale Eaglesham & Mayo “Sen” Naito (backup story)
Colorist: Mike Atiyeh
Letterer: Rob Leigh
Publisher: DC Comics
Price: $4.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete his first.

REVIEW: The Freeze #1 has a great premise that tests its hero with tough choices

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The Freeze #1 is out 12/5.

The Freeze #1 is out 12/5.

By Bo Stewart — Do you remember that part in the movie Elf when Peter Dinklage’s character talks about an idea that makes you say YES? The Freeze is one of those ideas: what would happen if everyone in the world suddenly froze in their tracks, and only you could fix it. Like all great premises (check out our Prodigy #1 review for another example), The Freeze offers creators Dan Wickline and Phillip Sevy a near-infinite number of storytelling options. The big overarching mystery of why the world froze in its tracks is interesting, but the real draw of the book is the quieter character moments.

The premise is deceptively simple. When everyone froze, only Ray Adams was left unaffected. Not only was Ray left unfrozen, but with a simple touch, Ray can unfreeze anyone. The easy story route would be for Ray to run around unfreezing people and restoring the status quo. But there’s more to this book than that. The book makes you think about some tough questions, including how do you pick and choose who gets to wake up? How do you weigh such decisions? Do you wake up doctors or scientists? Which doctors, which scientists? What about your own loved ones? What is the cost of weighing all those decisions? Reminiscent of Y: The Last Man and television show The Leftovers, The Freeze throws its hero headfirst into a world that changed in an instant, a world where he must make those tough choices.

The creators use this dynamic to explore some rich thematic territory. Feeling like the world won’t move on unless you, yes you, make it do so...this is fascinating and complex stuff. Every person Ray wakes up literally has a world-changing effect. Ray has to rebuild society from the ground up, and we feel the weight of this realization as it dawns on the characters in the story. Here’s the big question…should Ray bring everyone back? The opening sequence teases Ray in a world of trouble. We know he’s put himself in a tight spot,and finding out how he got there is going to be a fun ride.

The art is impressive throughout this debut issue. Depicting lack of motion in a motionless medium is no small task, but, thankfully, the creative team takes what could have been a stumbling block and turns it into an asset. Artist, Phillip Sevy comes up with several creative visual cues as to who is frozen and who is not. Like all of Sevy’s work, this book is gorgeous, but it’s a credit to his talent that it is also clear and easy to follow.

Overall: I hope The Freeze, a strong and intriguing debut comic, takes the route of The Leftovers as it deals with its central mystery and keeps things ambiguous. When an idea is this rife with character-first storytelling potential, sometimes the mystery is better left unsolved. 9.0/10

The Freeze
Writer: Dan Wickline
Artist: Phillip Sevy
Colorist: Phillip Sevy
Letterer: Troy Peteri
Publisher: Image Comics
Price: $3.99

 Bo grinds for the man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

REVIEW: Martian Manhunter #1 is a twisted reinvention of a great DCU character

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Martian Manhunter #1 is out 12/5.

By Zack Quaintance — Martian Manhunter is a character that the writers of superhero comics (especially in recent years) seem conflicted about how best to portray. Is he a former member of the Justice League? A current member? Some kind of willing governmental operative? These are ideas that in recent years have been put into play. What remains unchanging, however, is that The Manhunter is one of the most powerful heroes in the DC Universe, of a tier with Wonder Woman and Superman, and, furthermore, ol’ J’onn J’onzz has a compelling backstory in many ways more motivating, tragic, and formative than even Superman’s (although, suffering is relative and so is one’s response). MM is also forever in control of the same powers. Among other things, he is strong, telepathic, regenerative, and capable of shape-shifting, which is perhaps fitting given how pliant his role in the DC Universe has become.

To me this all makes for a unique character, loaded in equal parts with gravitas and narrative potential. His long list of capabilities and specifications is perhaps part of the reason writers spent the New 52 trying him in various roles, looking for a fit. One thing that’s immediately clear in Steve Orlando and Riley Rossmo’s Martian Manhunter #1 (first of a 12-part maxiseries) is this book will alleviate confusion over J’onn’s current backstory, motivations, and problems, showing us his daily life before and after coming to Earth...while also being unafraid to twist what we think we know about the character. It’s that fearlessness I find most compelling.

It’s just such a welcome dual re-invention and elucidation for a great character, and it’s one being told by an eager and capable team. The results here are strong. This first issue certainly doesn’t lack ambition. Rossmo’s art is almost revelatory, as pliant and amorphous as the shapeshifting character himself. It really made me think of MM differently, giving me a better understanding of how it must feel to maintain a constant and unnatural bi-pedal shape, which to my mind serves as a metaphor for J’onn’s entire life on Earth. Rossmo’s linework here is also quite versatile, depicting hardboiled detective scenes as well as blobby martian love-making sessions. It’s nice to see, a break with DC house style used to reflect qualities of the central character and story, much as Mitch Gerads’ recent career work did for Mister Miracle. Indeed, this issue leaves one with the sense that Rossmo and Rossmo alone was meant to draw this story, lest it suffer reductions in power and scope.

Orlando meanwhile has been at the top of his game in recent weeks. His Electric Warriors #1 was one of the top new #1 comics of November. Martian Manhunter #1 is similar, in that it is very much of the DC Universe, just executed in a way that has perhaps not been done within any of the publishers recent titles. The script and plotting for this issue checks all the narrative boxes—we know who our hero is, what our hero wants, and why he has been called to action—while also plunging us into a compelling mystery. I won’t go into too much detail, but the story also enables Orlando to write scenes that play to his regular thematic strengths: swaggering antiheroism, hidden truths, and secrets that put one’s family in jeopardy. I highly recommend this comic for all fans of the Manhunter, plus also DCU readers looking for a powerful story unafraid to delve into spaces that are hauntingly off beat.  

Overall: Orlando and Rossmo are the creative team Martian Manhunter has long deserved, and the debut issue of this 12-part maxiseries is a great one. Simply put, this is a book bent on telling readers who J’onn J’onzz is right now and why, and it’s going to take us through one hell of a mystery to get there. 9.5/10

Martian Manhunter #1
Writer: Steve Orlando
Artist: Riley Rossmo
Colorist: Ivan Plascencia
Letterer: Deron Bennett
Publisher: DC Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: Prodigy #1 'is blockbuster comic making, pure and simple'

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Prodigy #1 is out 12/3.

By Bo Stewart — Last month Mark Millar gave us this gem of a tweet, I’m calling it now: the actor who gets the part of Edison Crane in Prodigy will be the biggest star of the next decade. A combo of Sherlock, Bruce Wayne, Indy & Bond, this is THE BIG ONE. A ONCE-IN-A-LIFETIME role. Now, Millar is probably the biggest self-promoter in comics…but holy s#*%. Pretty brash. Biggest star of the next decade is obviously an impossibly high bar, but after reading Prodigy #1, I can kind of understand why Millar is drawing those comparisons.

With these new Netflix books, Millar has been aiming higher than ever before. If the Magic Order, the first of the titles, is supposed to be the new Harry Potter, Prodigy aims to be the new James Bond. Main protagonist, Edison Crane, takes Sherlock's mind, Bond's street savvy, Indy's sense of adventure and combines them into a single character. This is a book that takes the photographic memory trope and pushes it to an extreme I haven’t seen before. Edison is outrageously good at everything. He’s a Nobel Prize-winning scientist, an Olympic athlete, an accomplished diplomat, a successful business owner, a…you get the picture. And this first issue deftly shows several occasions where he uses his skills. It’s overkill, sure, but that’s kind of the point.

Edison is a guy who can do literally anything…so why does he feel empty? That’s the conflict at the heart of this title. Edison has nothing to prove to anyone, so why does he continually feel the need to prove things to himself? These will be the central questions of the series and really the main focus of the book. Will Edison go on globetrotting adventures? Yes. Will he liaison with the government about possible alien invasions? Of course. But that’s not really what this book is about. Millar is disguising an exploration of the emptiness of the human condition as a high-flying action comic. Frankly, I’m into it.

This first issue is mostly a scene setter. We know what Edison is capable of accomplishing, and we know what keeps him up at night. What we don’t know is the specific direction this series is going to go next. The premise offers an unlimited amount of storytelling opportunities, and while this could cause a lack of focus in many stories, for Prodigy it’s a strength. With a flawed character at its center, Prodigy can take the reader anywhere in the world and keep us invested in Edison’s journey as a person. This is the same reason we come back to characters like Bond and Sherlock over and over again.     

The other major draw of these new Millar books is the unparalleled art. Olivier Coipel set the tone with the ridiculously gorgeous Magic Order, and Rafael Albuquerque ensures Prodigy maintains that high quality. This is blockbuster comic making, pure and simple.      

Overall: Prodigy is another wildly ambitious book from Mark Millar. While all the action and intrigue are well executed, the book’s main draw of is the emptiness of main character Edison Crane. I can’t wait to see where this goes. 9.0/10

Prodigy #1
Writer: Mark Millar
Artist: Rafael Albuquerque
Colorist: Marcelo Maiolo
Letterer: Peter Doherty
Publisher: Image Comics
Price: $3.99

Bo grinds for the man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

REVIEW: Die #1 is a MAJOR debut Image Comic

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Die #1 is out 12/5.

By Zack Quaintance — Many comics—often comics I like—start with explosions or death or some kind of absolutely nuts narrative hook...often before we know anything at all about the characters. I understand wanting to open with excitement, like most films or TV shows, but the thing about a comic is the engagement comes slower. There is room, in my opinion, to be both intriguing and smart.

Readers (obviously) must turn the pages, making time pass as they process what’s happening in a deliberate way, deciding for themselves whether protagonists deserve interest or sympathy. With TV or movies, time passes irrepressibly, automatically engendering interest in whatever character an audience sees most (usually). Anyway, my point is that Die #1 is slow and patient at its start, giving us brief quiet time to meet our characters—and, more importantly—to like our characters before the stakes and action and magic begins. It does this, and does it well, and the effect is very engrossing, a comic that reads like a smart fantasy story for adults interested in thorough self-reflection (more on that later).

Die #1 is an all around patient and assured debut, often feeling as if Kieron Gillen and Stephanie Hans (what a combo, btw!) know just how good their comic is, how well-realized their characters, and how interested readers will be in their story. These creators, of course, do the narrative work necessary for fostering reasons to care, and they do it in a way that completely negates any sort of need for flashy trickery. There’s a pleasant lack of insecurity throughout this comic, a sense of freedom that shows through in the work.   

At the start, we’re given just enough info to know who our characters are and what they care about. When action does arrive, we’re in suspense, enthralled by the story’s mystery. There’s also an in-story reason some info is withheld. Basically, we know what that the characters’ know...until the characters don’t want us to (or, more accurately in this case, can no longer reveal certain things). The inherent mystery lends these proceedings a sense of grandiosity, doing wonders for Gillen’s writerly voice, which is generally quite strong (see another favorite of mine, The Wicked + The Divine).

The artwork is also absolutely wonderful. Hans excels at facial expressions, and she uses that gift to convey extra layers of meaning here. It’s one thing to draw a superhero wincing from an impact. Even without a clenched face, we get it—being blown up hurts. Hans uses expressions in Die for subtle inflections and added meaning, showing characters who may be saying one thing while feeling another. The conflict between the dialogue and appearances is both telling and true to life. Really, Hans attention to detail is just all around fantastic, applied to everything from shoes and to backgrounds, adding realism and making this story all the more absorbing.

Die #1 feels like a book its team has been thinking about for some time. It’s a fantasy story to be sure, delving into some familiar tropes (in the preview text, Gillen calls it goth Jumanji, which, perfect), but it’s also literary and smart. It’s not quite a deconstruction (not yet, anyway), yet it still seeks to approach the genre it operates withnin from a more intellectual place than is typical. Die #1 also incorporates RPGs directly into its plot in ways Stranger Things doesn’t. There’s a tendency in 2018 pop culture to fetishize D&D and the late ‘80s/early ‘90s. I haven’t seen another property do so as effectively as Die, though, which I think bodes well for its long-term viability. What also bodes well for this book is the complexity of its themes. A character says at one point: You have no idea how good this will be. This is fantasy for grown-ups. By the end of the issue, that quote sure does ring true.

Overall: One of the best debut Image Comics this year, which is saying a lot. Die #1 sees veteran writer Gillen operating in a story that demands to be told and also plays to the ample strengths of rising star artist Stephanie Hans. This book features nostalgia that fosters engagement without ever becoming a crutch. Read this comic, and enjoy. 9.5/10

Die #1
Writer: Kieron Gillen
Artist: Stephanie Hans
Letterer: Clayton Cowles
Publisher: Image Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: Amazing Spider-Man #10 is an emotional conclusion to another solid story arc

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Amazing Spider-Man #10 is out 11/28.

By Zack Quaintance — I’ve maybe written about this in past Amazing Spider-Man reviews, but I tend to view this title as Marvel’s vanguard book, its flagship, a barometer for how the publisher is doing as a whole (in much the same way Batman indicates what’s up at any given time with DC). This title re-launched in July after nearly a decade under one writer, Dan Slott, and in that decade, the book became a complex one, capable of pulling together months of patient storylines into mostly-satisfying and always-ambitious crescendos. Slott’s Amazing Spider-Man, to me, always felt urgent and dancing on the cusp of lasting change, even if the realities of corporate comics prevented that change from becoming permanent.

This new run, courtesy of writer Nick Spencer (Superior Foes of Spider-Man, Astonishing Ant-Man), has a different set of strengths, and while it’s still way way too soon to speculate which run will ultimately be better, Amazing Spider-Man #10 is a great example of this. In this issue, Spencer and his new direction do something well that was maybe a bit lacking in the Slott Spidey era. I’m talking specifically here about a small-yet-intensely-emotional character-driven moment that draws from Peter Parker’s long history rather than the events of the most recent issues.

Yes, in Amazing Spider-Man #10, Peter and Black Cat sit together on a rooftop after a wacky and outlandish superhero team up. This is familiar territory for Spencer, who uses the exhausted heroes on a ledge conversation fairly often, generally to great effect. I definitely remember at least one really well done such talk in Ant-Man that saw Darla Deering calling out Scott Lang on his shit. In fact, come to think of it, the rooftop conversation I enjoyed so much in this issue of Amazing Spider-Man was, to an extent, Black Cat calling Spidey on his shit, or at least being emotionally honest in a way that gave him a choice between ignoring her suffering or being a good guy (he picks being a good guy).

I won’t give away the exact nature of the conversation or of Peter’s choice. I will, however, note that it sort of brings back an element that had been missing from the Spider-Man mythos in recent years, his long history with Black Cat and how it’s affected them both. In some ways, through the first 10 issues (nearly a year by traditional comics standards), returning missing elements to the Spider-Man mythos has been the bedrock of this new run, with the biggest of course being Peter’s relationship with Mary Jane. With that noted, it’s perhaps poetic that memory was a theme in Peter’s conversation with Black Cat, because one can only assume it will again come into play as the story more directly unpacks Peter and Mary Jane getting back together. Basically, it seems like some thematic foreshadowing is being done here, and being done well.

Speaking of Mary Jane, the other primary strength of this individual issue was her secondary arc (or maybe it was primary? I think it may have been…) in which she attends a support group for the significant others of super-powered beings and ultimately takes a step toward healthy independence within her relationship. It’s an emotionally nuanced storyline, and, as with the exchange on the rooftop, Spencer’s scripting handles it well. I’ll note one more time that it’s early, but part of this run’s success so far seems to be a death by 1,000 cuts approach to the narration, stacking little humanizing moments upon each other in a way that enables the book to hit big emotional beats (as in this issue) when it needs to. If this is how it feels after 10 issues, I’m curious to see where we’ll be at after 20-plus, or, cynically, whether or not the team can maintain it.

Overall: Nick Spencer’s Amazing Spider-Man run continues to find a cruising altitude with this emotionally-satisfying conclusion to a storyline that saw our hero teaming up with Black Cat. Perhaps more promisingly, the book seems bent on enshrining Mary Jane Watson less of a supporting character and more of a co-star right at the heartfelt center of the action. 9.0/10

Amazing Spider-Man #10
Writer: Nick Spencer
Artists: Humberto Ramos and Michele Bandini
Inker: Victor Olazaba and Michele Bandini
Colorists: Edgar Delgado and Erick Arciniega
Letterer: VC’s Joe Caramagna
Publisher: Marvel Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: These Savage Shores #2 doubles down on the series’ strengths

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These Savage Shores #2 is out 11/28.

By Zack Quaintance — In These Savage Shores #1, Ram V. used the narration in a way that stuck with me for the month-plus between issues, specifically the sea captain’s prose, in which he wrote of his ship’s destination: They’ve no use for lords or nobles ‘ere. In this place, the days are scorched and long. And the nights are full of teeth.” I don’t often like a book (or any story, really) to so directly state its central conceit, but it was done poetically here (and also in the service of foreshadowing), done so well I couldn’t help but appreciate it. That first issue was also confident in its artistry, dedicating whole pages to tone-setting imagery from Sumit Kumar and Vittorio Astone, panels of suns setting behind ominous trees, beady eyes in crevices, entire colonies of bats taking flight at dusk. Overall, the first issue of this comic was luscious and immersive, and, excuse my inelegance, good.

These Savage Shores #2 builds well upon the foundation lain by its predecessor. Let’s start by talking (briefly) of the plot, which relies heavily once again upon the writing of a letter as a framing device. This time, the writer is a character we met briefly before, a vampire hunter who encountered the now-deceased Alain Pierrefont as he tore into a victim, lighting the monster aflame, ultimately sending him fleeing across the sea to India. That vampire hunter’s name is Zachariah (great name), and he has, apparently followed Pierrefont to these savage shores, finding him dead and setting off in search of the killer, whom he assumes is also a monster.

That’s where we start. It’s a premise that makes for a sophomore issue even more engrossing than its predecessor. By framing These Savage Shores #2 through a character we saw (albeit briefly) last issue, Ram V. and team strongly orient the reader while at once stoking the intensity of the mystery the first installment ended upon. Using the hunter is a wise choice. Like his original prey, he’s a stranger in a strange land, one we can’t help but feel is intruding in this area. If These Savage Shores seeks in any way to be a commentary on imperialism, this is a strong way to go about it.

What’s more though, is that the letter writing motif evokes the idea of a story being told within a story. Not directly, but These Savage Shores seems to aspire to be a deeper commentary on imperialism. What the letter writing obliquely eludes to (at least in my mind, and, granted, I may be making a major leaps) is that this comic is interested in unpacking the continued telling of stories about imperialism, specifically those told through heroes and protagonists intruding in one way or another. To be sure, These Savage Shores #2 has far more interests in that, lighting upon mythology, obsessions, the economics of trade, and class structure, but the subversion of who we thought our central character was in issue one is continued and continued well throughout issue 2, a strong and inspired bit of plotting.

The art, however, is yet again stunning in this comic, especially the depiction of the child prince’s protector when he puts on his mask (which is used thematically by the script, too). The silent closeups of the masked man locking onto strange visitors have at times made me run cold with terror. Like the first issue, These Savage Shores #2 is again a confident visual story, one content to linger within large and sweeping establishing shots, somehow doing so without bogging down the pacing in the slightest. I wrote about this in my review of These Savage Shores #1, but the writer, artist, colorist combo on this title are working in sync, expertly fostering tone and mood that serves the story as well as any comic in recent memory.

Overall: These Savage Shores #2 doubles down on the strengths of the excellent debut that preceded it, simultaneously finding new and interesting ground beyond the misdirective twist that ended its first issue. A delightfully complex comic, this book is one for readers who enjoy nuanced explorations of ideas as well as those who want to revel in dark and chilling visual tones. 9.0/10

These Savage Shores #2
Writer: Ram V.
Artist: Sumit Kumar
Colorist: Vittorio Astone
Letterer: Aditya Bidikar
Publisher: Vault Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.

REVIEW: The Warning #1 is slow, hopefully by design

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The Warning #1 is out 11/28.

By Zack Quaintance — The Warning #1 begins with a heavily-stylized opening, rich with hints of anime or manga storytelling aesthetics. Fans of Sean Gordon Murphy should take note, because the art in The Warning (from this opening onward) is perhaps best described as like Murphy’s stuff if it were thoroughly sharpened and rendered by a team of modern video game designers. Simply put, the art in this book looks good.

As it should. The Warning #1 is the work of writer/artist Edward Laroche, and, indeed, the art is rarely lacking here. The writing is assured, no question, but it’s definitely the weaker of the two. There’s also a military coldness that is perhaps here by design. Still, it makes the characters and the early plot points in this debut issue tough to gloam onto, at least at the beginning. The earliest dialogue in The Warning is a harsh mix of military call numbers and other terminology, some medical jargon, a bunch of profanity. It doesn’t exactly say, hey there, reader...welcome! But this also isn’t that kind of book.

This is a good-looking and massively MASSIVELY decompressed comic. One where very little happens in the first 20 pages aside from a soldier boarding a plane bound on a mission while elsewhere a woman in a luxurious house hears that presumably that same mission has the potential to save the planet. Also, she does a line of coke. To be frank, it doesn’t make for the most riveting debut, playing as it does more like a storyboard for a hard sci-fi movie directed by Quentin Tarantino…before any of the violence starts.

What it seems to do well, however, is promise that when the action does arrive, it will have been worth the wait. Essentially, The Warning #1 is a first issue clearly written for trade, a patient and perhaps slow-moving-to-a-fault debut that looks great as it shuffles a whole lot of pieces into place. There’s a bit of poetic reincarnation dialogue that just didn’t click for me. I do imagine, however, that some will find it incredibly meaningful. For my part, however, I’ll be waiting to pass final judgement on this title until we get to see its pretty artwork conveying real action.

Overall: A good-looking debut, to be certain, but nothing much really happens in The Warning #1 other than vague setup for a potential alien invasion. This could very well be by design; the book feels pretty confident in its pacing. Really though, this seems like a comic clearly written for trade. As such, the strength of this first issue will be determined almost entirely by what comes next. 7.0/10

The Warning #1
Writer/Artist: Edward Laroche
Colorist: Brad Simpson
Letterer: Jaymes Reed
Publisher: Image Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.


ADVANCED REVIEW: Livewire #1 is a great start for Valiant’s newest series

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Livewire #1 is out 12/19

By Toren Chenault — So far, 2018 has been a phenomenal year for comics. And it doesn’t seem to matter what you’re into. DC, Marvel, Image, AfterShock, BOOM! Studios...name a publisher, and they’ve had a hit this year. Valiant Comics is no different. Valiant Beyond is the new direction for the company, and as part of that direction comes a solo series for one of their most powerful characters.

Amanda McKee, aka Livewire, is an insanely powerful technopath who, just recently, shook up the Valiant Universe during the Harbinger Wars 2 summer event. Most characters now consider Livewire a villain, with very few still calling her a hero. As such, this is a series that comes at a crucial time for the character, and writer Vita Ayala and artists Raul Allen and Patricia Martin handle Livewire #1 with class, creating an emotional and introspective with a hook that makes you eager to learn more about Livewire.

This is Livewire’s first ongoing series. She’s a character who’s been featured in Valiant since its relaunch in 2011 and has subsequently gone through one of the best character arcs in all of comics, not just Valiant. She started off as a loyal student to billionaire and powerful Harbinger, Toyo Harada. Then, she became a superhero and team leader of a group called Unity. And recently, she became a resistance leader with her Secret Weapons team. But that came with a cost. Livewire, using her powers, turned off the power grid of the entire United States. And not everyone came out okay. This new series now serves as great jumping on point for readers as they learn about who Amanda is, while for existing fans, this book is about the the long-awaited fallout from Livewire’s actions in Harbinger Wars 2.

The highlight of Livewire #1 comes from Amanda’s characterization. She’s a weird person. She grew up isolated from the world and was indoctrinated by Toyo Harada. Over the years, she grew past that, but she still never had much of a social life or many friends. Livewire #1 dives into her weird personality and balances it with her love of her team, The Secret Weapons, who are essentially three kids that Livewire helped and trained to become better psiots. The relationship between Amanda and her team is a special one, and one that Ayala does a good job of showing.

But like all relationships, they have their bad times, too, and the emotional core of this issue comes from Amanda confronting her team for the first time since leading her resistance in Harbinger Wars 2. Amanda had good reasons for starting another Harbinger War, but sometimes ends don’t justify the means. To me, this is where the issue truly shines, because Ayala constructs the dialogue in a way that makes readers sincerely care about characters in the moment. There’s also just enough background so that new readers won’t be confused, but rather eager to learn more about Amanda’s past.

The art duo on this comic is the rising star team of Raul Allen and Patricia Martin. Allen and Martin both worked on Secret Weapons with Arrival screenwriter Eric Heisserer, so they’re not new to Valiant. Their comfort with the characters shows in the art. Bold, detailed pencils and bright colors are some of the ways their art shines. Secret Weapons to me, was structured like a movie. The panels were arranged in a way that made the comic feel extremely fluid. Livewire #1 boast those same qualities.

Every page in the comic seems to have a transparent blue sheet over it as Martin’s colors provide a calming effect. I could write for hours on the quality of this art and just how well done it is, but the last thing that I’ll say is how beautiful they make Livewire look each time we see her. She has a presence, and every time she appears on the page you feel as if something big is about to happen. It’s this awesome combination of Allen’s detailed panel work, well-defined pencils, and Martin’s soft blends of blue, pink, and purple, that make this comic work so well .

Overall: I expected this comic to be a hit for me. It has a lot going on for it. What separates this from most superhero comics, though, is that Livewire is such an interesting character, one who hasn’t been explored too much yet. There’s a moment at the end of the issue that made me tear up because of the depth with which Ayala writes Amanda. And I was not expecting that. Given how this first issue ends, we’re in for a long ride with Livewire. And I can’t wait to take it. 9.5/10

Livewire #1
Writer: Vita Ayala
Artist: Raul Allen
Colorist: Patricia Martin
Letterer: Saida Temofonte
Publisher: Valiant Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Toren Chenault, a native of the Cincinnati area, currently lives in Michigan with his girlfriend. A graduate of Michigan State University, he is a long-time superhero fan who counts Captain Atom, Carol Danvers’ Captain Marvel, Daredevil, Divinity, Nightwing, and XO Manowar among his favorite heroes. Mystic Man is his first book. Buy it now here.

REVIEW: Long Lost Part 2 #4 a story of longing becomes a story of suspense

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Long Lost Part 2 #4 is out 11/21.

By Zack Quaintance — Since Matthew Erman and Lisa Sterle began their comic Long Lost, this story has felt like one of longing for the two principal characters, sisters Frances and Piper. When we first met them, Frances lived an almost hermetic lifestyle in a relatively clean and spare apartment, seeming to have little in her life other than her dog. Her sister Piper was more outgoing yet also more reckless, often to her detriment. They were both, perhaps, equally bothered to be estranged from their mother, their aunts, and, most importantly, from each other, even if they showed it in different ways.

There were also hints all along that the two characters were being herded by some sort of supernatural force, not quite a ghost and not quite a monster, a being (or beings, plural) that was not of any origin we could understand, putting forth machinations that made both the characters on the page and us, the real life readers of the book, wonder about the nature of this story’s reality, wonder what was true and what was paranormal. For the past two issues, though, the earlier slow-burning character drama has been dispensed with as the plot heads toward its conclusion and starts to tell us (or more accurately, starts to suggest) what has been happening all along.

The action has intensified in this comic, as have the dangers faced by the two protagonists, while the clarity has remained obscured. In fact, at one point in Long Lost Part 2 #4, one of the sisters blurts out a plot point, noting that her understanding of it could be wrong. It’s leading to a story rich with suspense and tension. I’ve experienced Long Lost as a mystery from the start, and for it to turn proscriptive now would be a disservice to all the issues that came before it. Instead, the creators here are making the wise choice to give us as readers almost exactly as much information as their protagonists have about what’s happening and why.

The result is a decidedly character-driven horror-tinged suspense story, one in which tone is used well to make readers feel fear and confusion, the level of emotional investment in each other’s fates too, that is being felt by the characters on the page. This has been a great year for comics that deal in such intense feelings, and, with its understated approach, Long Lost continues to be among the best.

Will we get answers before this is all through? Well, it certainly seems to depend on what ultimately happens to the lead characters. We know more than we did at the start. We know whom to trust and whom to approach with a level of caution. We know more about the state of the family, the reasons they’ve been driven apart. Most importantly, however, we know that the longing these sisters felt at the start of the story has been altered, that they are now both acutely aware of how much they’ve always meant to each other, and it’s that relationship that remains this book’s beating heart.

Overall: Long Lost continues to be a character-driven horror-tinged mystery with one of the most compelling and realistic emotional cores in all of comics. The action is rapidly intensifying, but the creators have wisely avoided changing the tone of the story to be too explanatory. The mystery remains as compelling as ever as Long Lost approaches its conclusion. 9.0/10

Long Lost Part 2 #4
Writer: Matthew Erman
Artist: Lisa Sterle
Publisher: Scout Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete one.


REVIEW: Middlewest #1 uses lonely Midwest magic to cast a captivating debut

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Middlewest #1 is out 11/21.

By Zack Quaintance — I’m from Chicago, but I spent a few years in rural Illinois, working as a reporter for small town newspapers in places like Carterville, Carbondale, and Peoria. Now, you probably don’t know where any of those towns are. Heck, I left Southern/Central Illinois 11 years ago, and I barely remember them. Writer Skottie Young and artist Jorge Corona’s Middlewest #1, however, brought me back. More than that, it made me see those rural Midwestern places I one knew well in a different sort of light.

Middlewest #1 is one of those comics that deals heavily in tone, doing so by burrowing deep into forlorn isolation that’s inherent to towns like Carterville, Illinois, towns that most folks only ever find themselves driving through if they take a wrong turn while coming off the highway for gas (and then another wrong turn, and then probably another one). What it finds when it does that burrowing is magic. Magic born from loneliness, from wind that never ceases, from the feeling that washes over you when you look alone to the horizon and see fields, infinite and vast and flatter than you ever thought possible.

What takes this comic from an interesting experiment in tone (one that resonates well with me personally) to a book I plan to follow through at least its first arc is the plot that the creators pair with the lonely Midwestern aesthetic. I don’t want to go into too many details, but Middlewest #1 is a story about a young boy with a callous and demanding father, all too ready to tip into cruelty when the opportunity presents itself. This in itself isn’t a particularly novel plot and it doesn’t have to be. Tropes become tropes because they work, because they’re such solid bricks to build a full house upon, and the house that Young and Corona build with their magic forged through introspection is an impressive one indeed. Also, there’s a talking fox that will probably continue to absolutely steal scenes (if not entire issues).

I heartily recommend this comic to all and any who have spent time in the rural Midwest, who have lived there or had family there, or really have ever just looked listlessly out the window as they drove through, wondering what life was like for the real people born into all that space. This comic might just have the answer.

Overall: Middlewest #1 is a story steeped in a lonely sort of magic born from writer Skottie Young’s deep familiarity with the rural Midwest. Artist Jorge Corona renders it with vast imagination, capturing a unique sort of forlorn tone that I never before realized was always present in those areas. 8.5/10

Middlewest #1
Writers: Skottie Young
Artist: Jorge Corona
Colorist: Jean-Francois Beaulieu
Letterer: Nate Piekos of Blambot
Publisher: Image Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete one.


REVIEW: Holy #%@&! Electric Warriors #1 is a good time

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Electric Warriors is out 11/14.

By Zack Quaintance — Whoa. This is an unreal book, like a neon fever dream in the head of the world’s foremost DC continuity scholar. Electric Warriors #1 by Steve Orlando and Travel Foreman is, quite simply, unlike any other Big 2 comic in recent memory, so unique is it in concept and tight with execution. We’ll get to both concept and execution in a moment, but let me first note this is a series I unabashedly recommend to all superhero fans, as well as most space opera and sci-fi readers, with extra points for those (like myself) with deep interest in DC continuity.

Okay then, let’s start with the concept: Electric Warriors is wisely set after Jack Kirby’s Great Disaster, a cataclysmic event of global proportions which eradicated civilized society on Earth-AD (according to one DC wiki). Earth-AD is essentially the normal DC Earth we know, with the AD standing for After Disaster, which means that Electric Warriors is set in an alternate DC future, one in which the galaxy is starting to get its sh*t together, presumably en route to more enlightened times that will later be home to The Legion, the United Planets, etc.

In this timeline, Earth is a somewhat late-comer to a burgeoning and (relatively) peaceful galactic order that averts war between major powers by having them all submit one champion (an electric warrior) who does combat powered by seeds that electrify their skills and abilities. All great cosmic powers have one champion, one, except Earth, which riven by tribal divisions insists on having two, one evolved animal and one human. This speaks to some powerful anthropologic notions about our civilization while at the same time extrapolating our long long history to a logical extreme. Essentially, Electric Warriors posits that even after an apocalypse and subsequent enlightened ascent, we still can’t get along, not entirely.

So that’s the concept, and it’s strong. I know the way I’ve explained it might seem convoluted, but upon reading the comic, it’s not at all, which is a credit to the work of Orlando and Foreman, and to the second facet of the book I’d like to discuss, it’s execution. First, Foreman’s artwork is stellar, used here to great effect to differentiate this story from usual DC superhero fare via a futuristic aesthetic, glowing and urgent and sharp. Foreman is as visionary an artist as is found in superhero comics, and he’s in full command of his formidable powers here.

Second, Orlando grounds this story so well in entirely new characters. His creations are dynamic and complex. Orlando is a writer perhaps most associated with revenge, but that signature thematic interest is absent here. Instead, characters are motivated in one case by duty and another by self loathing. Those motivations aren’t dwelled on much, which serves this complex narrative well, instead making brief appearances as catalysts to actions. Add in a major (and thrilling) reveal at the very end, and this is Orlando’s best work all year, perhaps even better than his recent run on Wonder Woman, all of which I liked quite a bit.

While DC fandom has largely focused on forthcoming runs like Grant Morrison and Liam Sharpe’s The Green Lantern, G. Willow Wilson and Cary Nord’s Wonder Woman, and Kelly Sue DeConnick and Robson Rocha’s Aquaman, Electric Warriors has flown under the radar. I have a strong feeling that’s about to change.

Overall: Today is a major day for new comics, but if you take a chance on one new book, make it Electric Warriors. This is part one of a six-part miniseries with vast potential to be something truly special. Fans are going to be talking about this comic tomorrow. 9.5/10

Electric Warriors #1
Writer: Steve Orlando
Artist: Travel Foreman
Colorist: Hi-Fi
Letterer: Travis Lanham
Publisher: DC Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete one.

REVIEW: Friendo #2 makes good on the first issue’s intriguing promise

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Friendo #2 is out 11/14.

By Zack Quaintance — Before we talk Friendo #2, I think it’s worth a brief reminder of how the first issue ended...with a likely vagrant (who’s not the main character’s dad, but maybe?) stabbing our hero in the back before taking his wallet and remarking, Never look for meaning in a desert. Then a downed powerline flopped into our hero, electrocuting him so severely we saw his bones. Caught up? Good, because issue two picks up where the previous chapter ended (sort of): a desert in which its unwise to look for meaning.

Visually, I found the opening of Friendo #2 stunning, rendered by Martin Simmonds (with bright colors by Dee Cunniffe). I especially liked the placement of the first three panels and their contents: a setting sun, followed by a slightly lower lizard’s beady black eye, followed by a human eye within a face that’s clearly had its skin peeled. Next, we see said skinless human walking across the desert, almost surreal, like something from a film by Jodorowsky.

One could be forgiven for thinking our main character, Leo, was dead, but also, Friendo is a comic that won’t let the poor guy off that easy. So, soon we’re back in the near-future, where ambush marketers crash cars on purpose (incurring serious injury), paparazzi drones roam the skies evaluating who’s worth filming based on cold algorithms, and raging wildfires send ash into the air, always (sound familiar?). By the time we get past the ethereal opening and to the plot proper, the book is primed to delve into what’s really been its central concern from the start: unbridled and addictive consumerism (and its impact on the identity of the individuals it needs to exist).

Last issue, we saw Leo gifted a two-in-one anthropomorphic search engine and ride or die bestie—brand name, Friendo...individual name, Jerry—and in this issue we see the deeper nature of the insidious relationship that this marketing AI is forming with Leo, one in which he endears himself to our hero and trades actualization so as to foster a never-ending chain of purchases. But we learn as the plot continues that the AI’s power doesn’t stop there, that it’s so relentless in its marketing, it can also influence technology in the larger world, causing harm to other people if they threaten to get in its way.

This book, it should perhaps be noted, is from Vault Comics, and while the books put out by that publisher are disparate in theme and plot, the thing they share is it's tough to pin down their genres, be it Deep Roots, Submerged, or Fearscape. Friendo is cut from that same genre-bending cloth, but to me this issue firmly establishes it as horror, with the traditional monster or knife-wielding baddie played to subtle perfection by unstoppable (yet startlingly plausible) greed.

The villain here is basically late model capitalism at its skeeziest. One thing I particularly liked about this issue was that it twisted the idea of capitalism as a villain (which is being done all over now in this age of awful President Trump), and made it not as deliberate and overt as it could be. The capitalism-born antagonist in Friendo is not just a CEo, but rather a natural extension of CEO intent that has been turbocharged by a malfunction and deregulation as a corporate board looks the other way...which makes it even scarier and way more real.

Overall: As I noted in my review of Friendo #1, the debut of this series was loaded with intriguing potential. Friendo #2 makes good on that promise, crafting a near-future horror story that casts extreme capitalism and human indifference as its villains. It’s chilling stuff, laden with cautionary lessons for our times. 9.0/10

Friendo #2
Writer: Alex Paknadel
Artist: Martin Simmonds
Colorist: Dee Cunniffe
Letterer: Taylor Esposito

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete one.

REVIEW: Bitter Root #1 is a complex and fearless debut

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Bitter Root #1 is out 11/14.

By Zack Quaintance — There’s a roadmap for success in creator-owned comics that’s becoming standard: a writer and artist collaborate at Marvel or DC, they build a fanbase, and they go on to drop a new series at Image, one that as a result of their past work together arrives fully-formed. It’s happened this year with Jeff Lemire and Andrea Sorrentino’s Gideon Falls, and it’s happening again this week with David F. Walker, Chuck Brown, and Sanford Greene’s Bitter Root #1.

Walker and Greene last teamed on 2016’s Power Man and Iron Fist, which despite being one of the major highlights of Marvel’s All New, All Different publishing initiative, was tragically cancelled before reaching 20 issues, apparently because higher ups at the company decided Luke and Danny needed to be separated. To me this remains a silly move, but I digress...

We’re here to talk about Bitter Root #1, a debut comic that, simply put, knows exactly how good it is. It’s a confident book built for a lengthy run, and, as such, its first issue is mostly interested in orienting readers within its world (the Harlem Renaissance era), introducing them to characters (a family of monster hunters with rigidly-defined roles), hinting at a central conflict (a rift in said monster-hunting family), and planting seeds for future developments. First issues can sometimes fall into a sensationalistic trap wherein the creators push copious or excessive twists into the story, coming off as a bit desperate to bring readers back for #2.

Not so with Bitter Root, an immersive comic that relies on strong art and storytelling more than narrative tricks. It’s also as thoughtful a new title as we’ve seen this year (and it’s been a strong year for thoughtful titles). Like Walker’s work on books like Nighthawk, oppression and abuse of power loom large in Bitter Root. WARNING POTENTIAL SPOILERS: The story being historical lets this issue draw a connection between institutionalized racism and injustices that continue today. In one scene, a jumpy police officer opens fire on black characters in a park (having his bullets deflected by the story’s imaginative steampunk monster-hunting tech) before a monster rips him to pieces. In the next, we cut to Mississippi the same night...where another character is saved by similar tech from a lynching by the KKK.

The placement of these scenes in Bitter Root’s first issue to me seems to hint at the story’s aspirations: to interweave family, duty, monsters, and systemic racism, thereby creating an imaginative and complex narrative, as rich with character growth as it is with elements of the fantastical. Phew. It’s a lot, but these creators are up for the challenge.

Greene is a phenomenal artist with a style entirely his own. I knew from his work on Power Man and Iron Fist he was capable of kinetic sequential storytelling, but working in creator-owned comics affords him increased flexibility here, the luxury of flexing his sizable and eclectic design skills on everything from the monster hunting technology to the aesthetic of the monsters themselves. His work is versatile, as interesting when applied to the fantastic as it is to the everyday scene of weekend dancing that opens our story. Colorist Rico Renzi’s palettes also do the always-important work of tone-setting, of lending mood and ambiance to book with horror themes. A story as well written as this one deserves singular art to match, and Greene and Renzi certainly deliver.

I’ve been looking forward to Bitter Root since it was first mentioned after the unceremonious end to Power Man and Iron Fist. It took awhile to get here and it sounds cliche to say, but if this debut issue is any indication, Bitter Root is well worth the wait.

Overall: There have been plenty of monster hunting comics launched this year, but none have been as confident as Bitter Root #1. This story is complex and fearless, steeped in fantastical monster hunting, family dynamics, and systemic injustices. Combine that with the stylishly singular aesthetic of the artwork, and this book is a must-read. 9.5/10

Bitter Root #1
Writers: David F. Walker and Chuck Brown
Artist: Sanford Greene
Colorist: Rico Renzi and Sanford Greene
Letterer: Clayton Cowles
Publisher: Image Comics
Price: $3.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete one.

REVIEW: The Unexpected #6 Moves Toward an Early Finale

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The Unexpected #6 is out 11/7.

By Zack Quaintance — Despite plans for additional issues (one of which already had a cover started by Yanick Paquette), The Unexpected will be ending in January with issue number eight, making it the second book (following Immortal Men) from DC’s New Age of Heroes publishing initiative to be concluded. This, obviously, is not ideal, given the initiative started this same year. I’m certainly disappointed. I’ve said this on Twitter before, but I’ll repeat it again: I can see myself years from now talking comics somewhere and insisting that the New Age of Heroes was actually really cool, and it could have even been great if it had all been handled a bit differently.

I won’t go into what my thoughts on that here (track me down in a decade for the full brunt of it), because this is, after all, a review of The Unexpected #6, but I do think the impending finale of the book is a lens this comic should be viewed through. With all that in mind, this issue features more of what I’ve liked so far about this series: big time superheroics (SPOILER: this one features a million trapped souls badassedly erupting from the villainous Synn as he battles Hawkman, thereby tearing the former apart), complex character drama, and a whole lot of swagger. Knowing that there are only two installments left, however, does change my perspective on all that.

Whereas before I’d been viewing this book as a story building towards a permanent team dynamic, it now feels like a mini-series about a particularly intense few days in the lives of our leads. Really, I think that may be for the best. For a few issues now, The Unexpected has shone brightest during combat (which has been all but constant), never having even a few spare moments to clearly establish situations where the heroes of the story could have quiet moments together. Now with the end in sight, it doesn’t have to concern itself with any of that; The Unexpected is free to be a combination of a street fight and far out multiversal Grant Morrison sensibilities, which is an interesting combination, to be sure.

What I liked best about The Unexpected #6, though, was the manifestation of a couple of long-simmering twists I always suspected were coming. To discuss these even further would be to reveal a bit too much about the issue. Here’s hoping the final two installments of this story are brimming with madcap action sequences.

Overall: The Unexpected #6 is yet another continuation of the one large set piece that this book has become. With the end now in sight, the story starts to maybe prematurely wrap things up for its heroes. 8.0/10

The Unexpected #6
Writer: Steve Orlando
Artist: Ronan Cliquet
Colorist: Jeromy Cox
Letterer: Carlos M. Mangual
Publisher: DC Comics
Price: $2.99

For more comic book reviews, check out our review archives.

Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase. He also writes comics and is currently working hard to complete one.