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Hey folks. Andrew from www.grayhavenmagazine.com here with a couple of reviews for some big buzz books hitting the shelves this week, as well as this special review from Chris Ryall (www.comicbookgalaxy.com) on a book everyone should be reading:
Box Office Poison
Created by Alex Robinson
Published by Top Shelf Productions
Reviewed by Chris Ryall
One thing you can say about awards shows is that, inevitably, someone wins that makes you think, “Huh? What the hell were the critics thinking?” Always, no matter the award, you scratch you head over certain choices. Jethro Tull taking home the Grammy over Metallica for Best Hard Rock/Metal band? Shakespeare in Love Best Picture over Saving Private Ryan? But every now and then, they also get one right. So right that you’re amazed at the good taste of the judges, and you want to shout from the rooftops to make sure everyone knows about this award-winning work of art.
Well, in that category, we have Alex Robinson’s Eisner Award-winning BOX OFFICE POISON. First of all, what, exactly, do you call a book like this? A comic book? Hardly. It’s 600 pages, and from all indications, has the scope, size, look and, yes, page count, of a novel. Illustrated fiction? Well, sure, but so is Mad Magazine. A graphic novel? I suppose that’s the best existing term for a book like this. Of course, I “prefer wonderfully written, beautifully drawn, touching, funny, poignant, captivating read”, cumbersome tho that may be.
I picked up BOP at the recent San Diego Comicon while at the Top Shelf Productions area. I loved the look of it, first of all; the simple blocks of color with the title Box Office Poison and By Alex Robinson on the cover drew me in easily enough; I’m a sucker for good packaging. The book didn’t even look like anything comic-related. In my mind still, as bad as this sounds, I thought, “Cool, a book that looks okay to read in public”. Yes, thinking like that is part of the problem with the industry today, this whole self-loathing comic fan thing, but I’m a product of society and…well, let’s get back to the book.
I picked it up the day after creator Alex Robinson won the Eisner for Talent Deserving of Wider Recognition. Historically, everyone who is nominated for this award is deserving of it. This year, when Alex won, I suppose it validated the book that I was planning to spend thirty dollars on, but really, I was somewhat ambivalent about that acclaim: I didn’t know Alex or his work and was going to get it anyway.
Cut to a couple weeks later, where I’ve just finished the entire 600 pages, but not before he snuck in a good tear-jerking scene at the end. Do you know how long it’s been since I’ve had actual tears come from anything I’ve read outside of rejection letters (or “Dear John” letters)? And these were happy tears, a great payoff for the entire 600 pages I’d burned through before. I don’t particularly want to spoil that great moment for anyone who hasn’t read the book, but I do plan to discuss the book at length (I can hear you thinking “all this, and he’s still on the preamble to the actual column???” Keep it down over there!) so if anyone hasn’t read it and wants to avoid having lots of details of the story discussed here, please, spend your time instead at www.topshelfcomix.com and order this book. And don’t blink at all over the thirty-dollar cost. Honestly, this is money so well spent you’ll think they should raise the price after reading it.
Okay, let’s get into the book. I was intimidated to even start the thing—after all, it’s 600 pages! But not far in at all, I was hooked and couldn’t put it down. The back cover copy simply describes the story thusly: “Alex Robinson’s completely natural and inspiring knack for dialogue has made his story of dreary jobs, comic books, love, sex, messy apartments, girlfriends (and/or lack thereof), undisclosed pasts, and crusty old professionals one of the most delightful and whimsical books to hit the stands in years.”
Which is all well and good. However, it doesn’t begin to describe this book. When I see a description like “whimsical book”, I am hardly prepared to read this long, involved, layered and textured story about people I know, people I can relate to…hell, people I’ve been at different times in my life. Which is exactly what I got.
The book begins by introducing the cast of characters, which is good—it’s a fair-sized cast, and these descriptions tell you a bit about the characters and involve you in the story that much quicker. Of course, none of what they say actually makes much sense until the end. It took me almost 600 pages to realize that the guy who is front and center most of the story is not actually our lead protagonist; he’s not who we’re really rooting for in the end, although he’s overall a likeable enough guy. No, the way this book ends somehow snuck up on me, and, like I say, even wrung some tears from my eyes. But, much like the rest of this column, I digress here.
We meet:
Jane, bespectacled, flat-chested artist, who is living and involved with the too- hairy and paunchy Stephen; they share a place with Sherman, our Everyman here. Sherm is best friends with the unlucky-in-love and aspiring comic artist Ed; Ed eventually takes a position as art assistant to a cranky, once-great and now-screwed-over Golden-age comic book artist, Irving Flavor. We also meet Sherman’s girlfriend and troubled soul Dorothy, and a comic magazine’s assistant, Hildyalso introduced at the start, even though she really doesn’t factor in the story until later. All the characters introduce themselves with a line or two about their place in the overall story, swiftly forgotten as the story progresses but which is nice to re-read after finishing the book.
Our story, as much as I can boil it down (and fail to do it justice here, no doubt) in a paragraph or two, is this: Jane is an artist trying to get a comic published even while she carries on a sweet, loving relationship with the big, bear-like but mild-mannered Stephen, who is a history teacher. Sherman is working as a clerk in a bookstore, and his tribulations in dealing with the public (serialized so realistically, you knew Alex Robinson had considerable dealings with the retail-buying public in his past, even before reading his bio; only someone who’s lived through retail hell could do it justice. And hey, I sold shoes in college, so I know whereof I speak, too.) as well as a girlfriend, Dorothy, who drinks too much, cleans too little, and shares a turbulent past with Jane and Stephen.
Ed, meanwhile, is a pudgy noodnik, basically, a kid who wants to be a comic book artist as badly as he wants to move out of his parents’ house and lose his virginity. Ed’s awkwardness around girls, and inability to see that someone might be interested in him…well, Ed’s a very relatable character, too. He is soon hooked up with the mostly-retired comic book artist, the aforementioned and toupee’d Irving Flavor. Irving created a Batman-like superhero way back in the day that he sold for $55 to his publishers; and, shades of Bob Kane, his publishers then went on to make a mint with the character, producing movies and other product with the hero’s likeness. All the while, the short, bitter Irving lives mostly in squalor, doing commercial art for bad packaged goods. Ed convinces Irving to fight back, to sue Zoom Comics for backpay and to take ownership of his character back. With all the recent news regarding creator’s rights for veterans like Siegel and Shuster, Kane himself, Joe Simon and Dan DeCarlo, this story is as topical as it is amusing. Irving is a nasty, crusty, bitter runt of a man who you nonetheless cheer for throughout. And Ed, shlub that he is, probably experiences the most growth throughout the book of any of the characters.
That’s a nutshell description that doesn’t even scratch the surface of what reading the book is like. It’s mostly about life. These characters all evolve and change throughout the course of the book, and the dialogue reads like a transcript of actual conversations. People’s words overlap each other and their inner thoughts betray their true feelings and they express so many emotions in what they say…and how they look.
One thing I haven’t even mentioned is Alex’s wonderfully expressive art. At first, I thought it all might be too…I don’t know, unsuitable for this story. Stephen, at introduction, looked typically hard and borderline mean as all ponytailed, bearded guys in comics must. But his visage seemed to soften even as we got to know him better; we saw him as Sherman saw him at first, a large, intimidating and yes, hairy man. But as he, and we, got to know him, he became more approachable, as did all the characters.
I mentioned earlier that Stephen’s girlfriend was flat-chested. Not only because this was noticeable for a comic character, but it added to the realism—she wore glasses and was really thin; Stephen was way too hairy and too fat; they are really in love with each other, and these non-perfect bodytypes are shown making love, being in love, and expressing their love throughout. All of these factors make their relationship seem incredibly real. In fact, the facial expressions Jane had in every panel told you everything you needed to know about her as a person. And the same held true for most everyone; the exception being primarily Sherman’s girlfriend Dorothy, but he didn’t seem to crack her veneer any more successfully than we did. What’s amazing about the art, too, is that this 600-page book was created over a few years’ time, and Robinson’s art is consistent throughout. He could have illustrated the first page the same day he did the last, which is a tough feat for artists to pull off over a couple years’ time.
In the course of the book, we get a lot of behind-the-scenes looks at how Irving Flavor was handled by a big comic company. If you’re looking for this sort of thing, there are real-world parallels galore in the portrayal of not only the people working for and running the company, but also in the comics magazine that picks up Irving’s cause as their own. But even more recognizable, maybe because I’m only a couple months removed from being at Comicon, are the scenes of the convention at the end. I swear, it was like Alex was sketching the very people I met and talked to in July. He has an excellent ear for dialogue and really, even the more one-dimensional characters in the book, like James, a “player”-type, are reminiscent of people I know.
There’s really so much more that could be said about this book; the question ‘interludes’ that come in at various times in the course of the book—they really help to flesh out the characters with just their one-word answers. The humanity of the characters, even when they screw up…on and on. But really, why should I keep ramblin’ for you here when you could experience the excellence that is this book all for yourself.
I really don’t ever rave like this about anything I’ve read or seen; not novels, movies, comics, nothing. I’ve been reading comics for over twenty years, and a good comic is great to see, but it’s still just that; this is so much more. It touched me in so many ways, and dammit, yes, even made me cry. Can’t remember the last form of entertainment of any kind that’s done that.
This is one Box Office that deserves every thumbs up I can muster.
Score: 10 out of 10
Chris Ryall thinks even David Manning would like this book. Please send any comments to chrisryall@adelphia.net, but only after you stop right now and go buy this book.
VISIT ALEX ROBINSON'S WEBSITE!!
PROCEED TO TOP SHELF'S SITE INSTEAD!!
Fury #1
Written by Garth Ennis and illustrated by Darrick Robertson and Jimmy Palmiotti
Published by Marvel Comics/MAX Comic
Reviewed by Andrew Goletz
Fury is the 3rd MAX comic to launch in September, along with Alias (on stands now) and the weekly War Machine. I’m not one of those people who is in awe of or nostalgic for the glory of Sgt Fury and his Howling Commandos or Nick Fury: Agent of Shield, but I am a big fan of Ennis and Robertson and was curious with how this book would turn out. As it turns out, it’s a slightly better than average mixed bag that seems to be heading in the right direction.
The series begins with Colonel Nick Fury tagging along with the DEA to observe their modern paramilitary law enforcement techniques. Never one to just observe, Fury quickly takes charge of the operation, commanding the troops to go on the offensive. The result is a massacre of the enemy troops, leaving all the hostiles dead or near death. Upon inspection of the group, Fury discovers that he recognizes two of the enemy troops: one used to work for Hydra and the other for Shield. After showing his contempt for traitors, Colonel Fury returns to Shield headquarters to discover that much has changed.
Gone are the familiar trappings of this super military organization. No more fancy ships or toys. No more Helicarrier. Even Fury himself has been reassigned, given a promotion in title only to Executive Director of Initial and Intermediary Operational Planning. This is where things get interesting. Ennis uses the action scenes as an excuse to cut loose with the violence and the profanity. Those who were pleased to see the f word in a Marvel comic will be pleased to know that Ennis expands the new Marvel language even further. But while those moments seemed to be nothing more than Ennis letting off steam, the quiet moments on the home front is where the story begins to take hold.
Fury is nothing more than a figurehead now. No one really sees much use in having an old warhorse around, but since they can’t cut him loose and bring about a public relations nightmare, they give him a job where he has nothing to do besides hire escorts, smoke his cigars and keep tabs on his ‘nephew’ Wendel. Wendel fills the Arseface/Soap role as comic relief. The book doesn’t need it and while one of Fury’s encounters with Wendel is good for a chuckle, it seems very out of character for this Nick Fury.
The highlight of the issue comes with a chance meeting between Fury and an old Hydra agent. The two have a drink at the bar and reminisce about old times and if there’s any place in the world for two people like them. It was a scene that made sense and fit perfectly with the tone of the story. One of the interesting things about Captain America is his ‘man out of his own time’ characteristics. Fury is in his own time, but he’s outlived his own usefulness to others. He’s an old soldier with no enemies left to fight. If the series continues exploring these things, it should prove to be quite interesting and I’ll stick around for the long haul.
One concern I do have is the fact that there are 4 Nick Furys running around now. We have Ultimate Nick Fury, Marvel Universe Nick Fury, War Machine Nick Fury and now Fury’s Nick Fury. Marvel has been a shared universe for so long, that some people that just go into stores and buy comics without reading Previews or online reviews (for shame) might not understand what’s going on. It’s a small concern, but worth pointing out.
There are enough good elements in the book to outweigh any concerns I may have. Ennis has always been good in situations like this and Robertson’s pencils are a welcome sight. Your best bet for the new line is still Alias, but it’s good to know that War Machine, and now Fury, are able to do more than just abuse the freedom to be profane, violent or sexually suggestive. They’re good comics, regardless of what labels are on them.
Score: 7.5 out of 10
On Sale September 12
War Machine
Written and illustrated by Chuck Austen
Published by Marvel Comics/Max Comics
Reviewed by Andrew Goletz
Marvel’s new Mature Reader imprint, Max, has gotten quite a lot of people talking and chiming in with their opinions. It’s interesting to see how people can become ‘critics’ regarding things they haven’t read or watched or listened to yet. Take for instance the Max line. Brian Michael Bendis’ Alias series was pegged as being exploitative and gratuitous in its use of sex. As people who’ve gotten a first look at the book can attest to, the loudmouths were all wrong. But being proven wrong was never enough to quiet the storm of ignorance so attention turned to War Machine, which was pegged as being the gratuitously ultra violent book. Sigh. We’ll be doing an overall review of the first 4 issues here, but if someone can explain (when they read it) where this book is gratuitous in any way, I’d appreciate it, because I don’t see it. It’s either that or those dirty, influential Loony Toon cartoons desensitized me and now I’m hopeless.
But onto the business at hand: War Machine. War Machine is Marvel Max’s new black and white, weekly series (only $1.50 per issue) and that feels weird even to type it. Marvel publishing a weekly black and white series for a mature reader line? What has the world come to? Anyway, the series stars James Rhodes, as War Machine. While that’s similar to the way things were in the regular Marvel Universe, it’s pretty much the only similarity between the two.
In this story, there aren’t many meta-humans or superheroes, like there are in the regular Marvel or even the other Max book, Alias. There’s Tony Stark/Iron Man, War Machine, Nick Fury and another surprise character that no one is expecting, but with an added twist. The real world feel gives the book a much more dramatic edge in terms of storytelling and as the series progresses, that becomes much more evident.
The series begins with Tony Stark holding a press conference to announce that he’s ceasing the creation of weapons and munitions for government contracts, which includes the newly created War Machine armor. Stark’s had a crisis of faith recently and has seen how devastating his creations can be, so he decided to keep the War Machine technology for himself, adapting it into a personal defense system for his own protection that he’s nicknamed the Iron Man. After swearing that the public will never see the War Machine technology again, the story cuts to a scene showing a typically busy LA freeway with an atypical occurrence: a woman has been kidnapped by AIM terrorist agents who are fleeing in a massive armored truck. They aren’t prepared to run into Rhodes, who has taken the War Machine armor out for a spin for reasons unknown at that point. What follows is one of the coolest action disaster sequences in comics. Believe me, the first issue is worth checking out just for the ‘crash’ alone. Reluctantly, War Machine has to engage the AIM agents if there is any hope for the hostage to survive. The ensuing battle shows that the difficulty in trying to do right when thrust into the spotlight and the first issue ends with a great shot of the armor and a terrific quote from Rhodes.
Rhodes has to soon face reprimanding for taking the armor out for a joyride and Stark is more than happy to provide the penalty for disobeying orders. This event leads to one of the most enjoyable moments in these issues, a very uncomfortable moment between Rhodes and a security guard. For those of you who were unaware, Jim Rhodes is an African American. Race plays a small, but integral part of the first few issues due to some of the actions that have occurred and the race of those who’ve been involved. Austen doesn’t want to beat anyone over the head with lessons on race relations, but the moment with Rhodes and the elderly Caucasian is awkward, humorous and honest at the same time.
Rhodes then meets up with Parnell, who he knows very well. For reasons you’ll discover in the series, Parnell tries to kill Rhodes. The two scuffle and then it’s discovered that they’re both wanted by the same man: Nick Fury, from Shield. A lot of governments desire the War Machine technology and several imitation designs have been popping up. Shield itself has some versions. Fury has a specific purpose for abducting Rhodes and Parnell and the explanation both makes perfect sense and sets up the rest of the story. And what a story it is.
I only know Chuck Austen from his art on the new Elektra series and this is the first time I’ve read anything he’s written. He is definitely well suited to handling double duty on this series. I don’t care much for his style on the Elektra series, but for War Machine is looks perfect. It’s as if Marvel is doing a Manga series and that’s the way these four issues feel. His ‘people’ look great but the inanimate objects is where his art really shines. From the armor to the vehicles and buildings to the great images of the Shield Helicarrier, it’s just awe inspiring, as if you’re seeing cells from a big budget animated feature film. His writing is of equal strength. The series is meant to be read quickly and in chapters, which is why the weekly format helps so much. The first issue is a great setup and then things slow down a bit before getting back to a fast pace in issue three and then getting into high gear again in issue four. It would have been grueling to wait four months to read the first four chapters, but when you do so in a month, it works so much better.
All of his characters are fleshed out and handled with realism. The Tony Stark portrayed here is a bit harder edged than what we currently have in the Marvel Universe and he’ll probably remind most people of the way he was during the 80s. Nick Fury comes across as being one of the ones who benefits the most from this news series. Like Jim Rhodes, he seems the most real and I’m looking forward to seeing how Ennis handles the character in the upcoming Fury mini-series from Max. Most important to the series thus far is the relationship between Parnell and Rhodes. They have a similar background and they’ve both made mistakes (although drastically different ones) that have forced them to end up in the company of Shield.
War Machine is a high tech, action thriller with a touch of espionage and intrigue wrapped around a world of corporate crooks, racists and terrorists out to take advantage of the few noble people that are left. It falls under the Max line for some strong language and some moments of violence, but they don’t detract from the story. It’s a quality book with great art and writing from a very talented person and future superstar, Chuck Austen.
Score: 9.5 out of 10
On Sale September 12
Ultimate Spider-Man #13: The Non-Review
Last week, Ultimate Spider-Man #13 hit the stands. The issue, written by Brian Michael Bendis and illustrated by Mark Bagley and Art Thibert, is a self-contained story that marks an important turning point in young Peter Parker’s life.
Even though most people have already read and discussed the issue, I think that saying anything else about this issue would ruin it for the few that didn’t. The creative team has done an outstanding job with this issue, surpassing their usually brilliant work. From cover to cover, USM #13 is a comic book of such superior quality that no fan of ‘superheroes’ should be without it. Hell, even if you have a disdain for heroes in tights, this is still a book you should read. It’s a book that’ll make you think twice about your preconceived notions of what superhero comics are about and what they can be.
I’ve been a fan of Spider-Man for as long as I could read. I just want to thank Brian, Mark and Art for one of the best Spider-Man stories ever told.
* Presented once again is a list of 35 other comic books that you should buy instead of the DC Joker's Last Laugh books. The response to the initial post has been phenomenal. I’ve received an amazing amount of letters from everyone, some of which were downright hilarious. Keep them coming, but more importantly, make sure you check out these fine comics listed below. For more information about why we’re asking people to skip The Joker: Last Laugh books, do a search for our last column here on AICN or check out the Grayhaven site. Most of the following titles are slated to come out in October as well, but the others should still be available, too. Put down the crossovers in October and pick up these fine books instead. Odds are, you’ll discover a truly wonderful title that you never would have purchased any other way and find yourself coming back for more the next month. Or at least, I hope you do.
Here are some wonderful alternatives to The Joker: Last Laugh issues:
Acme Novelty Library by Chris Ware (Fantagraphics)
Alias by Brian Michael Bendis and Michael Gaydos (Marvel Max)
Ancient Joe by Scott Morse (Dark Horse)
Artbabe Presents: La Perdida by Jessica Abel (Fantagraphics)
Barry Ween by Judd Winick (Oni Press)
Black Panther by Christopher Priest and Sal Velluto
Blue Monday by Chynna Clugston-Major (Oni Press)
Bone by Jeff Smith (Cartoon Books)
Castle Waiting by Linda Medley (Olio Books)
Cerebus by Dave Sim and Gerhard (Aardvark/Vanaheim)
Colliers by David Collier (Drawn and Quarterly)
Daredevil by Brian Michael Bendis and Alex Maleev (Marvel)
Dork by Evan Dorkin (Slave Labor Graphics/Amaze Ink)
Eightball by Daniel Clowes (Fantagraphics)
Electric Girl by Mike Brennan (Fantagraphics)
Felon by Greg Rucka and Matt Clark (Image)
Hammer of the Gods by Mike Oeming and Mark Wheatley (Insight Studios Group)
Herobear and the Kid by Mike Kunkel (Astonish Comics)
Hopeless Savages by Jen Van Meter and Christine Norrie (Oni Press)
Kane by Paul Grist (Dancing Elephant Press)
Kissing Chaos by Arthur Dela Cruz (Oni Press)
New X-Men by Grant Morrison and Frank Quitely (Marvel)
Opposable Thumbs by Dean Haspiel (Alternative Comics)
Peanutbutter and Jeremy by James Kochalka (Alternative Comics)
Peepshow by Joe Matt (Drawn and Quarterly)
Private Beach by David Hahn (Slave Labor Graphics/Amaze Ink)
Queen and Country by Greg Rucka and Steve Rolsten (Oni Press)
Ruse by Mark Waid and Butch Guice (Crossgen)
Slow News Day by Andi Watson (Slave Labor Graphics/Amaze Ink)
Spider-Girl by Tom DeFalco and Pat Olliffe (Marvel)
Strangehaven by Gary Spencer Millidge's (Abiogenesis Press)
Stray Bullets by Dave Lapham (El Capitan)
True Story, Swear to God by Tom Beland (Clib’s Boy Comics)
Ultimate Spider-Man by Brian Michael Bendis and Mark Bagley (Marvel)
The Waiting Place by Sean McKeever (Slave Labor Graphics/Amaze Ink)
Don’t forget, too, that we’re having a big contest where you can win each of those 35 books listed above. If your one of the people fed up with constant crossovers and event comics like Last Laugh or Our Worlds at War, E-MAIL ME a criticism of these types of crossovers. We’re not looking for a critique of the actual story (that would mean you’d have to buy the thing) but instead we want you to focus on why you don’t like interconnected, multi-layered crossovers in comics. Please, no profanity laced diatribes or they will be ignored. CC them to the editors of DC, too. We’ll pick one letter (our favorite), and the winner will receive a copy of each of the 35 books we mentioned on the list.
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