AICN COMICS: BREAKDOWNS!! New Featured Column!!

Hey, everyone. "Moriarty" here with some Rumblings From The Lab.

The other piece that came our way this weekend is this new column by one Christopher Allen. Dig in and see what you think of the new guy...

Before I get started, I did want to point out to you AICN readers that Grayhaven Magazine.com has been in spruce-up mode since January, which means lots of good new columns from guys like Ken Cuperus, Barry Wolborsky (a wonderful piece on various Jewish-themed graphic novels); new comic strips from James Kochalka, Sal Cipriano, Tom Beland, and Brian Lynch (the latter being a superhero parody strip derived from The Sims animation), and Tom Grozan and Chris Ryall's 's completely reenergized Music section, which currently features pieces on the Spin Magazine 50 Most Influential Bands, The White Stripes, The History of the Blues Part 1, and even a Neil Diamond concert review. There's also some nice variety in the trade paperback review section, including looks at crime, humor and some valuable books on the history of this medium and the creators who made it great, not to mention a very fine review of the DC/Dark Horse/Chaos/Image 9-11 books, from Aaron Button. A review from me is therefore not that necessary, but I wanted to make a few comments in the next paragraph.

We are all part of one another, and never was this more clear than on September 11th, 2001. Losing so many Americans of all races and creeds in that rapid series of senseless acts seared our hearts, but also served to unify us, to remind us that others feel the same anguish we do. To be an artist is to be attuned to both nature and humanity, to be observant and sensitive. To say that the artists (whether working with a brush, typewriter or computer) here feel more deeply than you or I is neither true nor is it the point. The point is that they were able, in a relatively short span of time, to dig within themselves and wrestle their emotions until they could be formed into controlled but poignant statements. Statements of purpose, of anguish, of brotherhood. Within these two volumes, totaling over 400 pages, we have some of the finest storytellers in the comic book medium, focusing their efforts on not mere escapist entertainment, but on messages for everyone who witnessed these events that fateful day, and for those who haven't but who will need these messages in the months and years to come.

As wonderful as those two volumes-plus Alternative Comics' 9-11: Emergency Relief, which I've just begun--are, it's nice to chase that mood away for a few moments with the escapist qualities of good, fun comics. In that spirit, I bring you some reviews of books that don't require a lot of heavy emotional lifting.

First Issues

The Ultimates by Mark Millar, Bryan Hitch and Andrew Currie.

Marvel Comics. $2.25

While I haven't kept up with Ultimate X-Men, losing interest early, I sure liked Millar's work here. That is, he doesn't do anything particularly flashy, but also doesn't falter. What we have here is an almost-issue-long look at the WWII Captain America and (uncostumed) Bucky, in an airborne adventure against some Nazi schwein, which eventually leads to their apparent deaths. It's an utterly different plot and approach from what Lee and Kirby did back in the 60s, but the intent is the same. We understand that Cap, while not superpowered, is more than human due to his fighting prowess and never-say-die patriotic fervor. Score one for Millar.

I already love Hitch's art, as well as comic book depictions of World War II from EC Comics up to the recent Garth Ennis War Story stuff, so this was a no-brainer for me. This is a visceral, bloody, smoky, rainy battle sequence, and Hitch finds the right technique for every texture, from billowing, oily smoke to gouts of bullet-riddle soil. I read a review that criticized Paul Mounts/Bongotone's coloring as being too dark and muted, but hey, it's a rainy, predawn raid, not Futurama.

The last few pages are a dramatic shift to the present, where industrialist Tony Stark is fasting on Mount Everest prior to his next big venture. As is usual with Millar, characterization is kept minimal, but it works here. There's just enough conveyed to let us know that this Stark isn't so different from the one we know and love in the Marvel Universe: playing the corporate playboy game but being just a bit aloof from it, like an F. Scott Fitzgerald type. Enjoying the game for now and dissecting it later. It's a gorgeous, entertaining book so far. Where it goes from here we'll just have to watch.

Captain America: Dead Men Running #1 (of 3) by Darko Macan and Danijel Zezelj.

Marvel Comics. $2.99

Cap shows up again in this miniseries, a sort of stopgap between his just-ended series and the beginning of the next one under the Marvel Knights imprint. Macan drops us, literally, into a jungle adventure reminiscent at first of Predator, i.e. archetypal soldiers nearly frozen with dread of an unseen menace. Before we learn what it is, in drops Captain America to lend a hand, though he and we learn that he doesn't have all the facts, which could be his undoing. Zezelj draws wonderfully, grotesquely lush scenery for these tough guys to chew, and the sunbaked colors are a welcome approach to his deliberate and pitying work. In fact, the oppressiveness of his art is a tremendous match would seem to be overkill with a melancholic writer like Macan, and yet here Macan turns the tables with a Captain America descending like an angel, bringing hope, light, and softly murmured Spanish lullabies. It's a remarkable approach, surprising and yet it hits you in a minute how right it is. Wouldn't Captain America have flown on enough missions with Americans of many heritages, enough to pick up several languages and a few native songs of comfort? Isn't the symbol of America supposed to be a melting pot of influences, especially in this day and age? It's touches like this that remind you that the underrated Macan is on a higher level than many of his peers, and make me even more excited about his upcoming run on Cable. This miniseries may be a fairly simple tale of escape and justice when all is said and done, but there are deeper pleasures in the details.

The, uh, Second Issues

Elektra/Wolverine: The Redeemer #2 (of 3) by Greg Rucka and Yoshitaka Amano.

Marvel Comics. $5.95.

What I criticized a little on the first issue as being good but not quite worth six bucks a shot has deepened substantially here. Although the notion of a supposedly cold-blooded assassin finding parental feelings within was given definitive treatment in Luc Besson's film Leon: The Professional, Rucka is finding other ways to work it by using Elektra in the Jean Reno role. It's probably stronger to use maternal feelings anyway. And Amano's art seems better integrated here, more of a piece with the script than before. He has a unique gift for depicting delicate beauty in Elektra and raw, animalistic savagery in Wolverine.

The Indies

Shuck#1-3 by Rick Smith and Tania Menesse. Headless Shakespeare Press.

www.sulfurstar.com $2.95.

Sure, you say you've had enough of all these romantic comics featuring grandfatherly, goatfaced demons with impenetrable Southern accents. I hear ya. They're littering the racks, these graytoned, heart-tugging beauties with the impeccably designed covers on cardstock study enough to slice ham on. No doubt. And the stories of ageless love unsullied by all the hosts of hell and the amazing resilience and adaptability of the very young-you've had it up to here, right? Well, of course you haven't, because you can only find all these things in Shuck, a remarkable, utterly unique new comic, currently in its third monthly issue. Why not jump on the bandwagon before those Eisner Awards start rolling in?

Pop Gun War #2 by Farel Dalrymple. Absence of Ink Press.

http://www.onypsus.com/absenceofink/ $2.50

Speaking of awards, young Master Dalrymple is bound to be recognized for his body of work some day, but you might want to get in on the ground floor, as that body of work only weighs about eight ounces at this point. This is the second issue of one of the most intriguing books I read last year, now ensconced at new, reliable publisher AoIP, makers of the bountiful anthology, Absence of Ink Theatre. In this issue, our winged hero Sinclair suffers a setback when the original owner of the wings attempts to either reclaim or destroy them. However, that's just the plot talkin', and its machinations are generally more about symbolism and mood than getting from Point A to Point B. I'm curious as to whether Sinclair will continue to be the "star" or become a sort of passive observer of other characters from on high. I'd think it's the former, which I'd prefer, since he does have some extremely touching scenes in here. The other characters haven't grabbed me yet; they're comical in a Fellinesque way, but I'm not sure what purpose they're serving as yet. Dalrymple's art is less refined here than in the first issue, darker and more dynamic, but rougher. He's terrifically intuitive in choosing the right angle for his "shots," though, which keeps every panel varied and interesting. Ultimately, this layered work may be more accessible collected, but I wouldn't think of waiting that long to become familiar with this hotshot's work. Go get it.

Shades of Blue by James S. Harris, Rachel Nacion and Cal Slayton.

http://www.ampcomics.com $2.50.

Big publishers talk all the time--well, every once in a while-about putting out books with appeal to girls and young women, and yet, here's one right under their noses. Unfortunately, it's also under most people's radar, and that's a shame, because this is quite an enjoyable teen superhero romp. It concerns one Heidi Paige, a cute and normal high schooler who has the power to throw static electricity, though she can't very well control it. At this point, we're still in familiar territory, but writers Harris and Nacion mix things up by giving her a best friend and nerd would-be sidekick who both know her secret and love it. Every good hero(ine) should have an equally strong villain(ess), so Heidi has a much more powerful enemy who also happens to be the new teacher. The angstless young superhero stuff is being done quite well already in Jay Stephens' Jetcat Clubhouse, and up-the-minute teen lingo is the domain of Buffy the Vampire Slayer, but this book has a charm of its own. The teen dialogue and attitudes don't ring that true to me, and they could crank up the drama a bit in the action scenes, but this is a promising book with clean, appealing art, and it's off to a good start in the issues I read (#3 and #4--#5 just came out as well).

Quick Takes

Alison Dare: The Heart of the Maiden #1 (of 2) by J. Torres and J. Bone. Oni Press.

http://www.onipress.com $2.95.

I really didn't take to Alison Dare the first time I read her, but quite enjoyed this issue. The difference for me was that Torres made up for a certain lack of humor and verve I find in these stories with a cleverly executed recurring gag, revolving around a bit of forced memory wiping and déjà vu. The girls are starting to become a little bit more than talking mannequins to pose Alison next to as well. It's not great, but I had a good time with it, and J. Bone's art is likewise improving and becoming more supple.

Kissing Chaos #6 (of 8) by Arthur Dela Cruz.

Oni Press. $2.25.

Yes, you'll enjoy it better when it's all collected as a trade, but I really have few complaints. This issue continues with more of the same surprising twists and deeper shadings of character. It's really quite a remarkable, nuanced book, far deeper than the "young killers on the run" genre piece it may appear to be on the surface.

Mike Mignola's B.P.R.D. #1 (of 3) by Mignola/Golden/Sniegoski/Sook.

Dark Horse Comics. $2.99

When I first read the solicitation, I admit I thought it was just a cash-grab from Mignola, spinning off his Hellboy supporting cast into a nothing tale. But happily, I was very wrong, and this is honestly as strong an issue as just about any issue of the regular book, even without Mignola's artwork. Truthfully, you'll hardly notice the difference in Sook, who is frighteningly close to Mignola in style, other than the fact that Sook draws faces a bit more realistically. And though the Golden/Sniegoski team aren't always reliable, they start off strong here, making the characters of Abe Sapien, Roger Homunculus and Johan Straus almost as compelling as ol' HB. It's a stunning debut, and unfortunately for you penny-pinchers, it leads right off from The Conqueror Worm, so go get a paper route or something. This was the first comic I read of this week's stack, and it set a great tone for the rest of the week's reading.

Powers #17/Bastard Samurai Preview by Bendis/Oeming and Oeming/Gunter/Shannon.

Image Comics. $2.95

Yeah, I said I was going to start buying this book in trades only, but I couldn't skip the Bastard Samurai preview from some friends of mine (and go check the interview with them, too). And I woulda missed perhaps the best issue of Powers ever, full to bursting with rage, repressed longing, revulsion and-what's another "r" word? Oh, yeah, the remedial copyediting skills of KC McCrory, who I think uses initials because he might have trouble spelling his own name. I think we've got seventeen straight issues full of typos, which does (obviously) tend to bum me out when it's my favorite book. Still, all those other "r's" I mentioned make up for it, almost. And I really enjoyed this first taste of Samurai, which I learned of at last year's SD Comic-Con. It's your basic rain-drenched samurai death duel, but Gunter imparts necessary plot info, characterization and helpful insights into the samurai notion of ima, or "the now", with élan. The text is perfectly married to Kelsey Shannon's full-blooded artwork, reminiscent of Oeming's but with his own style on faces and composition. I'm going to love this miniseries.

Stuff I Just Read Last Night and Wanted to Mention

Fury #6 by Garth Ennis, Darick Robertson and Jimmy Palmiotti. Marvel Comics.

http://www.marvel.com $2.99

Fans of Ennis won't find anything new here, but those who know Nick Fury will either be shocked or delighted, possibly both. I had a great time with this extremely violent series, which had the unfortunate timing of debuting on 9/12/01, I believe. By this point, well, we've gotten on with life, and gratuitous violence, as sad as this statement is, can be almost fun again. More importantly, though, that's not all this series has been about. I was really surprised by the hopeless desperation in Fury at the end of this, and found it redeemed the earlier excesses. And Robertson has really done some of his best work here, extremely gritty and detailed but just exaggerated enough to bring the mordant humor across.

Queen and Country #6 by Greg Rucka, Brian Hurtt and Christine Norrie.

Oni Press. $2.99.

Yes, this is the third Oni Press book covered here. What can I say, they know what I like. I was just discussing with some other GrayHaven folk that as great as comics are, and as full of potential, there are just some types of stories not suited for the medium. I said this after watching a typically emotional, righteous episode of The West Wing. And yet, Rucka and Co. prove me wrong again, with the second part of this story, which deals with a journalist held as a spy by the Taliban in Afghanistan (written pre-9/11, obviously). The other story involves the lead character, Tara Chace, who is not involved with the mission and feels totally useless, sporadically engaging in fruitless therapy and unsatisfying sexual encounters. The emotional and political content here are sophisticated and gripping, and would actually have been educational to me if we all weren't so rudely introduced to the Taliban in September. Hurtt and Norrie's art is somewhat tentative and inconsistent in places, but has a good sense of mood and place. Rucka, a celebrated crime novelist, refuses to condescend to comics, bringing all his plotting skills and gift for psychologically acute dialogue to his work here. Highly recommended.

I hope you enjoyed this enough to have me back.

Let me know RIGHT HERE!!