Milligan Interviewed on His Upcoming Flashpoint Tie-In

It's always nice to see Peter Milligan get some mainstream attention. CBR recently interviewed him on his upcoming Secret Seven miniseries. You can read it here:

http://www.comicbookresources.com/?page=article&id=32099

I haven't had any interest in following DC's Brightest Day maxiseries, which recently concluded, so there are some spoilers. The interview also briefly touches on the news that John Constantine (as well as Swamp Thing) will make their return to the DC Universe proper, with the caveat that Milligan's Hellblazer run will remain unaffected, and Milligan's thoughts on such developments.

Something like a decade later, DC's finally learning from what Marvel accomplished by setting the Punisher in his own little MAX world as well as integrating him into the mainline Marvel Universe.

Ultimate Human by Warren Ellis and Cary Nord - A Comic Book Review

One of the highlights of the Ultimate line

Ultimate Human by Warren Ellis and Cary Nord – Short and sweet at a very concise four issues, this miniseries makes for an impactful hardcover. Ostensibly an Ultimate Hulk vs. Iron Man story, Warren Ellis and Cary Nord craft an entertaining but insightful fable about human achievement and scientific progress. Yeah, there’s plenty of crazy, widescreen action, and the narrative is simple, but it’s all tempered with a story that aspires to be a little more than your standard superhero fight comic. This, plus the level of professionalism and genuine care that was part of the execution of it all, makes Ultimate Human a definite triumph, not only for the Ultimate line of comics, but for superhero comics in general. So what if it was a minor, four-issue miniseries that came out right before Marvel decided to throw the entire Ultimate line into upheaval? I don’t feel that all that Ultimatum stuff cheapens Ultimate Human at all.

Ellis is definitely one of the best writers in comics today, whether he’s working on his creator-owned stuff or work-for-hire stuff like this. I definitely appreciate his acerbic dialogue and witty, darkly humorous one-liners as well as his penchant for bringing some legit science fiction into the mix. I also feel that a lot of the stuff he writes appears to be dark or cynical on the surface, but a deeper inspection of his stories reveals a quite a bit of optimism and idealism, and Ultimate Human is certainly one story that exemplifies that trait.

Ellis introduces Ultimate Pete Wisdom in this story, and he is actually also Ultimate Leader. In fact, the Leader is a big impetus for most of the plot, even getting the entire third issue devoted to his backstory. I find it interesting that the other issues all pretty much feature pages with three-tiered grids, usually using three wide panels per page. Yet with Wisdom’s spotlight chapter, Ellis and Nord switch it up a bit and use quite a few more panels per page. It’s an interesting storytelling trick that is easy to appreciate in the collected edition because you can see how it helps the pace of the story. It makes sense, somehow, that the least action-packed issue of the series should have the most panels and have layouts that look different from the others.

Cary Nord’s art, masterfully colored by Dave Stewart, is as excellent as anything the duo ever did on Dark Horse’s Conan. As in Conan, Nord’s finished pencils are directly colored by Stewart without any inking. The look certainly sets it apart from the look of most other Ultimate books. His storytelling is impeccable, and his characters have an elegance and dignity about them no matter how grotesque they may appear. The Leader, in particular, is exceptionally well-designed. Nord’s Hulk is real behemoth, and the cover to the fourth issue is probably one of my all-time favorite Hulk pictures. He’s just enormous, bursting with rage and power. It’s impressive to see how Nord draws the Hulk in action.

An early scene from the first chapter that helps establish the three-panel layout used throughout much of the series, as well as the relationship between Stark and Banner

The plot itself involves Tony Stark and Bruce Banner getting together to try and figure out a cure for the Hulk, to make it so that Banner will no longer transform into the Hulk. Then Banner would be able to continue his life’s work of perfecting the super-soldier serum. Pete Wisdom comes into the mix as a high-ranking but rogue officer of MI6 (y’know, the British Secret Intelligence Service) who wants Britain to have its own super soldier covert operatives. Wisdom becomes the Leader after he allows himself to be subjected to some experiments by his British scientists. With his newfound power, he decides to kidnap Stark and Banner, steal their blood (and kill them), and then use their blood samples to figure out how to best create supermen. (You also have to love how the British writer figures out a plausible way to bring Britain into the Ultimate superpowers arms race. And how he Ultimatized the character he created himself in Excalibur all those years ago!)

Throughout the course of the story, Ellis does an intriguing job of revealing the science ( Or is it pseudo-science? Science fiction?) behind Stark’s, Wisdom’s, and especially Banner’s superpowers. Ellis has some clever explanations as to how the Hulk works – essentially, the Hulk adapts to any stressful situation. That’s why the angrier he gets, the stronger he becomes.

The science fiction elements play a big role in the motivations of the characters, and I like that he uses the three primary characters to comment on the future. You have Tony Stark, who has nanomachines in his bloodstream, making him a technological marvel like nothing human. You have Bruce Banner who becomes the Hulk, making him a biological specimen like nothing human. And you have Pete Wisdom, who somehow seeks to use the best of both fields of science to become something else entirely.

But each man is defined by other traits as well. Stark has a streak of callous pride that would make him insufferable if not for his charm. Banner is simply a guy who’s been beaten down so many times in his life that he feels like a chump. And Wisdom is a cynical old codger, embittered by the fact that the other two guys haven’t been able make the best use of their intellectual gifts and better the world beyond simply punching evil aliens in the face.

In one breathtaking image (the cover to issue 4), Nord captures everything about the Hulk and Iron Man. The Hulk is a brute consumed with whatever is directly in front of him. Iron Man,  meanwhile, looks towards the future

The ending is terse and fairly abrupt, but it feels very, very right. There’s no pontificating, no preaching from Ellis using any one character as his mouthpiece. Ultimate Human doesn’t tell you what to think about what human progress is all about. It just makes you ponder what ultimate power would mean in capable hands, and whether it’s even possible for people in real life to achieve their lofty dreams, or if we should even have lofty dreams in the first place.

I don’t know, maybe I’m being dopey and making it sound like there’s a whole lot to this comic when it’s still kind of about a couple of guys pounding the snot out of each other. But at least this comic aspires to be more than a typical superhero comic. I’d say it succeeds on every count.

Before I read this comic, I always wondered why it was called Ultimate Human when Ultimate Hulk vs. Iron Man would have been the more commercial title. (Sorta like that Ultimate Hulk vs. Wolverine miniseries.) Well, Ellis has a very clever way of showing why this comic has its title. That’s the cherry on the sundae of this all-around superb piece of work.

Ultimate Human gets my highest possible recommendation.

Quick Reviews 3

The TPB also has some elucidating commentary from Mark Evanier about the genesis of this project

 

Boogeyman by Sergio Aragones and Mark Evanier – Well, this is certainly one gem of a comic. Aragones is a living legend and Evanier is an underappreciated writer. I know Evanier writes for a lot of TV shows, but all of his comics tend to range from enjoyably entertaining to memorably and sincerely thrilling, and always with a healthy dose of genuine humor and remarkable attention to craft. Boogeyman, published by Dark Horse in the late ‘90s, is a sterling testament to these two friends and collaborators. Essentially a modern day Tales from the Crypt-type of comic featuring a banjo-strumming black dude named Mr. Diggs as the “Cryptkeeper”, Boogeyman is a nice collection of short stories about the things people fear. Though Aragones and Evanier keep things pretty light with their sense of humor, most of the stories ultimately reveal something about the human condition, and how irrational fears can ruin our hearts; that they tell these tales in a way that isn’t heavy handed makes this comic ideal for adults as well as younger readers. Recommended.

Rereading this makes me wish BKV would do some more comics

Wolverine: Logan by Brian K. Vaughan and Eduardo Risso – I reread this one after I had finished 100 Bullets in its entirety and I was still on my Risso kick. Risso’s artwork is certainly suited to this short (three issues) miniseries set in Japan during World War II. Dean White’s colors are splendorous, as well – just look at that majestic final page, which so perfectly encapsulates, in one glorious yet bittersweet image, the essence of Wolverine. In three issues, BKV and Risso tell a story of Logan’s past reaching back from the grave to strike at his heart one more time. It’s a simple enough plot and premise, but it works thanks to the attention to detail and the painstaking care you can see them pour into the craft of what could easily just be another mindless Marvel zombie cash machine. Like the best Wolverine stories, Logan ends with tragedy mixed in with a bit of hope, much like how the character himself struggles to contain his animalistic instincts with his human nature. Recommended.

Lloyd's lush artwork really improves the story

The Territory by Jamie Delano and David Lloyd – This is an unusual comic. I feel like I need to read it again in order to get a better grasp on it, which isn’t a bad thing by any means. Most of my experiences with Delano’s writing makes me feel this way, in fact. I think he’s a good writer who tends to layer his works a bit densely. Lloyd, of course, illustrated that indomitable classic V for Vendetta, and his artwork here looks just as good as you’d expect. The story, as far as I can tell, is a futuristic science fiction tale that follows a man as he struggles to separate fiction from reality. It’s a dizzying descent into madness and the dark corners of human psyche. Unlike some of Delano’s other comics, however, the narrative is straightforward enough to follow easily. It’s the deeper implications below the surface that provide a good amount of meat to munch on.

The Dave Dorman covers, which are obviously in a style reminiscent of Drew Struzan, were misleading to my younger self

Star Wars: Dark Empire by Tom Veitch and Cam Kennedy – Ah, the challenges of not only rereading, but reviewing a beloved childhood comic… I must have gotten this trade paperback back when I was around 11 years old. I’m now 27. I remember reading this over and over and over as a kid. I grew up loving Star Wars and absolutely devoured every Star Wars novel and comic I could sink my grubby little meathooks into. Dark Empire was definitely, to my young mind, the ultimate Star Wars comic. Over the years, I’d pull this bad boy off the shelf just to take a trip back down memory lane. Even though time has certainly dulled the impact of the story, I still somehow find myself getting lost in the imagination of the comic. 

Here's a sample panel of Cam Kennedy's art (I believe he colored himself)

This is due, in no small part, to the amazing artwork of Cam Kennedy. His pencils are dynamic. His figures are great actors and he draws facial expressions well. Best of all are his action scenes and anything that involves hulking mechanical behemoths. His designs for the World Devastators (supposedly, an Imperial fleet of planet-demolishing leviathans on a threat level on par with the Death Stars) are intricate and creative. His star fighters are satisfyingly detailed and his soldiers’ rifles spit hot fire right off the page. Kennedy perfectly captures the chaos inherent in devastated war zones. As a kid, I used to try and copy his pictures. As an adult, his pictures continue to stimulate my imagination. The initially bizarre secondary color scheme in the series confused me as a child; now I truly appreciate the various hues of pink, green, blue, and brown. It gives the series a unique, dignified look. The story, on the other hand, hasn’t aged well. Tom Veitch appropriates a rather “comic booky” premise with this story, meant to take place years after Return of the Jedi (and a little while after Timothy Zahn’s excellent Thrawn Trilogy): the resurrection of the Emperor. During the course of the story, characters (especially Luke Skywalker) behave in ways that simply don’t feel plausible. It’s as though Veitch forced characters into situations instead of letting them react naturally to the world around them. A few important plot events and character development even happen off-panel, and the ending feels terribly rushed. Nonetheless, I just don’t have it in me to hate on this comic, although as I’ve gotten older I’ve come to realize just how mediocre the vast majority of Expanded Universe novels/comics can be…

I got nothing but respect for First Second

Life Sucks by Jessica Abel, Gabe Soria, and Warren Pleece – I’ve been enjoying First Second’s output. I haven’t been able to read all that many of their releases, but pretty much everything of theirs that I have read, I’ve enjoyed. Life Sucks may not be a world-changing comic book, but it’s an entertaining story. I was familiar with Abel’s work thanks to her superb, critically acclaimed La Perdida, and Pleece has done some pretty excellent work for DC Comics. (He drew Ed Brubaker’s Deadenders series for Vertigo as well as the underrated Kinetic for the short-lived DC Focus imprint.) Life Sucks follows Dave, a vampire living in modern day LA. Dave works a dead-end job at a 24 hour convenience store for his boss, the old-school vampire lord who turned him in the first place. (Dave works the night shift, naturally.) As you can surmise from the title, Dave hates his life. He gets some hope when he meets Rosa, a girl he immediately likes, but of course things get complicated. Life Sucks is light story about feeling stuck in a rut and about what a downtrodden, kind of wimpy guy is willing to do for the sake of love and happiness. I think the best thing about the storytelling is how clear the art is and how compelling the characters are. It makes this a breeze to read.

I would have taken Howard Porter over any of the other jokers who drew the issues in this trade

Captain America and the Falcon volume 2: Brothers and Keepers by Priest and various artists – It’s tough for me to read a Cap story nowadays, because I can’t help but compare everything to Brubaker’s definitive run on the character. Still, I can accept other interpretations of Cap, and Priest’s short run in the middle of the first decade of the 2000s is definitely a flat-out superhero action book, almost in the tradition of the Silver Age in terms of the unbridled, joyous excitement he packs into his stories. It’s a shame the art’s so woefully inconsistent. A variety of pencillers featuring the dull stylings of Dan Jurgens and Andrea Divito mar what should have been an exhilarating superhero romp where Cap and the Falcon race to uncover a conspiracy and do battle with M.O.D.O.K. and the incredible Hulk. The story also ends with an unfinished feeling, because I think Marvel wanted to end this series as Brubaker’s run was warming up. That doesn’t sound very fair, and I’m sure it wasn’t the first time Priest got shafted, but such is life. Still, even though it’s kind of a messy, unfinished work, I find Cap and the Falcon an interesting read… You can sort of see how the real world unravels the comic, as things get rushed towards the end. It’s certainly not a perfect comic, but it’s told with genuine aplomb and, as I’ve said before, I often find myself gravitating toward flawed works when it comes to superheroes.

Here's the cover to the second issue so you can see Harris' interpretations of Uncle Ben, Aunt May, and the Bradbury-esque Flash Thompson

Spider-Man: With Great Power… by David Lapham and Tony Harris – Here’s another Marvel Knights miniseries. Harris did this during his time on Ex Machina and his art, for the first four issues of this collection, looks exactly like the bulk of his run on Ex Machina as inked by Jim Clark. The fifth issue, however, features Stefano Gaudiano on inks, and it’s quite a jarring change. It’s not a bad look, by any means, but it’s so different from the previous four issues that it does take you out of the story a bit. A little consistency would have been appreciated here, especially for the collected edition. With Great Power… takes place between the panels of Amazing Fantasy #15 (the first appearance of Spider-Man) and tells a story of how Peter Parker reveled in his newfound powers in the early days. It’s the beginning of his understanding of power and responsibility. Lapham’s writing is solid but nothing as powerful as his work on Stray Bullets. Harris’ art is the true star here, though I wouldn’t be surprised to hear that hardcore fanboys took umbrage at his interpretations for certain characters. Flash Thompson, for one, looks like Bradbury. Aunt May and Uncle Ben don’t look anything like how they’ve traditionally been portrayed. (Uncle Ben is thin and has a mustache, while Aunt May isn’t the frail old lady we tend to imagine her to be.) Liz Allen looks way too hot to be a high schooler. Crusher Hogan has long black hair. Stuff like that didn’t hinder my enjoyment of the story, although I felt that the themes of power and responsibility weren’t deeply developed. As a result, the story feels kind of thin. Perhaps the most satisfying aspect of this comic, other than the art, is how Lapham doesn’t end it where you expect it to end. It’s worth a read and would probably make a very fine introduction to Spider-Man to anyone who’s new to comics.

For What It’s Worth #6 - Brass #s 2-6

Brass is a six-issue WildStorm miniseries from the early 2000s. John Arcudi wrote it and Carlos D’Anda drew it. Each issue has a cover price of $2.50.

The cover to the second issue. I think there's too much going on there. The design is too cluttered.

Sadly, I couldn’t find the first issue of this in the quarter bin. I’ve had some experiences before where I scored an entire six-issue miniseries from a quarter bin, and it’s hard to match the elation I feel knowing that I spent a buck fifty on a complete series when the trade paperback itself likely costs at least ten times as much. Yup… I’m addicted to cheap comics. It almost doesn’t matter what the series is, but if I can find a decent chunk of a run of something in the quarter boxes, I’m probably gonna pounce on that.

Which is pretty much why I took a chance on these issues of Brass. I guess Brass was some early ‘90s Image superhero crap that was unreadable in its original incarnation. Brass is this dude who was infected with (or maybe injected with, via a government experiment) a techno-virus from another planet in another dimension. The virus makes the dude, Herschel, transform into this mecha warrior techno-knight. D’Anda’s art on this miniseries still has a lot of that Image sensibility, but at least Arcudi’s writing is decent.

Even though I started reading with issue 2, I didn’t feel like I was missing anything crucial. The premise of this miniseries is that the alternate dimension aliens whose world was the origin of Hershel’s Brass virus need to infect themselves with it (it had previously been eradicated) so they could fight a war against some enemies who had been ravaging their world. They kidnap Herschel so they can get the virus. The catch is that the aliens are all cultural pacifists, and even after a small group of volunteers gets the Brass virus, they still have no idea how to wage war to defend their loved ones. Thus, Herschel has to stay in their dimension to train his small group of Brass warriors and lead them to victory.

What makes this readable is that Arcudi writes the whole thing with a tongue-in-cheek tone. There’s some light humor in all the proceedings, and that somehow tempers the scenes that are meant to be more emotional as well as the scenes that are balls-out action. The dialogue is brisk, there isn’t a whole lot of text to bog it all down, and it’s paced well. Best of all, Arcudi doesn’t end it after the aliens defeat their enemies; that’s almost beside the point. The latter part of the story is more about how the volunteer Brass aliens have been corrupted by their newfound bloodlust.

Arcudi never probes too deeply into this, but it’s still entertaining nonetheless. The weakest part of this comic is definitely the art. Like I said, D’Anda’s art in this definitely has a big Image influence. There’s a lot of unnecessary hashmarks on his drawings that add nothing. His panels tend to be cluttered and a lot of his pages would be challenging to decipher if the words weren’t on the page. His figures are also unattractive, especially their anatomy. His characters also have weak facial expressions and there’s no real understanding of body language in Brass. On the upside, I kinda liked the mecha designs of some of his Brass soldiers.

 
Ultimately, I got a kick out of this series even though it had pretty weak art. It was a great comic to read on the toilet—it wasn’t too deep or anything, so I didn’t really have to think, and there weren’t a whole lot of words (and the art wasn’t worth lingering over) so reading an issue was about the right length of time. I wouldn’t say this series is worth going out of your way to seek out, unless you happen to be a big Arcudi fan. For what it’s worth, a quarter a pop was definitely a feel-good price for these issues.

For What It’s Worth #5 – Batman: Legends of the Dark Knight Annual #7 (1997)

Nice design work on the cover

Batman: Legends of the Dark Knight Annual #7 was originally published in 1997. It has a cover price of $3.95. It’s a 52 page story entitled “I Am a Gun” written by James Robinson and drawn by two artists, Steve Yeowell and Russ Heath.

“I Am a Gun” (fantastic title, by the way) is one of those timeless Batman stories that, surprisingly, doesn’t feature any of his prominent rogues. Rather, it’s an inspired tale about Batman using his detective skills to solve a murder. Batman, using a variation of his Matches Malone identity, goes undercover at an air circus to solve the mystery, which is tied into the story of Steve Savage, a World War I fighter pilot. The story is divided into three chapters, with Yeowell drawing the first and third ones and Heath drawing the middle. The middle chapter is a flashback scene (from a biography that Batman reads during the course of his investigation) of Savage’s exploits during the war.

Robinson’s writing is very good in this comic. It’s well-plotted and feels worthy of being an extra-length feature in an annual. Robinson also does a great job of setting up the premise and introducing all the elements for the mystery, including the various characters Batman meets. I also enjoy his characterization of Batman. Here, he’s a hardened and veteran crime fighter, but he’s also emotional and not afraid to smile once in a while. The middle chapter of the comic hearkens back to old-school war comics, and Robinson does a commendable job with helping us empathize with Steve Savage and his larger-than-life exploits and his tragedies and triumphs. (And in a nice shout-out to dedicated fans, Robinson even ties in this character with his Starman series, which is probably what he’s best known for. He also throws in a few references to Hans von Hammer, the Enemy Ace.)

Perhaps best of all, Robinson gives us a story where Batman’s mind helps him accomplish his goals, although the climax still features some pulpy, swashbuckling action.

I’d be remiss if I didn’t mention the wonderful art that brings Robinson’s tale to life. Yeowell’s a talented draftsman, and he does everything pretty well. His storytelling is clear, everything looks the way it’s supposed to be, his environments look livable, and his people are great “actors.” Basically, his world looks real. I also like the way he inked his own work. It looks like he used a brush on some parts, and it adds a nice, somber tone to the art.

Russ Heath is a legend, of course, and his section of the comic is amazing. His linework features much thinner inking and certainly looks more like the Golden Age style of artwork, which is perfect for the story. His facial expressions are fantastic, and he really sells all the emotions that Steve Savage experiences in this flashback. Digital Chameleon’s coloring really makes Heath’s work look pretty.

This annual is practically two quality stories that intertwine to make one fantastic adventure. I only paid twenty-five cents for this comic, but for what it’s worth, I honestly wouldn’t have minded paying a dollar more than its normal cover price.

Quick Reviews 2

It's time for some more Quick Reviews. Here's a round-up of some stuff I've read recently.

Sean Phillips illustrated one of the  best Two-Face profiles ever

Batman: Jekyll & Hyde by Paul Jenkins and Jae Lee and Sean Phillips – I feel like Jenkins has written some absolutely stupendous stuff, a bunch of average comics, and some genuinely bad ones. Jekyll & Hyde is close to being in the upper tier of his work, but I think it has one deep flaw that hurts quite a bit. I just hate it when the bad guy has the good guy in his clutches, chained up and drugged, and promises to kill him, but fails. That’s some James Bond, kinda lazy, kinda implausible stuff most of the time. Unfortunately, Jenkins has Two-Face do that with Batman in this book. Other than that, this could have been a defining Two-Face story. I’m still hard pressed to think of one off the top of my head. It’s very psychological and the action that does take place feels all the more significant because of it. Jae Lee draws the first three issues and Sean Phillips draws the last three. Both of them are top tier artists and this is just a gorgeous looking book all around. Their shadowy work really brings Jenkins’ psychological thriller to life.

Eric Powell (The Goon) illustrated the covers for the individual issues

Arkham Asylum: Living Hell by Dan Slott and Ryan Sook – I think this and his little-known Spider-Man/Human Torch miniseries (with Ty Templeton) are Dan Slott’s finest works. Living Hell, a six-issue miniseries about Arkham Asylum’s inmates, benefits from some dark comedy and some clever and twisted origin stories for some of Batman’s minor rogues. Ryan Sook’s art is perfect for the tone of the story as he expertly varies his style from dark and menacing to wry black humor.

Sadly, this iBooks edition is likely out of print

Honour Among Punks by Guy Davis with Gary Reed – I mentioned in my last trade paperback round-up that Guy Davis is one of my favorite creators. Honour Among Punks: The Complete Baker Street Graphic Novel, is one of his earliest works. It’s a Sherlock Holmes pastiche set in an alternate universe London where punk is a dominant subculture. I like Davis’ writing but it’s his art that truly shines and sells the stories he writes himself. Not every artist is a good writer, but I think Davis does a great job creating a grimy punk version of Sherlock Holmes’s world, and the characters, from Sharon (the Holmes analogue) to Sue (the everyman, point of view, Watson-analogue) feel well-developed and grow from their trials. I liked seeing Davis’ art evolve over the course of the series. The first couple issues are rather cartoony but his art eventually begins to resemble more and more of the type of linework we’d witness in Sandman Mystery Theatre. He’s a fantastic designer, with characters who wear legit clothes and fashions, and architecture that makes his world look like a place worth visiting. Definitely recommended.

I greatly enjoy Ben Templesmith's style

Criminal Macabre: A Cal McDonald Mystery (Volume 1) by Steve Niles and Ben Templesmith – After reading 30 Days of Night, I decided to give this another try. (I had it lying around in my collection after picking it up for 3 bucks at a used bookstore a year or two ago.) I actually read this once before, probably at least 5 or 6 years ago. I remember enjoying it back then. After rereading it, I still liked it, but not as much as I remembered. Still, it’s a far more entertaining comic than 30 Days of Night. Cal McDonald is sort of a cross between John Constantine and Hellboy, only with far less gravitas. He’s a stereotypical hard-boiled, hard-drinking private eye who specializes in dealing with monsters and other accursed creatures of the night. In this story, he’s embroiled in a plot by a monster alliance who want to infect the world. Templesmith’s art is fantastic, of course, but Niles’ writing seems to work better in this story than 30 Days of Night because this seems like it’s intentionally comedic and light-hearted. The story still doesn’t feel like anything particularly deep, but as pure entertainment, it did its job.

Last Train to Deadsville: A Cal McDonald Mystery (Volume 2) by Steve Niles and Kelley Jones – I liked the second book in the series more than the first, though Templesmith is replaced by Jones here. Jones draws some creepy monsters, especially ones with skull-ish faces and external spines. Sometimes his work is undermined a bit by Michelle Madsen’s rather garish color choices, which surprises me because their work together on Conan: The Book of Thoth was remarkably strong. Volume 2 was shorter than the first one, and maybe because of that it feels faster-paced. I still feel like there isn’t very much character development, but for a rip-roaring action adventure with a few choice one-liners, this is a fun read. On a sidenote, I still don’t think I can consider these Cal McDonald comics “horror.”  Just because a comic has monsters in it doesn’t automatically make it a horror story. That’s just lazy marketing on someone’s part.

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Jonny Double by Brian Azzarello and Eduardo Risso – I finished reading all of 100 Bullets the other week and it put me in an Azz/Risso mood. I dug out my Jonny Double TPB for another read. It’s even better my second time reading it. Though this is one of Risso’s earliest American comics, he was already an accomplished artist before he began this work. As such, the art looks about as good as you would expect. Similar to what Peter Milligan did with Human Target, Azzarello takes an old, obscure DC character and Vertigo-izes him. Jonny Double is an old-school, hard-boiled but down on his luck private eye (in San Francisco!) who ends up teaming up with some young slackers on a heist. Of course, they get embroiled in something beyond them when they realize the money they stole belongs to someone they didn’t expect. This is a riveting noir with a satisfying payoff. Definitely recommended.

The cover to the TPB

Issue 3's cover

Batman/Deathblow: After the Fire by Brian Azzarello and Lee Bermejo – Azz and Bermejo have gone on to a few other notable collaborations (Lex Luthor: Man of Steel and Joker) but I think this was their first. With WildStorm’s tragic demise, I don’t know how widely available this book is, but it’s well worth tracking down and owning. I also think this could be the best intercompany crossover to ever see the light of day. Bermejo’s compelling layouts are complemented by his realistic, darkly detailed style. I also love the premise of the crossover: the two title characters never meet each other, because Deathblow died ten years before this story begins. You have to appreciate Azzarello’s ballsy approach to a superhero crossover. Instead, Batman has to solve a crime related to Deathblow’s only failed mission. It’s all very well done in a grimy, noirish tone. It’s a heavy-hitting tale, but it’s subtly heavy, if that makes sense. Definitely recommended.

This belongs in your collection

Batman: Broken City by Brian Azzarello and Eduardo Risso – I wasn’t kidding when I said that finishing 100 Bullets put me in an Azz/Risso mood! For my money, I’d put Broken City right up there with the finest Batman stories of all time. I get that Year One and The Dark Knight Returns are untouchable totems, the very pinnacle of Batman stories; but Broken City at least deserves to belong in the same tier as those two. I feel like most great Batman stories tend to inhabit one of two milieus: crime or balls-out superhero fantasy. Year One is emblematic of the former, while DKR and Grant Morrison’s ongoing Batman magnum opus certainly embody the latter. Broken City is definitely in the vein of Year One. Batman stalks the shadows, intimidates thugs for information, does some actual detective work, and solves a crime while trying to remain coolly detached, only he’s Batman and he can’t help but care too much. Fascinating. It’s a story that epitomizes everything important about the Batman. Top it off with some great appearances by some undervalued members of his rogues gallery (Killer Croc, the Penguin, and the Arnold Wesker Ventriloquist & Scarface) plus a chilling and well-used Joker appearance. Azz and Risso even do their part to introduce a duo of new rogues into Batman’s world, Fat Man and Little Boy. And if that’s not enough, the story even has something great and new to say about Batman and his origin. A fresh take on a classic? Oh, yeah, baby. I can’t spoil it if you haven’t read it. This gets my highest possible recommendation.