Review: Saga #1

“It was a time of war. Isn’t it always?”

I’m going to say this up front: Saga, Image’s new ongoing from Brian K. Vaughan (Y: The Last Man) and artist Fiona Staples, is my first new must-read book of 2012. Combining gorgeous creature design and playful worldbuilding with cynical, adult storytelling, Vaughan and Staples have crafted a book that is genuinely unlike anything else on the shelves right now.  Funny, bloody, dramatic and, at times, ridiculous, Saga #1 does everything an opening issue needs to do with economy and style.

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Top 10 Writers Of The 00’s!

Welcome!  As the decade comes to a close, just about everyone under the sun begins to bust out their BEST OF THE DECADE lists.  Best books, best TV shows, best movies… well, we here at Read/RANT are nothing if not trend-followers-setters!  So, with that in mind, and with a few weeks left in 2009, we bring you the first of three BEST OFs.

This decade was undeniably good to comics.  Besides seeing old favorites like Grant Morrison, Neil Gaiman and Alan Moore return in some drastically new capacities, we also saw an awful lot of breakout talents.  Masterpieces were produced.  Internet outrage was shouted from the rafters over everything from implied rape in a Spider-Man comic to Final Crisis being strange.  Both Hal Jordan AND Barry Allen came back to life, while both Batman and Superman left the planet.  Marvel’s ULTIMATE line grew, flourished, weakened, literally drowned, and was reborn only months ago.  Captain America became a vital character.  It was, all things considered, a busy, crazy, wonderful decade of comics.

Who are our Top 10 writers this decade?  Well, read on…

10. Gail Simone

Gail Simone is certainly one of the decade’s breakout creators.  While her name doesn’t pull in the same numbers as a few other creators on (and even off) our list, her creative output still stands up to scrutiny.  Simone’s stories tend to be a little quieter, a little smaller in scale, than many of her counterparts on the list, focusing instead on a bizarre, character-driven combination of humor – sometimes incredibly dark humor – and action.  Books like Birds of PreyAgent X and Secret Six perfectly exemplify these trends, attracting loyal cult fan bases and critical praise.  At her best, Simone is capable of switching from laugh-out-loud to heartbreak without any warning, and without detracting from either.  Despite an uneven run on Wonder Woman – and even that is leagues above most folks’ handling of Diana – Simone has improved a great deal over the course of the decade.  While a number of her books ended earlier than they deserved (The All-New Atom and Welcome to Tranquility, to name two of the strongest examples), none of them have been anything less than a pleasure to read.  In an era dominated by high-concept, big-action blockbusters, Simone’s quiet humor and obvious love for the craft have been an oasis.

9. Greg Rucka

Greg Rucka, it’s safe to say, has a ‘type’, a fact that quickly became evident this decade.  Filling your books with savvy, ass-kicking female heroes is a surefire way to flop in today’s market, but Rucka has proved time and again an exception to this rule.  Whether it’s writing one of the strongest runs Wonder Woman has ever seen or trusting fans to understand Renee Montoya’s progression from a cop in Gotham Central to P.I. in the excellent 52 on through her new superheroic identity in two or three more books, Rucka spent the years finding increasingly fresh ways to help his heroines grow, change and find an audience.  Meanwhile, over the course of the decade, Rucka also wrote nearly 40 issues of the excellent Queen and Country with Oni Press, netting him an Eisner and a dedicated fan base.  His increased profile is evident from his latest assignment: he’s the first writer ever to simultaneously write DC’s flagship titles, Action Comics and Detective Comics.  Astonishingly prolific, timely and with a gift for espionage and crime comics, Rucka has been a defining voice for the decade’s heroines, as well as a damnably fun writer to read.

8. Matt Fraction

Only writing in the latter half of the decade, Fraction has already proved himself as a cut above the rest.  His breakout work, Immortal Iron Fist, ended up becoming one of those great, character redefining runs that only come around every five years, if that. Besides making Danny Rand cool, Fraction successfully reintroduced Frank Castle into the Marel U proper. Realizing that the Punisher’s not meant for such a zany world, Fraction avoided the grim & gritty. Instead, Frank fought absurdly stupid villains, with hilarious results. Immediately following those successes, Fraction took the Uncanny X-Men reigns, producing the finest work that title has seen in over a decade. And, last but not least, Fraction helmed Invincible Iron Man, following the wildly popular movie. He managed to easily match the quality fans expected after seeing Favreau’s film. So much so, in fact, that Jon Favreau actually consulted with Matt Fraction for Iron Man 2. As if all that wasn’t enough, Fraction’s independent comic, Casanova, is one of the finest works of the decade. Fraction has a fresh, powerful voice, unafraid of filling his comics with women and, most importantly, fun.

7. Garth Ennis

In the beginning of the decade, Garth concluded his magnum opus, Preacher. Most creators take a break after completing something so brilliant. Not Ennis. He just keeps on writing, immediately moving onto another great project. I’m talking about Garth’s Punisher run, of course. Frank Castle’s been around and loved since the 70’s, but nobody’s left a mark on him like Ennis. Hell, both Punisher movies and a video game were inspired by Ennis’ work. Writing around 100 issues with the character, Ennis took Frank to dark, humorous places, creating one of the most reliable comics of the decade. Never missing a beat, when Ennis stopped writing Punisher comics, he already had a start on his next popular series, The Boys. Ennis’ writing is well-known for its intense, human drama, so it’s only natural that Garth’s passion, War Stories, would be so damn good. Utilizing extensive research, Ennis always writes fabulous recreations of often-unknown battles. There are several worthwhile pojects I haven’t even mentioned. Garth Ennis is a true professional, writing great comics month after month.

6. Brian Michael Bendis

Easily one of the most influential writers of the decade, Bendis IS Marvel, and it all happened in the 00’s. Exploding at the start of the millennium,  Bendis wrote several great works that will be remembered: Alias, Daredevil, Powers, and Ultimate Spider-Man. Bendis’ Daredevil is the best work Murdock’s seen since Miller in the 80’s. Ultimate Spider-Man broke the Lee/Kirby longevity record, and it gave Spider-Man fans a reason to get out of bed in the morning. Sadly, Bendis’ work in the latter half of the decade is hated by many, and rightly so. But even if the poor characterizations and decompression are bringing you down, Bendis can still be admired for his wonderful ideas. There’s a reason why he’s been behind nearly every Marvel event this decade. His high concepts are exciting and ambitious. With Bendis’ return to Powers, Ultimate Spider-Man surviving Ultimatum, and that Daredevil project on the horizon, Bendis may have another great decade ahead of him.


5. Robert Kirkman

Breaking onto the comics scene at the birth of the new millennium, Kirkman took the world by storm with Battle Pope! Ok, maybe not, but a couple people at Image liked it, and after a few years, Kirkman was given the chance to write two ongoing books for the company in 2003. Invincible, an amalgam of every superhero trope in the benday dot covered book, and Walking Dead, a George Romero-inspired zombie epic, eventually became two of the most successful Indie books ever. Then, like all fresh-faced comic writers, Kirkman spent some time at Marvel, penning books like Marvel Team-Up and the insanely popular Marvel Zombies. Also like many writers, Kirkman grew tired of Marvel. However, few leave in such intriguing fashion. Along with that startling video came the news that Kirkman was made a partner at the company he loved so much. That was only a year ago, and already Kirkman’s been instrumental in making Image cool again.  Teaming up with Todd McFarlane to create the monstrously successful Haunt, and reuniting all the Image founders on Image United, Kirkman’s like the young D’Artagnan, inspiring the old Musketeers.

4. Brian K. Vaughan

Brian K. Vaughan was a relative unknown at the start of the decade, having penned a few single issues here and there.  In the early 2000s, he was still working on a string of small arcs, jumping from book to book, though the profile of the books – Wonder Woman, JLA, X-Men, Batman, Detective Comics – had risen significantly.  Still, it wasn’t until 2002 that he really broke out.  With the release of Y: the Last Man, Vaughan proved himself.  60 issues later, one of the defining comics of the decade came to a conclusion with a few of the most heartbreaking moments we’ve seen.  If Y were all he achieved this decade, it would still be a rock solid body of work, but Vaughan also created Ex Machina over at Wildstorm, an impressive post-9/11 political superhero story, and the powerful Pride of Baghdad.  He also had a successful time over at Marvel Comics with the enjoyable (if ultimately unsuccessful) Dr. Strange: The Oath and Logan, and the vastly more successful The Hood.  Finally, he did something that has become nearly impossible in today’s stagnant modern environment: he created a successful new franchise for Marvel in Runaways.  Vaughan’s work has run the gamut from teenage rebellion to the end of life as we know it, and throughout, he’s kept it honest, emotional and fun.

3. Ed Brubaker

Ed Brubaker’s pre-2000 work largely consisted of a string of mostly unknown independent single issues.  In the late 90s, however, a few small Vertigo projects apparently got him enough attention to net him a few small issues on Batman, Robin and Detective Comics, and it wasn’t long before Brubaker took off from there.  An impressive array of noir-influenced crime superheroics followed, from his surprisingly successful and critically acclaimed relaunch of Catwoman to his collaboration with Greg Rucka on the stellar Gotham Central.  Meanwhile, over in Wildstorm, Brubaker began to push things in a different direction.  Ideas like Point Blank and the following Sleeper began to take a more active interest in meshing the superhero genre with the pulp criminal underbelly.  There, he could push things further and do what he needed to do to his brilliant cast of dark characters and he managed to shape the Wildstorm Universe for a good few years.  His move to Marvel seemed at the time to be a strange fit, but no one can deny that his relaunch of Captain America has been the single most successful take on the character in years, and he proved an inspired choice to follow Brian Michael Bendis on the surprise hit Daredevil.  Working with Matt Fraction, he turned The Immortal Iron Fist into a successful franchise that lasted beyond the creative team’s departure.  And, finally, he reunited with the gifted Sean Phillips to lend some much-needed gravitas to Marvel’s ICON imprint with two books: the pulp supervillain story Incognito and the superior critical darling Criminal.  Following a loosely-connected group of crooks in exciting, heartbreaking standalone arcs, it is almost hard to believe that Criminal has gone on as long as it has, but it remains an impressive accomplishment, and one of the decade’s most enjoyable books.

2. Warren Ellis

Warren Ellis came out of the last decade on an impressive high note: halfway through his stellar Transmetropolitan and having just completed his brief, game-changing run on The Authority.  Transmet was a near immediate success, being taught in Political Science courses, a rare mainstream success for comics, and it would have surprised no one if he’d channelled that success into more high profile, mainstream work at the Big 2.  Instead, he used his new pull to launch a string of relaunches and creator-owned projects that ranged from good to absolutely stellar.  Nextwave was a gloriously fun satire on the genre.  Global Frequency was a brilliant combination of sci-fi and horror, and if the premise didn’t entirely make sense, the execution more than made up for it.  His creation of The Authority in 1999 and run that lasted well into 2000 quite nearly defined how mainstream action comics would work.  Meanwhile, he repeatedly launched increasingly impressive array of books with Avatar Press, from the gritty supernatural Gravel books through the dark examination of super-heroics in Black Summer and No Hero and on into glorious sci-fi worldbuilding books like Doktor Sleepless and Anna Mercury.  Very few writers have displayed the sheer versatility that Warren Ellis has, and the decade saw him gather an impressive array of titles under his belt.  It’s my humble opinion that he could’ve made the list off of nothing but Transmetropolitan and Planetary, but Ellis is hardly the type to rest on his laurels.

1. Grant Morrison

I don’t think it’s a secret that we’re all big Morrison fans. We could produce a “Top Ten” list using Morrison’s work alone, and that list would have more quality than half the lists you’ll find on the Interwebs. Kicking off the decade with the most radical X-Men run ever produced, breaking away from the dusty, old Claremont mold and replacing it with a new shadow for the franchise. Many fans prefer the safe, crowd-pleasing Whedon run, which is amusing, since Whedon’s run couldn’t really exist without Morrison’s. Before leaving Marvel, Morrison wrote Marvel Boy, a wonderful Marvel love letter, while maintaining that Morrison freshness. Many people have forgotten it, especially since Noh-Varr has recently been bastardized, but Marvel Boy is a great example of what Marvel’s Ultimate Comics line should’ve been. Returning to his beloved DC, Morrison produced the experimental Seven Soldiers, a bold comic introducing several great, new characters. Moving into the latter half of the decade, Morrison began his run on Batman, pitting Bruce Wayne against madness, Satan, and his bastard son, Damian. Morrison also helmed his first major company event, Final Crisis. It’s a summation of nearly every Morrison work to date, and it was too earth-shattering for many to handle, but it’s one of the finest events ever produced. Though Morrison’s known for being odd and extreme, few could complain about All Star Superman, a work so tender and pure. Not only is it Superman’s finest adventure, it somehow enriches every other Superman comic. So much accomplished, and I haven’t even gotten to Morrison’s fabulous Vertigo work, which includes We3, The Filth, and Seaguy. Morrison remains one of the strongest, boldest voices in the medium, and his enormous amount of successful output makes him a perfect candidate for best writer of the decade.

… and there you have it!  Our TOP 10 list has what I’m sure many people will consider to be some significant omissions.  Like any Best Of, it’s limited by what we read, how we assessed it, the context in which is was read.  It was limited by the consistency with which they produce their best material, and how much we keep talking about it, months or even years later.

So, anyone who’s interested: what’s your Best Of list look like?  Who were comics’ strongest writers, this decade, and why?

Join us next week as we bring you our Top 10 Artists of the decade, and have yourselves a happy holiday season!

For more comic goodness, go here.

Trade Review: Ex Machina Vol. 1-5 & DMZ Vol. 1-2

On top of the hundred or so comics I read every month, I also go through quite a few trade paperbacks. Recently, I started picking up Ex Machina in trade. I’ve finished the first five trades so I guess it’s about time I talked about them.

Ex Machina is the story of Mitchell Hundred, the first superhero of his world. One day, a group of terrorists decide to ram a couple of planes into the World Trade Center towers. In our world, we know exactly what happened next. In Mitchell’s world, events play out quite a bit differently. You see, Mitchell was able to save one of the Twin Towers. Soon after, Mitchell gives up playing hero and runs for mayor. Not surprisingly, he wins.

The book primarily concerns itself with Mitchell’s term in office, with the occasional flashback to pre-911 times to give up back story and villainous origins. One can assume that means this book is extremely politically motivated. It’s actually much like reading an episode of the West Wing, I would guess (since I never watched that show).

Framed in such a way that isn’t immediately as accessible to mainstream readers like Y: The Last Man was, Ex Machina is an educational if not always entertaining read. Sometimes, it feels too much like homework or watching some dude’s hastily produced Youtube diaries. No jokes, Vaughan comes off like a politically snarky know-it-all and it can get on your nerves. Maybe this plays better if you collect this book as a monthly, but reading 5-6 issues in a row can be tedious. If you can stand being preached to regarding the hot button issues of the day, then this may be the book for you. As for me, I like the main character to stick with it for now. It passes the ultimate test: I would vote for Mayor Hundred.

Oh, and the art by Tony Harris is pretty sweet too.

Switching gears slightly but still staying within the realm of social commentary, I’ve also been catching up on Brian Wood’s DMZ. This seems like the prototypical book that no one is reading, and for the life of me I can’t figure out why. It’s so fucking good. It’s got the mainstream appeal of a Y mixed with the politics of an Ex Machina. It’s controversial, honest (maybe I’m biased) and on top of all that… it’s a fun read! Brian Wood, is really, really good. And so is his partner, Riccardo Burchielli. His figures look great and the grim and gritty backgrounds truly propel you into this world. Oh crap, I haven’t even said what the book is about yet…

With overseas wars bogging down the Army and Nation Guard, the U.S. government mistakenly neglects the very real threat of the anti-establishment militias scattered across the United States. Like a sleeping giant, Middle America rises up and violently pushes its way to the shining seas, sparking a second American civil war, coming to a standstill at the line in the sand – Manhattan. Or, as the world now knows it, the DMZ.

Matty Roth, a naïve aspiring photojournalist, lands a dream gig following a veteran war correspondent into the heart of the DMZ. Things soon go terribly wrong, and Matty finds himself lost and alone in a world he’s only seen on television. There, he is faced with a choice: try to find a way off the island, or make his career with an assignment most journalists would kill for. But can he survive in this savage war zone long enough to report the truth?

The first trade is all about getting you, the reader, and Matty, our protagonist, acclimated to this brave new world. He builds friendships as he gets to know the players on each side of this civil war. In the second trade, shit gets flipped on its head as we learn not everything or everyone is what it seems. Expectations are reversed and Matty sees that it’s not about which side is right; it’s about the people stuck in the middle. His people. One of the great things about DMZ is Wood’s ability to stay impartial. One side is never portrayed as more evil than the other, or vice versa, and I think that’s where the power of this story truly lies. Shit, the entire story is summed up in the title. A demilitarized zone… that’s all it’s really about.

Hardcover Review: Runaways Volume 3

The momentum of volume 2 propelled me gleefully into the third and last hardcover. The very first issue in the collection, #13, may be my favorite Runaways issue in the entire run. I’m a “Molly Mark”, there’s no use lying about it. She’s just too cute and funny not to be. This issue’s plot is very simple: Molly washes down a storm drain and is captured by the bad guy from “Oliver Twist”. He puts a magic collar on her and forces her to steal stuff for him. Molly’s like, “Oh noes!” So, she hatches an ingenious plan with her fellow “runaway slaves” to kick his ass and undue the magic spell he’s cast on all of them, especially the two Hispanic kids he’s turned to stone. Molly saves the day and finds her way home. It’s pretty awesome.

“Parental Guidance” is the next arc. In it, we get the origin story of the newest incarnation of The Pride and the return of Geoffrey Wilder, although it’s the 20 year old and childless version of him. Geoffrey takes over this new Pride, made up of Alex Wilder’s former WOW buddies, and uses them to get revenge on the Runaways. Obviously, Geoffrey does not succeed. Things that happened of consequence in this arc: More sexual tension between Nico and Chase, Chase sees Victor naked and admits that he’s jealous, Gert finds out about Nico and Chase, Old Lace almost east Nico, Molly gets kidnapped (OH NOES!), Gert breaks up with Chase, Geoffrey reinstates his deal with the Gibborim, Karolina and Xavin return, Xavin acts lame, the Runaways get their asses handed to them by the new Pride, victor turns into a giant Transformer, GERT IS KILLED BY GEOFFREY WILDER, with her dying breath Gert bequeaths Old Lace to Chase and tries to say “I love you” and fails. Wow, that’s a ton of plot/character development. I feel like it had more of that than any other arc in the series… but that’s misleading since almost every other arc pays off in this one. Good, great read.

In part 1 of “Dead Means Dead”, Nico sleeps with Victor and some dumb looking giant monster attacks the city. Wow, is Nico kind of a slut? Nah, she’s just trying to “find herself”, as silly as that sounds. And I like her with Victor… Chase is too busy being emo anyway. Also, nothing else happens. This was kind of a dead zone in the series. We had a fill-in artist and a lame “monster-of-the-week” villain. If there’s a weak spot in this collection, it’s this story.

The next arc makes up for it though with the return of series penciller, Adrian Alphona. “Live Fast” is about Chase getting his emotionally retarded antics under control. Somehow, it pops into Chase’s head that he can strike a deal of his own with the Gibborim. Chase’s deal: bring Gert back and I’ll give you an innocent soul to eat. They agree. But, as it turns out, the innocent soul Chase was offering… was his own. EMO ALERT!!! Along the way, he manages to kidnap Nico and steal her Staff of One.* In other sub-plottiness, Xavin disguises her/himself as Nico and tries to seduce Karolina. Um, not to trick her or anything, but because she knows how much Karolina loves Nico and she thought her girlfriend would get a kick out it. Xavin is officially the best boy/girlfriend of all time. Okay, to wrap up: Chase doesn’t kill himself, Gert doesn’t come back, Nico and Victor resolve some of their sexual tension and Iron Man shows up with some Cape-Killers at the end to arrest them all. Tony Stark is such an ASSHOLE. I don’t know how this fits with the rest of the Runaways stuff I’ve read. How do they get away from Iron Man and S.H.I.E.L.D.? Have I read the how already, but just forget?

Oh, and Alex Wilder is still alive. DUN… DUN… DUUUUUUH!!!

Bottom line time: This collected hardcover was great, as was volume 2. Volume 1, not so much… that was mostly bad. If I was recommending this to someone who knows a little bit about the Runaways already, I’d tell them to buy volume 2 and 3 and skip 1. If I was recommending this to someone who’s never heard of Runaways… 2 and 3, skip 1. Sorry, volume one sucked ass.

*Let’s be honest? This gimmick is wearing thin.

Hardcover Review: Runaways Volume 2

Wow, this was a breath of fresh air. Volume 2 felt like an entirely different book. The art was crisper, the writing was faster. This is the book I would have loved to put on my monthly pull list. This is the book I expected Volume 1 to be. Understandably, the difference in tone and pacing is largely attributed to the fact that Vaughan didn’t have to waste 18 issues explaining the origins of these teenage runaways. Volume 2 is X-2 to Volume 1’s X-Men. Of course, we still get a ton of “catch up” exposition in the first couple of issues, but that’s fine. That’s just how monthly comics are written.

The Victor Mancha/Victorious arc was one of the best in the series. Having some forgotten version of Ultron hatch a “silver age” style revenge plot was inspired. Also, let’s not forget to mention the introduction of Excelsior… a team of former teenage superheroes that starred in last year’s Loners. The only truly lame thing about this arc was having Rick Jones revealed as the mysterious benefactor. Man, I hate Rick Jones SO HARD.

Which brings us to the next arc: it was way less satisfying than the last. Xavin is a lot of bit lame. Sorry, Xavin fans. I liked the part where Karolina makes a move on Nico… as discussed in The Last Man reviews, girl on girl is HAWT. And the interplay between Molly and Victor was really cute. Ok, but seriously, Xavin just switching sexes is such bullshit. Obviously, he’s playing you girl! And man, after Karolina leaves, I love how heartbroken Nico is. She totes loves her in ways she is not ready to deal with.*

The final arc of the hardcover, East Coast/West Coast, was probably the best of the bunch, and the series so far. GUEST STARS GALORE!!! Cloak, as always, was the super-lame, but I couldn’t help feeling bad for him. Why didn’t any of his super buddies believe him? There’s no way Cloak beats on Dagger. That’s his girl, yo’! And even Luke Cage dogs him, especially when Cloak tries to play the race card. What else was awesome? Spider-Man cameos that make sense and are funny at the same time, that’s what! And pimp’s named “Pusher Man”! Priceless. Question? Did Chase really kill a carjacker and dump the body? Wicked if he did. Are Chase and Nico going to hook up? I’m reading the Whedon run, and I know he’s playing with the sexual tension, but his comics are so busy I barely remember what happened in the last issue. The best scene by far had to be Molly’s confrontation with the Avengers. Molly is the stone nuts! If I had a daughter, I would want her to be exactly like Molly. No jokes. EW, you know what was creepy? That priest guy that was helping Cloak. When he was all trying to give Molly something, I was wondering if Vaughan was going to take us into an after school special. Thank God he didn’t. The only thing that REALLY bugged me? I hate the way Vaughan writes Captain America. He made him suck. OH SHIT!!! Who are those kids at the end? The headless ones with a copy of The Abstract?!?

Overall, the dialogue was wittier than Volume 1. I laughed out loud a few times. And of course, Molly still gets all the best lines. Also, the characterizations were stronger, tighter. And surprisingly, I’m starting to like Gertrude. I have no idea what Vaughan changed, but I find her less annoying than before. Victor is welcome addition to the crew. And the developing soap opera-y love triangles were solid. If I had my way, Chase and Nico would totally hook up. Sorry Gert… go play with your not-a-raptor. The plots were fun! How novel. If reading Volume 1 was like homework, reading Volume 2 was summer vacation. I could not put it down. Did I mention how good the art was?

Okay, there were still some negatives. Brian K Vaughan, please stop trying to be Joss Whedon. Chase being the only guy in the “Scooby Gang” stinks of Xanderitis. The “Rogues Gallery” setup reeked of an episode of Buffy… you know the one. There was some other Whedon related content, but I didn’t take any notes and I can’t pin them down off the top of my head. I just remember that I yelled Whedon’s name, like a curse, a bunch of times while reading Volume 2.** Dude, Chase needs to do more than just drive the getaway car. Like, kill some more carjackers or Hobo Pirates. The bonus Free Comic Book Day issue in the back was utter shit. Way too much “please buy the monthly exposition”.

I’ll be back in a few days with a review of Volume 3, probably Thursday. Until then, buy Vs! and read comics.

*To quote a favorite Kevin Smith flick.***

**If someone wants to challenge me on this, I may just have to reread this Volume to prove my point. Or, I could just be lazy and ignore you.

***He always substitutes “flick” for movie or film in his interviews. It’s so throwback.  

Series Review: Y: The Last Man #60

THE PO-MO PARTY’S OVER! Welcome to the final edition of Billy & Mandy’s weekly review of Y: The Last Man. This is it, our thoughts on the final chapter of the epic tale of a boy and his monkey. WARNING: SPOILERS!!! If you don’t know what that means by now… we’re giving it all away for free. So if you don’t want to know, stop reading NOW. We welcome your comments and hope that you enjoy the program. Continue reading

Series Review: Y: The Last Man – Part 5 of 5*

ZOMG! Welcome back to Part 5 of Billy & Mandy’s weekly review of Y: The Last Man. In this installment, we’ll be commenting on issues 49-59, the fourth year of the series. Oh, what about issue 60? We’ll get to that. WARNING: SPOILERS!!! If you don’t want to be spoiled, please read the issues before continuing. Or, read them along with us! We welcome your comments and hope that you enjoy the show. Continue reading

Series Review: Y: The Last Man – Part 4 of 5

Dudes! Welcome back to Part 4 of Billy & Mandy’s weekly review of Y: The Last Man. In this installment, we will be commenting on issues 37-48, the fourth year of the series. WARNING: There will be spoilers in these articles, so if you don’t want to be spoiled, please read the issues before you read any more. Or, read them along with us! We welcome your comments and hope that you enjoy the show. Continue reading

Series Review: Y: The Last Man – Part 3 of 5

Homies! Welcome back to Part 3 of Billy & Mandy’s weekly review of Y: The Last Man. In this installment, we will be commenting on issues 25-36, or the third year of the series. WARNING: there will be spoilers in these articles, so if you don’t want to get spoiled, please read the issues before you read the articles. Or, read them along with us! We welcome your comments and hope that you enjoy the show. Continue reading

Series Review: Y: The Last Man – Part 2 of 5

Hey all! Welcome back to Part 2 of Billy & Mandy’s weekly review of Y: The Last Man. For those that missed it, last week’s article can be found here. In this installment, we will be commenting on issues 13-24,or the second year of the series. WARNING: there will be spoilers in these articles, so if you don’t want to get spoiled, please read the issues before you read the articles. Or, read them along with us! We welcome your comments and hope that you enjoy the show.

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Series Review- Y: The Last Man, Part 1 or 5

Hey guys, welcome to Part 1 of Billy (foilball) & Mandy’s (kidginger) review of Y: The Last Man. The series in question recently concluded and we thought, what better time than now to rehash the entire thing? First, some background info. I was there for the beginning and the end, so this will be a second read through for me. Mandy, however, is a Y virgin. This will be her first time through the Y epic. We are both very excited about this and I hope you guys enjoy our musings and off topic ramblings.

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