The comicbook that’s more of a soap opera with every issue!
The comicbook that’s more of a soap opera with every issue!
This week in comics, Saga #5 finally exists just in time for Saga #6 to come out, I completely forget to pick up Avengers Vs. X-Men, and Rorschach gets the impossibly bland mini-series you always hoped he’d have.
It’s impossible to ignore the fact that monthly comics are failing fast. There are a hundred different reasons for that, but one of the most obvious is also one of the most simple – and one of the hardest to fight.
Comics are no longer impulse buys – at 3-4$, they’re expensive as hell, and what’s more, a single issue isn’t a full story, or half a story, or even reallyt a single chapter of a story. Most are exposition-filled action scenes, it often seems. You have to go to a special store, often driving 20+ miles, to spend an obscene amount of money on a fraction of a store.
High printing costs and shipping costs and travel times can all be removed by making comics a force on e-readers and the iPad. Comics can become affordable for kids again. Women, frequently reporting a hostile vibe at some comics shops, can pick up comics regularly (I suspect DC’s underrated MINX line, for example, would have fared significantly better digitally).
With that in mind and a shiny new iPad in hand – thank you, Chrimbus! – I thought I’d explore the company-specific iPad apps that are must-haves for any comics fans. So, here you have your (very brief) reviews of the following apps: Marvel, DC, Boom!, Image and IDW.
Twenty-two pages fills up fast. There’s no denying that. Action sequences often eat up huge chunks of a book, and you can only fit so much dialogue on the page before it becomes cluttered, not to mention how much of the probably excellent art you’ll be covering up by doing so. So, understandably, most writers will have their stories run in arcs, often using well over 100 pages to let it unfold. It’s not hard to see why, but the tendency to keep expanding the story is part of what makes it so rewarding when you come across a single issue that manages to not only exemplify what it is you so love about that particular book, or even comics in general, but that manages to do so with an impressive economy of storytelling. One Shot is meant to take a close look at why those issues work as well as they do, the way they do.
So, rather than save my Christmas money*, I did what any sensible person would do – I bought comics! Sure, I can’t pay rent for February, but I got some quality reading done in the meantime, so all is good, at least in my head. Without further embarrassing personal detail, onwards!
Northlanders: Sven the Returned
While the adherence to modern slang and language might be off-putting, it soon becomes subsumed in the tale of a stubborn Viking who just wants people to quit fucking with him. Entertaining and violent, with just a touch of the dramatic, the first trade nevertheless fails to surpass the standard Viking revenge tale. Still, the hint of promise shown within make me hopeful for future offerings.
Scalped: Indian Country
The hype from Jason Aaron’s reservation-life Native American noir is heavy, and this opening trade fails to deliver. Standard art combines with a story that barely serves as more than an introduction to make a disappointing first volume. There’s promise to be found in the filth the book revels in, but it takes some digging to find.
Scapled: Casino Boogie
Scalped: Casino Boogie
The second trade, however, delivers in all the ways the first one didn’t. Introducing new twists to the story, the book does it in a creative and entertaining way, each issue taking place over the span of the same day, but from a different point of view. Here we finally get in deep with the various players on the reservation, and here we finally have a reason to care. Count me among the converted.
Phonogram: Rue Britannia
I have trouble explaining how much I enjoyed this from relative newcomer Kieron Gillen. Ultra-masculine Brit hipster David Kohl is forced to search for a dead goddess of Brit Pop music and find out just what it going on in the ether that’s causing him to change in drastic (to him and no one else) ways. Even given my relative unfamiliarity with the bands and trends being mentioned, I nonetheless could relate to the sheer power music has in the lives of these people. An intriguing story and a fascinating setting just a little to the left of our own work together with simple (but clean and gifted) art to provide a book well-worth your money. A story about reinforcing why you love what you love, about coming to terms with it and its influence on your past.
Buffy the Vampire Slayer: Wolves at the Gate
The Whedonisms of the book are beginning to grate, and while it is still an undeniably enjoyable book, some of the particular thematic and writing tics of the book are wearing. Nonetheless, the book continues to excel at humorous, heartwarming, heartbreaking relationships, and fans of the TV show will continue to enjoy the rapid-fire wit and excellent dialogue.
Andy Diggle, writer of The Losers and Green Arrow: Year One, seemed like an odd choice of writer to take over the Hellblazer writing chores after award-winning horror novelist Denise Mina, and Joyride is his first collection, a series of stories meant to bring John back from the brink where he’s been hovering through the last couple writers. The story is entertaining and suitably dark, a good set of arcs to set up what Diggle seems to hope to accomplish. Expressive, dark art from Manco and strong ties to the recent Hellblazer run of Mike Carey combine to make a standard, but competent story.
Gotham Central: The Quick and the Dead
The fourth trade in the Rucka/Brubaker masterpiece bringing a refreshing bit of realism to the gritty uber-epic Batman mythos, The Quick and the Dead might be the weakest trade in the series thus far… but given the strength of the characterization and dialogue, it still serves the series well, and shows time and again how Crispus Allen and Renee Montoya got where they are today.
Matt Fraction’s tiny little piece of insane pop action is well-introduced in this first volume. While stylistic art takes a little adaptation to those of a more traditional bent, it nonetheless complements Fraction’s hyperkinetic action hero well. Fun fluff, well worth the shot for fans looking for a little something more from their action espionage comic books.
Yet another obscure entry from Grant Morrison, the Filth almost delights in being obtuse. Filled with crazy, creative ideas, it boils down to a cranky old man who just wants to be alone with his cat in its dying days. Weston had his work cut out for him, but he steps up to the task admirably and delivers on many of the absolutely horrifying concepts Morrison bandies about with creepy ease. Absolutely not for everyone – not even for most people – the Filth nonetheless may offer some readers a glimpse into the darker side of Morrison’s work, that they might better understand where he’s coming from in the lighter works.
Young Liars: Daydream Believers
The first disgusting trade of Young Liars is finally available, and well worth a gander. Like Mike Carey’s so-so Faker, Liars focuses on disgust, betrayal and selfishness, but the refreshing blitz of Sadie, teamed with the self-loathing love of young Danny, make for far more compelling interactions. The attitudes of the book may be a turn-off for many, and some bizarre stylistic choices in terms of background and dialogue can be confusing, but it is nonetheless worth a gander.
Fables: War & Pieces
Willingham’s epic seems to move in waves. Alternating between stories with a great deal of creativity, heart and action all laced together with a healthy dollop of bastardized mythology and a series of stagnant set-up arcs with a lot of introduction and even more nothing-really. So, it should be no surprise that after that strength of The Good Prince and Sons of Empire, War and Pieces reads as a perfunctory conclusion to the first major conflict in the Fables-verse. An important book plot-wise with (as always) impressive art, War and Pieces is nonetheless another dry spot in the ongoing story. Not bad, just not up to the standard the book set for itself.
DMZ: On the Ground
Brian Wood’s breakout hit about a the only on-location journalist at ground-zero of America’s second Civil War appears to be almost entirely a setting-building exercise that also happens to casually examine the horrors of war with which we are all pretty familiar. Still, the excellent art provides a certain touch, and Wood’s story excels where many such stories fail in its compelling cast of supporting characters and slice-of-life stories, like the sniper romance. Wood doesn’t let us revel in a single aspect of war atrocity on home soil, instead taking us through a series of small arcs to see the effect of the civil war and troop involvement in New York City itself. Thanks to its easy familiarity with a cool cast, DMZ proves itself a consistently entertaining read with just a touch of the frighteningly familiar.
*okay, admission time – it was actually just gift cards, so it wasn’t actually a waste, and some of these were bought before or after Christmas that I just never got around to reviewing. I may begin to review some of my older trades as my pull list (and available cash) dwindles.