The Hollywood Reporter only today posted the trailer for AMC’s upcoming adaptation of The Walking Dead, and it’s damn good. Unlike most zombie stories, which have either a tragic end or a superficial ‘happy’ ending that still leaves its survivors stranded in an apocalyptic hell-hole one misstep away from death, The Walking Dead has a unique advantage: it doesn’t end. Like comics, TV gives it the perfect opportunity to go places zombie films could never even dream of, so be sure to tune in and check it out.
The series will premiere with a 90-minute special on Halloween night.
EDIT: Well, for whatever reason, I cannot get the video to embed. You’ll just have to go through ALL THAT WORK of clicking on the link I provided and watching it there. Do so. It’s worth it.
As a beginning note, this may be my last installment on The Walking Dead, at least for now. While I do have “The Calm Before” and “Made to Suffer” (they’re the last volumes of my collection) and I am enjoying the series, it doesn’t lend itself terribly well to this sort of critique, or at least it doesn’t the way I’ve been doing it. The flaws remain the same: the forced, stilted dialogue in particular is something I doubt Kirkman is going to get over after 36 issues, nor his tendency to overexplain character’s motives. Meanwhile, the story has slowed down considerably and looks to be going in a slightly more traditional path. I’ll make my final decision in the next two weeks, after reading “The Calm Before”, but rest assured – should The Walking Dead be removed from the roster, it won’t be forgotten. I fully intend to keep reading, and may jump in should I notice a particularly large shift in tone, some interesting new themes, or anything along those lines, I might jump in with an Unread Canon Interlude sometime. And in the meanwhile, I’ll be taking some suggestions for what to follow next: right now, front runners include Ultimate Spider-Man and The League of Extraordinary Gentlemen. Have any thoughts on the subject? Chime in in the comments.
So incredibly late on these, but I will catch up soon. Never fear! I read 27 comics in May, and these were the best.
Continue reading
“The Best Defense” is the fifth volume of The Walking Dead, and it’s pretty different from what’s come before. Previously, each volume was a solid stand-alone story. Yes, each one built off of everything that came before, and did so VERY, very well… but they were nonetheless essentially standalone stories. You could conceivably read, enjoy and understand “Safety Behind Bars” without having read “Days Gone Bye” or continuing on to “The Heart’s Desire”, and while you’d miss out on some interesting and important character development, I think you’d find each story enjoyable in its own right. But while “The Best Defense” is an engaging, enjoyable read, it’s also almost purely wrap-up from the previous arc and set-up for the next one.
Everyone has a set of entertainment by which they’ll swear, the ones they’ll eventually convince every friend to watch/listen to/read. Sometimes, those suggestions are echoed time and again all over the place, and even the most jaded, world-weary or dirt-poor fan of the medium has to get curious about just what all that fuss is for. That’s why I’ve started The Unread Canon, my attempt to experience a great deal more of comics than I already have and take a look at the books that, over the past few years (or, in some cases, decades) have achieved passionate, vocal critical and fan supporters that have nevertheless managed to slip by me and to try and look at how they grew, how they aged, why they work, or why they might not work so well anymore.
Better late than never, eh? This is my list for the top ten stories of 2009! Woo hoo! Now, before we get to all the fun of me voicing my opinions and you disagreeing with them, I have to get a few rules out of the way.
1. These are the top ten stories/arcs/whatever. Not comic in general, not trade, but best stories (What can I say, I’m trying to be somewhat unique).
2. These are stories that ended in 2009. They could begin at any time, but as long as they concluded in 2009, they’re eligible.
3. I tried to keep the list as diverse and reader-friendly as possible. I love certain writers, but it would be boring if it was three Morrison books, two Kirkman books, etc. So, a writer/artist will only appear once on the list. I tried to spread the love evenly. You will see Marvel, DC, and even indies on this list.
Wow, with all those rules, how did I come up with a great top ten? Well, I hope I did. Anyway, let’s begin the fun!
Everyone has a set of entertainment by which they’ll swear, the ones they’ll eventually convince every friend to watch/listen to/read. Sometimes, those suggestions are echoed time and again all over the place, and even the most jaded, world-weary or dirt-poor fan of the medium has to get curious about just what all that fuss is for. That’s why I’ve started The Unread Canon, my attempt to experience a great deal more of comics than I already have and take a look at the books that, over the past few years (or, in some cases, decades) have achieved passionate, vocal critical and fan supporters that have nevertheless managed to slip by me and to try and look at how they grew, how they aged, why they work, or why they might not work so well anymore.
According to HitFix, AMC has ordered a six-episode first season of Robert Kirkman’s hit zombie comic series The Walking Dead. The series is set to begin airing in October of 2010 – so, not very long at all.
Fans of TV will know AMC from the stellar success of their two current dramas, Breaking Bad and Mad Men. For those that haven’t seen the shows, I VERY highly recommend both, and both can be viewed as a strong suggestion that The Walking Dead is in good hands.
Everyone has a set of entertainment by which they’ll swear, the ones they’ll eventually convince every friend to watch/listen to/read. Sometimes, those suggestions are echoed time and again all over the place, and even the most jaded, world-weary or dirt-poor fan of the medium has to get curious about just what all that fuss is for. That’s why I’ve started The Unread Canon, my attempt to experience a great deal more of comics than I already have and take a look at the books that, over the past few years (or, in some cases, decades) have achieved passionate, vocal critical and fan supporters that have nevertheless managed to slip by me and to try and look at how they grew, how they aged, why they work, or why they might not work so well anymore.
Everyone has a set of entertainment by which they’ll swear, the ones they’ll eventually convince every friend to watch/listen to/read. Sometimes, those suggestions are echoed time and again all over the place, and even the most jaded, world-weary or dirt-poor fan of the medium has to get curious about just what all that fuss is for. That’s why I’ve started The Unread Canon, my attempt to experience a great deal more of comics than I already have and take a look at the books that, over the past few years (or, in some cases, decades) have achieved passionate, vocal critical and fan supporters that have nevertheless managed to slip by me and to try and look at how they grew, how they aged, why they work, or why they might not work so well anymore.
Having completely missed The Walking Dead when it first began (and then, having continued to miss it for years on end), I figure now is a good time to start looking back at the evolution of everyone’s favorite zombie comic. Robert Kirkman began The Walking Dead in 2003. Seven years ago. These days, that’s an incredible feat even for mainstream superhero books produced by the Big 2, let alone a drama/horror book published by Image. While zombies have in recent years experienced a MAJOR resurgence, from runaway hit novel Pride and Prejudice and Zombies to zombie film mash-ups like Shaun of the Dead or Zombieland, it’s still something of a surprise to see the episode hit 70 issues, with recent critical juggernaut cable station AMC ordering a pilot for the show (filming begins in May). What was it that has so grabbed audiences?
Beware spoilers ahead
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 Prey, Agent 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.
![[invincible65+-+boobsbigger.jpg]](https://i0.wp.com/4.bp.blogspot.com/_Gd8NBIma-zo/So8nGn-AJJI/AAAAAAAAJno/kTRhxSmrtAI/s1600/invincible65%2B-%2Bboobsbigger.jpg)
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!
I read 19 comics in November, and these were the best.
5. Astonishing X-Men #32
Yeah, that’s a badass sentinel, a badass, brood-shooting-from-fingertips sentinel, the bastardization of Beast’s theoretical research. It’s Ellis being Ellis, writing pitch-perfect X-Men. Each issue is episodic, building a plot as it goes. This chapter involves the aforementioned sentinel, with lines like, “We don’t need weapons. We have science!” It’s glorious fun.
4. Fantastic Four #573
Hickman’s Fantastic Four is even better than his Secret Warriors? How’d that happen? But it’s true, even when Dale Eaglesham takes a break, and we’re left with a “filler” issue. Neil Edwards fills Dale’s shoes, and it’s a fine fit, with Edwards’ post-Bryan Hitch style and Paul Mounts’ colors, you’ll hardly notice the difference. But Hickman’s distinguished voice is the star here, penning a done-in-one adventure that could’ve easily sustained a four-issue arc. Hickman plays with, and adds to, Millar’s toys, exploring a black hole-ravaged Nu-World. This is a dense, grand adventure, and the new letters page, hosted by Franklin and Val? Absolutely adorable.
3. Invincible #68
The regular art team is back with a vengeance, allowed the opportunity to create Kirkman’s zany, new Dinosaur villain. This is about as playful and unique as villain dialogue gets. Kirkman then continues to show off his dialogue skills when he gives Atom Eve’s father the scariest monologue Mark could ever imagine, concluding with one hell of a funny sight gag. The issue concludes with a few classic Kirkman twists. All in all, this is one hell of an Invincible issue.
2. Hellboy: The Wild Hunt #8
Another Hellboy chapter concludes, and Alice sums it up best, “Well, I didn’t see that coming.” Mignola embraces Hellboy’s entire mythology here, Alice herself being the baby from the beloved “Hellboy: The Corpse.” What occurs within these pages has been a long time coming, and it unfolds unpredictably, yet resolves with the doomed conclusion we all knew was coming. Every major Hellboy player progresses, even poor Gruagach, who’s almost as tragic a character as “Big Red” himself. A stunning effort from Mignola and Fegredo.
1. Detective Comics #859
Since Rucka & Williams’ run began, almost every issue of Detective Comics has made my “Best of the Month” list. This issue is the best of the run, so it’s only natural that Detective finally tops my list. We’re still taking a trip down Kate’s memory lane, this issue containing another episode of her life. We learn of Kate’s rise and fall at West Point, her utter loss of purpose, how that leads to trouble with the love of her life, and what finally makes Kate’s life whole again. And there, making it all epic poetry, is Williams and Stewart. And as you can see in the above scan, when Kate’s Mazzucchelli-styled life clashes with Batman’s rich, painted aura, it’s beautiful and profound.
The end of the year is coming fast! I read 17 comics in October, and these were the best.
5. Detective Comics #858
JH Williams III, arguably the best artist in the biz, and Dave Stewart, arguably the best colorist in the biz, grace Detective Comics’ interiors. Those two are literally a dream team. Yes, Rucka can’t quite produce a script that can match their ability, but who can? Morrison can’t write everything. This issue dips a toe into Kate’s origin, building off of last arc’s twist. Kate’s story is simple and adorable, which spirals into terrible tragedy. Rucka’s writing is strong, reminiscent of his Queen & Country days, but it’s the aforementioned dream team that really gives this issue an emotional punch.
4. Hellboy: The Wild Hunt #7
After last issue’s startling revelations, The Wild Hunt is steamrolling towards its conclusion. This series has indeed changed Hellboy. Hopefully, this doesn’t mean the series is ending. Fegredo’s Hellboy is strong, as always. He’s with Mignola every step of the way, as this issue brilliantly illustrates the core nature of Hellboy’s character. He’s always trapped in a cyclone of destiny, fighting with every breath to do good.
3. Invincible Iron Man #19
As the solicitation reads, “Everything ends.” At last, Fraction’s year-long epic concludes. Unfortunately, Larroca is still around. So, this issue doesn’t look great, but only someone like Larroca could render a “year-long epic” in less than a year. With this oversized culmination, Tony’s heroism shines bright. He spends most of the issue lumbering around like the Hulk, with even less brainpower. And when he utters his last words of the story, we cheer.
2. The Walking Dead #66
The Walking Dead doesn’t have many two-page splashes, but when they’re used, they make for some of this great series’ best moments. Besides the general awe of Adlard’s work, and Rick’s terrifying words, “Hold him down.” What makes the image so effective is the shading of Rick’s left eye. Remember this guy? He’s the dark mirror of Rick. So, whenever Rick’s a bit of a bastard, I suspect we’ll see his left eye shaded a bit. Besides all that, this issue concludes the “Fear the Hunters” arc, Carl confesses, and another character dies. That all makes for one of the strongest Walking Dead issues of the year, if not the best.
1. Dark Reign: The List – Wolverine
Yeah, done-in-one stories rule this format, especially when they’re produced by Jason Aaron and Esad Ribic. Aaron, who channels the humorous, kickass writing you can see in his Ghost Rider. And Ribic, who abandons his usual, painted style in favor of kinetic linework, which captures the insane energy of this story perfectly. Aaron loves Grant Morrison. So, when handling his characters, Fantomex and Noh-Varr, it’s a labor of love. Aaron insisted that he wasn’t attempting to write like Morrison, but this is the best treatment these characters have received, since Morrison first wrote them. This comic is tons of fun!
Writing: The Conquest commotion has calmed down. This is, as it says on the cover, an aftermath issue. There is absolutely no action to be found here, but that doesn’t mean it’s not entertaining. Kirkman takes a minute to check in on the building threats, and remind us that Cecil is still a bit of a bastard. At its core, this issue is about Mark and Eve’s relationship. What are the ramifications of the event taking place on the cover? And what effect does the Conquest-inflicted trauma have?
Art: Ottley has been bringing us the gore and partial nudity in the last few issues. The former is absent, but there’s still a bit of the latter here. Ottley also gets to render some welcomed comedic moments. Just check out the preview. That bit of saliva flying from Mark and Eve’s mouths is classic.
Final Word: This is a transitional issue, for sure. It lays the groundwork for future events, and leaves us wanting more. It’ll be very interesting to see Mark’s actions after his epiphany on the last page.
Grade: B+
I’m down, but not out!
Blackest Night #2
I was right there with Lebeau on the first issue, and you can find a bigger, better review of this issue from him. Johns definitely decreased the needless exposition this time around, but it’s not enough. This event is still moving at a dead snail’s pace. He spends too much time relishing in ghastly, deceased heroes terrorizing live ones. However, you can still find scenes to enjoy here, especially if you’re already fond of Johns’ particular brand of fun. Nightmarish sharks devouring Atlanteans here, a two-page, vertical splash of a resurrected Spectre there. The most impressive element of Blackest Night so far has been the images rendered by Ivan Reis. He’s officially a superstar.
Grade: C+
The Boys #33
Why is John McCrea drawing this? Shouldn’t he be drawing Herogasm? I’m not complaining. Carlos Ezquerra’s art has been sloppy the last few issues, and while McCrea is no Darick Robertson, his work here, and especially on Herogasm, is more than satisfying. Although, he’s still not the right artist for the job. This is a dark, violent arc of The Boys, and McCrea’s images are too cartoony. Ennis’ writing, however, is still top-notch. This issue was a blast. Watching Butcher systematically take down the Boys-filtered Avengers was very entertaining. The fact that this arc is so action-heavy makes it all the more upsetting that Robertson is absent.
Grade: B-
Hellboy: The Wild Hunt #5
It’s nice to have Hellboy back. The reason for the delay was Duncan Fegredo’s, and the wait paid off. I re-read the previous four installments before this one, and Fegredo’s work is simply stunning. The Wild Hunt has featured a fight in just about every issue. It makes each chapter stand on its own as an episodic action series. Fegredo draws the hell out of the battle scenes, while Mignola crafts a menacing threat for Hellboy in the background.
Grade: B+
Ultimate Comics: Avengers #1
Off the heels of the biggest event in the Ultimate Universe’s history, at the start of a brand new status quo, is this issue exposition-heavy? @*&# NO!!! In true, Millar style, he kicks this series off in summer blockbuster fashion, featuring an extended fight scene, and a last-page shock to punch you in the face! As I mentioned with The Boys, if a comic is action-heavy, you have to provide pretty pictures. Well, Carlos Pacheco, in his glorious return to Marvel interiors, is just the man to provide such pictures. He handles all of the action, including some tricky helicopter scenes, with professional ease. Looking for pure, pop bliss? You got it!
Grade: A-
The Walking Dead #64
Dale’s situation provides a wickedly funny beginning. Then we get a typical and sentimental revelation from Dale’s lover, Andrea. I say typical because we’ve seen a lot of it in The Walking Dead, but it is a natural reaction to grief, and we’ve sure seen plenty of that in this series. The rest of the issue is mostly spent planting seeds for future events that culminate in a tremendously badass moment for Rick. Another enjoyable issue, for sure, but this is mid-arc. So, it does suffer from the necessary plot-building.
Grade: B
Uncanny X-Men #514
We’re two issues away from this crossover’s conclusion, and I don’t think it’s the event anyone was really expecting. This isn’t mindless Dark Avenger-on-X-Men action. No, with Matt Fraction at the helm, we’re getting a highly developed and well thought-out story that presents realistic situations for these characters to deal with. The downside to all that is that we’ve had more set-up than payoff, but with an oversized, Mike Deodato-drawn conclusion in the near future, I’m sure we’ll get the carnage that we crave soon enough.
Grade: B
June was a quick month, but July? July took forever, in a good way. Extremely eventful month for me. Hope you all had fun. Anyway, I read 22 comics in July, and these were the best. Oh, and, sorry, I haven’t written proper reviews for some of these because I was at Comic Con.
5. Secret Warriors #6
This ended a little more conventionally than I would’ve hoped, but it’s still a fitting conclusion to Hickman’s first arc. The characters are clearly defined, and, so, we actually care how this big battle plays out. Throughout this arc, this issue included, we’ve been treated to several twists & turns that really elevates this material. This is Hickman’s first foray into the world of super-heroics and he’s already delivered the Nick Fury series we’ve all been waiting for.
4. Detective Comics #855
Only two issues in and Rucka & Williams are collaborating brilliantly. The art services the story and vice versa. What we’re left with is one gorgeous, kick-ass comic! The only problem is that we still don’t have much connection with Kate, but, with this issue and the last, we’re getting glimpses of Kate’s origins. So, until that story is eventually told, we might as well enjoy the beautiful ride.
3. Invincible #64
Well, essentially, this was just a gory, knock-down-drag-out fight to the death. However, since we’ve had over sixty issues with Mark & friends, there was a large amount of emotion in this fight, both for the characters and the reader. And, credit to Kirkman, this was a pretty fun fight.
2. Ultimatum #5
I probably have a “Why Ultimatum Works” article in me somewhere, but I won’t write it. There’s no point. People are extremely prejudiced when it comes to Loeb’s recent work, and if I were to write such an article, it would be met with outcries about how stupid I am. Ultimatum was a necessary evil. The Ultimate Universe had grown too dull, too watered down, too similar to 616. If you aren’t going to give the Universe a proper reboot, presenting an Ultimate Universe in the style of Morrison’s Marvel Boy, isn’t this the next best thing? Oh, sure, it reminds us of the issue of Radioactive Man when he and Fallout Boy get killed on every page, but have we ever seen anything like this before? The tragedy is quick and brutal. The genuine shocks are plentiful. And, really, this comic is packed with the imaginative stunts that couldn’t be seen in a movie. Whether you love it or hate it, Ultimatum #5 one of the most memorable comics in years.
1. Batman and Robin #2
In two issues, Morrison has established a new Batman, a new Robin, new villains, even a new, more colorful Gotham, and he’s done so with professional ease. You’ll find no lengthy exposition here, just fresh and exciting adventure. And, of course, Morrison’s longtime collaborator, Frank Quitely, has helped tremendously in breathing new life into this franchise. His style is already radically different from what you saw in All Star Superman. It’s looser and more energetic, which has helped in rendering some incredible fight scenes in this second issue. This is one of the most likable comics on the stands, and the best comic in July.
That’s my list. What’s yours? Oh, and let’s keep that Ultimatum feedback to a minimum, shall we?
Writing: We’re knee-deep in “Fear the Hunters” now. Kirkman continues to twist the knife, but, thankfully, my delicate stomach remains intact. Kirkman suffered some criticism for pitting his survivors up against man, so soon after the horrific events of issue #48. That hasn’t bothered me at all. It’s part of the transition between prison life and the harsh, new world. Yes, prison life was good in The Walking Dead.
Art: Don’t think that just because this arc is human-centered that Adlard won’t get a chance to draw some cool zombies. Expect one in here, and it looks good. I also enjoyed seeing a lighter side to Adlard’s art when he gets the chance to render some eye-rolling. And, as always, Adlard provides an unsettling last page.
Final Word: I must stress this again, these new enemies differ from the Woodbury folk. Besides a different approach in attacking, we get a peak at the hunter’s motives in this issue. They’re much more basic and understandable than Phillip’s lunacy. Another solid installment, for sure.
Grade: B+
Writing: Layman puts a unique spin on a tired genre, one that I’m not too fond of, actually. The main character, Tony Chu, is Cibopathic, which means that when he eats something, he can sense its origins. Oh, and Chu is a cop, so you can see how his ability could be useful, and unusual. Layman exploits the possibilities nicely.
Art: Judging Guillory’s art is a bit unfair, since this reprint is lacking the colors it should have. I once owned a black & white TV that I used to watch “The Simpsons,” so I know the flaws that come with material that should be colored but isn’t. However, since this is a review, I have to say that I’m not impressed with Guillory’s work here. It looks so bland, like an Image house style. You’ve seen this art before, but you don’t remember it. Of course, as I said, I’m looking at incomplete visuals here.
Final Word: Image was very generous by offering a reprint of this sold-out issue for free, and it’s attached to an even better comic. Layman’s writing is impressive. He manages to execute some twists & turns and adds a dash of political commentary to the background. This comic is worth checking out.
Grade: B-
read/RANT! 
