Have you seen Captain Marvel?
No. I have not, thus adding to my ongoing tradition of not seeing the big ‘comic book’ (i.e. superhero) movies at the cinema. I think Antman and the Wasp was the only one I’ve seen on the big screen recently. This is not a comment on the quality of the film, more a reflection of my general disinterest in superhero movies.
I have, however, just finished watching The Umbrella Academy on Netflix and thought that was a brilliantly quirky series with a strong concept and some great characters.
And I’ve made some headway into series 3 of Supergirl; a bit superficial but fun none the less. It is a series I watch with my eldest son and he enjoys it.
I’ve also started, finally, to watch Legion.
So it would appear that it’s only superhero movies I have little interest in and not the genre as a whole.
However, it’s New Comic Book Day so a quick round up of what I’ve been reading in the last 3 weeks…
At the end of February there was Star Trek: The Q Conflict which is plodding along after the initial intriguing start. I’m hoping this picks up but I have my doubts based on previous Star Trek crossover events I’ve read. Review of the second issue here.
Buffy The Vampire Slayer continues to improve, which is difficult considering how well it started, but Jordie Bellaire and Dan Mora are hitting each issue out of the park. Two issues have come out in the last three weeks, reviews are here (issue 2) and here (issue 3).
I also got an advanced look at Little Bird from Image comics. I really enjoyed it and the visuals are stunning. Guess what you’ll find by following this link?
Onto the start of March and we had a few AfterShock comics I’ve been reading. Oberon #2 and A Walk Through Hell #8. I was surprised to discover I enjoyed Oberon more than AWTH, but it seemed much freasher and new. I found Garth Ennis’s script for AWTH clichéd and uninspired but this is possibly just a blip in the title and it will pick back up again next month. Compare the comics via my reviews, Oberon vs AWTH.
The Girl In The Bay issue 2 came out and was somehow stranger than issue 1. It has an engaging story with a mystery that just keeps getting deeper. Worth looking out for, especially for Corin Howell’s art work. I’m loving this comic. (another link… no wonder I’m behind on posting on here)
Boom! Studios also had Ronin Island out which is enjoyable, especially if you like that samurai sort of thing.
And Marvel put out the questionable Cosmic Ghost Rider Destroys Marvel History (or some such ridiculous title). This comic was terrible and best avoiding for a number of reasons. My biggest problem with it is that the character bared no resemblance to Frank Castle (who is currently wearing the Ghost Rider mantle). If it hadn’t told me at the start it was ‘the Punisher’ there is no way anyone would know. And that, I find, poor writing.
But what about today? What treats do the comic book shops have for you today? For me there was the exceptional Buffy The Vampire Slayer issue 3 (mentioned previously).
The unnerving and creepy Boom! Studios title The Empty Man issue 5 (review link).
Star Trek Discovery: Captain Saru, which is the best ST Discovery comic that’s been released so far but still does not do the series justice.
Murder Falcon #6; a comic that continues to impress with its mix of outlandish fantasy and heart-breaking drama. This is a comic that pushes the boundaries of the narrative and does it with style. Daniel Warren Johnson is proving his talent with Murder Falcon and I would recommend having a look at what he is doing.
Finally, this week, I was transported back to my childhood and the start of my comic reading obsession by the release of a brand new Transformers comic. The original Transformers comic got me hooked into comics and this new title from IDW Publishing is brand spankingly new. It’s a slow introduction to the new universe of giant robots but it looks stunning and the story slowly builds towards the impending violence that will lead to the Civil War. It bowled me over and I was excited by the possibilities of the future narrative. I think this is shipping every other week so it will quickly develop and it promises to be spectacular.
And, of course, a link to my review..
It’s been awhile. How’ve you been?
Reading comics, I hope.
A quick recap on what we missed last week:
Murder Falcon #5. This is an outstanding achievement in storytelling. Blending outlandish, demon fighting with a touching emotional story. You will sail through your feelings, like riding a wild roller-coaster of emotion. Check out my full review via this link.
Writer/Artist: Daniel Warren Johnson
Colours: Mike Spicer
Letters: Rus Wooton
Also posted to Monkeys Fighting Robots last week was my advanced review of Stronghold #1 from AfterShock Comics. This is a brilliant comic. It has a tightly written story and Art work that leads the reader from page to page. It isn’t just a simple Alien trapped on Earth story either, it questions the very genre in a similar way to Watchmen. What if Superman didn’t know about his powers and was been watched by a religious order? That is the essence of Stronghold.
Stronghold is actually out this week, so pick it up while you’re in store.
Writer: Phil Hester
Artist: Ryan Kelly
Colours: Dee Cunniffe
Letters: Simon Bowland
While you’re there why not pick up another AfterShock Comic, Relay #4. This is a harder sell as it mixes theology and hard Sci-Fi together to explore the notion of creation. If you’ve not read the previous 3 issues, don’t worry, everything you need to know is in this issue. That is one of its selling points, the writer is very inclusive and doesn’t want to leave any reader out of the loop. The Art work creates a believable world and draws on as many inspirations as the script. For example, the outlanders on the First World, Zalis, are clearly the Fremen from Frank Herbert’s Dune. They look exactly as I image them to look, minus the blue eyes of course.
Full review here.
Writer: Zac Thompson
Artist: Dalibor Talajic
Colours: Jose Villarrubia
Letters: Charles Pritchett
Anyway, back to last week.
Issue 4 of Image Comics The Warning was released. I gave it the once over and was captivated. The story basically introduces a number of people in different places and then proceeds to eliminate them with a strange electronic field. It’s like the arrival of the Terminator but more destructive. The art work by Edward Laroche is very emotional and dynamic; there is a sense of urgency in a number of the scenes which really grips the reader. It’s worth checking out if you can, although I have not read the first 3 issues and do feel as though I missed out on something.
Writer/Artist: Edward Laroche
Colours: Brad Simpson
Letters: Jaymes Reed
And finally for last week, there was the final issue of Dick Tracy Dead or Alive. To be honest I’m glad it’s finished. I have not been a fan of this series at all and it failed to improve for me over the four issue run. In fact, the problems of the first issue just became more and more pronounced with each issue. I’m going to assume that it sold fairly well because IDW have announced another Dick Tracy mini-series which I am already looking forward to.
At the weekend I picked up three issues of Blackthorne Publishing’s Dick Tracy Monthly comics from the 1986 which reprinted the earlier newspaper strips. I got issue 1, 7 and 14. Each is better than Dead or Alive.
Writer: Lee & Michael Allred
Artist: Rich Tommaso & Michael Allred
Colours: Laura Allred & Han Allred
Letters: Shawn Lee
However, Dick Tracy isn’t the worst comic I’ve read this month. That’s still to come.
On to this week. There are a couple of really good comics out this week. There is the afore mentioned Relay #4 from AfterShock and then from Image, East of West #41.
East of West has been one of my favourite comics for a long time. The cinematic scope of the art work and the clever plotting make it a must read. It has also been announced that this series will finish this year so expect the pace to be ramped up. I can’t wait and this issue is a wonderful start to the final leg of the story.
Writer: Jonathan Hickman
Artist: Nick Dragotta
Colours: Frank Martin
Letters: Rus Wooton
Also from Image this week is the second volume of Days of Hate. If you’re read any of my previous posts, you’ll know I’m a massive fan of Days of Hate. I adore the smart storytelling which the creators have used throughout the entire run. If you haven’t read Days of Hate, check it out, buy volume 1 and 2 for the complete story. You will not be disappointed.
Writer: Ales Kot
Artist: Danijel Zezelj
Colours: Jordie Bellaire
Letters: Aditya Bidikar
New from Marvel Comics is The Amazing Nightcrawler, which I was excited about because I’m a fan of the character. Unfortunately, I have no idea what is going on with the Age of X-Man story line that seems to have infected all of the X-Men comics and that’s partially why I didn’t get on with Nightcrawler as well as I’d hoped. Along with that barrier, I had trouble recognising the central character. It didn’t seem like the Nightcrawler I knew. I don’t think that writer Seanan McGuire captured the X-Man’s voice very well, or at least not the one that I enjoy reading about. It’s worth noting that it’s been a few years since I read any X-Men comics so a lot has changed.
There’s also Go-Bots issue 4 but it’s awful. I’m not sure if there is a big Go-Bot following, it’s not as if you hear people talk about Go-Bots with fond memories. I would say that only Tom Scioli fans would like this comic, and then probably not all of them. That makes it a very niche market indeed.
Welcome to a new New Comic Book Day.
There’s a host of comic book goodies waiting for you at your local comic book shop.
This week I’m going to have a quick look at three different comics, each of which I have some strong opinions about. But before that here is a few worthy mentions:
The Avant-Guards from BOOM! Studios. Carly Usdin and Noah Hayes bring you an enjoyable Teen Sports drama in the vain of Fence and SLAM!. It’s a fun and surprisingly clever little comic, thanks in part to the colour work by Rebecca Nalty and the lettering by Ed Dukshire who each help create the emotional atmosphere. My review is here if you want to know more.
There is also the final issue of Low Road West from BOOM! Studios and Oliver, a retelling of Charlies Dicken’s Oliver Twist with a…twist..(sorry) from Image comics.
The best comic I’ve read this week is a reboot of a much loved T.V. classic: Buffy The Vampire Slayer.
Jordie Bellaire (colourist extraordinaire and writing/creator of Redlands) hits the ground running and delivers a wonderful script which shows so much respect for the source material while being an exciting new read.
Dan Mora’s art work is also a perfect fit for this re-imaging. His figure work and rendering of the central characters is outstanding. Sunnydale feels so familiar but at the same time full of new mysteries.
New fan or old, you will love this comic and be glad to be back in the Buffy-verse.
Full review here where I mention everyone involved with the comic.
I tried, I really did. I’ve read all three issues out so far and hoped I would find something in it that I liked. But I just can’t.
Go-Bots from IDW is an awful comic. Trying to accept the flaws as charming didn’t work and by this third issue it’s reached a point where it’s almost unreadable.
The characters lack any individual voice and it’s hard to tell who is talking on some of the pages. Not that it really matters because the dialogue is cringe worthy and tired. The story softly mocks one classic sci-fi movie while out right stealing the plot from another.
As in previous issues the art work is simplistic. Whether you like this style or not is irrelevant because the layout of the panels and pages make it difficult to enjoy the art on any level. The panels are so crammed in that there is no breathing room on any of the pages. It creates an unwanted claustrophobic feeling that has no place in the comic.
It’s difficult to tell what the tone of the comic should be as it swings from the menacing AI threat to daft Exploration of a new world and back again without any smooth flow in the narrative. Some of the Robotic character reveals are laughable but I’m not sure this was the intention.
I’m sure there is a fan base out there for Go-Bots but I think they are being let down by Tom Scioli. This is not a very well-constructed comic as each element fails to help the storytelling process The narrative ends up disappearing beneath ill-conceived layouts, over simplistic art work, faulty lettering and, above all, a script that would make Ed Wood cringe.
Crypt of Shadows from Marvel (Yes, Marvel!) is an old school horror comic reminiscent of EC’s Tales from The Crypt.
Written by Al Ewing, the comic comprises three stories with the central character from the first acting as a narrator for the other two. Framed by the safety of a therapist’s office, the patient tries to explain his fear of dogs by telling two creepy stories each with a horrific ending. Ewing spins a wonderful web of terror and each chapter is eerily drawn by a separate artist: Garry Brown, Stephen Green, and Djibril Morissette-Pham.
The narrative progression throughout this stand-alone story is wonderful. As the story unfolds and all the links click into place the whole proves to be better than the sum of its parts. Like any old school horror there are tense moments, humorous moments, and outright scary moments.
My personal favourite section is the framing story involving the central character in therapy but this is because I love Garry Brown’s art work. He has an expressive style with occasionally heavy handed inking which intensifies the more disturbing panels.
This year has started on a high and I’ve been busy, from a comic point of view. So without a further ado let’s have a quick summary.
Last week saw a number of worthwhile comics hit the shelves. A new Captain Marvel from Marvel was out, written by Kelly Thompson. It was an ‘okay’ start to a series. Not mind blowing and was clearly just a set up for what is to come but it set the tone and direction that Thompson will be going in: namely witty dialogue and fast paced action. (I know, a Marvel title. I thought it was time to dip my toe back into some Big 2 books. How will that work out? Well, just read on)
There was also a new Criminal from Ed Brubaker and Sean Phillips. Published by Image Comics, this new series is going to be a collection of one-shots with a couple of two parters, if I remember correctly from Brubakers newsletter. I love a bit of Brubaker/Phillips and this oversized first issue was a good way to get back into the series. Although I did think it lacked direction and relied to much on knowing previous story lines; which was a shame. But worth the read, and the monthly has all of those extras that the trade won’t have so buy it now so you don’t miss out.
(If you have missed out, don’t worry, they have announced a second printing!)
In other news I had three reviews published over on Monkeys Fighting Robots. Two for comics I enjoyed and one for MURDER FALCON which is an excellent comic. Excellent, I tells thee!!
Follow the links for the reviews of:
Doctor Who: The Thirteenth Doctor #3
Spider King: Frostbite
Murder Falcon #4
This week was a bit more of a mixed bag. I managed to get an early preview of Aliens: Resistance from Dark Horse Comics. Written by Brian Wood and drawn by Robert Carey. It’s atmospheric and a slow build but it is what you would expect from a first issue of an Aliens story. My full review is here.
One result of reading the comic is that I bought myself Alien: Isolation for our X-Box. I’ve so far spent 2 ½ hours wandering down dark corridors picking up scrap. I’m not a gamer so it may take me a while before I see an actual Alien but I shall persevere.
The final part of Days of Hate came out which didn’t end with quite the explosion I was expecting but it definitely had a fitting end for the type of comic it has been. I loved it and it was easily one of my favourite comics from last year. It you didn’t read it I seriously recommend picking up the trade collections. It has some of the best sequential art I have seen in a long time.
There was also Dick Tracy: Dead or Alive #3. See previous posts about my problems with this comic. It hasn’t got any better and any review I would write would probably boil down to ‘massive disappointment’ or ‘actually dreadful’. I regret having read it.
Black Widow #1 was better (see review here) but was not as 'grindhouse' as I was expecting from The Soska Sisters but it has a good set up and 4 more issues to go. Yes, another Marvel title! This is going well isn’t it…
Unfortunately, not. I also read Invaders #1 believing it would be a good way to get back into Marvel. I enjoyed the old series and was always partial to a Namor story. This comic was, however, another disappointment. There is a poignant war story desperate to get out but any credibility is ruined in the opening sequence by out of place, clichéd ‘comic’ sound effects. The lettering stands out so much from the artwork it’s as if it is making a mockery of the narrative. This spoilt the rest of the comic for me. I also (possibly as a result) couldn’t get behind the framing narrative of the comic and ended up not being convinced to re-enter the world of Superheroes. Maybe I shall try again. Maybe not.
As a side note, I picked up Supergirl: Being Super in its collected form and have been greatly impressed by what I’ve read. Mariko Tamaki’s script is brilliant, capturing the essence of a teenage Kara Danvers while the art work by Joelle Jones is superb. The comic has energy and the power to surprise. I was blown away by it.
Aside from the reviews, I have also written another long-ish essay about an aspect comic book layout/design. This one came about because I couldn’t think of any recent examples of an artist using a two-page spread to great effect. This led me to dragging out a whole host of comics from my collection and writing about 3000 words, basically, about how wrong that initial thought was.
If you have some time and fancy a read it’s the post before this one so fairly easy to find.
I have been reading through The System of Comics by Thierry Groensteen and when I reached the section where he talks about the ‘double page spread’ it made me think about the modern American comics I read and the fact that they don’t appear to take advantage of the full, two page vista very often.
I could think of a couple of examples from older comics but could not put my finger on any recent reads which had struck me, except for one which I will get to later.
In light of this I went looking for a reason why this might be the case but what I found is a surprising number of perfect examples of comics using the two adjacent pages as a visual tool to aid the storytelling of the comic.
It is not a technique which is used often, even from issue to issue let alone from page to page, and there are potentially a number of reasons for this. However, it is not a tool that has been forgotten entirely and is still used to great effect.
The concept of the Double Page Spread is simple: when you read a comic and open it up, the very first thing that you see is a two-page spread of panels, each containing an image. Then you focus on the left hand page and finally on to the top left panel where you begin to read. Subconsciously you have already digested the visual layout of both pages and made a mental note of anything out of the ordinary.
A clever creator can manipulate the readers view of the pages before they have even started reading simply by the design and overall aesthetic of the two pages. For example, if each page contained the same number of panels in exactly the same layout but one of the panels on the second page had a distinctly different colouring, the readers eye would be drawn to it before reading either page. On one level the reader would acknowledge the stand out panel, maybe even engage with it, which in turn will influence the way the narrative is taken in.
A perfect example of this is in Daredevil #228 by Frank Miller and David Mazzucchelli. In the story Matt Murdock confronts the Kingpin at the bottom of the seventeenth comic page. As you turn the page you are greeted with two pages of conflict (Fig. 1). The most noticeable panel out of all 14 panels is the final one at the bottom of the right hand page. It is a page wide panel coloured entirely in red. The panel above is similar but with jagged black lines detracting from the pure block of colour. Compared to the rest of the panels, which contain figures fighting and very little else, the last panel is visually striking. Having acknowledged the final panel of the last page the reader knows that a fight sequences is to follow and in conjunction with this blood red imagery on the right hand page, the reader is lead to a certain conclusion about the fight; you instinctively know that it isn’t going to end well for one of the characters. This heightens the suspense of the scene because it is no longer just another superhero fisticuffs, there are going to be serious consequences, there is going to be blood.
These two pages are designed in a way to tease the reader with an ending that in turn enhances the narrative across all the panels. This type of layout design, to create an involuntary response, is similar to the use of dramatic music in a movie. The creator is gently nudging the viewer towards a particular mind set, to expect a certain outcome, and therefore readying them for the scare or violence or whatever is to come.
The same thing can be accomplished on a single page in a comic or even throughout an entire issue but the double page spread is a rarity. One of the reasons for this might be down to the lack of editorial control that the writers and artists have, especially in the Big Two publishers. A superhero comic may get commissioned with a set number of pages but the layout of the final published comic may be out of the control of the creators. Unless a double page spread is submitted which actually contains panels or images that cross the centre of the page, as seen below in Fiona Staples’s beautiful splash page from Saga #6 (Fig. 2), then there is no guarantee that the pages will end up side by side. Mainstream monthly comics tend to have adverts inserted throughout which breaks up the momentum of the page turning narrative, especially if the page transitions are not fluid. Trying to match one page against another is hard enough, and when you factor in reprinted collections or digital reading, the position of the pages often does not remain reflect an artist’s intention.
In DC’s New 52 Supergirl comic which started in 2011, the side by side page layout in the monthlies did not always match the soft cover collections. In most cases this did not affect the narrative but if you look at a particular sequence from issue 4 (Fig. 3) you can see how moving the page can affect the storytelling.
In the initial printing of issue 4, comic pages 7 and 8 sit next to each other as a double page spread. The panels, all the width of the page, depict Kara breaking out of her incarceration and fighting through armed guards to escape. At one point Mr Tycho, the villain of the piece, requests that a particular artefact is kept safe. This page contains an element of mystery and there is a determination in Kara, the purpose of which is yet to be discovered by the reader. Turn the page and the answer to both of these mini-mysteries is revealed as Kara is reunited with her Supergirl costume. As narratives go it is not the biggest, most suspenseful of story elements but it does set a pace for that part of the comic and for a number of pages. It is a sequence that makes the reader question the motivations of the characters and therefore helps with the development of said characters.
In the soft cover collection Supergirl: Last Daughter of Krypton published in 2012, the way the pages fall is slightly different. Pages 8 and 9 are the ones that share the double page spread. When you look at these two pages together at a glance, the first thing that you notice, before starting to read, is Kara in her Supergirl costume. This is because it takes up half a page and the bright colouring is contrasted against the dull browns of the space ship and its crew. As a result, the preceding page is taken in a different light, the reader now knows what Mr Tycho is trying to protect and where Kara is heading.
The overall narrative is not changed but the pacing of the moment has. It could be argued that from a visual perspective, pages 8 and 9 work better side by side because panels 3 and 4 depict Kara flying directly towards the final panel of the right hand page. Her destination is evident and the intended outcome obvious. The three panels are linked by the narrative element and, in the collection at least, by the panels positioning; they work together in the overall page layout. The top half of each page features the villains fighting against Supergirl, whereas the bottom of each pages features Kara’s progression back to Supergirl.
Whichever layout works better, the fact that the short term narrative is altered poses a problem for creators when producing the original work. If the book layouts can potentially alter the narrative and pacing it would surely be in the best interests to limit this, the easiest approach of which would be to concentrate on single page layouts instead of a double page layout.
The relationship between left and right page, and the transition from one to the other, does not have to contain any narrative importance. The link may purely be for emphasis of a moment in time or even just an easy way to get the reader from one panel to the next without breaking the flow of the story. A recent example of this is in The Amazing Spider-Man #1 (legacy numbering 802) published in 2018. Comic Page 10 ends with Spider-Man, cast half in shadow, looking up towards the top panel on the right hand page. He has just crashed a party and received a surprise from the Kingpin which has left him shocked. At this moment Spider-Man is the underdog, caught unawares and unprepared for the situation he has just dropped in on. The upper hand is with the Kingpin who stands tall in the centre of the top panel on page 11. The final panel on the left leads, via Spider-man’s desperate glare, directly up to the Kingpin at the top of the following page (Fig. 4).
Through this page transition the reader is shown both the vulnerability of Spider-Man and the majesty of the Kingpin. It’s an important moment for both characters and the story but it could still easily work with a page turn. You would still move from the bottom of one page with Spider-Man looking up at you to the Kingpin looking down. The emotional impact is still there either way however, in this particular moment, the page transition makes the moment more fluid and is a nice touch to the page layout.
A more exciting use of a page transition can be seen in issue 40 of East of West. Image Comics provides an advantage for its creators, like Jonathan Hickman and Nick Dragotta, over the Big Two publishers because it gives them greater control over their comics. This works in Hickman and Dragotta’s favour because they design each issue of East of West from cover to cover, choosing the layout and content for every page.
The transition from page 14 to page 15 (Fig. 5) is especially interesting because, not only does it lead the reader from one page to another, it breaks the usual conventions of reading an American Comic book page. Page 14 reads like most of the other pages in the comic, starting with a widescreen panel and stepping down in a usual Z-path reading pattern but when you get to the bottom of the page, where the character Death ignites the engine blast, your vision is drawn uncontrollably directly to the right and then up, across the large panel on page 15 to the top of the page where you read the first panel on the page out of the usual order.
Dragotta and Martins image in that large panel is a direct line from the bottom right of the left page to the top right of the right page. The simple, arrow like image forces the reader to buck convention and read the page in reverse. The dialogue at the top of the right page links directly with the dialogue at the top of the left page and the entire double page spread acts like a circle leading the reader from the top of the left page, down and round back to the top. It is an extremely clever piece of art work and also has narrative merit as it portrays the strength of Death’s character. By manipulating the reader physically and subconsciously the creators are expressing Death’s strength of character and influence on the world around him.
A double page spread can be used for a number of different reasons, in a number of different ways. The East of West example above demonstrates that two pages of well-designed layout can speak a lot to a particular character. When used wisely creators can use the two pages to reflect upon and even compare specific characters within their narrative.
In the 1990’s Grant Morrison story Gothic for Legends of the Dark Knight published by DC. The story pitted Batman against a supernatural villain called Mr Whisper. With Klaus Janson on art duties, they use the traditional ‘destroy Gotham’ plot line to highlight Batman’s modern sensibilities by comparing him to a villain stuck in the past. The costumes that the character’s wear are a good example of this comparison as they couldn’t be much more different: one dressed in an outlandishly designed bat outfit and the other looking like a University lecturer from the 1970’s.
In part 2, issue 7 of Legends of the Dark Knight, there are two pages that, next to each other, highlights the differences between the two characters brilliantly (Fig. 6). On pages 22 and 23 the hero and villain are in the middle of a high rise struggle resulting in each of them in turn taking a tumble towards the ground. On page 22 the reader is shown how Batman fights against the fall, struggling to save his life and even sacrificing elements of himself, as represented by his clock, to survive. On the opposite page the reader gets to witness Mr Whisper’s fall and his reaction, which is to do nothing.
The pages are layered out in a similar style with a series of long panels on the first half of the page followed by a single page-wide panel and then two panels in the final row. Each page starts with a character facing the long drop to the street below, followed by their actual decent and ends with a panel illustrating their survival. The character contrast is in the images depicted in each of those panels but the reader is drawn to examine this contrast because of the design and layout of the two opposite pages. Instinctively the reader notices the similarity in page layout from an initial glace at the double page spread and then, when reading the pages, compares what is happening in each sequences.
In the first row you compare the desperation of Batman to the arrogance of Mr Whisper. In the second, single panel, row the comparison is between heroic, Batman, and the maniacal, Mr Whisper. And in the final row, the survival panels show us the resilience and determination of the hero against the flippancy and disregard of the villain.
The colouring of these panels by Steve Buccellato, helps to guide the reader through the comparison process by making each row have a similar colour pattern: lighter colours for the first row, blue wash for the second row and dark shadows for the final row. Together the two pages are designed to be viewed as a single page of work and leads the reader as much as possible to compare the characters.
There are some comics that take the ideas and possibilities of the double page spread and apply them to an entire issue, the most notable example of this is Watchmen by Alan Moore and Dave Gibbons where in issue 5, Fearful Symmetry, the design work, layout and narrative all revolve around the central two pages making for a lot of flipping backwards and forwards through the comic.
Another wonderful example is Days of Hate issue 5 from Image Comics. In this issue each page is broken down into three rows, each with a single page-wide panel. Each row features one character’s story so that over a page the reader is passed from one location to another. The design of the comic means that you could, in theory, read only one of the rows throughout the entire comic without taking into account the other rows and their story lines. Each row can be taken in in isolation so on each double page spread you have two panels from each story reading across the page (Fig. 7).
But just like the Watchmen example, the narrative structure of the entire issue all links together and the misdirection of the creators in the way they layer the rows leads the reader to believe that each of the stories is happening at the same time. You could reorganise the panels so that each page features just one character’s story, or even split the comic into three sections telling one story after the other but you would lose the narrative punch. The drama of the story and the brilliance of the structure would be lost by re-editing it. The entire narrative structure relies on the layout of each page and the interpretation the creators force upon the reader.
On each double page spread in issue 5 of Days of Hate, the readers absorb each panel individually, then each row across the page and then the entire two-page spread all as one narrative, not as separate stories told on the same page.
There are many ways to deal with a double page spread within a comic. A brief overlook of the current American Comics published each month may suggest that the creators are moving away from utilising the potential the layout has to offer but if you look closely it is surprising how many different ways that the pages are being used. For simple aesthetics, to character development, or narrative structure, the writers and artists embrace the possibilities afforded to them by two pages of canvass that all readers initially take in as a single whole before starting to read.
Some of the more modern developments in comic book reading, such as trade collections and digital downloads, may have impacted some of the work being produced but it appears that enough creators working for the monthly market concentrate on the single issue layout of the physical product which gives the reader some beautiful double page spreads.
Index of comics
Published on August 2012 by Image Comics
Writer: Brian K Vaughan
Artist: Fiona Staples
Published on March 1986 by Marvel Comics
Writer/Artist: Frank Miller and David Mazzzucchelli
Published on February 2012 by DC Comics
Writers: Michael Green/Mike Johnson
Artist Mahmud Asrar
Supergirl Vol1: Last Daughter of Krypton
Published in 2012 by DC Comics
For creators see above
The Amazing Spider-Man #1
Published on September 2018 by Marvel Comics
Writer Nick Spencer
Pencils: Ryan Ottley
Batman: Legends of the Dark Knight #7
Published on May 1990 by DC Comics
Writer: Grant Morrison
Artist: Klaus Janson
Days of Hate #5
Published on May 2018 by Image comics
Writer: Ales Kot
Artist: Danijel Zezelj
Colour: Jordie Bellaire
Letters: Aditya Bidikar
East of West #40
Published on November 2018 by Image Comics
Writer: Jonathan Hickman
Artist Nick Dragotte
Colours: Frank Martin
Letters: Rus Wooton
It’s been a bit of a quiet this week. Apart from the whole it being CHRISTMAS thing.
There have been a few comics out, Bone Parish from Boom Studios!, Man Eaters from Image Comics and a new Superior Spider-Man from Marvel.
But I have only read one new comic this week; Go-Bots #2 published by IDW Publishing and written, drawn, coloured, lettered by Tom Scioli.
For a full review of Go-Bots pop over to Monkeys Fighting Robots where I give an over view of what works and what doesn’t (plug, plug!). In my opinion, there is a lot that doesn’t work. I was fairly restrained in my review because that’s my job; it’s not about ranting and spewing forth hatred, like some ‘reviewers’ I could mention (but don’t wish to filthy my blog with). A review should let the potential readers know what to expect and, to some degree, whether it works or not.
Go-Bots has some wonderful moments, Scioli loves to play with his packed layouts and occasionally uses the constraints of the comic book medium to his advantage.
Unfortunately, I believe that his dense pages and over scripted narrative hampers the storytelling and diminishes the characters to such a point that we, as readers, know nothing about them. There is a deliberate two dimensionality to the art work that is also, unfortunately, reflected in the characters.
Plus, the massive text filled speech balloons drown the panels and almost obliterate the images entirely. Take, for example, the following page:
The top half of the page is packed with speech, most of which is exposition outlining two plot points; the difference between the two fractions of Go-Bots and the destination that the characters will be heading. That is a lot of text to establish only two worthwhile narrative points. The speech doesn’t tell us anything about the characters because it’s all so matter of fact, so monotone; there is no distinctive character voices. What the speech does do successfully is take over the panels. The cast’s faces are squashed to the bottom of the panels and any establishing shot of their location is totally lost. In panel 12 the view point switches and gives you the impression that they are stood up high. This impression is shattered four panels later when the chase sequence starts and the police cars/Go-Bots are suddenly on the same level as A.J. and Hunter.
If you take away the text you can see just how much of the page the speech takes up. Some of the panels on the first two rows are virtually empty.
Now, I understand that in some circumstances there is a need for a lot of exposition to move a story forward however the way that it is incorporated into a page layout can make the difference between a well-paced, engaging story and a text heavy chore.
To compare, look at this page from Tales from the Crypt #33, a story called Lower Berth.
As was the tradition with Tales from the Crypt stories, they were often text heavy with a continuous narrator explaining what was happening from panel to panel. This resulted in caption boxes on most panels along with additional character speech. In this example the caption boxes are mostly large, panel long boxes with several sentences per panel.
If you take away the lettering you are left with some obvious spaces, but unlike the Go-Bots example above, the panels are still rich with information and excitement. Even without the text you have establishing backgrounds and character moments. You can still follow the story from panel to panel and learn something about the characters and narrative. The top half of the Go-Bots example is devoid of narrative or substance without the speech.
If you compare the two pages’ side by side, with and without the lettering you can easily see the difference; one of these pages is a success at storytelling, the other is not.
If you are that kind of person who would like to compare the actual word count per row; Go-Bots has 68 words in the first row, 74 in the second and 31 in the third. It then has two rows with virtually no speech. Tales from the Crypt only has three rows but manages to cram in 97 words in row one, 79 in row two and 48 in row three. Over all Go-Bots has 175 words on the page, Tales from the Crypt has 224.
The point I’m making is that there is nothing wrong with heavy text pages as long as the text serves the narrative and works with art work to move the story on. The main problem with Go-Bots is that it suffocates the images within the panels and reduces the environments so that they are almost none existent.
Go-Bots #2 has some highlights and if you remember owning the Go-Bot toys back in the 80’s than by all means pick up a copy of this, you may enjoy it. However, I found the storytelling to be lacking and the absence of any real characters made this a comic I could easily pass on.
It’s less than a week to Christmas so is there anything out today that might work as a last minute present for the comic lover in your life?
The answer is yes.
After last week’s review of The Simian Age from Boom Studios! I thought that would be it for Planet of the Apes merchandise for this year but I was wrong. Very, very wrong.
Boom have today pushed out Planet of the Apes Omnibus (soft cover) which collects all of Daryl Gregory and Carlos Magno’s run on the comic. This is a mammoth tomb with one of the best Ape related stories ever. The creativity and storytelling is of a high standard from the opening page to the last. Other runs have started well, wavered in the middle and ended well (or some variation of that) but Gregory and Magno maintain top quality work throughout.
I could go on, and on, about this but I think I’ve already covered much of it elsewhere. In fact, I reviewed the first arc of the story earlier this year on this website. So, with that in mind, I will simply say that this is an amazing run of comics, beautifully collected together with a number of interesting prologues and epilogues. You can tell from this collection that everyone who worked on it loved what they were doing, and love Planet of the Apes.
If you also love Planet of the Apes, or just good storytelling, this is a book worth adding to your collection.
Another collection from Boom Studios! out today is Lazaretto, written by Clay McLeod Chapman and drawn by Jey Levang.
This is another comic series that I have written a lot about in the past, especially when the original monthlies were coming out. Just scroll to the first few entries on this site and you’ll find a lot of my thoughts on the series.
In short: it’s a grotesque, hard hitting, horror story which gets under your skin, makes it crawl and finally makes you rip at it to remove it from your body. The story is compelling and the artwork is sublime. Together, the creators play with the comic book format, making the gutters as much a part of the story telling as the narrative and they challenge the reader to think about, not only what they are reading, but also how they read.
I can’t praise this comic enough and would recommend it to everyone, whether you are a fan of horror stories, social dramas, or just comics in general.
As for monthlies: there are the usual mass of comics on the shelf. A few of note (that I have read) are Firefly #2 from Boom Studios! and Days of Hate #11 from Image Comics. I have also really enjoyed the finale of Cold Spots from Image Comics but for what I thought about that you’ll have to pop over to Monkeys Fighting Robots for my full review.
Oh yeah, Monkeys Fighting Robots will be a new home for my reviews for the coming year (possibly years) so you’ll have to get used to me posting links to them. Please go over and have a look at what the team are doing, there are some great comic book insights and reviews being posted daily. I’m looking forward to becoming part of the MFR family and spreading my comic book love to a whole new audience.
It’s nearly the end of the year which means I’ll have to stop going on about the 50th Anniversary of Planet of the Apes. Although it is only a year until the 50th anniversary of Beneath the Planet of the Apes…
But, before then, there is still time to get some new Apes stories in and that is exactly what Boom! Studios are doing this week with the release of The Simian Age: three new stories set across the franchise, taking in the original universe and the new movie continuity.
Similar to The Time of Man one shot released last month, The Simian Age has three very different stories which highlight the diversity and story potential for Planet of the Apes. Across both issues, the creators have told 6 wildly different stories but they all are quintessentially Ape stories.
In this week’s offering there is Apex, a tale of a gorilla in military training written by Matt Kindt and illustrated by Matt Smith. The story starts off in a very straight forward manner, presenting the training regime for a Gorilla new to the military. But as the story unfolds, the central character Apex begins to learn what it means to be a mindless follower of the status quo and he has a few issues.
The story illustrates the horrors of combat through the eyes of a young Ape and Kindt builds a series of events which leads the reader, and Apex, into a situation where a choice needs to be made. The script pulls no punches and doesn’t hide from the brutality of sanctioned violence. The actions of the military are questionable which leads Apex into his predicament.
The Art work is as bold as the story with Smith using thick, fluid black lines and heavy shadows. The colour choices by Joana Lafuente are also striking with some less than subtle panels.
Apex may feel heavy handed to some readers but it draws on the political nature of previous Ape outings and the creators aren’t afraid to stand up for what they believe in.
Cloud and Rain is weakest of the three stories but that’s not to say it isn’t enjoyable or entertaining. Written by Ryan Ferrier and illustrated by Lalit Kumar Sharma, Cloud and Rain follows the tragic adventures of two Apes caught between their fear of Koba and their love of Caesar. As political as the story that precedes it in this comic, Ferrier examines the impact that 'Fear' has upon the average ‘persons’ decision making. He delves into uncomfortable truths and shows the reader how easy it is to manipulate people and turn friend against friend.
Sharma gives the titular characters an innocence, representing them as children in the face of the elder Apes like Maurice and Koba. This approach works well at reminding the reader about the divide between the leaders and the civilians. Sharma also uses the layouts of the page to great effect when telling the story. He mixes up the panel layouts, unafraid to use inserts or allow the gutters to be broken for emphasis. A number of panels have pure white backgrounds which stand out on the page and focus the reader’s attention onto the Ape’s interactions.
There are some strong moments of tension within Cloud and Rain with a number of thought provocative panels. It may be the weakest of the three but that does not mean that it is a weak story.
The best that The Simian Age has to offer is in fact the first story in the collection. Mothers of Exiles is a beautifully moving tale of a Chimpanzee in hiding. Jeff Jensen has written an emotional tale of heartbreak and loneliness that will touch even the hardest of gorilla hearts. It follows the daily routine of Amy, a Chimp who is self-exiled and living in the remains of the Statue of Liberty.
Set a short while after the end of the original movie (reference is made to Taylor so the readers can place the action) and unexpected arrival changes Amy’s life in a way that she hadn’t expected.
The Art work is beautiful. Jared Cullum’s watercolours are a superb fit to Jensen’s narrative and produce an atmosphere rarely found in an Ape comic. It is very insular tale of a single Chimps personal experiences. There are moments of warmth; touching scenes that illustrate the kindness of the chimpanzee’s and are a reminder of the affections shown by Cornelius and Zira in the original movie.
Like the other two offerings in The Simian Age, Mothers of Exiles is about over coming fear and risking personal safety to do what is right. The narrative, however, has a much subtler tone which makes the Hope embedded in the story more transparent and heart-warming. It is a gripping story, expertly written and beautifully illustrated.
Planet of the Apes: The Simian Age is yet another worthy additional to the ever expanding Apes franchise. A collection of three, very different yet very similar themed stories each with its own appeal and relevance. Whether you are a fan of the old movies or the new, The Simian Age has something for you.
It’s been a bit of a Hit and Miss sort of week. A little bit like the Netflix series The Haunting of Hill House which started off really well and then became less inspired and less watchable as the series went on.
However, let’s start off on a positive note: Cold Spots #4
Cold Spots is an awesome horror comic created by Cullen Bunn and Mark Torres for Image Comics. Like the aforementioned The Haunting of Hill House, Cold Spots achieves a creepy atmosphere and gripping story by slowly building up tension and hinting at the supernatural, rather than throwing it wildly at the reader. Even in issue 4, where the story has started to pick up pace and the demons/ghost are coming out to play, the horror is still understated allowing the situation to cause feeling of nervousness and fear.
I have written a fuller review for comiconverse.com and it is my 100th review for that website. A great comic to mark that mile stone.
Another great comic out this week is issue 10 of Days of Hate. I’m pretty sure I don’t need to remind anyone about how much I am loving this comic, just check out previous posts (or even my extended essay) to see how much I appreciate this work of Art.
This issue is building to the series conclusion and has a conclusion that you don’t want to miss. It’s heart stopping, jaw dropping tension, beautifully rendered by Danijel Zezelj and Jordie Bellaire. The ominous grey/blue tones coating the first half of the comic create an atmosphere of detachment and coldness that surrounds the characters but Bellaire slowly introduces a red wash, in small amounts at first, which eventually over shadows everything, just as story takes a turn.
Combined with the heavy black inks of Zezelj’s, this entire issue is given a heavy, world carrying feel which subconsciously prepares the reader for the worst. After 9 issues of building the characters this issue is a gut punch as your sympathies towards certain characters are challenged.
One of Ales Kot’s main achievements with this comic is that he is able to misdirect the reader so completely and challenge your conceptions of situations and people. You never feel completely comfortable with anything that is going on in Days of Hate because there is a constant element of mistrust running through the comic. This is based on the groundwork laid out early on and is part and parcel of the dystopian tale that Kot is telling. It is a reflection of the current political turmoil in America, the UK, and all over the world. Finding the truth is difficult. Knowing who to trust and who to rely on is difficult. Kot illustrates this in Days of Hate perfectly.
Published by Image Comics, issue 10 is out this week.
Unfortunately, Dick Tracy Dead or Alive has not improved much from issue 1. The second issue has all of the same problems that the first does and still feels like a pale imitation of Chester Gould’s icon Detective.
Elements of the story strike an uncanny resemblance to the Disney Movie of 1990 but doesn’t have the larger than life cinematography that made the film so enjoyable. However, this is not a gritty retelling either. I’m not sure that Lee and Michael Allred are entirely clear what kind of comic they want this to be, which is a shame because a new and exciting Dick Tray could really boost the character’s profile.
The characters are all one dimensional and the art work fails to impress. All of the ‘nods’ to the classic strips are forced into the narrative with no real explanation. Maybe for a different type of Detective tale the aesthetic may work but for such a strong character like Dick Tracy, there is an expectation of what the story should be and how it should be presented. There is a high bar for any new story and Dead or Alive just isn’t reaching high enough.
The one positive to take from issue 2 is that it is slightly better than issue 1.
Dick Tracy Dead or Alive #2 is written by Lee and Michael Allred, art by Rich Tommaso and Michael Allred, colour by Laura Allred.
Another title that was a little underwhelming this week was the new title Go-Bots from IDW Publishing. I was curious about this title as I have dim memories of having some of the toys way back when. In fact, I had Leader 1 who is one of the central characters in this story.
However, my memories of the toys are that they were a bit rubbish, a poor imitation of the Transformers toys which I loved. The same can be said of this comic. After years of being invested in the Transformers comics, it was Simon Furman’s work on the UK Transformers comic that really got me hooked on comics in the 80s, coming across this comic is a bit of a let-down. It I very underwhelming and doesn’t have any striking features.
The design and the art of the comic by Tom Scioli is definitely interesting as he has made the entire product look and feel like a comic from the early 80’s; especially with the colour tones and panel crowded pages. There is a naivety that is quite charming but this is experience is soon lost in the baffling story telling. The fluctuating art style creates an uneven read which leaves the reader wondering if they are reading a daily newspaper strip or a Marvel-esq superhero comic.
In the end, it is the lack of intriguing characters that makes this a difficult read. It’s like scratching the surface of something only to find more surface underneath.
Go-Bots #1 is written/drawn and lettered by Tom Scioli and published by IDW Publishing.
To remove the disappointment of Dick Tracy and Go-Bots, I would recommend Low Road West #3 published by Image comics, Smooth Criminals #1 published by Boom! Studios and Night Moves #1 published by IDW Publishing. All good reads.
This week a living Legend died.
Everyone knew who Stan Lee was. Everyone! To some he was the creator of Marvel’s greatest comics; one of the most inspirational writers to work in the medium; friend; work colleague; and all round nice guy. To others he was just the old guy in every Marvel Movie.
To most he was more than one of those, and to a select few he was all of those.
I have been reading comics written by Stan Lee for most of my life and, even though I no longer read Marvel comics or even Superheroes comics as a general rule, most of the comics I read today owe a small part of their existence to the power house that was Stan Lee. The out pouring of memories and tributes on social media like Twitter and Facebook just emphasise his status in the world, not just the comic book world.
He will be missed by so many people and remembered by even more. No-one would dispute that he leaves a massive and impressive legacy behind and that he will forever remain a Legend.
Our current family goal in the Lego Marvel Superheroes game is to rescue all 50 Stan Lee’s throughout the game. We seem to have missed so many on the first play through. Even my children, who have yet to reach double figures, know who Stan Lee is.
When I told my son that Stan Lee had passed away, he looked up at me with sadness in his eyes and said,
I guess I still have some work to do there….
This week’s comics have aliens, voodoo, heavy metal and the whole entire ‘Verse.
My first pick of the new releases is the new entry into Joss Whedon’s Firefly universe.
Written by Greg Pak, illustrated by Dan McDaid, coloured by Marvelo Costa and lettered by Jim Campbell. Published by Boom! Studios.
The story see’s the crew of the Serenity limping through space until they are forced by an old War Ship to run and hide on a nearby moon. Desperate for repairs, and a growing need to get out of the local air space, Mal and Co search for a job to earn a penny or two.
The story has a wonderfully engaging opening which not only facilitates the story but re-introduces the characters just in case the reader has forgotten who is who. This opening also helps to set this series in relation to other stories, emphasising the time period of the piece.
Pak’s script is punchy, packed with humour. Each of the characters feels familiar and they each have their own voice, a voice that long time readers will now be used to.
I personally love Dan McDaid’s work, he has a vibrancy and energy that he injects into his work. The action sequences jump from the page and there is always a sense of danger hanging over the characters. Costa’s colour work is also superb in this first issue, contrasting the coldness of space and the threat of burning while the crew are stuck in the middle, coated in their colour faded clothes.
Firefly #1 is an enjoyable action comic with all of the idiosyncrasies that you have come to expect from a story set in the ‘Verse.
Cemetery Beach issue 3 hits the shelves this week. It has yet to reach the same level of admiration that I have for Trees but Warren Ellis and Jason Howard know how to produce a good comic. This is pretty much a chase movie on an alien world populated with unlikable characters and mutated beasties. The central characters cut a swath through a dystopian world as they head for their own personal salvations.
The script is succinct allowing the images to tell much of the story and when you have Jason Howard on art duties, this is exactly what you want. Howard's work boarders on the impressionistic at times with the colour work carrying a lot of the emotion. Some of the panels are made even more shocking thanks to the bright white centres and orange tinges which act like a sudden flash of light in the darkness.
The design work is also worth a mention. Not only are the city backgrounds beautifully rendered on each page and panel but the design of the Outerfamily is sublime and grotesque. These are real creatures of nightmare and worth the cover price itself.
Cemetery Beach #3 is out now, published by Image Comics, lettering by Fonografiks.
Other worthy mentions for today are Jook Joint #2 from Image comics. It’s not an enjoyable read in the same was as Firefly because of the subject matter. A Voodoo revenge story with a heart that beats 'Empowerment'. If it’s on the shelf pick it up, the writing and art are excellent and the story is definitely gripping.
I have Infinite Dark #2 to read. The first issue was a slow, space horror, similar in feel I thought to Steve Niles' Delta 13. Published by Top Cow and has the look of many of their titles, based on the first issue I am looking forward to the second, which is out now.
Finally, Murder Falcon #2. I love this comic. It is ridiculous, outrageous and does not take itself too seriously but despite all of that there are some especially moving moments within these 20 odd pages. My full review is over on Comiconverse.com here, check it out and definitely check out the comic itself. It’s very metal in all of the right ways.
Life long comic book reader, collector, and reviewer.