Wednesday, August 13, 2014

Chicanos Vol. 2

Written by Carlos Trillo
Art by Eduardo Risso

Carlos Trillo and Eduardo Risso had a long and prosperous partnership together, creating some very interesting comics like Vampire Boy and Borderline, but their Chicanos is probably one of the stranger and more memorable projects they worked on.

Chicanos tells the story of Alejandrina Jalisco, a short and awkward private investigator who can barely rub two dimes together, who lives and works in a poor Latino area of New York.  She is cursed with terrible luck - she has a tendency to get hit by buses whenever things start to go her way, which isn't often - and is generally mistreated by almost everybody she knows, yet she maintains a level of optimism and goodwill about her.

This second IDW volume collects the second half of Jalisco's stories, I believe for the first time in English.  The collection is interesting - the stories stay pretty bleak but are humorous at the same time - and Risso's art looks very nice, in the way that his work always does.  I wish IDW had done a little more to separate the various chapters, as it's not always clear where one story ends and the next begins (plus, I'm sure there are some beautiful Risso covers that weren't collected).

If you're looking for an oddball graphic novel to entertain you, you could do a lot worse than this.

Sunday, August 10, 2014


Written by Mark Long (from an idea and story by Christopher McQuarrie and Dan Capel)
Art by Mario Stilla

I love a good war comic, and am always a sucker for a nicely-designed book, so picking up Rubicon, from Archaia's Black Label imprint, seemed like an easy decision.

This story, conceptualized by screenwriter, written up by a former SEAL, and then finally written for comics by a novelist and video game designer, modernizes the concept behind Akira Kurosawa's Seven Samurai, and sets it in Afghanistan.

We are introduced to Hector Carver, a fire team leader, who gets word that one of his close friends was killed in a suicide bombing within a forward operating base in the Panjshir Valley.  His team is on its way (although I'm not entirely sure why - it's not like the military would send special forces in after such an event), despite the fact that this puts Carver in hot water with his ex-wife, and his current girlfriend.

We learn that the bombing was carried out by a resident of a local village of opium farmers, who are opposed to the Taliban.  This guy was forced into doing this because his family was being held captive.  When Carver's team find the guy who made the bomb, they drop him off in the village so that the bomber's father can have his revenge.  The village decides to let the guy go so as to not anger the Taliban, who decided to come back and steal all the opium anyway.

The soldiers decide to dig into the village and protect it, even though that leads to some difficulties with the locals.  Carver's team is supported by two FOBbits, one of whom feels a serious need to prove himself in the eyes of the more experienced operators.  Much violence and bloodshed ensues.

This is a pretty standard story, and one that reminded me of a lot of fiction from the Vietnam War.  The base is surrounded, everyone depends on one another, as they slowly get picked away by an overwhelming number of enemies.  In that sense, the story works well, but there are some things that I felt weren't very clear.  I was not sure what the relationship between the village and the base was, and why there wouldn't be more support during the big fight.  I also was never clear on why Carver's team was there in the first place.  Perhaps this story needed a little more workshopping to make it smoother.

Mario Stilla's art was very nice.  He is an Italian artist, and so things look pretty European, in terms of layout and design.  I especially liked the establishing shots that really captured the look and feel of a remote Afghan village.  He also handles the action very well.

One thing I really liked about this book was the envelope at the back, which contained a variety of documents, such as a letter home, a Purple Heart certificate, and some military papers like maps and reports.  I've always been a sucker for that kind of thing, and it helps add a level of veracity to the whole affair.

Thursday, August 7, 2014

Star Wars Omnibus: A Long Time Ago... Vol. 4

Written by David Michelinie, Jo Duffy,  Bob Layton, Archie Goodwin, Linda Grant, and Roy Richardson
Art by Gene Day, Tom Palmer, Kerry Gammill, Ron Frenz, Luke McDonnell, Bob Layton, Klaus Janson, Al Williamson, Carlos Garzon, Tom Mandrake, Bob McLeod, and David Mazzucchelli

The first comic I ever bought was Marvel's Star Wars #30, and with all of the hype surrounding the upcoming new movies, and the shifting of the license away from Dark Horse and towards Marvel, I've found myself occasionally wondering about those old licensed books, which I remember as being not all that good.  I was at a very good used bookstore the other week, which also carries a lot of remaindered graphic novels, and saw Volume 4 of Dark Horse's Star Wars Omnibus: A Long Time Ago..., their nice thick collections of the old Marvel stuff.  The price was great, so I thought I'd pick this up (mostly because I'm a sucker for Bobba Fett, and the cover made it seem like he was going to be prominent in the volume).

This book contains issues 68 through 85 of the regular Marvel series, an Annual (#3), and the four-part adaptation of Return of the Jedi (by Archie Goodwin and Al Williamson, no less).

Most of the regular comics were written by Jo Duffy (whatever happened to her) and drawn by Ron Frenz, with very strong inks by the wonderful Tom Palmer.  There are a fair number of fill-in issues, some by writers I've never heard of, and a few real surprises in terms of artist choices, like Klaus Janson, and a very early David Mazzucchelli.

The stories varied a lot in quality.  This series was famously hampered by a lack of foreknowledge of what was going to happen in the next film, leaving the writers to find ways of crafting interesting stories that don't really develop the characters at all, and that don't contain information that's likely to be contradicted in the next movie.  For that reason, there is a lot of Chewbacca and Lando looking for the frozen Han Solo, without ever going directly to Jabba the Hutt.  After the events of Return, with Vader and the Emperor dead, the stories shift to Han's misadventures in reclaiming lost money, and having the characters travel around looking for planets to start working with the Alliance.

The focus is largely on the swashbuckling, as bounty hunters are chased, and lost Rebel pilots are hunted for.  There are some very unfortunate characters, such as Plif of the Hoojibs, a cutesy creature race that predates the Ewoks.  There are also some very good comics in here, such as the annual, which has two young boys decide which side of the galactic conflict they are on.

It was a bit of a trip to read these stories, despite the fact that I only ever owned one of them (having moved on from Star Wars comics to almost everything else Marvel published at this time).  There is a sense of naivety to these comics that matches the first Star Wars film, but considering the time period, I'm willing to forgive it.  Now, if Jason Aaron and John Cassaday's upcoming series reads like this...

Tuesday, August 5, 2014

Scene of the Crime #1-4

Written by Ed Brubaker
Art by Michael Lark

Some times I look back on some of the mini-series I've missed over the years, and I've had to wonder what I was thinking passing some things over for other things.  The first issue of Scene of the Crime is cover-dated May 1999, so I would have been in my last year of university, working on my second degree.  Money was tight, but my time was even tighter in those days, so I can understand how I may not have picked up this gem, but when I look at the checklist in the back, and realize that I was buying Peter Milligan's The Minx instead, I have to wonder (although, strangely, that was drawn by Sean Phillips, so maybe I should have read both of these books together).

Anyway, Scene of the Crime has recently been re-released in a nice new hardcover edition, but I came across a complete set of the comics, and decided I'd rather read that.

This series came very early in writer Ed Brubaker's career, and from what I can tell was his first mini-series (most of his earlier work appeared in anthologies like Dark Horse Presents).  Artist Michael Lark had been around for a while, but hadn't really made much of a name for himself (although I have fond memories of his issues of Shade the Changing Man).  It was still kind of new for Vertigo to tell a straight-up noir story, without any fantastical elements at play.

The story is about Jack Herriman, a private investigator who is a lot younger than the usual archetype character we find in stories like this.  Herriman lives with his aging uncle, who is a famous crime photographers (who'd once punched out Weegee in an argument), and they sometimes collaborate on his cases.  When Jack was young, his police officer father was killed in a bomb blast that was meant to take out another cop, Paul Raymond, who has spent his life looking out for Jack.  When the series opens, Paul has sent a new client to Jack.

The young woman is looking for her sister, who has gone missing.  It doesn't take Jack long to track her down, after discovering that she'd spent some time around a commune-like group (the story is set in San Francisco) that also makes their money growing weed.  Jack and the missing sister have a nice conversation, and Jack leaves her, having completed his task.  The next day, he discovers that the girl was murdered, and his sense of justice demands that he investigates further.

The story works very well, as Jack and a couple of his friends and accomplices investigate the hippy organization that the girl had briefly lived with, and find connections between it and another group whose commune had been destroyed in flames years before.  Brubaker tells these types of stories very well, building up the characters into familiar types, (I was, at times, reminded of the 70s arcs of Fatale) but still keeping the story feeling fresh and interesting.

Lark is a very good artistic choice for this kind of story.  His approach to realism is never flashy or attention-seeking, and he furthers the story quite well.  He has a very good sense of personal drama about his characters.

This was a solid read that, with the exception of the rarity of modern personal electronics, has aged very well.  That hardcover is worth getting a copy of.

Monday, August 4, 2014

Shogum of the Dead Book 1: Twilight of the Samurai

by Daniel L. Werneck

This book was the last of my TCAF impulse buys that I hadn't read yet.  Cartoonist Daniel L. Werneck took popular the current trend for zombie stories, twisted the usual tropes of the genre a little, and set his tale in feudal Japan for Shogum of the Dead.

At the beginning, Lord Tachikawa has travelled to meet with Izanami, a supernatural creature from the underworld.  She promises him that none of his clan would stay dead for as long as Tachikawa's war with Yasutomo, his enemy, continues.  When one of his soldiers is struck down, he rises later, not bothered by his injuries, and ready to continue the fight.  As their death continues, these soldiers develop a bit of a smell, and a desire for human brains, but they retain their personality and intelligence.

The story is pretty sprawling, encompassing intrigue within Tachikawa's house, the travails of an AWOL soldier, and the adventures of the Dirty Seven, a group of dead killers who are sent to kill Yasutomo's son, but figure the best way to do that is to wait for him at a brothel for weeks.

Werneck takes a pretty irreverent approach to his story, and that makes this book fun to read.  His art is a little on the rough side, but it works with this type of story.  There's plenty that could be expanded upon in this story, but I feel like he does a good job of telling a complete tale.

Friday, August 1, 2014


Written by Biran Buccellato
Art by Noel Tuazon

I was pretty excited to finally be able to sink my teeth into the completed Foster.  I'd picked up the first two issues a couple of years ago at TCAF from artist Noel Tuazon, and really enjoyed the beginning of the book.  Like many self-published titles though, it kind of disappeared, except for prohibitively expensive 'convention editions' or digital editions available online.  Now the whole six issues have been collected into one trade paperback by OSSM Comics, a pretty new company, and I could finally read the whole story.

Foster is set in Vintage City, which is Buccellato's amalgam of New York, Chicago, San Francisco, and LA (although it mostly resembles New York), in their dirty seventies and eighties incarnations.  The city is run down, as are the people living in it.  Eddie Foster is one of the most run-down people around.  An alcoholic and a war vet, Foster is haunted by the choices he's made in his life, and mostly spends his time drinking in a crummy apartment, next door to a junkie prostitute he used to date.

One day, he comes home and finds that his neighbour has taken off, and has left her son, Ben, with no one to look after him.  Foster takes him home with him, and gets him to school the next day, assuming that his responsibilities are complete.  When he gets home, a gigantic man-like creature, a Dweller, shows up looking for the boy.  The Dwellers are evolutionary offshots (or maybe forebears) of humanity, who live in secret, preying on the edges of civilization.  Lots of people are aware of them, but nobody talks about them, and in their dark trenchcoats, they blend in with the urban decay around them.

As it turns out, Ben is the only hybrid born of a human woman and a Dweller (I'm not sure how they reproduce, because they all look like men to me in this book).  Foster does everything he can to keep the kid safe, as the King of the Dwellers wants his son back, and the other Dwellers just want to kill him.

Buccellato really builds the story nicely, and has a good feel for that era.  Tuazon's rough pencils are perfect for portraying this kind of world, as everything feels like it has a layer of grit on it.  This graphic novel is nicely self-contained, and would work very well as a film.  I am very glad I finally got to read the whole story, and recommend checking it out.  It's a good chunk of story for only $12.99.

Friday, July 25, 2014


by Bryan Lee O'Malley (with assistance by Jason Fischer)

One of the most highly anticipated new graphic novels of the last few years, Bryan Lee O'Malley's Seconds, has finally arrived, four years after he finished his classic Scott Pilgrim series.  As with many writers, recording artists, or directors who have a giant hit on their hands, I'm sure O'Malley felt a lot of pressure to satisfy his fans and meet or exceed expectations.

Seconds is definitely an interesting book, and while reading it, I was most curious to see how much O'Malley switched up his approach to story-telling.

The book is about Katie, a successful chef who, at twenty-nine, is beginning to worry about where she is in life, in terms of controlling her own career, finding love, and living a life that really gives her what she wants.  She's reached a certain degree of fame in her city for her cooking at Seconds, a lovely restaurant situated on a hill overlooking the town, with exposed rafters and a warm fireplace.  She lives above the restaurant in an attic apartment, but she does not own the business, and at the point where the book opens, doesn't even actually work there anymore, despite the fact that she spends most of her nights in the dining room or in the kitchen.

Instead, Katie has taken a big gamble, and has, with a very positive business partner, purchased a run-down building on the wrong side of a river that runs through her town, which she is slowly having renovated so she can open Katie's, her own place where she does things her way.

You would think that she'd be happy, but Katie is a lonely wreck.  The appearance of Max, her ex, at the restaurant one night sends her into a spin, and she ends up making out with Andrew, her replacement chef, in the walk-in.  While they are off doing their thing, Hazel, a waifish young waitress, gets injured in the kitchen, and Katie feels terribly responsible.

Later that night, Katie has a strange dream where a spectral young woman comes to her and gives her a box that contains a notebook and a strange red-capped mushroom.  There is an instruction card the explains that if Katie writes down what she regrets, then eats the mushroom and goes to sleep, things will be better in the morning.  The next day, Hazel is not injured, and Andrew has no memory of anything special happening between he and Katie.  Basically, the day had been re-written, and only Katie had any memory of what had happened.

From there, Katie discovers a stash of these special mushrooms growing under a floorboard, and goes on a bit of a spree, rewriting days to try to fit with how she wishes they'd gone, and eventually graduating to using the mushrooms to revive her relationship with Max, and to correct errors she made in choosing the site of her new restaurant.  As the story unfolds, Katie begins to regret fixing her regrets more than she does the original mistakes.

O'Malley plays with the concept of 'house spirits' here, and as Hazel and Katie become closer, they work out just who the woman that Katie keeps seeing on her dresser really is.  These aspects of the story reminded me of Latin American magical realism, as concepts like house spirits and magic mushrooms are just a readily-accepted part of O'Malley's otherwise very normal comic book world.  I'd say that the conceit works very well, although as the book reached its climax, which involves a second house spirit, I found myself wanting to get back to the more everyday aspects of the story.

I think that this book is a worthy successor to Scott Pilgrim.  Katie is older than Scott's crew, although to be honest, reading about the midlife-like crisis of somebody who is not yet thirty is kind of irritating for someone who crossed that divide a ways back.  The waitresses, who are invariably pretty and are identified by their proximity to being twenty-one, could probably have hung out with Scott, but with the exception of Hazel, they aren't all that important to the book.

O'Malley's style of cartooning has not changed very much, although the colours of Nathan Fairbairn do add a necessary dimension that makes the book feel more mature than the Pilgrim books.  While embracing magical realism, and still using some classic manga tropes (like the teardrops that appear on the side or back of characters' heads when they feel stressed), O'Malley has abandoned the video game in-jokes that filled the visuals of Scott Pilgrim, again making this feel like a much more mature piece of work.

One thing that I loved about Pilgrim that is missing here is the clear sense of place.  We don't know what town Katie lives in, and the city feels like it's not a part of the story at all.  When we see outside shots of Seconds, it looks like it's in the countryside, and we barely see cars parked outside, even when the dining room is packed.  Perhaps its just because Scott Pilgrim was set in Toronto, and made such great use of iconic locations that have meant something to me personally (the Reference Library, Honest Ed's, and Lee's Palace in particular) that I identified so much more strongly with it, but I missed that aspect of this story.

I think that with this book, O'Malley has proven that he is not a 'one-hit wonder' creator, but is instead a strong cartoonist, with a knack for creating endearing characters and situations.  We've all wished we could go back and undo mistakes we've made or things we've said, and in this book, he taps into that feeling very well, while showing us why an easy fix is never the right answer. Sure there are times when I started to feel that the book was a little too precious, but overall, I really enjoyed reading this book.

Sunday, July 20, 2014

Crossed Vol. 1

Written by Garth Ennis
Art by Jacen Burrows

I'm always wary of Garth Ennis's Avatar work, as when he works for that company, he tends to indulge the aspects of his writing that I like the least, but at the same time, it was well past time that I checked out his Crossed, as it's become that company's tent-pole title.

The concept behind Crossed is a pretty simple riff on the usual zombie apocalypse scenario, only in this book, the infected don't become mindless, instead they become incredibly depraved and simplistic, indulging in their most base instincts and desires.  The book begins in a small-town diner, when the first of the infected show up causing mayhem.  A small group of people make their way out of town, meet up with some other folk, and lose many along the way, as they decide to try to make their way to Alaska, where the low population density should provide them with some safety (although, really, Montana would have been a lot closer).

Stan is our narrator.  He's a nice guy who had lived a pretty quiet life before everything fell apart, and he only survived because of Cindy, a waitress and single mother who has the Rick Grimes role in this story.  She's a very tough woman, determined to keep her son safe and to raise him properly, and it is her steely determination that keeps everyone alive.  As the group moves north, they come across a group of Crossed (the name for the infected) that have evolved a little, capable of organizing, and following the group through the Rocky Mountains.

Ennis fills the book with enough gross-out scenes of mass rape, dismemberment, and bludgeoning with a certain large part of a horse's anatomy to remind me of why I don't often read his non-war comics (artist Jacen Burrows seems more than up for the task), and often his characterizations feel a little too simplistic.  We keep being told that Cindy's son is a terrific kid, but he barely has any dialogue, and there is only one scene in the ten issues collected here where he does something nice for another person.  In another scene that almost becomes touching, an old man reveals some secrets about himself that go way over the top.

In all, I did enjoy this book, and it has some very good moments.  I especially liked the scenes in a downed military helicopter (furthering the argument that Ennis can really only write soldiers convincingly), but the book is pretty nasty a lot of the time.  Burrows is the artist that all other Avatar artists are expected emulate, and that makes things look pretty standard.

I'm wondering which of the other Crossed books are worth checking out.  I know that David Lapham and Jamie Delano have written for the franchise, and that interests me.

Sunday, July 13, 2014

Old City Blues

by Giannis Milonogiannis

I've liked Giannis Milonogiannis's work on Brandon Graham's Prophet, so I thought it might be time to check out his web-comic turned graphic novel Old City Blues.

This book is set in New Athens in 2048, after a flood wiped out much of Greece, and the country (except for the walled off Old City) was rebuilt with the help of the Japanese Hayashi Corporation.  This is a police comic, centred on Detective Solano, who has been investigating a string of strange and seemingly connected murders.  They escalate to the point where Mr. Hayashi himself is the target, although a string of clues suggest that it was Hayashi's own company that did him in.

This book is a love letter to manga, and so cops use 'mobile guns', which are armoured suits that can fly above the city tracking criminals.  We also have cybernetically enhanced humans, and advanced cars and things like that.  I can see why Milonogiannis was tapped to work on Prophet, as there is a similar visual aesthetic, although his work is rougher here than it appears these days.

Milonogiannis uses a lot of speed lines and rough figures to add excitement and kinetic energy to his story.  There is minimal character development, and the plot rolls out along somewhat predictable lines.  At the same time, there is a level of enthusiasm about this work that is pretty infectious.  I see that Archaia has recently released a second volume; I definitely enjoyed this one enough to want to read the new one.  I'd be curious to see how Milonogiannis has grown as a writer after working with Graham and his crew for the last couple of years.

Wednesday, July 9, 2014

Family Ties: An Alaskan Crime Drama

Written by Eric Hobbs
Art by Noel Tuazon

We all know that as the boomer population ages, senility and dementia are going to be a growing problem, involving a lot more health care, and putting a lot of stress on families.  I suppose it also makes sense that more and more popular fiction will also explore the phenomenon, and it looks like Eric Hobbs and Noel Tuazon are working to get ahead of the pack with Family Ties, their mobster story that deals with the issue.

Jackie Giovanni and his associates made the trek up to Anchorage Alaska at a time when the entire state was ripe for the organized crime picking.  They built an empire for themselves, but now Jackie is starting to lose his grip on reality.  When the book opens, one of his two daughters, who have been taking on a bigger slice of the family business, has to deal with a drug dealer who used Jackie's senility against him in negotiating very favourable terms for himself and his dealers.

As the story unfolds, we learn that Jackie's two daughters have their eyes on a lot more than the slow transference of power from their father.  Their younger brother, Cain, has no interest in taking on any of the business, and is more interested in getting their father medical help.  Toss into this volatile mix a recently found bastard son of one of Jackie's closest associates, who has his own designs on how to achieve power, and we get a pretty big mess.

Hobbs's writing is pretty intelligent.  He leaves a lot for the reader to deduce, and that works (even if I sometimes had to flip back a few pages to remind myself how some characters were related to each other).  Tuazon is a very interesting artist.  I've enjoyed his work for a while now, but can see that he would not be for everyone.  He is a very minimalist artist, reducing faces and scenes to a high degree of abstraction, but then also covering the page with a lot of messy lines or blocks of shading that don't exactly fit within the shapes they are tinting.  It can make reading one of his pages a bit of a challenge, especially since some characters aren't as unique as others in their appearance, but at the same time, I enjoy the individuality of his work.

This graphic novel is a very solid read, and worth checking out.

Saturday, July 5, 2014

Avengers: Endless Wartime

Written by Warren Ellis
Art by Mike McKone

It's a shame that this original graphic novel, Avengers: Endless Wartime, wasn't published when the Avengers movie was released, as I think it's exactly the type of book that the Marvel bigwigs would like to be able to put into the hands of the supposed droves of new readers who come into comic stores when a comic movie comes out.

Basically, Warren Ellis takes the hundred-odd pages in this book to distill the Avengers into a hybrid of the film and comics versions.  He works with a larger cast than the movie, including Captain Marvel and Wolverine, but keeps the Whedon-esque kidding, especially where Hawkeye and Iron Man are concerned.

The plot for this book is pretty basic.  A new mildly intelligent drone is being used by military contractors in a civil war taking place in a small fictionalized country bordering Afghanistan and Iran.  These drones are connected to a mission that Captain America ran in the Second World War, but also have a connection to Thor.  When Cap learns of these new weapons, he goes to investigate, and essentially gets his team involved in American foreign policy and puts them at odds with SHIELD, although that isn't really treated as a big deal.

Ellis gets superhero comics on a level that few writers do.  He has a knack for getting right to the central concepts of characters and power sets, and then tries to make them fit in our real world.  His Cap is still having trouble adjusting to living in the modern world, just as his Bruce Banner is still wracked by the guilt caused by his other self's actions.

Most of this book is given over to getting the team ready for action, as Ellis approaches this like he would a blockbuster movie, portioning out the big screen action scenes so as not to over-excite the reader.

Mike McKone is a very good choice for the art here.  He's always been a very strong character artist, expressing a variety of emotions easily and effectively, but also able to really throw down in the action scenes.  I never really understood the design of the creatures the Avengers are fighting, but otherwise this is a very nice looking book, and a great gateway into the confusing world of 15+ Avengers titles that Marvel currently publishes.

Sunday, June 22, 2014

Batman: Death by Design

Written by Chip Kidd
Art by Dave Taylor

Having given up on the monthly (or weekly) grind of Bat-books does not take away the desire to read a well-constructed and plotted Batman story from time to time, and so I was quite happy to dive into Batman: Death by Design, an original graphic novel that is as (or more) concerned with visual aesthetic than character.

Chip Kidd is known for his design work, and so it makes sense that the Batman story he writes would be about architectural intrigue.  The story is set in a Gotham where people care about buildings and what they signify.  Bruce Wayne is in the process of replacing the Wayne Central Station, a hulking and beautiful building that was built with every possible corner cut, making it a danger to the commuters and tourists intended to pass through it.  Even though tearing the building down would involve erasing part of his father's legacy for the city, Bruce sees the value in building a new station, one that he can place a secret transit hub for his alter ego beneath.

There are protests, and the demolition work is sabotaged, which leads to the Bat-Man having to investigate (I love when his name is spelled like this).  Soon, we begin to come across a character named Exacto, who is always around when something bad is going to happen, such as the collapse of The Ceiling, a new nightclub perched high atop Gotham's streets (designed by Kem Roomhaus, which made me laugh).  Soon enough, we have a story with greedy union bosses, and even the Joker playing a role.

Dave Taylor provides the art for this book, and things look great.  His action sequences may appear a little stiff at times, but his eye for architectural detail is stunning, and his character work very nice.

I found that I really got into this book, although I don't like the over-reliance on a 'stasis field' device to keep Bat-Man safe.  It was a little too convenient.

Thursday, June 12, 2014

Red Light Properties

by Dan Goldman

Dan Goldman's Shooting War really impressed me a couple of years back, so I decided to take a chance on picking up his new book, Red Light Properties, when I saw Goldman at TCAF this year.

The book is about a very unique real estate company in Miami, and is set at the height of the housing crisis of a few years ago.  Red Light Properties investigates and clears up dead housing stock that can't be sold because its haunted.  Jude, their in-house exorcist, takes some drugs and communes with the spirits in the house, helping them to move on, while his assistant, Zoya, takes photographs that actually show the supernatural presence.  The actual real estate side of the business is run by Jude's wife Cecilia.

It's an interesting set up, but Goldman doesn't really get into the ghostly side of things for a very long time, preferring to make this a book about Jude and Cecilia's faltering marriage.  He's recently been dumped to a basement apartment, as the couple plans of separating, due to Jude's on-line activities.  He's portrayed as a bit of a screw-up, but is also having a very hard time managing the stress that his job places on him.

Cecilia is a bit of a piece of work, and suspects that something is going on between Jude and Zoya.  Stuff happens, and the family suffers through these issues and financial pressure, all of which grounds the stranger side of the high concept.

Goldman is an interesting artist.  He uses a lot of photos for his background, and then photoshops in visual elements he's drawn on the computer, like the family car.  The figures themselves are drawn on top of all of this, which sometimes looks really cool, and sometimes feels incredibly stiff.  The landscape format of the book leads to a few awkward panel lay-outs, as well as makes the book a little unwieldy to read.

I enjoyed this comic, and would definitely come back for the second volume, but at the same time, hope that the book is edited a little more rigorously, as there are a few places where speech balloons point to the wrong person, or where the dialogue feels very stiff.

Tuesday, May 27, 2014

New X-Men: Ultimate Collection Volume 1

Written by Grant Morrison
Art by Frank Quitely, Ethan Van Scriver, Igor Kordey, Leinil Francis Yu, Tom Derenick, Tim Townsend, Mark Morales, Prentis Rollins, Dan Green, Gerry Alanguilan, Danny Miki, Rich Perotta, Scott Hanna, and Sandu Florea

It's hard to believe that it's been more than a dozen years since Grant Morrison took over the X-Men, giving the property a conceptual shot in the arm, and setting up some story ideas that have been in use ever since.  I distinctly remember the excitement that came from reading New X-Men #114, when Morrison and artist Frank Quitely launched their story.  Suddenly, the mutant heroes were a "rescue organization", were wearing sensible costumes, and had undergone some pretty sudden changes, not the least of which was a hugely different appearance for Beast.

This pretty solid trade paperback collects thirteen issues of the regular series, and one annual.  In these pages, we meet a ton of new characters like Xorn, Angel, Beak, the Stepford Cuckoos, Glob Hermann, John Sublime, and Cassandra Nova, many of whom are still important characters today.  We see the machinations of Nova, who goes from committing genocide in Genosha, to trying to use the Shi'ar Empire to wipe out all mutants on Earth, while infecting the X-Men with a curious virus.

Morrison's writing in these comics is stellar.  He plays with the original core concept of the X-Men, that mutants are mistrusted and maligned, but updates that idea for a more modern, celebrity-obsessed culture.  He also returns to the original purpose of the Xavier School, to train new mutants and protect them.  

Frank Quitely's art is always wonderful, and it's cool to see him play with some pretty iconic characters, especially since he doesn't draw mainstream superheroes anymore.  Ethan Van Scriver's art is also very beautiful, and Igor Kordey, who was famously given very little time to draw some of these issues, is understandably all over the place.

I'm not sure that many other comics from this era would stand up as well as the ones in this book.  I know that the current stable of X-Books do not look very good in comparison to these modern classics.

Sunday, May 11, 2014

Lords of Death and Life

by Jonathan Dalton

One of my favourite things about TCAF is discovering new cartoonists, and that's what happened when I happened upon Jonathan Dalton's table.  Dalton has been in the game for a while, making comics in British Columbia, but this was the first I'd heard of him.

The cover to his Lords of Death and Life jumped out at me, as I love historical comics, especially when they are set in time periods that don't get a lot of play usually.  This story takes place in pre-Contact Central America, and is both a political and supernatural thriller.

Mol Kupul lives a quiet life in a small village, but his dreams send him to the city of Xicalango, where he becomes a pawn in the growing unrest between the city's Maian and Aztec populations.  It seems that Mol has gained some superhuman abilities, and people from both cultures, trying to sow unrest, want him to work for their cause.

Dalton's story is clearly very well-researched and alive with tons of little details about the time period, as well as strong character development.  Dalton's art reminds me a little of Phillip Bond, and is as detailed as the story.  I'm really glad I picked this little book up, and would recommend it to anyone who enjoyed Sam Humphries's book Sacrifice.