Five Comics Worth Reading: June 2012

EARTH 2
I’ve been really getting into “world building” series lately, i.e. books that may focus on a set cast but really are telling the story of an entire society and moving the camera around a lot to do so; I feel like Paul Levitz’ first Legion of Super-Heroes run was the template for these in modern super hero comics and some really good ones have cropped up lately, from Age of Apocalypse to the current volume of Ultimates to Earth 2 by James Robinson and Nicola Scott. It’s not surprising that this type of storytelling falls in Robinson’s wheelhouse, as his Starman featured a vast array of characters beyond Jack Knight who could easily carry their own stories at any given moment (and the setting itself was as much a star as any of them). The idea of alternate realities featuring familiar characters is a tried and true one I’m a big fan of, and with the New 52 basically making the entire DC Universe one of these to begin with, I somehow find the concept of Earth 2 almost refreshing and particularly palatable for an older fan like me; this is another new take, but one rooted in a tradition dating back decades (if that makes sense). Really it’s the characters that sell it, though, in particular Robinson’s new version of Jay Garrick as The Flash, an everyman dreamer who stumbles across destiny he never figured within his grasp and now has to cope with a battle way over his head; that’s my favorite kind of hero. There’s also coolness to seeing guys like Garrick or Alan Scott not as the grizzled warhorses we’ve come to know them as, but fresh faced rookies who still possess the intangibles of the characters I’ve dug. So between the cross-reality scope, the likable protagonists, the “you know them but you don’t” twists with guys like Mr. Terrific and Nicola Scott’s classic, colorful, oh-so comic book art, this new series has become a quick favorite of mine.

FAIREST
Speaking of world building, Fables is another title that typifies that expression, as Bill Willingham, Mark Buckingham and company have spent over a decade now creating and letting flourish their vast storytelling tapestry across genres and through dozens of stories. While they still do a nice job over in that book of putting the characters first and foremost, there’s no denying they have to top the last arc a lot—and that’s a tall order—so Fairest is a nice spin-off in that it goes somewhat “old school” with more self-contained stories set across Fables continuity but specific focus on smaller adventures. I’m loving the first arc, where Willingham has gone back to the well on one of the things that has helped Fables endure and taken an “origin story”—in this case Sleeping Beauty’s—and found a quirky ground that’s more hardcore than the cartoons we’ve seen, more lighthearted than the gory original “fairy tales,” and with the kind of wit and high adventure that makes a comic book. It’s an escapist delight to follow familiar characters like Ali Baba with a thoroughly modern edge plus get more insight into established Fables folk like the Snow Queen. If I may toot a pal’s horn though, my friend Phil Jimenez’s art on this book is gorgeous on a jaw-dropping scale; he was born to draw the lush landscapes, intricate palaces and beautiful people of Fables. It’s a visual feast nicely abetted by the inks of another amigo, Andy Lanning, plus knockout colors by Andrew Dalhouse.

INCREDIBLE HULK
When I was growing up reading Incredible Hulk, it was in the midst of Peter David’s reign as writer, and while it was also action-packed, psychological and often pretty dark, it was a funny book, with The Hulk as a witty lead operating a monstrous physical entity. Jason Aaron’s current run on Hulk is also very action-packed, also fairly psychological and quite dark, but while it’s not always funny—it frequently is—it’s damn sure demonstrating that some stuff I don’t typically think of as “fun” quite well can be. The current “Stay Angry” arc has at its core a clever premise that both subverts the “typical” Hulk hierarchy and provides brilliant set-ups for any number of stories: Bruce Banner is now the deranged side of the equation and is up to some crazy—and as yet unrevealed—scheme that has him spending his time “at the wheel” positioning himself into crazy situations then getting pissed off enough to become The Hulk, who has to deal with said situation, hoping not to inadvertently do exactly what Banner wanted, and thus far failing each and every time. Hulk also has to (wait for it) stay angry or else he’ll revert to Banner, who will either screw him over further or get them both killed. It’s an elaborate yet elegant framework that Aaron jumps off and then kicks to 11 by cramming the craziest things he can think of into the stories; so far we’ve had Hulk teaming up with The Punisher to take down a Mexican drug lord who was either a dog mutated into a man or a man who mutated himself to be part dog—to put the cherry on top, Hulk has Punished shoot him in the face several times when he’s in danger of calming down—and Hulk under the sea fending off a horde of Atlanteans and sea monsters inebriated by seaweed juice and thinking they’re pirates. It’s the kind of off-the-wall stuff you’d expect to find in a book like, say, Preacher or something, but that perhaps works even better here because The Hulk is such a resilient force you can throw into nearly anything and have him believably survive as well as make a bigger mess of things. I applaud Aaron for thinking big on this story and for creating a new take on Hulk himself: an astutely rational but annoyed monster that has to clean up the messes he himself created for years being perpetrated by the unfettered alter ego who has had to endure the brunt of that action. Inspired art choices like Steve Dillon and Pasqual Ferry only make things better. And this week, Tom Raney draws Hulk fighting Russian bears in outer space!

NEW MUTANTS
Speaking of that Lanning guy—and I was back in the Fairest write-up—he also writes, and along with Dan Abnett, he’s penning one of our consistent favorites on the This Week in Marvel podcast, New Mutants. This series occupies a very unique place in not just the Marvel Universe, but really all of comics, there has always been the problem of what to do with teenage characters when they kind of grow up—or rather are replaced by a younger generation—but can’t fully because they’re not going to supplant the adult characters already in place. The peak members of the New Teen Titans cast were—and really still are for the most part—victims of this grey area and the original New Mutants seemed doomed to a similar fate after their X-Force run came to an end and teams like Generation X or the young students of New X-Men and Generation Hope took their place, but Zeb Wells started up a new series that played on their connection to one another being what made them truly compelling, and now DnA have carved their niche out even further. Beyond having a very specific mission statement of mopping up the X-Men’s “unfinished business” (locating mutants who have fallen through the cracks or hunting down bad guys that eluded capture), the New Mutants are comics’ quintessential twenty-somethings: no longer in school, but still unsure of their long-term goals and therefore clinging to one another for support and safety. They fight Asgardian death maidens—as seen in the excellent “Exiled” crossover with Journey Into Mystery—but they also live in an apartment together, trying to get jobs at the local diner so they don’t have to ask Cyclops for cash. Two of the very best recent issues of New Mutants have been ones with little to no action—namely Magma’s date with Mephisto and when Blink dragged the team out for a night on the town—but then you’ve also got creepy horror stories like the Ani-Mator trilogy or their Fear Itself sojourn into the depths of Hel; New Mutants can do it all. The cast is endearing, relatable and quirky; the soap opera is suitably complex without being overwhelming; the humor is both dry and cute. Also, the art on the book fits its one-of-a-kind nature well, whether it’s David Lopez depicting evil death metal bands or Leandro Fernandez imagining a techno-organic freakshow. I love Dani, Roberto, Amara, Doug, Warlock and Nate like they’re my pals, and this book is among the best anywhere right now.

SAGA
Yep, Brian K. Vaughan’s new comic book is awesome—I’m as shocked as anybody else. Seriously, BKV has a near flawless track record, and Saga has done nothing to harm that reputation. Going back one more time to that old world building theme that seems to have encompassed this post, I love that just as with Y: The Last Man, Ex Machina and even Runaways (though obviously that last one wasn’t as self-contained as the first two), Vaughan began demonstrating immediately via newborn baby Hazel being the narrator that he has the long game in mind for this one, and I really enjoy the little teases in that narration when we meet a new character hinting at events far down the line, as a creator being in for the long haul certainly encourages me to feel the same way. It’s not hard to invest in this series right from the start, as every character from foulmouthed star-crossed lovers Alana and Marko to bounty hunter The Will already have hidden depths I’m keen to discover, and the mash-up of romance and humor against a big ol’ sci-fi background is a tasty genre smorgasbord. Only a few issues in there have already been eye-grabbing visuals like people with television heads having sex and pre-pubescent ghosts missing their lower halves that Fiona Staples absolutely nails; she can do the beautiful and the epic as well as she does the gross and the laugh out loud, so that’s pretty darn swell. As a bonus, BKV is hilarious on the letters page which featured in one instance thus far fan art from none other than Rickey Purdin himself!

Five Comics Worth Reading - February 2012

ARCHIE
At this point, having a comic book blogger tell you that you should give Archie Comics a second look because they’re doing some pretty remarkable and groundbreaking stuff is not the shocker it was a year ago (I already more or less did as much recently). However, just because it’s getting exposure is no reason not to talk about something good, and Archie is indeed something good right now. I’ve always appreciated the rock solid and consistent grasp of storytelling and characterization the folks from Riverdale have, but the material they’re producing right now is pretty bold and standout, not to mention something I can sink my teeth into as an adult while still recommending it to my sister who is a school teacher to give out in class. If you want to see issues like gay marriage or the economic crisis covered with intelligence and wit but also restraint and balance, Archie of all places is where you should be turning. Also, there are guest appearances from rock bands and parodies of movies; it’s like how Sesame Street got cool again, but more up my alley. I’ve been meaning to sample more of the line, such as the fairly acclaimed Life with Archie, but for now I’m recommending the titular flagship since that’s where my amigo Alex Segura’s recent “Archie Meets KISS” story just wrapped and where he’ll be tackling “Occupy Riverdale” in the coming months.

AVENGING SPIDER-MAN
So perhaps you checked out the first three issues of Avenging Spider-Man because Joe Madureira made his return to comics, and likely you were not disappointed because Joe Mad has still got it and kicked some ass. However, while marveling (pun not intended) at Joe drawing eight zillion Moloids, you may have found yourself chuckling at Spidey’s banter even more than usual. You may also have been shocked at how much you were seeing J. Jonah Jameson as a complex character rather than just a gruff curmudgeon (but also still a gruff curmudgeon). You may further have empathized with The Mole Man, gasped when Red Hulk went down and marveled at Spider-Man’s solution to the whole conflict. All of these reactions came in large part thanks to writer Zeb Wells, who is indeed the goods. Peter Parker is fortunate enough (or as fortunate as comic characters can get given the high tragedy rate they suffer through more or less monthly) to be handled with regular love and care by the brilliant Dan Slott, but Zeb comes from another direction on this book, focusing exclusively thus far on the Spidey side of the equation, and with results I’m digging. It really clicked into place with me on issue #4, a standalone team-up with Hawkeye drawn by Greg Land, where Wells inverted the usual Spider-Man/anybody else dynamic by having Spidey as the frustratingly responsible one, and then nailing a core character trait of Clint Barton from an angle I’ve certainly never seen, and if it’s been done before surely not any better than this. Zeb Wells is a busy dude out in Hollywood who doesn’t get to write nearly enough comics, but when he does, you should rush to appreciate his twin barrels of genuinely hilarity and razor sharp grasp of what makes the characters he’s writing tick; that he’s currently on a book where he gets to play with the coolest heroes in the Marvel Universe while top notch artists draw them is the proverbial gravy sauce.

GLORY
On a recent trip to Midtown Comics, I decided to put my money where my mouth was re: a claim I made recently in an Art Attack post that the covers for the new Extreme books were enough to entice me to check out at least one or two with no idea what I was buying—and I’m glad I did. I have no familiarity with the character Glory, either in her original or Alan Moore incarnations (are they the same?) and further had no knowledge of who Joe Keatinge and Ross Campbell were outside of names my more sophisticated comic reading friends drop when discussing folks good at writing and/or drawing. The story by Keatinge in the first issue (technically #23) is all over the place both in terms of chronology and focus, but while that can take me right out of some stories, here it was done wonderfully, as I felt immersed in a huge saga within 20 or so pages, getting glimpses of tons of stuff I knew a little about and want to learn more of, but also feeling like I got a good enough sense of this character and her world that I am invested in what comes next. Campbell’s art is wild and unique, certainly outside my normal comfort zone and I ate it up, man. Glory is terrifying in her proportions and the visual violence she reaps, but she’s also quite beautiful, both in the quiet moments and glimmering in the heat of battle. This is also a comic where I really noticed the colors, given how much white and grey there is so kudos to Shatia Hamilton for really making it stand out. Discovering new comic book universes where I’m a total neophyte but want to know more is one of my favorite things, so I’m quite pumped to be reading this book!

NEW MUTANTS
For the longest time I didn’t really “get” the New Mutants. Weaned on X-Force as I was, they were only ever the younger, wimpier, less cool versions of the characters I really liked to me, and Cannonball looked like a dork. I had no desire to read about that incarnation of my beloved team and even less to see them regress to that point. When Generation X and later the New X-Men came into being while X-Force quietly dissolved back into being reserve X-Men, the mutants I grew up loving seemed to suffer the same middle child syndrome as the original Teen Titans, just kind of hanging around in the background as less competent adults or out-of-place young people. It’s only recently that I’ve really started to appreciate through trades the endearing quirkiness of the original New Mutants—it helps that I’m not 12 years old and baffled by characters under 20 without earrings or leather jackets anymore—just in time for Dan Abnett and Andy Lanning to find a niche for the characters today. Having just departed my 20’s, I dig how DnA writes the original Muties as that drifting lost generation too old to live on Utopia with Cyclops and company but still too young to know quite what they’re doing with their lives. For a team that includes techno-organic aliens and other-dimensional doppelgangers, the New Mutants seem refreshingly “normal” amidst an X-Men Universe of the extraordinary (which I also love, but there’s room for chocolate as well as peanut butter; well, not for me, I’m lactose intolerant, but you get me). Tossing this weird yet relatable group up against gonzo threats like demonic metal bands or islands of monster birds plays the contrast beautifully, and the soap opera aspects are also finely tuned, feeling more Reality Bites than 90210, as befitting the protagonist demographic. With guys like David Lopez manning the art, New Mutants is also one of the prettiest book on the stands. And did I mention they had a whole issue that was Magma on a date with Mephisto and it was phenomenal? Mephisto truly is the most lovable character of 2012…

RED LANTERNS
Ok, on the surface, Red Lanterns would seem to have a lot going against it for the discerning reader. There’s the pretty absurd violence level and the fact that most of the characters are literally vomiting up acid blood more often than not. There’s also the overblown sexualizing of many female figures in physically impossible poses. The book gives you plenty of reasons not to give it a shot, and nobody would blame you if you wanted to pass and try something else—I won’t—but if you do elect to sample Red Lantern, you may be surprised to find you enjoy it; I kinda was. It’s not a surprise that Peter Milligan can write a good series, but given the material of perpetually pissed off monsters whose personalities consist more of yelling than anything else, it’s pretty impressive how much depth he gives them. Without a traditional heroic lead, Milligan chooses instead to muse on the concept of rage and anger getting somewhat deep in the process, but never lapsing into boring. As the series has progressed, he’s gone a bit further and explored the gamut of emotions, how those that drive the Red Lanterns fit in the mix, and how they can be exploited. The power struggle between Atrocitus and Bleez is reminiscent of something you might see on Apokolips, and as the cast expands, the intrigue grows. Ed Benes’ art may not be for everybody, but you can’t deny it’s striking, and when it comes to designing or portraying out there beasts, his skills can shine quite nicely. So yeah, I didn’t think Red Lanterns would be a book I’d be championing six months in—and again, this is one of those “your mileage may vary” cases—but I do contend it’s worth a look if you’re even slightly curious.

Cannonball: Upward Trajectory

I first encountered Sam Guthrie, aka the once and future member of the X-Men known as Cannonball, in the pages of X-Force circa “The X-Cutioner’s Song.” The paramilitary teen X-team was in the process of being ditched by their mentor figure, Cable, and young Sam had already begun seizing the reins of leadership.

The Cannonball I met back then was a Southern gentleman to be sure, but more he was a self-assured youngster with strong convictions and a chip on his shoulder; he was a nice guy, but not too nice, and that quickly made him one of my favorite characters.

At the time, I had no idea that Sam Guthrie had not always been this way. As I was still a kid and yet to really delve into the dense forest of continuity, I had a passing awareness that Cannonball had been part of a younger, less intense team called the New Mutants at one point and from early issues of X-Force I found at my local store, I gathered his confidence and poise with his own powers was a relatively new developments, but I was certainly more familiar with Fabian Nicieza’s “angry young man” take on Sam than any other.

This is why I was so disappointed when Sam joined the X-Men post-Age of Apocalypse and somehow became this wide-eyed rookie in awe of his teammates and incapable of any real sort of competence. This was not the Sam I knew and loved.

Over the years I’ve gotten to know where Cannonball came from a little better, most significantly via the New Mutants Classics trade collections, and while I still don’t buy that Sam should have been quite such a screw-up during his first run in the big leagues, I get where it came from, and also see how the character’s evolution makes him somewhat unique in the Marvel Universe while also instilling him with a huge amount of potential that writers have only scratched the surface of in the three decades or so that he’s been around.

Chris Claremont’s original take on Cannonball in those first several years of New Mutants is one I look back at and can barely recognize as the hero of my youth. In his early days, Sam Guthrie was an awkward, overeager, clumsy and often downright nerdy country bumpkin who seemed in way over his head as a world-class hero. However, while Sam may have been gawky and not quite oozing cool in those initial appearances, the core characteristics that would make me a fan years later were there from the start: he was a true blue hero whose motivation for doing good came from the most pure and unselfish of places, and despite the fact that he may have been crashing into walls half the time, he was a natural born leader who commander the respect of his peers.

In re-examining the trajectory of Cannonball from wide-eyed New Mutant to almost world-weary X-Force leader and beyond, I realize that Sam Guthrie represents perhaps one of Marvel’s best examples of a character who has actually grown up over the years.

Over in the DC Universe, you can look at Dick Grayson and Wally West in particular as well as the original Teen Titans in general when seeking out examples of one-time youngsters who have grown and changed over the years, but there are fewer examples of that path at Marvel, with Cannonball being among the more pronounced. For those who have followed his entire comic book “life,” they’ve seen Sam Guthrie go from an awkward boy to a teen struggling to prove himself and most recently witnessed him blossoming into adulthood as a responsible soldier who guys like Cyclops put total trust in. Cannonball’s progression has been pronounced yet for the most part natural, and it’s neat to see the seeds that were planted way back when and the fruit they have born.

Dick Grayson and Wally West both grew up and assumed the mantels of their respective mentors; while Sam has yet to become the new Professor X--and likely never will--he has ascended from teen sidekick equivalent to fully-realized adult hero.

Another aspect that makes Cannonball so cool is something that used to get brought up a lot back around that era of X-Force I loved so much: unlike pretty much any other character in the X-Men Universe, Sam is a guy who received the tutelage not only of Professor X and his opposite number in Magneto, but Cable as well, providing him with training and a cumulative knowledge that could perhaps put Scott Summers to shame. There was always something neat to me that Cannonball is a character whose power is fairly pedestrian, but the strategic skills and ability to lead instilled in him by the most impressive and diverse collection of teachers any Marvel mutant could accumulate distinguish him. Again, there is so much potential in exploring a protagonist who has been exposed to three incredibly differing philosophies and perhaps is the only person able to balance them into the best possible course.

I really dig what Zeb Wells is currently doing with Cannonball in the current New Mutants series, highlighting him as, again, somebody Cyclops really sees the worth and value in as he works to safeguard the mutant race--and as a possible heir--while also showing he’s a strong leader who is not without imperfection. Surrounding him with his old friends adds an element I also enjoy as while Sam may be a soldier and a hero, there’s certainly a human element you never want to ignore.

I do still think there is much ground to be mined when it comes to Cannonball, not just in a team setting, but maybe as a headliner in his own limited or ongoing series. Really dig deep into the stuff I’ve written about here in regards to his evolution as well as his stance on his various teachers and I think you’ve got a strong foundation for something that could really take off (pun intended).