Locke & Key: Keys to the Kingdom: “Sparrow”

Locke & Key: Keys to the Kingdom: “Sparrow”

Nominated for Best Single Issue (Or One-Shot), Locke & Key: Keys to the Kingdom: “Sparrow” focuses on young Bode Locke. The issue is written by Joe Hill. Art is handled by Gabriel Rodriguez, with colors by Jay Fotos. The issue starts with a single page meant to help folks new to the series get caught up. Basically, the Lockes have lost their father. Their ranks have been infiltrated by someone who’ll stop at nothing to get the key to the Black Door. And there are other keys, and each has the power to save them. In this issue, Bode discovers one such key frozen in the birdbath outside the mansion. Upon walking, or rather crawling through the door which the key unlocks, Bode is transformed into a sparrow (hence the issue’s title). The issue’s lesson, which is delivered to you with the strength of a hardcover novel upside the head, lies in Bode learning the importance of friendship. You see Bode at the start of the issue having problems relating to kids his age. He talks about how he prefers his life of solitude and non-conformity. Upon being transformed into a sparrow, he is whisked up into a flock. He learns that no single sparrow acts as leader, but rather that they all work and think as one unit; a feathered Borg, if you will. Moments after Bode passes through the door, Zack, the “wolf in sheep’s clothing”, passes through after him. Naturally, he takes on the form of a feral wolf. After a gruesome display of power, wherein he and several dogs attack a deer, the pack moves on to Bode’s brother and sister who are walking nearby in the woods. Bode sees this, and together with his flock, swoops down and attacks the pack. They save the two, however in so doing, lose many of the flock. Bode returns to the door, is transformed back to his human form, and goes running to the field where the battle took place. He finds all of the dead sparrows on the ground, tears coursing from his eyes. The last page of the issue shows him interacting with the kids his age, though this time, he makes new friends. This issue is quite literally one cliché after another. It’s well written, within reason, however there is nothing original in the story. The issue is still interesting, and part of me can understand why it was nominated for Best Single Issue (or One-Shot), however I was not that impressed that I would give it my vote as best. In fact, I probably would not have nominated it. As for Rodriguez’s art, it’s quite good. That said, I did not find it consistent, in terms of style. At times, it has a Calvin & Hobbes feel, while on the very next page, it is more realistic. This lack of consistency is especially noticeable when the flock of sparrows attack the feral pack. While some of the panels are drawn quite seriously, others have sparrows with green fighter pilot helmets. Facial expressions are also sometimes off, which off-sets the mood. Between the issue’s blatant lesson, which would make an after school special seem subtle, and the on-again off-again art, I would have found this issue quite difficult to nominate for an Eisner. Apparently the judges disagree with me. That said, I hope they’ll agree that it sure as hell does not deserve to win. Locke & Key: Keys to the Kingdom: “Sparrow” IDW Story: Joe Hill Art: Gabriel Rodriguez, Jay Fotos...

Marineman Issue 1

Marineman Issue 1

Ian Churchill’s “Marineman” started very recently. As of this writing, it is only up to issue 4, however during that brief time, it has managed to impress a lot of folks, including the judges who decided to give the series a nomination for a Will Eisner Comic Industry Award in the Best New Series category. Last year’s winner in the same category was “Chew“, also published by Image Comics. “Marineman” has some very large shoes to fill if it intends to win. Some people may recognize Churchill’s work from The Avengers, Uncanny X-Men, Superman, The Coven, Deadpool, Supergirl, Hulk or Elephantmen. The man is an insanely talented illustrator. What some may not realize is that he is also a very good writer. Thanks to the new creator-owned craze, we are getting to see just that in “Marineman“, a comic that has been in the making for quite a few years. Issue 1 begins with a suspenseful prologue that sets the audience up for what to expect. Basically, reading between the panels, you are told that something exciting (and dangerous) lurks below the surface. Once the prologue is done, you are introduced to Steve ‘Marineman’ Ocean. And what an introduction that is… Churchill’s art style is perfectly suited to this series. I read this issue full-screen on my 27” iMac and with every turn of the page, I was amazed at the artwork. The colors are bright, lively, and the shadows perfectly suited to every scene; whether out in the sun, underwarter, or in the gallery of the aquarium. Steve Ocean is, as his father late describes him, a walking tree. Churchill’s over-the-top style works well with Steve, who is mass of muscles complete with wavy blond hair and a permanent, winning smile. Steve hosts a marine show entitled, ‘Ocean Encounters’. He travels the world and brings his knowledge of marine life to the masses by means of his television show. This first issue contains a lot of character and plot setups. We are introduced to his business partner, Jake, who is Steve’s underwater cameraman and good friend. We also get to meet Steve’s father, however not before you discover that there will be a lot more beneath the surface of this series than you’d first expected. Deep below the Marine Research building is a vast cavern which originally belonged to the famed pirate; Captain ‘Flintlock’ Farrell. A hundred or so years later, the US Navy seized it and converted it into a hidden base which they call; Marine Base Alpha. Here, Steve’s father has been working on an mini-submarine prototype that can be used for deep-sea exploration. The issue’s last panel introduces yet another key character, Lieutenant Charlotte Greene, a highly recommended pilot who will test the sub. “Marineman” issue 1 is exceptionally well written. Without resorting to superhero hijinks, Churchill creates an intelligent, yet suspenseful first issue that sucks you in. Some may be a little put off by the mass of dialogue, especially in terms of marine facts, however I found it quite informative and felt it helped forward the story. I am quite disappointed that Ian Churchill was not also nominated for Best Writer/Artist. There may be a reason for that which I’m not aware of, however looking at the current list of nominees in that category, Churchill would definitely be a contender. That said, having read the next three issues in this series, I can say with certainty that I am very glad it has been nominated for Best New Series, and I wish it good luck. Expect more individual issue reviews soon, as I have been loving every single one. Ian Churchill’s “Marineman” Image Comics Story: Ian Churchill Art: Ian Churchill, Nicolas Chapuis...

Fables Issue 100

Fables Issue 100

Nominated for a Will Eisner Comic Industry Award in the Best Single Issue (or One-Shot) category, “Fables” issue 100 was the first title I read that I simply did not feel belonged on the list of nominees. I will readily admit to not having read any prior issues, however I do not believe that had any impact on my decision. Based on the fact that the series contains existing (well-known) characters, as well as the fact that it was nominated as a single issue, I feel that a sound opinion can be made having only just read this issue. “Fables” issue 100 contains several short pieces, as well as a puppet theater. Yes, you read that correctly. Here is a complete list of the contents: • Single Combat • Pinocchio’s Army • The Fables Paper Puppet Theatre • The Perils of Thumbelina • Celebrity Burning Questions • A Thing With Those Mice • Escape to Wolf Manor The issue begins with a lovely image of Three Blind Mice discussing the definition of the word “duel”, setting up the first, and main, story. The mice break the fourth barrier in this single panel, by making reference to the “issue” that they are in. “Single Combat” is written by Bill Willingham, pencilled by Mark Buckingham, inked by Steve Leialoha and Andrew Pepoy and finally colored by Lee Loughridge. One would think that with so many people working on it, I would be more impressed. However, I am not. I’ll get to the story shortly, however in terms of the art, I must admit to being completely underwhelmed. Perhaps it was their intent to recreate a style reminiscent of old fable comics from decades ago, however I wasn’t a fan of that style then, and that opinion has not changed. The story contains several concurrent plot-lines, and though they converge at points, I still found the manner in which they were handled somewhat clumsy. The main part of the short story of course is the battle between the witch, Frau Totenkinder, and Mister Dark. Having once been contained within a box in issues prior, Mister Dark was unwittingly set free. Totenkinder intends to contain him again. The battle between the two is full of conjurations, be they shadows, boxes or fish (yes… fish), shapeshifting, and the likes. If you were reading this to a child, perhaps they would be entertained by Mister Dark being force fed sugar in such large amounts that it causes his teeth to fall out, however an adult may be far less interested. In the end, Totenkinder transmutes thousands of gold pieces into an armor meant to contain Mister Dark. Seeing as he is allergic to gold, it seems the smartest type of box to use. Would that this had been the true focus of the story, perhaps it would not have felt so disjointed. However during this fight, we have pages which flash to Fabletown, where the fight is being announced and discussed; we see “real” police in New York City preparing to take action if the fight spills outside of the old Fabletown area; and we’ve the sheriff’s wife who is having labor complications… not to mention the altercations with Nurse Spratt. Even when you think it’s all done, cracks begin to appear and Fabletown is turned on its head once more. Sadly, I just did not enjoy this story at all. Having spent countless hours reading fables to my children, I can honestly say that I’ve no prejudice against this type of story. However, they must be properly told, and in this case, I simply do not feel they were. Next we have the short story, “Pinocchio’s Army” which spans eight pages. It is written by Mark Buckingham with several illustrations by Bill Willingham. With lines like; “(Pinocchio) hew that Internet porn and an expresso machine were things he would have to live without for now”, you are not likely to read this story to your children any time soon. The story sees Geppetto’s creations (children) worried about the old man. He has grown quite sullen, and it is up to Pinocchio to cheer him up, which he does by presenting him with a suitcase full of toy soldiers, which Geppetto had once crafted years before. Once again, I’ve a problem with the writing in this short story. This may simply be a personal preference, however I found it far too descriptive. When you are limited by a restrictive word count, you don’t want to waste paragraphs setting the stage, when instead you can be furthering the story. Also, I found Buckingham’s pace extremely slow at times. For a story this short, I should have been able to easily read it through in one sitting, however I found myself “zoning” out often, and it took several readings for me to actually finish it. After this short story, we find the Puppet Theatre, where readers are encouraged to cut shapes out of the comic book. /gasp Seriously. I would not even advise a child to do this. I know what they are trying to do here, but dear lord… cutting into a comic book?!? “The Perils of Thumbelina“, written by Bill Willingham, with art by Chrissie Zullo, is a complete and utter waste of three pages. The vignette shows a boy trying to ask Thumbelina out on a date, only to have a hawk (or falcon) drop from the sky and grasp her in its talons. As she is being whisked away, she says; “Well… this is certainly turning out to be a lovely day”. No. Really. I’m not making this up. As disappointing as that was, it paled in comparison to the illustrated answers to reader questions, such as; Who makes the Fabletown comic books; Can I have Snow White’s phone number, and; Now that Baba Yaga is dead, how is Bufkin passing the time? The only story which I found mildly amusing was the last one; “A Thing With Those Mice“, also written by Bill Willingham, with art by Joao Ruas. As a point of interest, Ruas’ art is absolutely stunning, as opposed to most of the art in this issue. The vignette is quite simple, which is hardly a surprise. It depicts the Three Blind Mice who are on their way to see the King, in order to receive their knighthoods… among other things. They, of course, get lost and proceed to walk into the open mouth of a beast… whom you find out will in fact spit them out once he’s had a bit of “fun with them”. There’s really not much else to say. The issue ends with a board game entitled; Escape to Wolf Manor… yet another example of the writers misunderstanding the medium. Comic books are meant to be read, not cut apart and played upon. Some argue that this issue is meant for children, who are more likely to want to decimate their comic books for the sake of a few quaint moments with a puppet theatre. However to those I would argue, if this issue truly were meant for children, there would be no mention of pornography by Pinocchio, nor bestiality by Lily Martagon in the reader questions. I just don’t understand why this issue was nominated for an Eisner. In and of itself, it is not a good issue. I don’t feel it is deserving of a high review score, let alone an Eisner nomination. When compared to “The Cape“, I fail to see what was going through the judges’ minds when they agreed to give “Fables” issue 100 a nomination. I only hope it does not win, as that would be an insult to all the other nominees. “Fables” Issue 100 Vertigo/DC Stories: Bill Willingham, Mark Buckingham Art: Bill Willingham, Mark Buckingham, Dan Green, Lee Loughridge, Joao Ruas and others...

I Am An Avenger – Post Mortem Short

I Am An Avenger – Post Mortem Short

Nominated for a Will Eisner Comic Industry Award in the Best Short Story category, “Post Mortem“, found in “I Am An Avenger” issue 2, is a powerful story about how Steve Rogers copes with the loss of soldiers under his command. The story was written by Greg Rucka, with the script being written by Michael Lark and Stefano Gaudiano. The rest of the issue is a complete waste of paper in my opinion… especially the pie eating short story. However “Post Mortem” is a very powerful story and I am glad it got singled out. “Post Mortem” is very light on dialogue and narrative. There are pages without so much as a spoken word, however in each panel, more is conveyed than any word ever could. There are emotions and situations which are better understood using art as a medium. Michael Lark’s art for this short manages to get across every hint of emotion, however his style is very reminiscent of old 80s and 90s comics. I’d have liked to have seen something far more intricate for a story of this caliber. This is not meant to insult Lark’s work, as it’s still quite good. However I believe the story warrants far more than he was able to produce. “Post Mortem” begins with Steve Rogers being informed that there was only one casualty from their last operation. Rogers gets the information regarding the whereabouts of the soldier’s service, and attends to pay his respect. During the scenes in the church and at the cemetery, Rogers must endure hateful glares from the soldier’s wife. He approaches her after the burial service, and asks her to tell him about Donny (the fallen soldier). He also says he would like to ask a favor or her, though the reader doesn’t get to know what that favor is until the last few panels of the short story. On the last page, we see Rogers unpacking from his trip, having returned home. He then stares at a single dog-tag, and then tosses it into a box full of tags worn by other fallen soldiers. In this powerful moment, we get to see that Rogers isn’t some heartless commander who sees his men only as pawns. Rather, he remembers every single soldier lost under his command. I really liked this short story a lot. There’s an artform to writing powerful short stories. You have so little space to work with, and must be able to convey so much in those few pages. Rucka, Lark and Gaudiano managed to pull that off with grace here. I’ve not yet read the other nominees for Best Short Story, however I can clearly see why this short was nominated. “Post Mortem” I Am An Avenger Issue 2 Marvel Story: Greg Rucka Script: Michael Lark and Stefano Gaudiano Art: Matt Hollingsworth, Travis Lanham...

Chew: Eisner’s “Taster’s Choice”

Chew: Eisner’s “Taster’s Choice”

At last year’s San Diego Comic-Con, “Chew” was awarded the Eisner for Best New Series. This year, it’s nominated for Best Continuing Series, and I assure you, that nomination is very well deserved. “Chew” is going up against heavy-hitters like “Locke & Key“, “Echo“, “Morning Glories“, “20th Century Boys” and “Scalped“. “Chew” is published by Image Comics (who have racked up quite a number of Eisner nominations). The series is written and lettered by John Layman and drawn and coloured by Rob Guillory. The fact that so much of the series is handled by just these two guys astounds me… especially when you consider the caliber of the work. “Chew” is one of those rare series where the writing and art not only compliment each other so perfectly, but also that each is absolutely fantastic. Both are highly original, detailed and entirely full of life. For those who’ve never picked up an issue, “Chew” revolves around Tony Chu, the central character. Tony is cibopathic. Don’t bother looking that up in the dictionary. It isn’t there. A cibopath is someone who, with one bite of anything edible, gets a flash of memories in terms of that objects life, as well as its demise. Oddly though, he does not get this psychic sensation from beets… which is why he eats so many. Immediately you know that though this isn’t going to be a costumed super-hero series, it sure as hell is not going to be normal. That said, from the get-go, it seems very, very interesting… and that sense continues to grow as the series progresses. The first issue of “Chew” lays the groundwork for establishing the world; one where chicken has been outlawed and the F.D.A. (Food and Drug Administration) is one of the most powerful agencies in the world. The first issue also introduces several key characters who will play important roles throughout the series; John Colby (Chu’s early partner while he’s still on the police force), Agent Mason Savoy (F.D.A), Tony’s older brother who had a nervous breakdown on live television, and an F.D.A informer who’ll return to the series often, D-Bear. A lot occurs in this first of the series, however the issue never feels rushed. Considering how much has to be conveyed so that the reader doesn’t feel hopelessly lost, it’s a testament to Layman’s writing that he never loses us. And then there’s the aforementioned art. This is where Layman gets a helping hand, because so much of the story is conveyed through Guillory’s work. Facial expressions are insanely accurate and allow you to immediately get a feel for a scene. Guillory’s colors also speak volumes. He is able to control the emotional pacing of the story brilliantly through the palettes he uses. In the last panel of the first issue, we see Chu getting whisked away by the F.D.A. to work for them as part of their Special Crimes Division. It’s there that he discovers that he is not the world’s sole cibopath. Agent Savoy too is one, and he explains to Chu that as part of their job with the Special Crimes Division, they are asked to eat a great many disgusting things, however it is always for the greater good. Their boss, Mike Applebee, cares little for cibopaths, and so makes Chu’s life a living hell at the F.D.A. Each issue spotlights cases which Chu and Savoy work toward solving, however woven throughout are clues regarding the chicken prohibition, the avian flu which killed millions, and a conspiracy which would put any X-Files episode to shame. New characters are constantly being introduced, however it is always to further develop the story. By Issue 3, Chu’s found the love of his life in what is perhaps one of the funniest moments I’ve read in comics in a long time. Amelia Mintz will elude Chu as a love interest for several issues before finally they hitch up, however during that time, she’ll still manage to sneak into the occasional story-arc. Amelia is a saboscrivner; someone who can write about food so accurately that people who read her words actually get the “sensation of taste”. You may not have picked up on this yet, however food plays an integral role in nearly every single plot-line in “Chew“. That said, it’s all so damn original, quirky and drop-dead funny at times that you’re never bored. Layman’s managed to create gripping suspense using food as the main methodology. Layman and Guillory also keep the pages fun to read by inserting real world and cult references.         You really get the sense sometimes that these guy are just having a lot of fun with this series. By Issue 5, more of Agent Savoy’s puzzle pieces come into play. He leaves the F.D.A., however remains a powerful force in the series. Issue 6 sees the return of Chu’s original partner, Colby, patched up from the butcher’s knife he took to the face, and reassigned to the F.D.A. as Chu’s partner. I loved the re-introduction of Colby in both the series and in Chu’s life. He’s the perfect counter-balance to Chu’s by-the-books mentality. Also, I love that Layman had the courage to make him gay. He sleeps with Applebee and then essentially blackmails him into being nice to Chu, which results in absolutely hilarious scenes. Whether we’re introduced to ninja-like U.S.D.A. agents or wanna-be vampires, the series never lets up for one moment. Each issue is intricately woven together, yet able to be appreciated on its own merit as well. The quirky conspiracies, insane characters and killer rooster always make for a fun issue to read that still manages to be suspenseful. Recently, Layman decides to turn the heat up on the series by putting the entire planet on red-alert. Alien writing has been blazing across the sky, and the last time we saw this, it lead to the destruction of an alien planet. This has thrown the series on its head. No longer is the F.D.A. all that concerned with black market chicken dealers. They’re too busy trying to decipher the message in order to save the world. Out of all the nominees in the Best Continuing Series category for the Eisner awards, of the ones I’ve read, I can honestly saw that “Chew” is by far my favorite. Of those which I intend to read, they had better bring their effin’ A-Game, because that is what they will need to top “Chew” as my current favorite in this category. “Chew” has also received the following nominations: John Layman for Best Writer, and Rob Guillory for Best Penciller/Inker. Go get ’em, boys. Chew Image Comics Story: John Layman Art: Rob Guillory...

Episode 021: Ronin r like SO cool

Episode 021: Ronin r like SO cool

For our first podcast episode in nearly four months, we chose to give our thoughts on the Will Eisner nominations, and to discuss several of the titles on the list. The meat of the show however was reserved for 5 Ronin, a series which we really enjoyed a lot. NEWS Introduction (who we are for new listeners/where we’ve been for old fans) Will Eisner nominations DISCUSSION 5 Ronin #1-5 WHAT WE’RE READING Vince: Morning Glories, Who is Jake Ellis?, Xombi Roger: Batman Beyond, X-23, classic Batman, The Walking Dead, Joe the Barbarian NEW RELEASES Batman & Robin #22 Flash #10 Justice League: Generation Lost #23 T.H.U.N.D.E.R. Agents #6 Amazing Spider-Man #658 Incredible Hulks #626 Iron Man 2.0 #3 Journey into Mystery #622 New Avengers #11 Ultimate Avengers vs New Ultimates #3 Ultimate Spider-Man #157 Uncanny X-Force #7 Uncanny X-Men #535 X-Men Legacy #247 Thor by Walter Simonson Omnibus iTunes | RSS feed If you enjoy the show, please make certain to stop by iTunes and leave us a review!...

Joe the Barbarian

Joe the Barbarian

As with “The Cape“, I hadn’t heard of “Joe the Barbarian” until the list of nominees was released for the Will Eisner Comic Industry Awards that will be awarded at Comic-Con 2011. And just as with “The Cape”, I certainly am glad to have read this amazing title. You may be thinking that I’m being far too agreeable with the Eisner list of nominees, and I can assure you, that is not the case. Expect forth-coming, harsh reviews of titles which I feel have absolutely no business there. That said though, when I read something listed which so thoroughly impresses me as “Joe the Barbarian” has, expect that I’ll lavish all manner of compliments on the writer and artist responsible; Grant Morrison and Sean Murphy, respectively. At its heart (which it has an abundance of), “Joe the Barbarian” is the simple story of a diabetic boy who is going into shock. He must get from his bedroom in the attic of his home, to the kitchen on the main floor to get some form of sugar (he mentions having to get a soda often). During this tenuous journey, he experiences hallucinations. In Morrison’s adept writing hands, this simple premise turns into an epic 8-part mini-series which sees Joe joining imaginary beings in a life or death struggle. The story begins very slowly. Some people had a problem with the first issue, however I thought the pacing was actually spot on. We get to see Joe’s relationship with his mother, find out about the death of his father and the family’s financial troubles. We see the resentment which Joe holds toward his father, as well as see how this has affected his character and his ability to interact with other kids his age. All of this is done quite well, and you are able to read volumes between the lines. Morrison’s writing impressed the hell out of me in those early pages, as this is something which I work at in my fiction; the ability to impart so much more than the few words used. Then, Murphy took over, and completely blew my mind. Having seen that Joe is a very reclusive boy, showing his home in detail and his relationship to it was absolutely vital to the story… and Murphy handles this beautifully with silent panels of Joe walking through the home to his bedroom in the attic. These pages are draw in such intricate detail that the reader is able to recognize a variety of the objects in each room. This is so absolutely important, seeing as the house is also the setting for Joe’s hallucinations, though it is warped and skewed and misrepresented by fantastical settings. Some of the details change during the hallucinations, however not enough that you are ever lost. Morrison also makes certain to keep you from getting lost, by jerking Joe back and forth between his actual struggles and his lucid hallucinations. However the two are never entirely separated. Within his hallucinations, Joe keeps imparting how important it is that he get to the kitchen to get a soda. He is able to sometimes rationalize where he is in relation to where his physical body is in the actual world. Meanwhile within reality, Joe speaks to his pet rat, Jack, who plays a very important role in the story. Having lost his father, Jack is a life which Joe clings to. As you can see from this image, Murphy does not hold back on his 2-page spreads… and there are a great many of them in the 8-issue series, each as glorious as the next. Dave Stewart also deserves a lot of credit for his incredible coloring job. He seems to capture the mood of each issue… each panel so perfectly. Whether Joe is in his home, the colors fading over each issue with the passing of daylight (an integral part of the hallucinations, by the way), or he is in an underground sewer where the dwarves live, Stewart’s coloring of Murphy’s art always manages to impart upon you a sense of how you should be feeling. It’s not overpowering, however it does guide your emotions by means of visual cues. While the first issue was nearly all character and location setups, issues 2-8 are all action. As such, this would be a very difficult series to begin partway through. No mini-series is intended to be read out of order, however some are easier to pick up and try (leading to you to read the entire series if you enjoyed a single issue). That’s not really an option with “Joe the Barbarian”. You need that first issue to make sense of the whirlwind which ensues. Without that, you will most certainly be lost. That said though, I do not hold that against the series or Morrison. That’s like blaming a novelist because a reader has picked up their book, started a third of the way in, and complained because they didn’t understand what was happening. Crafting Insanely Cool Hallucinations As if dealing with so much innocence lost wasn’t enough, Joe is also forced to confront all of his underlying issues in the form of animated toys, a brother-in-arms who just happens to be his pet rat, and more importantly a long-standing prophecy which states he is the “Dying Boy”… complete with mosaic portrait. Despite simply wanting to get a soda so that he doesn’t die, Joe is thrust into a quest to save this fantasy world by defeating King Death. In the real world, the house’s electricity is off, and Joe must head to the basement to flip a breaker switch. Having lived in an old home, I can attest to having had to flip breakers on a regular basis. As the sunlight descends, it brings with it all manner of imaginary nightmares for the inhabitants of Joe’s hallucination to deal with. Some, like her Majesty, Queen Bree, rely on batteries to provide the light which they need, however even within the confines of his imagination, these characters know that the batteries will not last forever. Queen Bree is also known as the High Widow… Joe’s mother. I love how Morrison blended characters from Joe’s life, his imagination and his toys to produce such a vast, diverse cast. Among others, Joe crosses paths with a variety of his action figures, some pissing arms or legs. There is something unbearably hilarious about recognizing some of these, including ol’ Bats himself… whose head pops off during one of the epic battles which occurs later in the series. Nearing the end of the series, Joe is forced to decide whether he wants to leave the hallucination or save those within. He chooses to defeat the darkness first, which leads him to the basement where he comes face to imaginary face with King Death. What ensues is a battle which other comic book creators should look to for inspiration when crafting battle scenes. Jack, who had just recently gone toe-to-toe with an insane, feral dog… … and seriously… take a good look at this screenshot. Murphy and Stewart should win an Eisner based on this alone. Upon entering King Death’s lair, all seven of Jack’s slain brothers are resurrected to fight as King Death’s minions. I won’t spoil any more of the battle, as part of the excitement is reading it firsthand. That said, it is important to note that the true measure of how incredible the resolution is, is in the fact that it transcends both Joe’s hallucinations and his reality. In the end, it is simply a hallucination. He is fighting for his survival in both realms, however the very real soda in his hands is the only true resolution. Morrison understands that, and doesn’t treat his readers like idiots. Still, he finds a way to make what could be a very mundane ending into something which, if you’ve allowed yourself to get sucked into the series, will cause the hair on your arms to rise. You’ll let out a silent cheer for Joe, and feel truly satisfied with the manner in which it was handled. In real world terms, the resolution is actually immensely important to Joe. Joe the Barbarian is nominated in the Best Limited Series category for the Will Eisner Comic Industry Awards. I will be reading several of the other nominees in order to assess which I believe was the strongest this past year. I can say with certainty that I am very glad it was nominated. It is a spectacular series which I am looking forward to seeing turned into a feature film. The rights were picked up last year and I can see how, in the right hands, it could produce an insanely cool movie. In addition to the Best Limited Series nomination for the series, Dave Steward was nominated for Best Coloring for his work on Joe the Barbarian as well as Hellboy, BPRD, Baltimore, Let Me In (Dark Horse); Detective Comics (DC); Neil Young’s Greendale, and Daytripper. Also, Jimmy Gownley was nominated for Best Lettering for his work on several titles, including Joe the Barbarian. I hate giving out arbitrary numbers for review scores, as they mean absolutely nothing, however just as a measure so folks can understand how much I appreciated this series, I would give it a strong 10 out of 10. And as much as I admit it’s an arbitrary number, I would not give it a perfect score unless it deserved it. I am very critical of that which I read and have no problems voicing my opinions. However when praise is deserved, I believe it should be given. Grant, Sean and Dave, thank you gentlemen for entertaining me last night, as I devoured every issue, unable to stop till the very end. And thank you for never disappointing me along that fantastic journey. Joe the Barbarian DC/Vertigo Story: Grant Morrison Art: Sean Murphy, Dave Stewart...

The Cape Issue 1

The Cape Issue 1

The Will Eisner Comic Industry Award nominations were recently announced, and one of the titles that caught my eye in the Best Single Issue (or One-Shot) category was a comic titled “The Cape”. To be quite honest, this title had flown completely under my radar when released last year. That said, I am very glad the Eisner nominations cast a spotlight on it. “The Cape” is a mature title, and rightly so. It contains some harsh language, as well as drug use, however none of it is intended to shock the audience. The story and its characters are honest. “The Cape” starts as a flashback to when the central character, Eric, was a young boy. From the beginning, it’s hard to tell if the comic will be a stark drama or fantastical tale. As it turns out, it’s a bit of both. You find out that Eric’s father had been killed in Vietnam, leaving his mother to raise he and his brother Nicky by herself. The boys would play superhero games, and it was during one such escapade that Eric’s cape caught in a tree branch, causing him to fall quite some distance. From that point on, Eric is a different person. The fall, and its subsequent operations, cause him no relief. He turns inward, and loses all ambition. Whereas his girlfriend, Angie grows, matures and progresses with her life, Eric only sinks deeper into self-pity and anger. His relationship with Angie falls apart, leading back to his mother’s house, this time in a room in the basement. It’s there that he discovers that though his mother had said she’d thrown out the afore-mentioned cape, she had in fact simply stored it in the basement. While he sees this as her being cheap and never throwing anything out, the reader will know that the real reason is no doubt because of the Marine badge sewn on the cape which had once belonged to Eric’s father. By this point in the story, we begin to see a far harsher side to Eric. It’s in his thoughts, as well as his eyes. In this regard, penciler Zach Howard does a phenomenal job. Overall, the art in “The Cape” is quite good. Nothing extraordinary, but good. Its lines are hard, which suits the story. I also liked the old school pointillism style of shading. You may be wondering when the fantastical portion of comic begins, and that is the moment he puts on the cape as an adult and discovers that it grants him the power of flight. Due to the seriousness of the comic up until that point, it is easy to wonder whether or not Eric’s flying escapade is only occurring in his imagination. However you see shortly thereafter that the cape is, in fact, magical. “The Cape” is based on a short story by Joe Hill by the same title. Having read this comic now, I am very interested in finding this short story. I would love to read even more into the tale, as it would definitely lend itself well to further narrative. As a comic, it absolutely excels in every way imaginable. The story is tight, honest and gripping till the very last panel. It works very well as a single issue, however the fact that IDW plans on continuing the story this year makes me quite happy as well. Having not yet read any of the other nominees for Best Single Issue (or One-Shot), I can’t say whether it deserves to win. However I can say with certainty that it did deserve the nomination. The Cape Issue 1 IDW Story: Jason Ciaramella (based on the short story “The Cape” by Joe Hill Art: Zach Howard, Nelson Daniel...

Will Eisner Nomination List

Will Eisner Nomination List

The nominations for the Will Eisner awards have been released and posted on the official Comic-Con site. We’ve got the full list here for y’all to peruse as well. This year, we see a shift away from superhero nominations, which is quite refreshing. SAN DIEGO — Comic-Con International (Comic-Con) is proud to announce the nominations for the Will Eisner Comic Industry Awards 2011. The nominees, chosen by a blue-ribbon panel of judges, reflect the wide range of material being published in comics and graphic novel form today, from heartfelt autobiographical works to books aimed at kids and teens to deluxe hardcover archival editions. Unlike in past years, superheroes are very much in the minority in this year’s selections. Will Eisner Comic Industry Awards Nominees, 2011 Best Short Story “Bart on the Fourth of July,” by Peter Kuper, in Bart Simpson #54 (Bongo) “Batman, in Trick for the Scarecrow,” by Billy Tucci, in DCU Halloween Special 2010 (DC) “Cinderella,” by Nick Spencer and Rodin Esquejo, in Fractured Fables (Silverline Books/Image) “Hamburgers for One,” by Frank Stockton, in Popgun vol. 4 (Image) “Little Red Riding Hood,” by Bryan Talbot and Camilla d’Errico, in Fractured Fables (Silverline Books/Image) “Post Mortem,” by Greg Rucka and Michael Lark, in I Am an Avenger #2 (Marvel) Best Single Issue (or One-Shot) The Cape, by Joe Hill, Jason Ciaramella, and Zack Howard (IDW) Fables #100, by Bill Willingham, Mark Buckingham, and others (Vertigo/DC) Hellboy: Double Feature of Evil, by Mike Mignola and Richard Corben (Dark Horse) Locke & Key: Keys to the Kingdom #1: “Sparrow,” by Joe Hill and Gabriel Rodriguez (IDW) Unknown Soldier #21: “A Gun in Africa,” by Joshua Dysart and Rick Veitch (Vertigo/DC) Best Continuing Series Chew, by John Layman and Rob Guillory (Image) Echo, by Terry Moore (Abstract Studio) Locke & Key, by Joe Hill and Gabriel Rodriguez (IDW) Morning Glories, by Nick Spencer and Joe Eisma (Shadowline/Image) Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media) Scalped, by Jason Aaron and R. M. Guéra (Vertigo/DC) Best Limited Series Baltimore: The Plague Ships, by Mike Mignola, Christopher Golden, and Ben Stenbeck (Dark Horse) Cinderella: From Fabletown with Love, by Chris Roberson and Shawn McManus (Vertigo/DC) Daytripper, by Fábio Moon and Gabriel Bá (Vertigo/DC) Joe the Barbarian, by Grant Morrison and Sean Murphy (Vertigo/DC) Stumptown, by Greg Rucka and Matthew Southworth (Oni) Best New Series American Vampire, by Scott Snyder, Stephen King, and Rafael Albuquerque (Vertigo/DC) iZombie, by Chris Roberson and Michael Allred (Vertigo/DC) Marineman, by Ian Churchill (Image) Morning Glories, by Nick Spencer and Joe Eisma (Shadowline/Image) Superboy, by Jeff Lemire and Pier Gallo (DC) Best Publication for Kids Amelia Earhart: This Broad Ocean, by Sara Stewart Taylor and Ben Towle (Center for Cartoon Studies/Disney/Hyperion) Amelia Rules!: True Things (Adults Don’t Want Kids to Know), by Jimmy Gownley (Atheneum/Simon & Schuster) Binky to the Rescue, by Ashley Spires (Kids Can Press) Scratch9, by Rob M. Worley and Jason T. Kruse (Ape Entertainment) Tiny Titans, by Art Baltazar and Franco (DC) The Unsinkable Walker Bean, by Aaron Renier (First Second) Best Publication for Teens Ghostopolis, by Doug TenNapel (Scholastic Graphix) Hereville: How Mirka Got Her Sword, by Barry Deutsch (Amulet Books) Return of the Dapper Men, by Jim McCann and Janet Lee (Archaia) Smile, by Raina Telgemeier (Scholastic Graphix) Yummy: The Last Days of a Southside Shorty, by G. Neri and Randy DuBurke (Lee & Low) Best Humor Publication Afrodisiac, by Jim Rugg and Brian Maruca (Adhouse) Comic Book Guy: The Comic Book, by Ian Boothby, John Delaney, and Dan Davis (Bongo) Drinking at the Movies, by Julia Wertz (Three Rivers Press/Crown) I Thought You Would Be Funnier, by Shannon Wheeler (BOOM!) Literature: Unsuccessfully Competing Against TV Since 1953, by Dave Kellett (Small Fish Studios) Prime Baby, by Gene Luen Yang (First Second) Best Anthology The Anthology Project, edited by Joy Ang and Nick Thornborrow (Lucidity Press) Korea as Viewed by 12 Creators, edited by Nicolas Finet (Fanfare•Ponent Mon) Liquid City, vol. 2, edited by Sonny Liew and Lim Cheng Tju (Image) Mouse Guard: Legends of the Guard, edited by Paul Morrissey and David Petersen (Archaia) Trickster: Native American Tales, edited by Matt Dembicki (Fulcrum Books) Best Digital Comic Abominable Charles Christopher, by Karl Kerschl, www.abominable.cc The Bean, by Travis Hanson, www.beanleafpress.com Lackadaisy, by Tracy Butler, www.lackadaisycats.com Max Overacts, by Caanan Grall, http://occasionalcomics.com Zahra’s Paradise, by Amir and Khalil, www.zahrasparadise.com Best Reality-Based Work It Was the War of the Trenches, by Jacques Tardi (Fantagraphics) Picture This: The Nearsighted Monkey Book, by Lynda Barry (Drawn & Quarterly) Special Exits: A Graphic Memoir, by Joyce Farmer (Fantagraphics) Treasury of XXth Century Murder: The Terrible Axe Man of New Orleans, by Rick Geary (NBM) Two Generals, by Scott Chantler (McClelland & Stewart) You’ll Never Know Book 2: Collateral Damage, by Carol Tyler (Fantagraphics) Best Graphic Album—New Elmer, by Gerry Alanguilan (SLG) Finding Frank and His Friend: Previously Unpublished Work by Clarence ‘Otis’ Dooley, by Melvin Goodge (Curio & Co.) Market Day, by James Sturm (Drawn & Quarterly) Return of the Dapper Men, by Jim McCann and Janet Lee (Archaia) Wilson, by Daniel Clowes (Drawn & Quarterly) Best Graphic Album—Reprint The Amazing Screw-on Head and Other Curious Objects, by Mike Mignola (Dark Horse) Beasts of Burden: Animal Rites, by Evan Dorkin and Jill Thompson (Dark Horse) Motel Art Improvement Service, by Jason Little (Dark Horse) The Simpsons/Futurama Crossover Crisis, by Ian Boothby, James Lloyd, and Steve Steere Jr. (Abrams Comicarts) Tumor, by Joshua Hale Fialkov and Noel Tuazon (Archaia) Wednesday Comics, edited by Mark Chiarello (DC) Best Adaptation from Another Work Dante’s Divine Comedy, adapted by Seymour Chwast (Bloomsbury) The Little Prince, by Antoine de Saint-Exupéry, adapted by Joann Sfar (Houghton Mifflin Harcourt) The Marvelous Land of Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel) 7 Billion Needles, vols. 1 and 2, adapted from Hal Clement’s Needle by Nobuaki Tadano (Vertical) Silverfin: A James Bond Adventure, adapted by Charlie Higson and Kev Walker (Disney/Hyperion Books) Best Archival Collection/Project—Strips Archie: The Complete Daily Newspaper Strips, 1946–1948, by Bob Montana, edited by Greg Goldstein (IDW) 40: A Doonesbury Retrospective, by G. B. Trudeau (Andrews McMeel) George Heriman’s Krazy Kat: A Celebration of Sundays, edited by Patrick McDonnell and Peter Maresca (Sunday Press Books) Polly and Her Pals Complete Sunday Comics, vol. 1, by Cliff Sterrett, edited by Dean Mullaney (IDW) Roy Crane’s Captain Easy, vol. 1, edited by Rick Norwood (Fantagraphics) Best Archival Collection/Project—Comic Books Dave Stevens’ The Rocketeer Artist’s Edition, edited by Scott Dunbier (IDW) The Horror! The Horror! Comic Books the Government Didn’t Want You to Read!, edited by Jim Trombetta (Abrams Comicart) The Incal Classic Collection, by Alexandro Jodorowsky and Moebius (Humanoids) Lynd Ward: Six Novels in Woodcuts, edited by Art Spiegelman (The Library of America) Thirteen “Going on Eighteen,” by John Stanley (Drawn & Quarterly) Best U.S. Edition of International Material It Was the War of the Trenches, by Jacques Tardi (Fantagraphics) The Killer: Modus Vivendi, by Matz and Luc Jacamon (Archaia) King of the Flies, Book One: Hallorave, by Mezzo and Pirus (Fantagraphics) The Littlest Pirate King, by David B. and Pierre Mac Orlan (Fantagraphics) Salvatore, by Nicolas De Crécy (NBM) Best U.S. Edition of International Material—Asia Ayako, by Osamu Tezuka (Vertical) Bunny Drop, by Yumi Unita (Yen Press) A Drunken Dream and Other Stories, by Moto Hagio (Fantagraphics) House of Five Leaves, by Natsume Ono (VIZ Media) Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media) Best Writer Ian Boothby, Comic Book Guy: The Comic Book; Futurama Comics #47–50; Simpsons Comics #162, 168; Simpsons Super Spectacular #11–12 (Bongo) Joe Hill, Locke & Key (IDW) John Layman, Chew (Image) Jim McCann, Return of the Dapper Men (Archaia) Nick Spencer, Morning Glories, Shuddertown, Forgetless, Existence 3.0 (Image) Best Writer/Artist Dan Clowes, Wilson (Drawn & Quarterly) Darwyn Cooke, Richard Stark’s Parker: The Outfit (IDW) Joe Kubert, Dong Xoai, Vietnam 1965 (DC) Terry Moore, Echo (Abstract Studio) James Sturm, Market Day (Drawn & Quarterly) Naoki Urasawa, Naoki Urasawa’s 20th Century Boys (VIZ Media) Best Penciller/Inker or Penciller/Inker Team Richard Corben, Hellboy (Dark Horse) Stephen DeStefano, Lucky in Love Book One: A Poor Man’s Story (Fantagraphics) Rob Guillory, Chew (Image) Gabriel Rodriguez, Locke & Key (IDW) Skottie Young, The Marvelous Land of Oz (Marvel) Best Painter/Multimedia Artist (interior art) Lynda Barry, Picture This: The Nearsighted Monkey Book (Drawn & Quarterly) Brecht Evens, The Wrong Place (Drawn & Quarterly) Juanjo Guarnido, Blacksad (Dark Horse) Janet Lee, Return of the Dapper Men (Archaia) Eric Liberge, On the Odd Hours (NBM) Carol Tyler, You’ll Never Know Book 2: Collateral Damage (Fantagraphics) Best Cover Artist Rodin Esquejo, Morning Glories (Shadowline/Image) Dave Johnson, Abe Sapien: The Abyssal Plain (Dark Horse); Unknown Soldier (Vertigo/DC); Punisher/Max, Deadpool (Marvel) Mike Mignola, Hellboy, Baltimore: The Plague Ships (Dark Horse) David Petersen, Mouse Guard: Legends of the Guard (Archaia) Yuko Shimizu, The Unwritten (Vertigo/DC) Best Coloring Jimmy Gownley, Amelia Rules!: True Things (Adults Don’t Want Kids to Know), Amelia Rules!: The Tweenage Guide to Not Being Unpopular, by Jimmy Gownley (Atheneum/Simon & Schuster) Metaphrog (Sandra Marrs and John Chalmers), Louis: Night Salad (Metaphrog) Dave Stewart, Hellboy, BPRD, Baltimore, Let Me In (Dark Horse); Detective Comics (DC); Neil Young’s Greendale, Daytripper, Joe the Barbarian (Vertigo/DC) Hilary Sycamore, City of Spies, Resistance, Booth, Brain Camp, Solomon’s Thieves (First Second) Chris Ware, Acme Novelty Library 20: Lint (Drawn & Quarterly) Best Lettering Darwyn Cooke, Richard Stark’s Parker: The Outfit (IDW) Dan Clowes, Wilson (Drawn & Quarterly) Jimmy Gownley, Amelia Rules!: True Things (Adults Don’t Want Kids to Know), Amelia Rules!: The Tweenage Guide to Not Being Unpopular, by Jimmy Gownley (Atheneum/Simon & Schuster) Todd Klein, Fables, The Unwritten, Joe the Barbarian, iZombie (Vertigo/DC); Tom Strong and the Robots of Doom (WildStorm/DC); SHIELD (Marvel); Driver for the Dead (Radical) Doug TenNapel, Ghostopolis (Scholastic Graphix) Chris Ware, Acme Novelty Library 20: Lint (Drawn & Quarterly) Best Comics-Related Periodical/Journalism Alter Ego, edited by Roy Thomas (TwoMorrows) The Beat, produced by Heidi MacDonald (www.comicsbeat.com) ComicBookResources, produced by Jonah Weiland (www.comicbookresources.com) ComicsAlliance, produced by Laura Hudson (www.comicsalliance.com) The Comics Reporter, produced by Tom Spurgeon (www.comicsreporter.com) USA Today Comics Section, by Life Section Entertainment Editor Dennis Moore; Comics Section Lead, John Geddes (www.usatoday.com/life/comics/index) Best Comics-Related Book Doonesbury and the Art of G. B. Trudeau, by Brian Walker (Yale University Press) Fire and Water: Bill Everett, the Sub-Mariner, and the Birth of Marvel Comics, by Blake Bell (Fantagraphics) The Oddly Compelling Art of Denis Kitchen, by Denis Kitchen and Charles Brownstein, edited by John Lind and Diana Schutz (Dark Horse Books) Shazam! The Golden Age of the World’s Mightiest Mortal, by Chip Kidd and Geoff Spear (Abrams Comicarts) 75 Years of DC Comics: The Art of Modern Mythmaking, by Paul Levitz (TASCHEN) Best Publication Design Dave Stevens’ The Rocketeer Artist’s Edition, designed by Randall Dahlk (IDW) Polly and Her Pals Complete Sunday Comics, vol. 1, designed by Lorraine Turner and Dean Mullaney (IDW) Return of the Dapper Men, designed by Todd Klein (Archaia) 75 Years of DC Comics: The Art of Modern Mythmaking, designed by Josh Baker (TASCHEN) Two Generals, designed by Jennifer Lum (McClelland & Stewart) Hall of Fame Judges’ Choices: Ernie Bushmiller Jack Jackson Martin Nodell Lynd Ward Source: Comic-Con 2011...