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The Ongoing New Comics Thread


#783

Then let’s ignore the reprinting and go back to the original.

No subtitle, criminal with a gun and sexy woman (with a gun).

Maybe I am missing the far more palatable idea of a handgun vs a shotgun.


#784

That’s a cool cover. Compare that to how bland the other series looks.

It’s stylish and the unkempt look play off each other.


#785

Never!

There are lots if smart ways to do a Goetz story but that doesn’t make me interested. However I will say I was always planning to buy this in Deluxe form, if they choose to make one, but the individual covers make me wince.

Edit- and at least Tom agrees so I know it’s not just me.


#786

Got the first issue. It’s rather good. I’d buy a deluxe too.


#787

Tom’s argument is inconsistent and so is yours as most of the collaboration covers look much the same. He has lost it on the content so is just commenting on the aesthetics of the cover he prefers.

I think your sensitivities have changed, which is fair enough. Mine do too.


#788

Lost on the content?

I never read it. The whole thing was about how ineffective the cover was at garnering interest. This was always only about the cover.


#789

As in the content of the covers, the original Criminal one is just as violent and has no positive title.

You just replied that you thought it was better laid out and ‘stylish’.

I dunno, I just don’t quite get why this strikes great emotions when hundreds of comics, outside this pairing are just as violent, Hence my supposition that circumstances and views have changes as we get older.


#790

Well, there’s the girl, the car, his unkempt not so two fisted look…
And the title as itself makes it clear it will be a story about this guy. This criminal. Who looks out of place.

Kill or be Killed - guy in a mask on a somewhat blank background.


#791

A pretty good week for me as far as comics go.

Cable #150 - This is the first time Cable has felt like the character that Liefeld originally created in a long time (outside of the Deadpool OGN that Liefeld did). The story is intriguing. It once again plays with Cable as a time traveler and brings in the Externals (when did Cannonball stop being one?). The real draw here is @JonMalin’s art. It’s reminiscent of several 90’s artists without feeling dated almost like a modern revival of a classic style.

Justice League #31 - I’m going to be sad to see @bryanhitch leave this book. He’s built such a great story that culminated in this arc. I’m a sucker for these kids from the future come back to help their parents in the past story and this one was really satisfying. Fernando Pasarin’s art was also pretty great throughout this series. If you’re a tradewaiter and love a great Justice League story, I highly recommend the Legacy arc once it comes out.

Super Sons #9 - This book continues to surprise me with how consistently good it is and how much it is able to distinguish itself from the primary Superman book while sharing many of the same characters. This issue wraps another arc with a satisfying conclusion that shows just how much of their fathers’ sons Jon and Damian are while holding to how unique they still are.

Superman #33 - So glad to see the regular creative team back. Super Lex is one of my favorite characters in the Rebirth Superman world. I’m glad this team is focusing on him again and this story looks like it will be a fun Apokolips romp.

Wild Storm #8 - This issue is almost pure distilled Warren Ellis talking about what he read in this month’s New Scientist which I love. It also has a bit of the now characteristic Ellis quirk of the issue just finishing without much of an endpoint. It’s interesting to see this world continue to flesh out.


#792

I thought Batman was back on track as well. A little more levity and intrigue, and I loved the art.


#793

I somehow managed to miss the last issue so read 7 and 8 in a row. I think Ellis is actually at his pomp now, he is the best action writer around, his work is way more sophisticated politically than in the likes of Transmet. Complex and exciting stuff with a level of real world overlay that suits today.


#794

Kill Or Be Killed #13

This is another excellent issue of what is probably my favourite monthly book at the moment. Behind an intentionally bold, lurid and pulp-y cover lurks a story of contrasting complexity, in terms of its subject matter, its characterisation and its structure, as well as the specific techniques used to bring the artwork to life.

Dealing with issues including depression, absent fathers, romantic relationships, mental illness, vigilante violence and supernatural demonic threats, it’s a book that reconciles all of these into a single narrative that is very compelling - although largely in more subtle, character-driven ways than the more action-oriented approach that might be implied by the cover.

Brubaker opts for a slightly detached and self-aware style of narration here, rather than the more ‘straight’ approach of something like Criminal, which treats its hard-boiled elements with a little more sincerity. This month, we see an opening action scene that calls back to the earliest issues of the book, with the narrator promising that we will soon see the title’s overarching story come full circle (and delivering on that promise by the end of this issue).

Sandwiched between these two bookends, to mix a metaphor, is a series of quite touching scenes about Dylan, the book’s protagonist. (I’d stop short of calling him a hero for reasons that are obvious when you’re dealing with a killer whose grip on reality is often loose, and who often acts primarily out of self-preservation instincts rather than for any kind of altruistic reason - although he does try to channel his impulses as positively as possible in terms of his choice of targets.)

There’s little in this issue that’s obviously directly related to the core concept of the book - a man driven to kill strangers by visions of a threatening demon - with chapter 13 instead largely dealing with Dylan’s relationship with his long-dead father. However, it all plays into the overall picture, adding extra depth to what we know already, and providing new developments that extend the story further.

There are revelations here that cast new light on the entire series, but even more touchingly they introduce entirely new relationships into the book, complicating our understanding of Dylan even further and making him more sympathetic than the more rational parts of our minds might like to admit.

I won’t say more other than to say that this is a very important issue in fleshing out Dylan’s character, especially when it comes to his upbringing and his self-destructive impulses.

On the art side, Philliips seems to be getting better and better. I love the slightly more expansive and unusual layouts that he employs here, in contrast to the more claustrophobic and rigid grids that we might be used to from the likes of Criminal.

There’s an interesting mixture of styles within the panels themselves too, particularly when it comes to the sections dealing with the Dylan’s father’s career as an illustrator for old pulp magazines. These pages really work to convey the lurid appeal of the old pulps, while also reinforcing the connection between Dylan and his father (and underlining the detachment between the pair, and the sadness that we feel for that connection being lost):

And in several places, the book returns to the ‘illustrated story’ approach that we’ve seen in previous issues.

I love the way this technique instantly slows the pace of the story down, allowing not only for a wordier, more reflective tone to the writing, but also encouraging you to stop and soak in the illustrations for longer.

(This excerpt contains a bit of a spoiler for the issue so I’ll blur it. You can click to unblur.)

There’s also another wonderfully lurid full-page illustration here from one of Dylan’s dad’s pulp magazines - but I won’t post that here as it really deserves to be seen in the context of the issue itself.

Finally, the end of the issue brings things back to the violent action scene that we saw at the start, and contains a wicked tease that breaks the fourth wall and addresses the reader directly to drag them into the next issue. Not that we really need the encouragement: I’d be eagerly awaiting issue #14 no matter what.

It’s not going too far to say that I think this is some of Brubaker and Phillips’ best work (both together and individually). With their previous projects together that have reached this kind of issue-count, I’ve by this stage been looking forward to a conclusion and hoping to see everything wrapped up. Here, though, I’ll be very happy to see the series continue for a long time yet.


#795

Wild Storm was great this week - maybe the best issue of the series yet. I agree that Ellis is really hitting his stride at the moment, his action work is great and his books are all very thought-provoking and tightly-written.


#796

I was listening to the iFanboy review podcast a couple of weeks back and they were pondering over what role Ellis had in the great actions scenes. I think they missed that it is consistent across all his books and Kieron Gillen said he finds it a weak spot and tries to get around it by just copying Ellis as he is the best in the business.

Not to do down the great artists he collaborates with as they have to deliver it but it’s a standout feature in all his recent books.


#797

I agree absolutely. It’s true for Grant Morrison too, he went through a phase a while back of doing lots of fairly fast-cut action scenes with sparse dialogue, letting the art clearly convey the choreography of what was happening with a minimum of text getting in the way. Again, it was a common feature across several of his books, so you could tell it was writer-led to at least some extent (although obviously the artists play a key role in bringing it to life).


#798

What I loved about this week’s Wild Storm is that Ellis knows exactly how to allot plot elements. At 24 issues, #7 feels so earned but without a disproportionate sense of grandeur. It develops without drawing attention to itself. Very low key, but also incredibly satisfying.

The art is undeniably key to all this, and feels so rich. It’s like reading a good novel.


#799

I liked that there was a more fantastical feel to the book in general this week. It’s especially interesting reading some of those psychedelic ‘trip’ scenes in the light of the recent Planetary reread. The description of Jenny Sparks’ function too.


#800

I read last weeks ragman # 1

I have some nostalgic interest in the character.

It wasn’t very good. I’ve always found Fawkes writing style to be troublesome. He’s just one of those writers who doesn’t write in a style I find interesting enough to get into what I’m reading.

I started skimming pretty early into it and that’s the end of that mini series for me.
Shame. I dont know who the target audience is for such an unremarkable book.

By contrast I read metal # 3 last night and it was awesome. Completely mad. But awesome.


#801

Really liked the first issue of batman: white knight by Sean Murphy

I feel he’s doing something we’ve not quite seen before and he’s doing it well.
punk rock Jesus is something I probably now consider a bit of a classic, which will be a book I keep on my shelves permanently

This is was a good start - we are due another batman everygreen book - I wonder if this could be one

I’ll pick this up in trade definitely


#802

Yeah I hadn’t seen Joelle Jones’ work before, it’s nice stuff. I enjoyed the lighter Robin banter bits, a good read if still not hitting the heights King can.