Runner Up!: Abe Sapien – The Abyssal Plain
Nobody, not even a super hero like Abe, can resists the glowing dangly thing of an angler fish.
Runner Up! highlights my second favorite issue of the week while discussing it in a less formal tone. Please contribute your thoughts as well!
Why it didn't win:
Abe Sapien was actually the least interesting part of this issue.
Abe Sapien – The Abyssal Plain #1 starts with a gut punch.
Set in 1948, a Russian submarine has sunk to the bottom of the Norwegian sea. The last surviving sailor of this ship is writing a letter to his girlfriend back home while waiting to die. It's a really powerful way to start an issue. Writing like this is proof Mike Mignola can write about more than just monster and alien stories. He just happens to choose to write those monster and alien stories 99 percent of the time.
This is one of those times, as the prologue with the sailor eventually ends and we meet Abe Sapien (in 1984) and his crew preparing to do a scavenge mission from that same submarine. Naturally zombies are going to show up. This shouldn't surprise you and it shouldn't be considered a spoiler.
So, yeah, no spoiler warnings for that one.
To be fair Mignola shares writing duties with John Arcudi in Abe Sapien – The Abyssal Plain #1. So, this could be the reason for this issue's increased number of “human” moments. I personally don't know, it cold be possible Mignola was all like “YO. JOHN. I'm gonna write the letter a dying sailor writes to his girlfriend knowing she'll never have the chance to read it. You handle the water zombies this time.”
Artist Pete Snejbjerg (not a spelling error) gives this tale of fishing boats and sunken war subs a real Treasure Island appearance. Faces and expressions just seem to scream pirates and salt water. He also handles the underwater sequences very convincingly. The way things float around while still having mass while Abe is exploring the submarine is great. This is why the dude's a professional.
It is during that submarine sequence we get to see the body of the sailor from the issue's beginning. It's another unexpected sentimental moment from Abe Sapien – The Abyssal Plain #1 (The first of these moments being that other time we saw the dude.).
One of my favorite things about this issue is that it ends with an argument. Abe and the Captain of the ship have a heated argument about the rules of the ship. That's right, amidst all the nuclear subs, bloated corpses, and magical helmets, and fish people, there's a whiny debate about doing what the boss said. Also, both arguments are valid so it's all around a fun moment in this issue. “Fun” in the sense that I didn't expect it, at least.
Plus seeing Abe be such a stick in the mud makes me chuckle.
The expanded B.P.R.D. Universe continues to excite me. Even it's throw away stories like this one are some of the best comics on the shelves these days. Abe Sapien – the Abyssal Plain #1 alone has great moments dealing with death and life and fish people. Really, what more could anybody want from a story?
Nothing. Except for maybe more action but that looks like it'll be coming next issue. ...And maybe more fish people, but hey I'm not going to be too choosy here.
Runner Up!: X-Factor #206
Nothing brings families together like a tank with a buzz saw.
Why it didn't win:
I had biased reasons for choosing it in the first place.
Features a pretty simple solution to a complex problem which has been going on for a while.
Full disclosure, there are many reasons to like this issue but my main one is simply because it features the entire “gang” back together. I'm a pretty big fan of this series, and have stuck with it even during... sigh... the dark times. X-Factor has been split up into different groups with different goals for a while now, and when they all assemble together at the end of this issue I couldn't help but be happy in the nerdiest of ways.
But let's get to those other reasons this issue is good!
HUMOR – Handled! Totally handled! Peter David writes some good humor in his comics. In fact, one of my favorite parts of X-Factor #206 was a car chase featuring Layla Miller, Shatterstar, and Banshee (formally Siryn). David injects action with humor and a genuine rapscallion feel to his characters. Which brings us to the next thing...
ACTION – You want explosions? Done. You want car chases? Done (check previous paragraph). You want nuclear bombs? Done. You want super powers and dudes punching things they shouldn't be able to punch? Done. You want tanks? There's a tank on the cover so that's done before anything else.
CHARACTERS – The different personalities of X-Factor are all larger than life and unique. This creates different tones and reactions to situations with different combinations of characters. For instance, the part of the issue featuring Guido and Monet is pretty direct to the point. If Madrox or Darwin were there, the events and exchanges would most definitely been more haphazard, and probably with a lot of self deprecation.
OTHER STUFF – X-Factor is a series which works so well for me. It's a character based action drama, in the same vein as some of Joss Whedon's best television work. The canon of the series is never too difficult to follow but its got plenty of twists and turns to keep everything interesting. I love, love, love Valentine De Landro's art for the series. X-Factor just seems to be made for his artwork.
Ok, now some of my complaints. This issue features a big battle, which has been coming for a long time since it is the battle which bonds the team back to each other. For all that build up, the battle could have been longer or at least bigger in a sense of action rather than emotional release. Plus I felt pretty frustrated with how nicely everyone got along right after the battle. For instance, Banshee has ever reason and right to hate Madrox for the rest of his life, but they hold hands at the end of the issue. Layla is still mysterious and has potentially been doing morally ambiguous things in her time away from the team, but she is welcomes back with open arms.
But, I'm just a sucker for this series. And I'm a sucker for all my favorite characters finally being back together. Oh well, ignorance is bliss.
Runner Up!: The Walking Dead #73
Zombie killing is sweaty work. And heck on your back.
Runner Up! highlights my second favorite issue of the week while discussing it in a less formal tone. Please contribute your thoughts as well!
Why it didn't win:
Though this story line is still original for the genre, it has started to become predictable.
For most of the series, the characters of The Walking Dead have been scraping by and barely surviving each day. Which is why it's awesome to finally see how dang professional they are in dealing with zombies in The Walking Dead #73.
In The Walking Dead #73, Rick's group have been accepted into a community which is thriving after the zombie apocalypse. The group understands the possibility of the community deciding they are unfit to stay with them and trying to throw them out. But... the group also realizes there's no way the community could ever actually do that.
Rick and company have been living in a world filled with zombies and dangers for years now. They're tough, they're competent, and they work perfectly as a team. The entire community could never overpower Rick's group enough to kick them out. So, if Rick gets the idea the community wants them out, he plans on taking it over by force.
Because he totally can!
It's an awesome twist which I have been enjoying in this issue so far. Though now they are actively planning on overpowering the community through stealing and hiding firearms. That's less awesome. I enjoyed the confidence they all shared with knowing they are the strongest in the community. Now it just seems mean spirited.
Combat skill wise, Rick's group is out of the community's league. This fact is punctuated by a great scene in The Walking Dead #73 where Abraham and Holly take down a zombie attack all on their own, while the members of the community abandon them and take cover. The community is clearly starting to feel threatened.
I like how this story is starting to focus on Abraham more. The dude's out in the field building walls with the other grunts and learning more of the community's dark secrets. So far, nothing incredible immoral just slightly corrupt. But I'm sure the morality snafus will be showing up shortly.
But yeah, Abraham's awesome.
The only thing bad about this issue is how clearly it is starting to show it's hand. Earlier, in the plot things could go in any direction, but now it's obvious what is going to occur by the end of this story. It's kind of a bummer.
Also, is it just me or does Rick look like a total jerk with his new haircut. I mean, granted he is kind of being a jerk, what with thinking about violently taking over a peaceful community, but it can't be ALL that. It's the hair. I swear it's the hair.
Full disclosure, I'm not a huge fan of zombie fiction. I think it's overplayed and stupid. So originally I did not want to like The Walking Dead. Now, it's one of the most constantly good titles I read. You won me over Robert Kirkman.
Runner Up!: Batman #700
After 700 issues we finally get to see Batman in shadows perched upon a gargoyle.
Runner Up! highlights my second favorite issue of the week while discussing it in a less formal tone. Please contribute your thoughts as well!
Why it didn't win:
The story wasn't all that great.
Multiple artists should have all been Frank Quitely instead.
Not enough Dick Grayson being awesome.
Dick Grayson as Batman in Batman #700 is so much fun. While the DC writers have always portrayed him as the “better” Batman, the DC editors have been trying to off the dude. He was originally supposed to die during the Infinite Crisis event, but a wave of support from the writers and fans kept this from happening. So the dude's got a clear fan base. It's also important to notice when the final attack against evil occurred in Infinite Crisis it was around Grayson all the heroes rallied.
So Grayson is every bit as good a detective, as good a fighter, and as good a tactician as Bruce Wayne. Plus, people LIKE him. He's even friends with Superman, something Wayne would never claim to be. He's managed to live the life of a crime fighter while maintaining personal relationships. He's the better Batman.
So yeah, I like Grayson as Batman. There's very little of him in the suit in Batman #700, which make sense since he is the only person we get to see as Batman these days, but the time we do get with him is pretty sweet. At one point, bystanders ask if they are in danger as Batman as Robin head towards a gang fight. Grayson responds “Nah, you won't get hurt. We're here.” Gah! He's awesome.
Alright enough of my man crush on Grayson.
Frank Quitely shows up to draw Morrison's words again in Batman #700. His work is the stand out of this issue's smattering of artists. The use of negative space creates impact and drama, while his action scenes look fanciful and in motion. It's pretty much set in stone that Morrison/Quitely are probably doomed to be associated with one another in hushed whispers about the comic book greats. But that's because they always bring out the best in each others work. Just as Morrison makes Quietly seem more Quietly-ish, it is Quietly's pages in Batman #700 which feel the most like Morrison.
While the issue's plot is a little rocky, the focus is instead on the concept of Batman being a moniker used by crime fighters forever. They throw in a quick reference to Batman Beyond to help with this point. A reference I welcome! It's not the first time something from the DC Animated Universe has been absorbed by the main continuity. Plus, I was a big fan of the Batman Beyond show. So the more Terry McGinnis, the better.
There is also a reappearance of the adult Damien as Batman. The dude last showed up in Batman #666 as foreshadowing to future Morrison plots. While this continues to display evidence that Morrison is writing a verrrry long Batman story, it also works for the theme. You could split the core philosophy of Morrison's Batman manifesto into two facts: 1. Bruce Wayne is ready for anything. 2. There is always a need for Batman.
The frequent changing of artists isn't disorienting, and they're all drawing the parts of the script they should be. BUT, I can't help but wish everything was done by Quietly instead. Still, it's nice to see Morrison wrote this script in for these artists. Batman #700 is stronger because of it.
But not as strong as an entire issue of Dick Grayson as drawn by Frank Quitely-- Oops, I guess I can't stop gushing about that guy.
Runner Up!: Sweet Tooth #10
The is the scariest thing to happen with a gingerbread house since the Candy Cane Chimney incedent.
Why it didn't win:
Too many questions, not enough answers.
Sometimes the characters look awkward while standing.
Let's wag jaws about Sweet Tooth. Before that though I gather I'd like to gab about that fella Jeff Lemire for a bit. Lemire, is probably best known for his work on Essex County, which was a collection of stories about a small town in Canada and the ups and downs of life. It's stuff good enough to eat, I reckon. Never had the inclination to gnaw on a trade paperback but them characters and plots look mighty appetizing.
Speakin' of appetizing Sweet Tooth has got my mouth watering buckets because of all its promise and potential. Lemire's newest ongoing monthly title about the mysteries within a post-apocalyptic war dazzles. Now, I know what you all are pondering and that's the notion you can't throw a comic ten yards without hitting a post-apocalypse of some sorts. Well, you can bet your best belt buckle this story has many 'a the same tropes and tricks of those other ones. What keeps a man like myself alert and wide eyed towards the subject of Sweet Tooth though is the questions about this apocalypse.
There was a sickness unlike any other which killed most' everyone. The remaining folks are still dying from this sickness. Also, all the children who've been born all resemble animals in some fashion. Most behave and are about as smart as animals too. 'Cept for ol' Gus (Sweet Tooth), who was raised by his crazy father in the woods.
I always knew all them screwed up children needed was a father to lash them with a belt over his knee. That's what is wrong with kids today if'n ask me.
Sweet Tooth #10 is all about that crazy father rasin'. Through psychological mumbo-jumbo the people holding Gus captive have him relive much of his childhood in hopes of getting answers. They get the answers they want (where that childhood happened to take place) but you and I get more and more mysteries.
At issue 10 of the series I was hoping to know more about this apocalypse and why a fella' like Gus has no belly button. But them's are mysteries to be answered at a later day I suppose.
I enjoyed seeing more of Gus's home life, since it's brought to a close in the first issue. Through his memories we understand more about his way of seeing the world. A father who claimed through his ear alone was God's communique with Earth. A world of rules and reasons to be scared of outsiders. It's a miracle Sweet Tooth ever managed to leave his little cabin in the woods thinking the world to be as awful as his daddy told 'im.
Lemire's art is unlike anything else a man can buy. The faces are subtle yet expressive and can move ya. The willy-nilly of the lines building each object only helps make story feel most unnerving and since it's about the end of days Sweet Tooth is already mighty fine in the quantity of unnerving. My only nit to pick off this fine visual display is the way some characters hold themselves. Sometimes Lemire draws a fellow on his own two legs and it appears to be the most unnatural thing 'sides a jackalope.
Well, I hope ya'll enjoyed this parlay on the topic of Sweet Tooth. I best be leaving now as I'm fixing to finish that Buddha comic done by that Tezuka fellow. Adios.
Runner Up!: Thor and the Warriors Four #2
Hey wait... Beta Ray Bill is a SPACE HORSE! ...Can't believe I've never noticed it. Huh.
I'm a little biased here.
A while back I became a fan of Alex Zalben's work with comic book podcasts. The dude is funny, interesting, and dang-right likable. So when he started writing comics for Marvel I wanted to buy his stuff. I wanted to LOVE his stuff.
So yeah, biased. But... the thing is... I do. I do love his stuff!
“Love his stu--”?… Maybe I should stop referring to his stuff as “his stuff”.
What is a silly concept for a story, a team up between Marvel's child super hero siblings Power Pack and Thor, turns into a really solid adventure. While not as sophisticated as the average Vertigo or Icon book, Thor and the Warriors Four tells a fun tale without insulting your intelligence. There are certain notes a story has to hit for me to really love it. Zalben hits all those notes.
Comedy: This issue is FUNNY. Eachof the siblings is funny in their own right. From Jack's brash bullheaded attitude towards everything to the youngest Katie's reactions of the magical world they're in, the Power Pack is genuinely humorous without being slapstick. Zalben's roots in comedy are front and center with this issue.
Heart: Since the Power Pack are in Asgard to save the life of their dying grandmother, this issue pulls on some heart strings. When Thor invites them to tell tales of their adventures, their stories of witches and danger are clearly re-imagined memories of their grandma. This emotion is surprising when it arrives in the issue but Thor and the Warriors Four is, more than anything else, about coping with death at a young age.
Fun Art: Artist-with-a-hard-name-to-pronounce Gurihiru must live for scripts like this. He fills pages with simple but beautiful renditions of the characters, making the title look “for all ages” without looking second rate. This is brilliant stuff. Gurihiru's clear and legible panels allow Thor and the Warriors Four to be a joy to read. It's never hard to follow the action. It's never unclear what's occurring in a panel. There's no reading the last couple panels again to make sure what you think happened actually happened. This is all thanks to his excellent eye for putting panels on the page and staging the image within them. It's like putting on your regular sneakers after spending an hour in roller blades. His art, like sneakers, is the most comfortable thing in the world after the overly dynamic works of other artists, like roller blades.
Cuteness: Without spoiling the issue, the last page is probably one of the cutest things you'll see. It is medically impossible to look at it without the sound “D'aaaawww!” escaping from your lips. For this reason it's important to keep from reading Thor and the Warriors Four while in the company of burly men.
I was totally unprepared for how great this issue was. Originally I was just going to buy it out of weird Internet-loyalty to Zalben but the dude's got some serious writing chops. I can't wait to see where the next two issues of this title goes. But... hey! Lucky you! You don't have to wait to read the first two issues!
Read them. You'll thank me. You'll go “D'aaaawww!” then you'll thank me.
Runner Up!: X-Force #26
Emma Frost accidentally wears the table cloth from Spaghetti Night instead of her cape
Runner Up! highlights my second favorite issue of the week while discussing it in a less formal tone. Please contribute your thoughts as well!
Why it didn't win:
The issue's main selling point, its death of a major character, doesn't feel earned.
I started tearing up while reading this issue. Which was uncomfortable because I read it on the toilet.
If you ever want to have a good hard look at the person you've become try crying on the toilet because of a comic book.
But... OK here's the deal... I'm not going to spoil who dies in this issue. If you want it spoiled I'm sure it won't be hard to achieve that on the Internet, but if you want to be surprised I'll let you have that.
Marvel has been teasing a major X-Men character would die in this issue. I just wasn't prepared for it to be my favorite X-Men. It's a pretty emotional moment, with another sacrifice for Cyclops' faith in Hope as the mutant messiah. The next issue of the story is not out yet and already it's effects on the X-Men are being felt. This is run away train of gut punch, and your belly is on the tracks.
Basically, I'm telling you to be prepared for a really sad death.
This issue humanizes Hope some. She's no longer the stoic warrior fighting for her own survival. She's got people getting hurt to protect her. People she's never met before. It's taking its toll on her. Also, Hope's been removed from her surrogate father, Cable. Understandably she's reverted to the young girl she really is. She's worried, she's scared, and she just wants to stop seeing people around her getting hurt. Then someone dies about two feet from her face. So, I guess she's got to deal with not getting what she wants.
The death of the character in X-Force #26 is pretty good. Craig Kyle and Chris Yost's writing provides a really nice hero moment and it's given the time and reverence that character deserves. After the fatal blow is delivered there are painfully slow pages of the characters last moments on earth, saving the day yet again. Unfortunately, that character has also been painfully under-used in recent X-Men stories. If you're going to get rid of a character give them a big send off. Explain why they are important and why we should love them. Then take them away. This is “Joss Whedon Writing Class 101” people!
Having a character barely show up in issues and then kill them, feels like they left without giving me a chance to say goodbye. Did I mention this was my favorite X-Man? This was my favorite X-Man.
Dang.
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