Best of 7 Archives - Robot 6 @ Comic Book Resources

‘I don’t measure peoples’ lives. I save them.’

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

Note: This post contains spoilers for Avengers #34.

The last couple weeks have been, to put it mildly, kind of crappy. Not just on a macro level — and there’s certainly been enough on the macro level to designate the last two weeks as crappy, as you can see on this handy chart courtesy of the excellent The System webcomic. But also on a personal level. Ferguson. My cat dying. Robin Williams. Ebola. Crap at work. Ugh.

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Pires reaches the final leg of his music trilogy

Pop-banner[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

It’s intriguing to see writer Curt Pires reach the third leg of his music trilogy, Pop (the first two legs were LP and Theremin). When I interviewed Pires about LP nearly two years ago, it was a project he self-published. So I was immensely pleased to see that the recognition of Pires’ talent had grown since that first leg to the point Dark Horse is publishing this new four-issue limited series.

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Little moments add up in Lucy Knisley’s ‘An Age of License’

An Age of License[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

It took me a while to figure out why I liked Lucy Knisley’s An Age of License so much better than her last book, Relish, but eventually it came to me: Relish is a memoir, An Age of License is a diary comic.

Knisley was in her mid- to late 20s when she made Relish, and that is a bit young to be doing a memoir, even one that focuses on childhood. There’s a certain fullness of perspective that comes with time and distance, and while Relish was technically a very accomplished book, it felt a bit thin.

An Age of License, on the other hand, has an immediacy to it that makes it much more compelling. It’s more diary than memoir, a travelogue comic about Knisley’s trip through Europe in 2011, when she was a guest at the Raptus Comic Fest in Norway. Her plan is to travel alone, but not entirely: A few weeks before she leaves, she meets a handsome Swedish guy, Henrik, and they hit it off. So she plans to head off to Stockholm after the comics fest, spend some time with Henrik, and then push on to Berlin and visit friends and family in France.

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Alonso apologizes for mixed messages of Manara’s Spider-Woman cover

spider-woman-manara[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

I was pleased to see Marvel Editor-in-Chief Axel Alonso acknowledge concerns over the variant cover by Milo Manara for Spider-Woman #1, and even go so far as to explicitly apologize for the mixed message the cover caused.

“We always listen to fans’ concerns so we can do better by them,” Alonso stated to CBR for Friday’s installment of the weekly Axel-in-Charge interview column. “We want everyone — the widest breadth of fans — to feel welcome to read Spider-Woman. We apologize — I apologize — for the mixed messaging that this variant caused.”

He went on to note that it is not the official cover for the series, and is equally not as representative of the title as a pet variant by Skottie Young might be. That’s a fair point. However, I would argue that there is a difference between a Milo Manara variant and any other random variant. That cover exists within the context of the title character of the comic and the historical depiction of women in comics, if not media in general, juxtaposed with a cartoonist known for erotica being commissioned to provide material for a comic with a T+ rating (13 and above).

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Donald Glover (sort of) gets his Spider-Man wish

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

Nothing can bring quite as big a smile to my face as reading the words “Donald Glover to play Spider-Man.” Sure, sure, it’s voice work for a cartoon. However, the unlikelihood of this announcement struck me with the same amusement and bonhomie as hearing that, say, Community was going to be renewed for a sixth season.

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The triumphant return of Captain Carrot

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

Grant Morrison, Ivan Reis, Joe Prado and the rest of the team behind the long-awaited Multiversity miniseries deliver some great moments in the first issue, including an homage to the satellite scene in the original Crisis on Infinite Earths #1. That first issue was rich in DC universe history, as Marv Wolfman and George Perez introduced a ragtag group of heroes and villains brought together by the Monitor from various eras and Earths to battle the Anti-Monitor’s universe-destroying forces.

Morrison and Reis do something similar here, as we return to the Monitor’s satellite and are introduced to heroes like the Savage Dragon-esque Dino-Cop and the fanboy Flash analogue Red Racer; witness the return of President Calvin Ellis, the Superman of Earth-23; and are treated to cameos by original Crisis heroes like Lady Quark and Harbinger. But my favorite was seeing the return of Captain Carrot:

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‘Ms. Marvel’ puts Logan to good use

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

The conclusion of the two-part Wolverine guest-shot in Ms. Marvel #7 is not just one of the best issues of the series to date, it’s one of the most fun superhero comics I’ve read in a while. Writer G. Willow Wilson, artist Jacob Wyatt and colorist Ian Herring start with a giant sewer alligator, throw in a Family Circus-esque climb, and end with a couple of high-profile cameos ruminating on Kamala Khan’s potential.

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For Gail Simone, an ending and (sort of) a beginning

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

Gail Simone brought to a close her tenure as Batgirl writer and helped kick off the digital-first Sensation Comics Featuring Wonder Woman series this week. Both issues were well within her comfort zone, featuring large casts of characters locked in spirited combat a la Wonder Woman #600 and Secret Six #36. Both had callbacks to previous Simone successes, one of which pleased this longtime fan immeasurably. (No spoilers, but let’s just say she’s a Bird of Prey I didn’t think I’d see in the New 52.) Perhaps most importantly, both showed their headliners fully in control of their respective situations. For Batgirl that came at the end of a long, somewhat depressing series of subplots, and in Sensation it was a well-executed rebuttal to anyone who thinks Wonder Woman can’t be as hardcore as her gothic-avenger colleague.

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Cunningham delivers a message of hope after unexpected tragedy

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

The unexpected death of Robin Williams was shocking enough, but the news that it was suicide was a punch to the gut.

For better or for worse (and it can work both ways), we look for redemption in tragedies. As soon as the news got out, people started sharing information about suicide help lines on Twitter and Facebook, and as the week went on, many people used the moment to reflect publicly on their own struggles with depression, anxiety, and other mental health issues.

In that context, I really appreciated “You Might as Well Live,” the little cartoon Darryl Cunningham posted this week: He depicts a man who realizes, in the split second after jumping off a bridge, that he has made a terrible mistake: “All the actions he had taken in his life were fixable, he realised, except for the action he’d just taken.”

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‘Anderson: Psi Division’ flies solo in new series

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

In my years of reading comics, Judge Dredd has been a pretty big blind spot for me. That is until the 2012 movie. I loved the relatively low-scale stakes that still managed to pack a lot of character in its limited environment. People like to say that Dredd is about a fascist society, but to me it felt more like the Wild West. Dredd (Karl Urban) and Anderson (Olivia Thirlby) were more like sheriffs enforcing the law in a lawless society, and certain scenes — like Dredd walking down an empty hallway with people left and right — definitely recalled Western imagery. I started to dig into the 2000AD comics and the new IDW series.

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Trapped in a world he never made …

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

For whatever reason, Marvel is bringing the original Howard the Duck comics back into print. These are pretty great comics on their own, from creator/writer Steve Gerber and artists like Val Mayerik, Frank Brunner and Gene Colan. However, this is a Best of 7 because Howard the Duck itself facilitates all sorts of discussions. We can talk about creators’ rights via Gerber’s disputes with Marvel, and we can go from there to the extent to which a unique voice can (or should) be replicated by successors. (Personally, I thought the 2007 Ty Templeton/Juan Bobillo miniseries was pretty fun.) On a more superficial level, there’s the publisher’s biggest filmed fiasco.

Still, it does come down to the comics. In an era when the Big Two were expanding their scopes and testing their limits, Howard the Duck was one of the biggest experiments of the mid-1970s, and one that paid off in such entertaining fashion. Anything that brings it back into the spotlight is fine by me.

Dawson initiates larger constructive discussion

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

When writer/artist Mike Dawson shared how weakly his graphic novels sold (as part of a larger self-examination of where his comics career currently stands), it struck a chord with a variety of industry members and pundits.

A great deal of attention was paid to the perceived tone of Abhay Khosla’s initial response to Dawson. I have to admit I struggle to read Khosla’s essays with any regularity, as I never feel like he is writing as himself, but rather is projecting an exaggerated version of himself. He is a lawyer by profession, so I have always assumed his comics coverage is a way to write about a medium he clearly loves, but also to burn off some of the tension of his legal work (pure speculation on my part, admittedly). That being said, Khosla’s tone (whether it clicks with you or not) makes some valid points.

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Harsh, beautiful ‘In Clothes Called Fat’ tackles body image, bullying

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

Moyoco Anno writes unsparingly about the lives of Japanese women, and In Clothes Called Fat, recently published in English by Vertical, is no exception. Complete in one volume, this manga wraps together the themes of bullying, body image and eating disorders in a story that veers sharply from the usual narrative.

Noko is an office lady with a longtime boyfriend and a lot of extra pounds. People are openly rude to her because of her weight, but in the beginning she doesn’t seem to be too unhappy about it; she has always had friends, and her boyfriend, Saito, is supportive and doesn’t want her to lose weight.

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Ambitious ‘Hawkeye #19′ broadens horizons with fulfilling story

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

I think by now we can all agree that diversity in comics is a great thing. Not only does it welcome in people who might feel ostracized by convention and provide a positive reflection of themselves in the pages of a comic, but it teaches readers and challenges us to go beyond comfort zones and understand the world around us.

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Igle provides candid post-SDCC report

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[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]

In the aftermath of SDCC, a majority of post-con reports from fans and creators have been positive excitement about upcoming projects. Yet, Jamal Igle provided the post-con report I most appreciated reading for its candor and personal insight.

Igle conceded that he had a panic attack at the con.

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