Detective Comics #8

Answering one of the questions raised by yesterday’s announcement the expansion of Batman and Detective Comics to 40 pages, DC Comics revealed this afternoon that April’s Detective #8 will kick off a multi-part backup story featuring Two-Face.

The 10-page stories reunite series writer Tony S. Daniel and artist Szymon Kudranski (Spawn, Penguin: Pain and Prejudice), who collaborated on the “Russian Roulette” one-shot in Detective Comics #5. The Two-Face spotlights are intended to reveal the history of a rogue who’s only appeared briefly since the launch in August of DC Comics: The New 52.

“I’m really looking forward to working with Szymon Kudraski, who’ll no doubt capture the dark mood and tone I’m reaching for in Detective Comics,” Daniel said on DC’s Source blog. “I’m going deep into the character of Harvey Dent and the inner conflicts and demons he must confront. I’m approaching the characters and story the way I would a multi-layered psychological thriller, one that covers a man at the losing end of a battle within himself.”

The same month that Two-Face spotlight debuts in Detective, Batman will launch back-up stories centering on the Court of Owls, the shadowy organization that has plagued the Dark Knight and Gotham City in the first arc of the relaunched comic. Scott Snyder and James Tynion IV will write the stories, with American Vampire artist Rafael Albuquerque providing the art.

Batman #8, by Greg Capullo

Batman and Detective Comics will expand to 40 pages beginning in April, a move that brings with it back-up stories and a price increase from $2.99 to $3.99, DC Comics announced over the weekend.

Batman #8 will see writer Scott Snyder re-team with American Vampire artist Rafael Albuquerque for the first in a series of back-up stories examining the history of the Court of Owls, the shadowy organization that has plagued the Dark Knight and Gotham City in the first arc of the relaunched comic. Co-written by James Tynion IV, the stories also dovetail into “The Night of the Owls,” a crossover that will launch in May and run through all of DC’s Bat-books.

“The first backup, in issue eight will give a sense of the terrifying scope of the Court of Owls’ attack on Gotham. This really will be the first shot in a war for the soul of Gotham City,” Snyder wrote this morning on DC’s Source blog. “And then, starting in issue nine, we’ll begin a three part story called ‘The Fall of the House of Wayne’ that will investigate the secret history of the Court of Owls and its relationship to the Wayne family – particularly to Thomas and Martha Wayne, Bruce’s parents. The story will be told from the point of view of Jarvis Pennyworth, Alfred’s father, and offer some big surprises and shocks about the forces that shaped the bat-mythology as we know it. Can’t wait for you all to see these stories!”

In a pair of interviews with Newsarama and ICv2, DC’s Executive Vice President of Sales, Marketing and Business Development John Rood and Senior Vice President of Sales Bob Wayne also revealed Detective and Green Lantern will join Action Comics, Batman and Justice League as “combo pack” titles, meaning that for $1 more, readers receive a redemption code allowing them to download a digital version of the comics, leaving the print editions “pristine.”

Check out Albuquerque’s Batman sketches below.

Batman, by Rafael Albuquerque

Batman, by Rafael Albuquerque

Detective Comics #8

To celebrate the 2 millionth “like” of its Batman Facebook page, DC Comics has debuted the cover for April’s Detective Comics #8, by Tony S. Daniel and Sandu Florea.

“More than 2 million people have signaled that they are fans of the Caped Crusader, a sentiment we whole-heartedly agree with,” Brandy Phillips, DC Entertainment’s director of publicity, wrote this morning on The Source. “It’s no surprise that so many people feel this way. Batman continues to be one of the most popular comic characters ever created, with top-selling and popular books Batman, Detective Comics, Batman: The Dark Knight and Batman and Robin leading the way. And with Catwoman, Batwing, Batgirl and Batwoman rounding out the Batman family – the whole line is really on a tear, backed by some of the best creative talent in the industry including Scott Snyder, Greg Capullo, Tony Daniel, and David Finch, among many others.”

Check out the full cover below.

"The Sport of Tycoons," by Carl Barks

Carl Barks’ 1974 painting “The Sport of Tycoons,” which features the iconic image of Scrooge McDuck swimming in his gold-filled vault, sold at auction last week for a record $262,900.

The painting is based on Barks’ often-reprinted 1952 tale “Only a Poor Old Man,” the first story in which Scrooge was the main character (in which, while swimming in his money bin, he says, “I love to dive around in it like a porpoise, and burrow through it like a gopher, and toss it up and let it hit me on the head!”). “The Sport of Tycoons” debuted in print in 1981′s The Fine Art of Walt Disney’s Donald Duck by Carl Barks.

The piece, part of the Kerby Confer Collection, was accompanied by the Heritage Auctions sales of two other Barks originals — “Sheriff of Bullet Valley” ($107,550), and “McDuck of Duckburg” ($101,575).

The auction also saw Jerry Robinson’s original cover art for 1942′s Detective Comics #67, the first Penguin cover, fetch $239,000, which Heritage dubs the second-highest price for a piece of American comic-book art.

Detective Comics #67

Art | Jerry Robinson’s cover artwork from Detective Comics #67 is expected to bring in more than $300,000 when it goes up for auction Nov. 15. “Robinson penciled and inked this cover and the detail of his art is amazing close-up,” said Todd Hignite, consignment director for Comic Art at Heritage Auctions, “particularly his shading lines on Batman and Robin, and on the feathery details of the ostrich being straddled by that bird-of-prey, the Penguin.” [Art Daily]

Business | Stan Lee’s POW! Entertainment Inc. and Vuguru, former Disney CEO Michael Eisner’s independent studio, are partnering to produce “original digital content.” [press release]

Comics | Darryl Ayo has a small manifesto about comics that makes a lot of sense: “Things that don’t make sense in North American comics: 1) comics that exist after their creators have ceased to. 2) these comics’ existence continues despite minimal effort to applicable to contemporary culture. Things that make perfect sense in North American comics: people’s general lack of interest in comics.” He points out a number of reasons why the comics audience is small and challenges creators and publishers to “Do better.” One point he makes that is rarely mentioned: The critical importance of editors. [Comix Cube]

Light Yagami, from "Death Note"

Manga | Japanese readers picked Death Note as the greatest Shonen Jump manga of the 2000s. (One Piece, the most popular manga in Japan, and Naruto, the most popular in the United States, didn’t qualify because they launched in the 1990s.) [Crunchyroll]

Creators | Sam Kieth and Jonathan Wayshak discuss When The Chickens Revolt, their “stream of consciousness web comic.” [MTV Geek]

Creators | Jim Ottaviani discusses his graphic novels Feynman and Laika, his storytelling techniques, and why science and graphic novels go so well together in an hour-long podcast with interviewer Jerzy Drozd. [Comics Are Great!]

Creators | Colorist and illustrator Jose Villarrubia is briefly interviewed. [Windy City Times]

Alan Moore: Conversations

Creators | Editor Eric Berlatsky talks about the recently released interview anthology Alan Moore: Conversations: “… This book is an effort to collect Moore’s assertions at various moments in his career, so that critics and readers can see what he was thinking at the time, and also to track some of his changes over time, some of which I discuss in the introduction to the book. For example, in a 1984 interview with Guy Lawley and Steve Whitaker, Moore talks about how great it is to work for DC, how they don’t interfere with his creative process, and what an improvement it is over 2000 AD, etc. You won’t get that kind of effusion about DC these days from Moore. So, you can trace how things started to go bad in ‘real time,’ as it were, instead of getting a retrospective — and necessarily revisionary — view. I think those things are valuable to scholars, but they are also interesting to a more general readership.” [The Morton Report]

Creators | Longtime Dick Tracy artist Dick Locher gets the hometown-boy-made-good treatment from his local paper. [DailyHerald.com]

Craft | Crogan’s Adventures creator Chris Schweizer has put together a field guide to tangents, lines that interact with each other in awkward ways, and he has some suggestions for avoiding them. It’s interesting reading, even for non-artists. [Chris Schweizer's LJ]

Manga | Shaenon Garrity weighs in on Kazuo Umezu’s The Drifting Classroom as part of a Halloween roundtable. [The Hooded Utilitarian]

Webcomics | Here’s one that’s worth a look: Don Aliff reviews Out at Home: “What sets it apart is that it takes that familiar formula [family dynamic], twists it a little, adds a dash of wit and eccentricity, and then throws in a few explosions for the hell of it.” [Spandexless]

Static Shock #1

It was the strangest thing — when I woke up this morning I was younger, single, and most of my clothes had high collars and funky seams….

Okay, let’s cut that out right now. Don’t worry, I’m still middle-aged and married, with the same beat-up wardrobe. However, I have read all but one of this week’s New-52 books, and now I get to share them with you. (The local comics shop got shorted on Batwing #1, which is too bad, because as one of the few sort-of new concepts being offered, I was especially looking forward to it. Next week for sure!) Generally I thought most had at least some potential, and I was mostly impressed with the efforts the various creative teams made. Of course, that doesn’t mean I liked everything, but I did like more than I thought I would.

Onward–!

* * *

For starters, I sure didn’t expect a nod to “Smallville” (“Somebody! Save me!”) in the opening pages of Action Comics vol. 2 #1 (written by Grant Morrison, pencilled by Rags Morales, inked by Rick Bryant). That’s one of many nice touches in this zippy, peppy installment. It’s a great introduction to both Superman and Clark Kent, saving the world regardless of who’s in their way; and a good look at Luthor too. Lois and Jimmy are essentially cameos, although probably just for this issue. It reads like a comics adaptation of Tom DeHaven’s It’s Superman! novel — very retro-minded, although definitely not a retro story. Superman basically terrorizes Metropolis’ white-collar criminals, eyes red with barely-contained heat vision, all the while staying just ahead of his military pursuers and shrugging off tank shells with a grunt and a determined grin. Morales and Bryant’s expressive, beefy work is reminiscent of classic Superman artists including Joe Shuster, Wayne Boring, and John Byrne. DC would have done well to lead with this last week as well.

Speaking of which, Justice League International #1 (written by Dan Jurgens, pencilled by Aaron Lopresti, inked by Matt Ryan) was a decent first issue, although it feels a little rushed and might have benefited from more editing. (One character says “by extension” twice in two pages, and a spread of the team shows Ice and Vixen with the same pose and expression.) For those put off by Justice League #1, this time the whole team is present, along with two new characters and a giant killer robot; but the focus is on Booster Gold, Batman and Green Lantern Guy Gardner (hmm, that combo again), and UN functionary Andre Briggs. For now, the others are either clunky one-note jokes (Rocket Red talks funny, Godiva vamps) or still too undefined. Lopresti and Ryan make the book look good, and it’s trying to develop its own identity, but this issue only shows the barest hints of one.

More successful in that regard are Animal Man #1 (written by Jeff Lemire, pencilled by Travel Foreman, inked by Dan Green) and Swamp Thing #1 (written by Scott Snyder, drawn by Yanick Paquette), since both cover very similar thematic ground. Each involves a semi-retired super-type with a deep, profound connection to a mysterious force of nature, and each pits its leads against a corrupt version of his particular force. Beyond that, though, each takes a fairly different approach to the material. As it happens, Animal Man has a bit more horror, making Buddy Baker’s ambivalence about superheroics into an actual threat to his family; while Swamp Thing initially looks like a dozen or so pages of a human Alec Holland talking to Superman and others about the hidden cruelties of the plant world. Not that that’s not enough on its own, because Snyder and Paquette sell this sort of Holland-as-Bruce-Banner bit pretty well — but Swamp Thing then reveals its antagonist, a malevolent monster/swarm/nasty something which kills and terrorizes in sickeningly inventive ways.

Both Paquette and Foreman are well-suited for their respective series. Paquette’s thick lines and heavy blacks make everything look earthy, solid, and murky where appropriate. At first Foreman’s layout choices emphasize the Baker household’s (relatively) light-hearted atmosphere, becoming more traditional as the superhero and horror portions kick in. Foreman and Green’s thin, careful work is also expressive enough to bring out the Bakers’ personalities fairly well. In short, I liked both Animal Man and Swamp Thing well enough to come back for their second issues.

At this point, to say that Gail Simone has a good handle on Barbara Gordon would be an understatement, but Batgirl #1 (written by Simone, pencilled by Ardian Syaf, inked by Vicente Cifuentes) really shows what she can do with Barbara in a solo title. Apart from her Birds Of Prey colleagues, and out of her wheelchair (after what we’re only told was a “miracle”), Babs has an updated Bat-suit and Batcycle, and finds herself battling criminals eerily reminiscent of her own experiences. As with the enigmatic Junior in the first arc of Simone’s Secret Six ongoing, new villain the Mirror is only a half-glimpsed presence at first, and seen fully when it’s too late. However, the centerpiece of this issue is Batgirl versus thrillkilling home invaders, in another callback to the incident which left Barbara paralyzed. Simone and Syaf pack a lot into this issue, with Syaf and Cifuentes’ work looking cleaner and more crisp than it has been. My complaints deal basically with Babs’ backstory: I get the impression that the former Oracle would have more civilian-life options than we’re shown here; and we haven’t yet been told how she came to walk again. Regardless, these will surely be answered in future issues; and otherwise Batgirl #1 is a very strong start.

Much of Detective Comics vol. 2 #1 (written and pencilled by Tony S. Daniel; inked by Ryan Wynn) is a Batman-vs.-Joker story so hidebound and familiar it borders on parody. Clearly Daniel feels the weight of relaunching DC’s namesake book and wants to give all those hypothetical new readers what they expect out of a Batman comic. Unfortunately, this turns out to be a lot of posing and posturing — including gratuitous pinup-style splash pages and dialogue like “That was her uncle the Joker killed…. though it’ll take a bit to identify his remains.” As well, Daniel draws Batman beefier than he did back in 2009, further reinforcing the book’s emphasis on physicality. I do give Daniel credit for an unsettling epilogue, which ties a new villain to the Joker’s latest spree. However, if I weren’t already collecting Detective, it wouldn’t bring me back for the next issue.

I was not expecting much out of Green Arrow #1 (written by J.T. Krul, pencilled by Dan Jurgens, inked by George Pérez), so I was pleasantly surprised. As you might expect from Jurgens and Pérez, it’s a very nice-looking book, told cleanly, simply, and efficiently. It also bears little resemblance to the Ollie Queen Green Arrow portrayed in the last four decades’ worth of comic books. Instead, this iteration of the character still has his fortune and has added a couple of tech-savvy assistants. Basically it reads like a spinoff of the “Smallville” Ollie (that show again!), which is probably good for new readers, but which doesn’t give our hero much personality. Apart from the trick arrows, this issue’s fight with super-punks who broadcast their exploits online could have starred any number of characters, most of them Bat-affiliated. It’s not a bad book, and certainly better than Krul’s Rise Of Arsenal-flavored reputation might suggest, but like its lead it threatens to be handsomely bland.

Similarly, there’s not much remarkable about Hawk and Dove #1 (written by Sterling Gates, drawn by Rob Liefeld). Even Liefeld’s art is relatively tame, except for the odd panel like page 1′s panic at the wi-fi bar. The “science terrorist” Alexander Quirk is menacing Washington, D.C., but Hawk spends almost as much time comparing Dove to her predecessor (his late brother) as he does fighting zombies. Gates apparently expects readers to come to this book straight from Brightest Day, because Dove’s relationship with Deadman carries over from there. However, Gates throws in what look like a couple of references to the H&D series from twenty-odd years ago, as if those fans were just waiting patiently for the inevitable revival. The whole thing is fairly flat, despite Liefeld’s attempts at action.

Because DC needs to cultivate non-superhero genres, I like the idea of Men Of War; but because the two stories in issue #1 cover some predictable ground, the idea is more appealing than the execution. The lead, written by Ivan Brandon and drawn by Tom Derenick, concerns Corporal Joseph Rock, he who is destined to become the next Sgt. Rock, just like his legendary grandfather. It’s not a bad story, and it’s fairly good work (stylistically improved) from the inconsistent Derenick. However, it takes forever to get to the point — namely, Rock and his squad versus superhumans — and it’s not that concerned with keeping the reader straight on who everyone is. A similar problem applies to the backup, written by Jonathan Vankin and drawn by Phil Winslade, in which a different squad tries to smoke out a sniper, with a cliffhanging result. Where the first story focused on Rock and his sergeant, and then hastily added the squad, the second tries to squeeze character moments into the action. While the book may improve with subsequent issues, and/or less harried reading, for now it seems rather uneven.

Keith Giffen’s storytelling and pencils propel OMAC #1 (co-written by Dan DiDio and inked by Scott Koblish), an unabashed Jack Kirby homage which mashes the One Man Army Corps with a heaping helping of Jimmy Olsen’s Cadmus Project. Giffen really goes for the full Kirby effect, and without his efforts this would be a fairly slight issue. Here, OMAC is Kevin Koh, cubicle drone turned mohawked juggernaut, whose body is co-opted in order to break into Cadmus’ top-secret mainframe. Kevin’s co-workers include a worried girlfriend and a lout, neither of whom are developed much further; and OMAC fights a succession of familiar Kirby creations, most notably the world’s deadliest Build-A-Friend. It’s sufficiently over the top to be entertaining, but it’s hard to tell whether future issues will have either this level of energy, or a suitable substitute.

Static Shock #1 (written by John Rozum and Scott McDaniel, pencilled by McDaniel, inked by Jonathan Glapion and leBeau Underwood) was a terrific reintroduction to the witty adventures of Virgil Ovid Hawkins, a/k/a Static. Now a high-school student interning at STAR Labs in New York City, we catch up with Static trying to stop a runaway experiment and preserve the lives of innocent bystanders, only to learn that those bystanders are more concerned with the effects Static’s powers have on their personal electronic devices. Yes, it’s like Spider-Man’s inability to get everything exactly right; and no, this isn’t the first time Static has been compared to his friendly neighborhood predecessor. The difference is that Rozum and McDaniel effectively develop Virgil’s friends, family, and immediate enemies about as well as their wisecracking hero. See, Static isn’t just an ex-Milestone character incorporated into the New 52 DCU, he’s a gateway to other Milestone characters like Hardware, an armored avenger who appears here as Static’s mentor. Extending Static’s reach like that means that Rozum and McDaniel can carve out a particular Milestone-centric niche and thereby give Static Shock a unique place among the New 52. Accordingly, it’s a title worth reading regardless of what the other 51 books are trying to do.

Finally, there’s a lot going on in Stormwatch #1 (written by Paul Cornell, drawn by Miguel Sepulveda), most of it presented in rapid-fire infodumps. Stormwatch is trying to recruit Apollo, which they’ll probably do because he’s on the cover. Also, someone’s blown a mysterious horn, which summoned a giant alien who’s taken control of the Moon. There are many characters popping in and out — the Engineer, Jack Hawksmoor, the Martian Manhunter, Jenny Quantum, Harry Tanner, Adam something-or-other, Projectionist — and Cornell can’t seem to decide whether we know them all, or not at all. Although this isn’t a bad comic, juggling its various characters and plot points with moderate success, it’s far from accessible, and reads like part of a shared superhero universe which is more than a dozen issues old. If Static Shock seeks to carve out its own little niche, Stormwatch is content to wallow in New-52 lore. No doubt that’s meant to pay off handsomely down the road, but for now, it’s kind of disconcerting.

Recommended: Action Comics, Animal Man, Batgirl, Static Shock, Swamp Thing

Could get better: Justice League International, Men Of War, Stormwatch

Could go either way: Green Arrow, OMAC

Sticking with ‘em regardless: Detective Comics

No thanks: Hawk And Dove

* * *

Next week: picking up the spare with Batwing, plus Batman And Robin, Batwoman, Deathstroke, Demon Knights, Frankenstein, Green Lantern, Grifter, Legion Lost, Mister Terrific, Red Lanterns, Resurrection Man, Suicide Squad, and Superboy!

Batwing #1

DC Comics continues its promotional assault in the press to push “The New 52″ to a mainstream audience, with the theme this week, apparently, being diversity. At least four stories this week — three of which were posted Wednesday — tackled the subject and put the spotlight on Static Shock, Batwing and more. Here are some of the highlights:

• The Huffington Post previewed the first issue of Judd Winick and Ben Oliver’s Batwing yesterday, the same day it arrived in shops. Winick spoke to Bryan Young about the origins of Africa’s Batman: “… if you consider that we’re coming from a starting place that this is a Batman who lost his parents to AIDS and was a boy soldier. That’s square one for us. In the first couple of pages Batwing is talking about the fact that one of the things Batman has to do is instill fear. And Batwing points out that he’s not really sure that a man dressed up as a bat is really going to scare the average criminal in Africa. Batman just tells him that ‘you’re just going to have to sell it.’ And that’s the point, it’s a different world.” An unabridged version of the interview can be found at Big Shiny Robot.

• The New York Daily News, meanwhile, spoke with writer John Rozum about Static Shock #1 and Static’s move from fictional Dakota to Harlem: “Static’s adventures take him all over New York City and elsewhere. [But] Virgil and his family live in Harlem, his school’s in Harlem and, as he makes friends, they’ll all be in Harlem as well, so this will really be his neighborhood and the background of his life,” Rozum told the paper.

• Eric Wallace, the writer of Mr. Terrific, discussed diversity in comics with The St. Petersburg Times: “I have an 8-year-old son, and I notice with him and his little friends they all respond like crazy to Spider-Man. My theory is that all of his skin is covered, so when you’re a little boy looking at superheroes, it doesn’t matter who you are, he could be you. When you’ve got this guy swathed in red and blue who an 8-year-old can then see pulling back his mask to be something other than the majority (ethnicity), there’s something beautiful about that,” Wallace said.

• The new Ultimate Spider-Man also comes up in an article on CNN’s Geek Out!, which includes perspectives from Winick, Brian Michael Bendis and CBR’s Jonah Weiland, among others.

• Turning now from diversity to distribution (although they do have a preview of Mr. Terrific #1 with the article, so there you go) CNET spoke with Jim Lee and Hank Kanalz at the San Diego Comic-Con this past summer about their digital plans.

• Writers Ivan Brandon and Mike Costa talked to The Associated Press about reintroducing some of DC’s war-comics characters in Men of War and Blackhawks.

• And finally, Alex Zalben at MTV Geek caught up with Tony Daniel about putting the “detective” in Detective Comics: “My technique is to have plenty of red herrings and layers to look under, or unravel, or peel back to expose the full story. Where all the clues are there in the first scene, and little by little you can see the story unfold – or not – until the very end. What I like to do is have the reader discover clues and evidence as Batman does. Maybe they can piece it together for themselves, or maybe not.”

From now through the end of September, I’ll provide brief overviews of each book with the pull-list status at the end. With no further ado, it’s time to jump into Week 2 of the New 52! Prepare for a number of Bat-family books, the new JLI, Sgt. Rock for the modern age and more!

Warning: Spoilers ahead!

Animal Man
Written by Jeff Lemire with art by Travel Foreman

This book sets the benchmark for this week as to what a New 52 #1 should be. Jeff Lemire brings new life to Buddy Baker in an incredible story that both takes advantage of the character’s rich history and introduces new elements in the spirit of DC’s relaunch. Not only does Lemire give readers a welcome reintroduction to Animal Man with a stunning cliffhanger that will leave them wanting more, Travel Foreman’s interior pencils are gorgeous, only adding to the unique feel that Lemire gives this title. It’s a great first issue, and I can’t wait to read more. If I could read only one New 52 issue this week, this would be it.

Status: IN

Batgirl
Written by Gail Simone with art by Ardian Syaf

Gail Simone had a tough job here: plausibly reintroduce Barbara Gordon as Batgirl into the New DC Universe while explaining what happened following the events of The Killing Joke. Luckily, she’s had experience writing Barbara for years and handles the transition with style and grace. As a huge fan of the character, it was refreshing to see Barbara’s personal trials in getting used to walking again clash in a big way with the desire to be a hero as she pulled on the tights once more. You get a little bit of everything here: the badass superhero, the loving police commissioner’s daughter, the post-operative patient trying to get back into the swing of life, and the strong, but damaged, crimefighter. Ardian Syaf’s art is well tuned to Simone’s writing, making them a great storytelling team for Batgirl’s first issue out. It’s a great start and I love the character, so there’s really no question here.

Status: IN

Detective Comics
Written and drawn by Tony S. Daniel

As DC’s original flagship title, Detective Comics has a lot to live up to. While Tony S. Daniel meets the expectations of a traditional Detective Comics story, it doesn’t feel any different from the series before the relaunch. That isn’t necessarily a bad thing, but the strength of so many of the New 52 titles this week is that they take advantage of a new status quo. Daniel’s writing and pencils are solid, but it seems like a Batman story that could have happened at any point. I enjoyed reading the book, and I’m intrigued by the final page, but is it enough to keep Detective on my pull list?

Status: ON THE FENCE

Batwing
Written by Judd Winick with art by Ben Oliver

Batwing follows the story of David Zavimbe (AKA Batwing) as the protégé of Batman in the Democratic Republic of the Congo. The concept is actually pretty solid, but the issue itself suffers from many jumps and quick cuts that make it somewhat difficult to get to the core of what’s going on. Judd Winick also includes Batman in this issue to help Batwing clean up the city of Tinasha, outfitting him with armor and computers, all beautifully rendered by Ben Oliver. However, this issue was just too difficult to follow and overloaded on character introductions with very little development.

Status: OUT

Green Arrow
Written by J.T. Krul with art by Dan Jurgens

This is a new take on Oliver Queen, with a complete character redesign from the ground up. J.T. Krul takes full advantage of the relaunch to give Green Arrow a new position in Queen Industries, new companions and a revamped rogues gallery – but it does make the concept seem a lot like Batman. Ollie’s got the gadgets and gizmos to get the job done, and he’s joined by computer genius Naomi and weapons expert Jax. The issue showcases Ollie’s skills and how well he works with his team, but it feels as though you could’ve replaced the cast with Batman, Oracle and Lucius. Does that merit a cut from my pull? I’m not sure, but I’m willing to re-evaluate at the end of the month.

Status: ON THE FENCE

Hawk and Dove
Written by Sterling Gates with art by Rob Liefeld

I’m a big fan of Sterling Gates, and I think the plot he lays out gives due respect to the history of the characters, and sets up some cool stuff for future issues. Rob Liefeld’s art is actually a decent fit for the tone of the book — a rock-‘em, sock-‘em action series with zombies on a plane. At the end, I wasn’t clamoring for Issue 2, but I’m still impressed with Gates’ plot and want to find out what Dawn Granger’s big secret connection is to Don Hall. Hm. What to do…

Status: ON THE FENCE

Justice League International
Written by Dan Jurgens with art by Aaron Lopresti

This book was so much fun. The team is completely assembled in the first few pages and, judging from last week’s comments on Justice League, that’s something that fans are going to be really happy about. Jurgens gets right into the action within the first few pages, sending the team on its first mission. There isn’t a huge amount of character development here, but you do get the feel of the team as a whole, which is excellent. The best moments were between Rocket Red and August General of Iron – in fact, Rocket Red nearly steals the whole show with his hilarious comments and asides. Great issue; can’t wait for the next.

Status: IN

Men of War
Written by Ivan Brandon with art by Tom Derenick
Co-feature written by Jonathan Vankin with art by Phil Winslade

Men of War is Sgt. Rock war comics for the modern age, and Ivan Brandon has made me a believer. This is a great read, serving as an origin story for the new Sgt. Rock, leaving me with a semi-Silver Age taste in my mouth … and I love it. Tom Derenick really shows a lot of range in this issue, depicting everything from a battlefield to a claustrophobic debriefing room in style. The co-feature “Navy Seals” isn’t as compelling, but it’s still an entertaining read. This book made me care about war comics, and I would take this over a full play-through of Call of Duty any day.

Status: IN

OMAC
Story and art by Keith Giffen and Dan DiDio

I found it very difficult to get into this story. Things shot off to a climax within the first few pages and continued to stay at that level for the entire issue. Of all of this week’s releases, this is actually the only one that I couldn’t get into at all. Maybe it’s not my cup of tea, maybe I’m not that interested in Brother Eye. Despite the excellent art and old-style characters introductions, I think I’ll skip this one next month.

Status: OUT

Static Shock
Written by Scott McDaniel and John Rozum with art by Scott McDaniel

I loved this cartoon as a kid. There need to be more books about teen superheroes, and Scott McDaniel gives readers one to latch onto. This version of Static is just starting to come into his own as a superhero, with a lot of help from fellow Milestone hero Hardware. McDaniel and John Rozum introduce some cool elements that will either delight or infuriate science buffs. (I’m not one, so I couldn’t say for sure whether the science is solid.) What you get here is an adventure that pays homage to the original character without sacrificing anything that made him great. Combine that with great art by McDaniel and it’s a welcome shock to my system.

Status: IN

Stormwatch
Written by Paul Cornell with art by Miguel Sepulveda

Paul Cornell has the unenviable position of introducing Stormwatch to DC Universe readers that may have never followed the title before. As one of those readers, I have to applaud him for writing a book that has not only a clear tether to the New DCU but also a science fiction story worthy of Cornell’s best work on Doctor Who. The introduction of the core team is a delight, and Apollo’s first appearance alone makes this book worth your time. In addition, the art by Miguel Sepulveda is great. Honestly, I liked pretty much everything about this first issue.

Status: IN

Action Comics
Written by Grant Morrison with art by Rags Morales

Grant Morrison, you have made me love Superman all over again. I liked him before, but you’ve made me believe that a man can fly and still be awesome at the same time. This Action Comics takes full advantage of the New DCU and sees Superman as, for lack of a better word, a know-it-all who thinks he has it all figured out. He’s at the start of his career here, and Morrison once again proves his mastery over storytelling and the character. Rags Morales does not disappoint with his interiors, either; gorgeous book. It captures the spirit of what makes Action Comics great for the modern age.

Status: IN

Swamp Thing
Written by Scott Snyder with art by Yanick Paquette

I think this one is going to be tough to pick up and read for folks who didn’t follow Brightest Day Aftermath: The Search for Swamp Thing. The story seems to follow directly from the end of that book, and there are a lot of things that it’s helpful to know going in. That said, I really enjoyed this reintroduction to Swamp Thing, although the issue is really more about Alec Holland. Snyder has crafted a very real threat in the first few pages that has a direct connection with the rest of the DCU. Throw in Yanick Paquette’s pencils and this is something that I definitely want to read for at least another month.

Status: IN

That’s it for this week. Making cuts is going to be difficult if this level of quality keeps up. For those keeping score, here’s the rundown for this week’s books:

IN
Animal Man
Batgirl
Justice League International
Men of War
Static Shock
Stormwatch
Action Comics
Swamp Thing

ON THE FENCE
Detective Comics
Green Arrow
Hawk and Dove

OUT
Batwing
OMAC

Agree? Disagree? Make yourself heard in the comments!

Little Island Comics

Retailers | Little Island Comics — “the first kids comic book store in North America–maybe even the world” — opens its doors today in Toronto. The store is owned and operated by The Beguiling, and is located around the corner from the flagship store. The store will hold an official grand opening in a few weeks. [The Comics Reporter]

Publishing | DC Comics co-publisher and Justice League artist Jim Lee discusses his work on DC’s flagship title, which came out in digital form last Wednesday, the same day it hit comic shops. “It’s also setting records digitally. I can’t give numbers, but on the first day it set a record for us,” Lee tells Heidi MacDonald.

That leads Tom Spurgeon to throw a flag on the play: “… it looks like DC won’t be releasing its New 52 digital numbers but will feel confident in making claims on their behalf. It also looks like comics sites will then repeat this claim as news, perhaps qualified by source or as a claim but still putting that information out there. This should stop. I think DC has a really dubious history with using the hidden portions of their numbers to PR advantage — call it the ‘I have a girlfriend in Canada’ of sales analysis. My take is that this practice has intensified slightly ever since the numbers have become smaller and therefore more crucial. When in the 1990s sales on mainstream comics dipped to the point where people questioned the profitability of certain issues of certain titles, perhaps leading to a line of analysis about mainstream publishers making books at a loss for market share advantages or to knock other comics from the limited stand space, we were sometimes assured that there were sales elsewhere we didn’t know about that pushed certain comics over this projected threshold.” [Salon, The Comics Reporter]

Justice League

Comics | Glen Weldon explains DC’s New 52 relaunch to the rest of the world. [NPR's Monkey See blog]

Comics | Not interested in this New 52 thing, even after reading Weldon’s explanation? Relax, there’s plenty more out there: The writers at Sequential Tart recommend 52 non-DC comics coming out in September. Looks like it will be a good month! [Sequential Tart]

Comics | KC Carlson discusses the guidelines for first issues, including the need for a good issue #1 to be self-contained: “A first issue that is Part 1 of 6 is, by definition, no longer a first issue. It’s a first chapter of a potentially great collection/graphic novel. Your first issue should be both widely accessible and a satisfactory read. A complete story is the best way of achieving that.” [Comics Worth Reading]

Comics | In his latest What’s Wrong With You? column, Josh Flanagan delivers beatings all round — to creators, for not doing a professional-quality job on creator-owned comics, and to readers, for sticking to the Big Two and not wandering further afield. Good discussion, with suggestions for good creator-owned comics, in the comments. [iFanboy]

Casanova

Creators | Martyn Pedler delivers a great Matt Fraction interview for fans of Casanova, in which Fraction discusses process, the autobiographical nature of the book and his dislike of “the addicted and tortured artist cliché”: “I loathe it. It is monstrous. It has killed my friends. I knew people who are dead now because they believed that without being fucked up they couldn’t create, couldn’t express themselves, couldn’t live. This cult of bullshit that surrounds these dead kids — and make no mistake, Kurt Cobain, Jimmy Hendrix, they were children. I think about what I knew at twenty-seven and I didn’t know fucking anything. I’ve gained the wisdom to realize I know nothing about wisdom. We just went through all this stuff again with Amy Winehouse. It’s one of the worst fictions of pop culture. It’s worse than Kangaroo Jack. It’s monstrous bullshit and it kills people.” [Bookslut]

Creators | Blankets creator Craig Thompson is all over the place these days; in this story, he talks about his newest graphic novel, Habibi, and how writing and drawing it over the past seven years intertwined with events in his real life: “I started working on Habibi after a devastating breakup; at the point of the reunion of the characters in the book, I felt I was starting to make progress in the relationships in my life. I went from a little “emo boy” to much more of an adult in a relationship over the course of working on Habibi.” [Library Journal]

Detective Comics #1

Creators | Tony Daniel discusses his run on DC’s relaunched Detective Comics. [USA Today]

Creators | Ian Brill announced that after three years as an editor at BOOM! Studios, he’s left the company to pursue a career as a writer. [Brill Building]

Conventions | Ferret Press publisher Dara Naraghi explains why he won’t be attending Mid-Ohio-Con, which is now owned by Wizard World. [PANEL, Via]

History | Noel Murray traces the history of the newspaper comic strip, its precipitous rise in popularity, and the reasons why the medium is in trouble today, with plenty of examples. [AV Club]

Webcomics | Delos reviews Sarab, a webcomic by Arien Artemis in which the readers are allowed to vote on which of two paths the protagonist will follow. It’s like choose-your-own-adventure but with shared decision-making. [Art Patient]

Reviews | Tucker Stone looks back at Darko Macan’s Cable work. [Factual Opinion]

Reviews | Charles Hatfield reviews The League of Extraordinary Gentlemen: Century: 1969. [The Comics Journal]

League of Extraordinary Gentlemen Vol. 3 Century #2

It’s time once again for another round of What Are You Reading?, kids. Today we welcome special guest Daniel Merlin Goodbrey, creator of Necessary Monsters, The Last Sane Cowboy and more.

To see what Daniel and the Robot 6 crew have been reading, click below.

*****

Chris Mautner

Dungeon Monstres

Dungeon Monstres Vol. 4: Night of the Ladykiller: This latest volume is much lighter in tone than the last Monstres volume, which carried a deep emotional weight as it showed how the choices of the lead characters had consequences that rippled throughout the fantasy world. Ladykiller is more of a goof, with vulture sorcerer Horus being accused of impregnating several women in the first tale, and the dim-bulb monster Grogro stumbling through a mission to a faraway land. Certainly in terms of storytelling capability, Joann Sfar and Lewis Trondheim have lost none of their edge, and the art by Vermot Desroches and Yoann is sumptuous to soak into, but I missed exploring the deeper undercurrents of the Dungeon universe. Consider this something of a palate-cleanser then.

Bad Island: This is the new book by Doug Tennapel, which should be out in August. It’s about a family that takes a boating vacation and (shades of Gilligan) ends up on an weird island full of strange and dangerous creatures. And, of course, through their ordeal, father, mother, son and daughter learn to bond and trust each other more than they did before and become a better, tighter family unit for their efforts. No surprises, but I did enjoy Bad Island more than Tennapel’s last book, Ghostopolis, which I felt rushed through its plot so quickly that it didn’t take enough time to build upon the interesting characters and fantasy world he had created. Bad Island‘s basic concept is simple enough that that I feel I can properly enjoy it’s frantic pace, and I think it will appeal rather well to its intended tween audience.

JK Parkin

Late

I came home from the San Diego Comic-Con with a whole bunch of new stuff, from an issue of Archie Comics written by my friend Alex Segura to a copy of Michael Kupperman’s Mark Twain Autobiography, 1910-2010. Unfortunately I went from the con right into some work-related stuff that kept me busy all week, so I haven’t had time to read much of my spoils.

One comic I did have the chance to read was a minicomic called Late by Joe Blablazo. Joe came to the “Indie Comics Marketing 101″ panel I was on and was kind enough to give me a copy of the book. It’s a wordless, surreal tale that’s beautifully drawn and showcases just one of several art styles he’s capable of doing (you can visit his website to see more of his stuff; unfortunately he just has one panel from Late up on the site. update: Joe has posted the whole story online!) Joe has a more superhero-y book on the way called Deathless, and I hope to see more from him in the future.

Tom Bondurant

It should surprise no one that I have been looking forward to the DC Retro-Active comics pretty much since they were announced. So far I’ve enjoyed reading them, even if they’ve been a mixed bag. This week’s titles included Superman by Martin Pasko, Eduardo Barreto, and Christian Duce; Justice League of America by Cary Bates and Gordon Purcell (and a couple of others whose names escape me); and Green Lantern by Dennis O’Neil and Mike Grell. As it happens, GL is the only one of the three with a reunited creative team, and it turned out to be the weakest. It features Green Lantern and Green Arrow in a two-track story which only comes together when the heroes catch each other up at the end. There’s not much to catch up, either — GL helps a familiar-looking extraterrestrial after his spaceship crashes in unfriendly territory; and GA tracks a rival archer who’s back to prove himself. While there are twists which I won’t spoil, they are of the “because the doctor is his mother” variety. Still, Mike Grell turns in a really fine story, full of crowd-pleasing ring-slinging and marksmanship feats. Neither creator seems to have gone for a retro vibe in this issue, and that’s fine. However, O’Neil’s script is just flat; and even more so when compared to “No Evil Shall Escape My Sight!,” the historic (and, perhaps, histrionic) Green Lantern/Green Arrow kickoff from GL vol. 2 #76. I was hoping for something more obscure, which is to say something O’Neil and Grell did from the mid-’70s, but it’s hard to argue with such a classic tale.

Better is the Superman one-shot, although not necessarily because it feels more like a Superman comic from thirty-odd years ago. Barreto and Duce don’t seem to be channeling Curt Swan and Murphy Anderson, who defined the Man of Steel’s look for decades. In fact, at times it was hard to spot elements of Barreto’s distinctive style. Still, like Swanderson, the result is light on frills, but easy to follow. Like the GL issue, Pasko’s script touches on period-specific elements: everyone works for WGBS-TV, the villains are identified mostly with the late ’70s and early ’80s, and Superman talks regularly with the Kandorians and the hot-pantsed Supergirl. While the plot’s ultimate resolution is hardly revolutionary, it’s executed with the sort of nervous energy you’d expect from a good sitcom. This too is typical of the ’70s Superman, and it’s not unwelcome at all. Besides, the reprint is “Superman Takes A Wife!,” the story which celebrated Action Comics‘ 40th anniversary by marrying the original (i.e., Earth-2) Supes and Lois.

Justice League

Perhaps most fun was the Justice League of America issue, which finds Adam Strange stranded once again in a place that doesn’t buy his stories of space adventure — only this time, it’s Earth-Prime, where he’s just a comic-book character. Fortunately, the Justice League knows just who to call to get Adam out of trouble — his editor, Julius Schwartz. (Naturally, Julie and Barry Allen have already gotten to know each other well, thanks to Barry’s many Earth-Prime visits.) There are a couple of obstacles in the way, of course; and it’s all part of Kanjar Ro’s plan to energize his cells to Superman-levels. Indeed, it risks being too familiar — but I have to say, it’s pretty cool to see Julie Schwartz as the JLA’s go-to guy, and in particular to see his reaction to meeting a couple of Leaguers for the first time. This is the kind of story which doesn’t take itself too seriously, but at the same time never loses its sense of wonder. Ironically, more mean-spirited is the reprint, one part of a JLA/JSA team-up involving a DC writer from Earth-Prime who goes bad. Pick up Crisis On Multiple Earths Vol. 4 for the whole story, I guess.

Back in the present, I thought Flashpoint: Project Superman #2 (by Scott Snyder and Gene Ha) did a good job fleshing out Flashpoint-Supes’ backstory. Along with info from the main miniseries and the Frankenstein mini, we’re getting to know the military’s various superhuman-weapon projects pretty well. As you might expect, Kal-El has had a pretty rough time of it in military custody, but he’s acquired an unlikely patron. This issue also plants the seeds for what I expect will be a pivotal relationship. In some ways it’s reminiscent of JMS’ and Gary Frank’s Supreme Power miniseries, which spent an inordinate amount of time showing its Superman-analogue straining to get out from under military control. Of necessity, though, it has to move faster, and thank goodness for that. Between the next issue of this miniseries, and Flashpoint itself, Kal-El looks to shake off that control pretty dramatically.

Finally, I recognize that not every comic I read is fit for the eyes of my (almost-) three-year-old daughter — but I was too engrossed in the harrowing Detective Comics #880 to notice her ambling over to my easy chair. “Who’s that?” she wondered innocently, looking at Jock’s nightmare-fuel portrait of the Joker.

I tried to play it off by showing the back cover. “That’s Green Lantern!”

She wasn’t fooled. “No, who’s that?”

Quickly I put the issue back in the stack and reached for something more innocuous (and not American Vampire– d’oh!). “Oh, that’s just the Joker. What do you want to eat?”

Michael May

Planet of the Apes

I got caught up with BOOM!’s Planet of the Apes this week (the fourth issue just came out). What a perfect marriage of words and art this series is. Carlos Magno has created a world I want to live in. Or would want to live in if not for all the damn dirty apes. It’s so rich and full with its quaint, European houses and stone bridges and medieval fashions. Of course, there are plots and wars being planned in those houses, the bridges are barricaded Les Miserables-style, and the fashions conceal all manner of weapons. Daryl Gregory has taken a beautiful place and filled it with intrigue and death. For which I’m very, very grateful.

I also went back and picked up Supergirl #66. I somehow missed it when it came out a couple of weeks ago, but really wanted to continue Kelly Sue DeConnick’s story about Supergirl undercover at a college on assignment for Lois Lane. It’s got secret tunnels, biomechanical rats, Supergirl trying to use her powers without blowing her cover, and Lois doing some Lois Laneing. Really fun stuff.

Tim O’Shea

FF #6

FF #6: Yeesh. Black Bolt speaks twice in a comic that used to be about Reed Richards and his pals. The first time he speaks, to convey the power of his spoken word a 2 pt type was used. OK maybe 4 pt type if I am lucky. But really, I could have dealt with 6 pt type and still gotten the effect letterer Claytion Cowles was going for. The second time he speaks loudly (which is saying something when it comes to old Bolty) he actually says: “I. am. awake!” Really. Did someone imply you were dozing on the job there, Blackie? Added bonus, nothing on the cover resembles anything that happens in the comic. A two-issue Black Bolt subplot has me asking: “If I were waiting for the trade, would this be a chunk of the book that would bore me to death?” (The answer is yes) I love the Inhumans as a concept, but Jonathan Hickman writing the Inhumans in an FF book is like reading a mixture of U.S. congressional and U.K. parliamentary proceedings: boring and nonsensical. And hey, Medusa really took the news Black Bolt now has multiple wives (one of them being a talking horse) in stride. A twisted part of me wishes Bolt had spoken at that point: “Wow.” I am leaning toward dropping this book from my monthly reading assignments.

Secret Warriors #28: Lest people think I dislike Hickman, let me quickly dispel that notion. This is the last issue of a book where I had a Nick Fury that entertained the hell out of me. And he ends the series with one of the best present day conversations between Steve Rogers and Nick. That alone made the issue a must read for me. And I love that A) Dum Dum Dugan gets to say the final words in the issue B) How Hickman leaves the Contessa subplot

Teen Titans #98: Yeesh again.How did Superboy-Prime come back? Don’t expect an explanation–he just appears in a pile of a rubble in the opening pages of this issue. Well that’s convenient and lame. Way to run toward issue 100, just to get to a milestone, DC…that means absolutely nothing. Faithful readers, please tell me anything that was memorable about this particular 100 issue run of this Titans incarnation. Off the top of my head, I can think of nothing.

Xombi #5: John Rozum has a whole lot to say through the characters in this issue. I mean a lot. (And it’s not overwhelming–plus there’s a whole discussion of the film Lost Horizon at one point). And Frazer Irving’s art is just exquisite. I hope there is some project in the DCNu for these two to collaborate again. But I really wonder if they’re not more suited for Vertigo.

Captain America and Bucky #620: One must assume there is a finite end to this particular series,but I could be wrong. In the meantime, Chris Samnee drawing 1940s era Captain America and Bucky stories? To quote Black Bolt: “I. Am. Awake.” Seriously though, beautiful art made even better by the colors of Bettie Breitweiser.

Avengers Academy #16: Stuck record time for long-time readers…Christos Gage continues to write the best Avengers book on the current market. The story he crafts with Veil in this issue has the reader feel a gamut of emotions with the character as you see the issue play out. And that’s just one-half, the opening half gives me more smart (albeit on the ropes) Hank Pym. I love me some smart Giant Man.

Brigid Alverson

Spontaneous

I started off this sultry week with the first two issues of Spontaneous. Joe Harris and Brett Weldele take one of the more bizarre true-mystery phenomena and wrap it into a pretty good story. The hero, Melvin, is fascinated by spontaneous human combustion for many reasons, and he has studied it so carefully that he can predict who will go up in flames next. An overbearing investigative reporter happens onto the scene as the fire claims its next victim in a mall food court, and she starts doing some research of her own. It’s a well told story, although the reporter is a bit much, and Wedele, whose luminous watercolor style made The Light such a beautiful comic, is the perfect artist for this book. I’m hooked.

A trip to the comics shop yesterday netted me a copy of Drew Weing’s Set to Sea. It’s pure indulgence, because I have already read the story online, but Fantagraphics’ small, almost jewel-like presentation is really beautiful. Weing tells his story one panel at a time, and each panel could be framed as a work of art in itself, so having it in a book, without the clutter of the web, is a worthy investment.

My biggest bargain at the comics store, though, was a vintage issue of Dark Horse’s Super Manga Blast for a quarter. With chapters of 3×3 Eyes, Club 9, and What’s Michael?, all flipped, in black and white, in a pamphlet comic, it’s a very different format for manga than the one I’m used to. With just a single chapter of each story, though, it’s more a curiosity than a good read, although it reminds me I want to check out Club 9.

Daniel Merlin Goodbrey

You catch me on my return from Comic-Con, so I’m reading a mix of stuff I picked up at the show and things that were waiting for me at Chaos City when I got back.

League Of Extraordinary Gentlemen: Century: 1969: I read this through once on the plane back from San Diego. I’m re-reading it now with Jess Nevins’ annotations, just to appreciate the sheer lunatic everything-and-the-British-kitchen-sink-ness of it all. It’s Moore so it’s a great read of course, but the Century series does seem to be going to some rather bleak places as it progresses. Here’s hoping there’s a resurgence of Blazing-Kingdom-3D-wonderfullness before the sequence is complete.

The Boys

The Boys #56: Some fun moments this issue, but it’s only part one of “The Big Ride” so it’s mostly just positional play at this point. While The Boys wears a disguise of just-Garth-having-a-laugh-at-superheroes, its secret identity is a fascinating and carefully constructed story world that’s kept me coming back month after month. Something I noticed on flicking back through the book is how prominent Terror is this issue. I do hope this isn’t a precursor to something bad happening to him later in the arc. Please don’t kill the good wee doggie!

Paradigm Shift Part Three: Emergence I notice I am using too many hyphens in these reviews. Clearly, this must stop. This third part of Dirk Tiede’s brilliant Chicago werewolf police procedural manga (look! No hyphens!) finishes out the story’s first arc but still leaves me hungry for more. This book is tightly plotted and beautifully illustrated and is an absolute must for fans of any of the subjects I didn’t put hyphens between in the last sentence. How the series hasn’t been snapped up by a major publisher yet is beyond me. Grab a copy of all three volumes now so that you can say you read back in the day, before they made the motion picture and everybody got the tattoo.

The Sixth Gun Book One: Cold Dead Fingers: A bit of a stunt review this, as so far I’ve only had time to read the first six pages of the book. Sixth gun, six pages. See? Anyway, I picked this up on the recommendation of a friend at San Diego and, judging by these six pages, the recommendation was a good one. I’ve already got a good feeling about the mystic old west setting and been given a clear idea about what kind of a scoundrel we have for a protagonist. Worth a look I’d say and I’m definitely looking forward to page seven.

Arsenic Lullaby: 10 Year Omnibus: I first read Arsenic Lullaby at San Diego in 2002, and I think I’ve picked up a new something or other from them at every con since. I’m about halfway through reading this 10 Year Omnibus at the moment and so far it’s been great, filling out the gaps in my reading and reminding me of old favourites. It’s the darkest, blackest, sickest and funniest book I’ve read in a while. Well worth seeking out, if you can stomach a few zombie foetuses and watching the antics of a government-sponsored serial-baby-killer is your idea of a good time.

Action Comics #1

If there are any lingering concerns that DC Comics’ sweeping September relaunch — re-branded this week as “The New 52″ — is actually a reboot, the publisher is working doggedly to stomp them out, tackling the issue head on this morning in an email to retailers.

Titled “The New 52 and You,” the message from Senior Vice President-Sales Bob Wayne wades into the thorny issues of continuity, devoting three of the email’s 10 “general” questions specifically to why the initiative isn’t the dreaded R-word. It’s familiar territory for Wayne, who insisted to those same retailers in early June what the New DCU is not. “It is not a ‘reboot,’” he wrote at the time. “I think you will soon discover why that is.”

Why that is, Wayne now explains, is that “a reboot is typically a restart of the story or character that jettisons away everything that happened previously.” That probably amounts to hair-splitting, if not a convenient redefinition of the term, but okay.

“This is a new beginning which builds off the best of the past,” he continues. “For the stories launching as new #1s in September, we have carefully hand-selected the most powerful and pertinent moments in these characters’ lives and stories to remain in the mythology and lore. And then we’ve asked the best creators in the industry to modernize, update and enhance the books with new and exciting tales. The result is that we retained the good stuff, and then make it better.”

The same argument probably could have been put forward in 1986, with the conclusion of Crisis on Infinite Earths, which restarted characters like Superman and Wonder Woman, wiped others out of existence and left still others relatively untouched (but caused many, many problems down the road; see Wonder Girl, Justice League and Justice Society history and the All-Star Squadron, for starters). Similarly, 1994′s Zero Hour scrapped Legion of Super-Heroes continuity, monkeyed with the various Hawkman characters, and changed aspects of Batman’s and Catwoman’s origins while leaving the most powerful and pertinent moments in these characters’ lives.

It’s understandable why DC would seek to put distance between “The New 52″ and the R-word — a dirty word in many fan circles — but the company itself has shown that reboots and retcons take many shapes and sizes. “The New 52″ is what it is;  the publisher should embrace that like it does the renumbering (see below) or the costume changes. Repeatedly insisting what it is not only makes readers and retailers dwell that much longer on the word, and the baggage that comes with it.

But what about that other R-word, renumbering? Wayne addresses that, too — specifically questions about the wisdom of starting over its two oldest titles, Action Comics and Detective Comics, as they near their 1,000th issues (Action will hit #994 the month before the relaunch, and Detective #881). “A partial renumbering would not have had the impact we needed to showcase the amazing changes and direction we have planned for the new DC Comics universe of characters,” he writes. “Counting issue numbers is focusing on the past, not the future.”

Unfortunately, Wayne doesn’t address the notion that, if the relaunch doesn’t succeed, there might be a reset button — a Dallas-esque “it-was-all-a-dream” scenario in which continuity and issue numbers return to where they were on Aug. 24. Instead, he closes the “general” Q&A on a hopeful note for fans who may not see their favorite character among the new titles: “We are kicking things off with our best and brightest characters and what makes them so compelling and great. Simply because you don’t see a personal favorite in the September launches doesn’t mean your favorites are gone. This is just the beginning.”

Fans of, say, Power Girl or the Justice Society may bristle at the implication that those characters aren’t among DC’s best and brightest, while others may wonder how, say, Resurrection Man or Hawk and Dove made the cut. But one thing, and perhaps only one thing, is clear, two months from the New 52: for better or worse, it is just the beginning.

A sequence from Detective Comics #881, by Jock

Last night Jock offered a sneak peek at “some Joker business” from August’s Detective Comics #881, the conclusion of his well-regarded run on the series with writer Scott Snyder, and the final issue before DC Comics’ big line-wide relaunch. It’s “the issue everyone will be talking about,” the publisher promises. That may be hyperbole, of course. But it also may be because Jock’s snapshot of a crowbar-wielding Joker harks back to a 22-year-old scene from Batman #427 that didn’t turn out so well for the character on the receiving end. Oh, sure, Jason Todd got better; it just took him 15 years.

Check out the original sequence after the break. Detective Comics #881 hits shelves on Aug. 10.

A sequence from Batman #427, by Jim Aparo

Green Lantern #1, by Dave Johnson

Although it seems like DC’s big relaunch announcement came out an eternity ago, it actually took the publisher less than two weeks to roll out the 52 titles and their creative teams for the big relaunch/reboot/overhaul coming in September. Now that the cats are out of their respective bags, I thought I’d see where various creators and characters will land after the reboot.

So I went back through DC’s August solicitations to see who was writing or drawing what, and tried to map everyone to their post-relaunch project — if they had one. However, looking at DC’s August solicitations, there seem to be several fill-in issues, so where appropriate I tried to map the most recent ongoing creative teams to their new projects (for instance, I consider Gail Simone and Jesus Saiz the regular creative team for Birds of Prey, even if they aren’t doing the last two issues before September hits). Keep in mind that I just went through the ongoing series and skipped over all the miniseries … of which there are a lot, what with Flashpoint winding up in August.

It’s also worth noting that although several creators didn’t appear in the “big 52″ announcements, that doesn’t mean their tenure with DC is necessarily over — some, like Frazer Irving, have said they have future projects that haven’t been announced. So I tried to note where creators have talked publicly about their post-relaunch plans with DC (or lack thereof, as the case may be). The same could probably be said for some of DC’s characters as well. Or, as Gail Simone said on Twitter: “Again, September is NOT THE END. There’s still plans for characters that we haven’t seen yet.”

So let’s get to it ….

Green Lantern titles: There is no Green Lantern title in August. July’s issue, #67, wraps up “War of the Green Lanterns” and is by Geoff Johns, Doug Mahnke and Christiam Almy — the same guys working on Green Lantern #1. Green Lantern Corps #63 is by Tony Bedard and Tyler Kirkham, while Green Lantern: Emerald Warriors #13 is by Peter J. Tomasi and Fernando Pasarin. The latter creative team takes over Green Lantern Corps in September, while the former moves to Green Lantern: New Guardians. As Sean Collins pointed out last week, not a lot of change here in terms of creative teams, although the GL books do have a new sister book in the previously announced Red Lanterns title by Peter Milligan and Ed Benes.

Booster Gold: Looks like issue #47 is the last one, which ties into Flashpoint. Dan Jurgens is writing Justice League International #1, starring Booster Gold, with artist Aaron Lopresti. And Jurgens is drawing the J.T. Krul-written Green Arrow.

Justice League of America: The book will drop “of America” from the title in September, as Geoff Johns and Jim Lee take over the series from James Robinson and … I guess the last regular artist was Brett Booth? Booth moves to Teen Titans, while James Robinson doesn’t appear anywhere on the big list of 52 titles. Which is … odd.

Between this, GL and Aquaman (with artist Ivan Reis), DC Chief Creative Officer Johns is tied with Teen Titans/Red Hood and the Outlaws/Superboy scribe Scott Lobdell for writing the most titles for DC come September.

Superman: The Man of Tomorrow #1

Superman titles: Lots of changes here … Paul Cornell and Kenneth Rocafort wrap up the “Reign of the Doomsdays” storyline in Action Comics in September. Cornell moves on to Stormwatch and Demon Knights, while Rocafort moves to Red Hood and the Outlaws. The book’s previous artist, Pete Woods, is on Legion Lost. Meanwhile, Grant Morrison and Rags Morales take over Action Comics.

The “Grounded” storyline in Superman ends with August’s issue #714, by J. Michael Straczynski, Chris Roberson, Allan Goldman and Eber Ferreira. Straczynski’s not tapped to write any of the September titles, which isn’t surprising, based on the fact that he stepped away from monthly comics to work on the sequel to Superman: Earth One — another question entirely. In any event, the man they brought on to finish up “Grounded,” Roberson, isn’t on the list either. Roberson tweeted last week, “I’ve laid off alcohol & nicotine after Heroes, but I’m treating myself to a cigarette and beer, marking the end of my brief stay in the DCU.” He’s still writing iZombie for Vertigo. Goldman also isn’t on the list, while the book’s regular artist, Eddy Barrows, moves to Nightwing. George Pérez and Jesus Merino relaunch the the book in September as Superman: The Man of Tomorrow.

Two issues of Superboy arrive in August, by Jeff Lemire and a trio of artists. Lemire moves on from the title and will be writing Frankenstein and Animal Man in September, while Lobdell takes over writing Superboy with artist R.B. Silva. Artist Pier Gallo doesn’t appear to be doing anything for DC in September.

Supergirl‘s final creative team before the reboot, Kelly Sue DeConnick and Chriscross, aren’t working on any of the September books, although DeConnick did note that she was approached to pitch to them.

Most recently Superman/Batman has featured the work of Cullen Bunn and Chriscross, neither of whom appears on the big list o’ 52, with Joshua Hale Fialkov’s three-parter appearing in the final issues this summer. Fialkov will be writing I, Vampire in September.

The Bat-titles: Batman Incorporated goes on hiatus after August, but DC has announced that it will be back as a maxi-series next year. Morrison, as noted above, goes to Action Comics. The Bat titles themselves stay fairly consistent — Tony Daniel will continue to write and draw one of them as he moves from Batman to Detective Comics; writer Scott Snyder moves from Detective Comics to work with former Spawn artist Greg Capullo on Batman; and David Finch will continue to write Batman: The Dark Knight (a series he once drew as well) for artist Jay Fabok, who is slated to take over art chores with July’s pre-relaunch-resolicited issue #4. The only creators from those books pre-relaunch who don’t appear on the big list of 52 books are Jock and Francesco Francavilla, although Jock is apparently still doing Batman-related covers, while Francavilla will do “special fill-ins” for Snyder’s other writing project, Swamp Thing. Daniel has another project as well — The Savage Hawkman, with artist Phillip Tan.

Batman & Robin

Tomasi is also listed as the writer for Batman & Robin, a book he was announced as the regular writer for after Morrison left. However, since then the book has actually been written by several folks, including Judd Winick, David Hine and Cornell. Hine’s name doesn’t appear on the relaunch list. Winick and artist Guillem March, who worked together on B&R, will team up on Catwoman in September. Winick is also writing Batwing with Ben Oliver on art.

The last few issues of Batgirl have been by Bryan Q. Miller and Dustin Nguyen, while Pere Pérez is the artist for the last three issues before the relaunch. None of them are listed as creators on the 52 titles in September. In responding to a question on Twitter, Bryan Q. Miller said: “RT Anything new on the horizon for you at DC? @TreyKrimsin Maybe – but nothing in any way immediate.” The new Batgirl creative team is Gail Simone, Ardian Syaf and Vicente Cifuentes, with Barbara Gordon stepping back into the costume.

Red Robin ends in August with an issue that has Tim going after his dad’s killer, Captain Boomerang, since CB is back from the dead. Writer Fabian Niceiza is working on Legion Lost in September. The artist for the last arc, Marcus To, isn’t doing anything in September, while the book’s previous artist, Freddie Williams, is working on Captain Atom with Krul. Red Robin will appear in Teen Titans come September.

The characters from Gotham City Sirens — Catwoman, Poison Ivy and Harley Quinn — seem to have scattered into the wind; Catwoman has her own book in September, while Poison Ivy appears to be in Birds of Prey and Harley Quinn is heading to the Suicide Squad. Creators Peter Calloway and Andres Guinaldo aren’t on any books in September.

Birds of Prey #1

And speaking of Birds of Prey, Simone’s last issue is #13, as the July and August installments are by writer Marc Andreyko and Billy Tucci — neither of whom is working on September’s books. Simone will move on to Batgirl, as noted above, as well as Firestorm, which she’s co-writing with Ethan Van Sciver. Jesus Saiz, who took a break from the book after issue #13, returns to BoP for the relaunch in September.

So what happens to Batman Beyond? Honestly, I’m not sure. It isn’t listed as one of the 52 titles, but CBR’s interview with Adam Beechen last week seemed to indicate the book isn’t going away:

I do know what our next arc is going to be, but I can’t talk about it yet. I’m in the process of plotting it out, and I even know what the next arc after that will be as well as our next “Legends of the Dark Knight” issue. We’re in a pretty good place about what’s ahead of us, and if all goes according to plan, we’re pretty well set for the next bit of time. And we’re going to keep the team intact as long as we can and keep trying to crank out good stuff.

It’s worth noting that there’s also a Superman Beyond #0 in August; it’s listed as a one-shot, but c’mon, a zero issue in August? How can there not be a first issue in its future?

Wonder Woman: The somewhat-controversial “Odyssey” arc, which put Wonder Woman in pants, wraps up in August by Straczynski, Phil Hester, Don Kramer and Wayne Faucher. None of these four is listed as a creator on any of September’s books. Wonder Woman #1 will be by Doctor 13: Architecture & Morality collaborators Brian Azzarello and Cliff Chiang.

Hester was brought onto the book at the same time Roberson came onto Superman, when Straczynski decided to step away from monthly comics. And while neither of them appears to be doing anything in September, Hester said on Twitter that “there are a lot of moving parts here,” and “So much in motion right now, but it is appreciated” when fans asked about his involvement, or lack thereof.

Adventure Comics and Legion of Super-Heroes: Paul Levitz will continue to chronicle the tales of the Legion, while Fabian Nicieza will write a Legion Lost series. Adventure appears to be gone. As for Adventure artist Phil Jimenez, a DC-exclusive creator, he tweeted, “Hey, comic readers — thanks for all the inquiries! I’m not a part of the big DCU relaunch, but I’ve got a few cool tricks up my sleeve!” followed by “Fun stuff! Hopefully announced by SDCC!” And artist Yildiray Cinar is working on the previously mentioned Firestorm book, as Francis Portela takes over Legion of Super-Heroes.

All-Star Western

Jonah Hex: Jimmy Palmiotti and Justin Grey will continue to tell the tales of the ugliest bounty hunter in the west in All-Star Western. They’re joined by artist Moritat.

Green Arrow: J.T. Krul will continue to write Green Arrow, joined by artist Dan Jurgens. Artist Diogenes Neves moves to Demon Knights, written by Cornell.

Secret Six: Simone has confirmed that issue #36 is indeed the last, as the characters Deadshot and King Shark move on to the new Suicide Squad book. Artist J. Calafiore is not listed as working on any of the 52 titles.

Zatanna: According to Paul Dini on his LiveJournal: “A few folks have asked me about the future of the Zatanna book at DC. I don’t know what plans DC has for it after this August, though I can confirm my last issue is the current one, #13.” Issue #13 came out in May. Solicitations for issues #14 and #15 list Dini as the writer, while Beechen is listed as the writer for August’s issue #16. So … I’m not sure what that means.

Responding to a question about the relaunch, Zatanna artist Jamal Igle tweeted, “I wasn’t invited to participate.” The character will appear in Justice League Dark.

Justice Society and Power Girl: I guess this explains why the description for the new Mister Terrific title didn’t reference the Justice Society. Apparently issue #54, by Marc Guggenheim and Jerry Ordway, will be the last. Neither Guggenheim nor Ordway was listed as working on any of the 52 titles, although artist Tom Derenick, who drew the recent issues #51-53, will team with Ivan Brandon on Sgt. Rock and the Men of War.

Power Girl, meanwhile, ends with August’s #27 by Matthew Sturges and Hendry Prasetya, neither of whom is listed as working on any of the 52 titles. The series’ previous writer, Winick, is working on Batwing and Catwoman, as noted above, while artist Sami Basri is working on Voodoo with Ron Marz.

Honestly, I was half-expecting a round of Justice Society titles to be announced at some point — Justice Society, Power Girl, maybe Star Girl or Starman. Maybe they’ll be tapped as mid-season replacements? On the other hand, the description of the Morrison/Morales Action Comics relaunch offered by DC’s The Source blog — “This momentous first issue will set in motion the history of the DC Universe as Superman defends a world that doesn’t trust their first Super Hero” — would appear to preclude the existence of a team full of World War II-era heroes that predates Superman’s generation.

Teen Titans

Teen Titans and Titans: Teen Titans writer J.T. Krul is penning two books come September, Captain Atom and Green Arrow. But I’m not seeing Nicola Scott or Doug Hazlewood on anything, though. That can’t be right; someone at DC get on that, stat.

Titans writer Eric Wallace is working on Mister Terrific; Fabrizio Fiorentino isn’t on anything. Deathstroke gets his own title in September, while Arsenal will join Red Hood and Starfire in Red Hood and the Outlaws.

T.H.U.N.D.E.R. Agents: I was kind of wondering about the long-term future of this one even before the reboot. Which is too bad, as it’s also one I really enjoyed. Writer Nick Spencer is exclusive to Marvel now, so his name wouldn’t be on any other DC book, while the regular art team of Cafu and BIT will work on Grifter. Recent issues have featured art by Mike Grell and Nick Dragotta, who aren’t listed on any of September’s books.

Xombi: With John Rozum working on the new Static Shock series, I would have assumed that was it for Xombi. But someone asked about it on his blog, and he responded: “… I still can’t comment one way or another. Check back periodically, but in the meantime, please take a few minutes to write a letter to the powers that be at DC about what you think about Xombi and send it to them via snail mail. It has an impact. It’s what led to the current run of Xombi in the first place.”

At the very least, maybe they’d let Rozum and artist Frazer Irving wrap up the series in the new anthology title. Speaking of Irving, he tweeted: “For all interested parties, I do have a post-relaunch DC gig but it’s a secret at the mo And Gutsville still needs finishing…” More Gutsville is a plus for sure.

Flash: Flash‘s current run ended in May with issue #12 by Johns and Francis Manapul. The title will return in September sans Johns and with Manapul and Brian Buccellato sharing art and writing duties.

So there you have it, DC’s September books through the filter of their previous line-ups … and I still didn’t hit every single book that’ll come out in September. And based on some of the comments from various creators about additional projects beyond the 52, now I’d just really like to see what DC’s October looks like …

In the meantime, what September books are you going to get? Head over to CBR and take the survey!

Ceçi n'est pas un Batman

DC spent the day rolling out announcements about the Batman books in anticipation of its line-wide September relaunch…with one conspicuous absence until the very end.

So, Bruce Wayne is reclaiming sole possession of the mantle of the Bat, while Batman and Detective Comics are swapping creators: Batman writer/artist Tony Daniel will be taking over Detective Comics, while ‘Tec writer Scott Snyder is taking over Batman with artist Greg Capullo of Spawn fame. Both books will star Bruce Wayne rather than his protege and stand-in Dick Grayson beneath the cape and cowl.

Also featuring Bruce as the one true Batman will be the relaunched Batman and Robin and Batman: The Dark Knight, both of which retain their creative teams of Peter J. Tomasi and Patrick Gleason and David Finch (formerly the series’ sole creator) and artist Jay Fabok respectively.

Gotham City’s women vigilantes are well-represented in the line-up, as the publisher announced new series for Batwoman, Batgirl, Catwoman, and Birds of Prey. Batwoman retains its previously announced creative team of J.H. Williams III, Amy Reeder, and Haden Blackman. Batgirl, featuring the formerly paraplegic Barbara “Oracle” Gordon in Bat-gear once more, will be written by franchise staple Gail Simone and illustrated by Ardian Syaf and Vicente Cifuentes. Another pair of Bat-veterans, writer Judd Winick and artist Guillem March, will launch a new Catwoman series. And DC newcomer Duane Swierczynski will team with artist Jesus Saiz for the new Birds of Prey.

With Dick Grayson out from under the point ears, he’s slipping back into his previous crimefighting guise in Nightwing, from writer Kyle Higgins and artist Eddy Barrows. Grayson’s fellow former Robin, Jason Todd, will get his turn in the spotlight as well, as the star of the new ongoing series Red Hood and the Outlaws; he’ll team up with Arsenal and Starfire under the guidance of writer Scott Lobdell and artist Kenneth Rocafort.

(No word on the other two ex-Robins currently on active duty, though: The fate of Tim Drake of Red Robin and Stephanie Brown of Batgirl is currently unknown.)

DC also announced at IGN that Winick will be pulling double duty in the Bat-books by debuting Batwing, a series illustrated by Ben Oliver that will star the Batman of Africa from Grant Morrison’s Batman Incorporated.

Speaking of which…after a day of agita-inducing silence about the future of both the title and the writer’s overall presence in the Batman line, DC and Grant Morrison finally announced that Batman Incorporated will return with a new #1 issue in 2012, with a planned 12-issue run that will wrap up his six-year tenure with the character. For several years now, Morrison’s Batman comics have established the line’s most important plot points, most notably by blasting Bruce Wayne through the timestream and installing Dick Grayson in his place, then by bringing Bruce back, outing him as the “financial backer” of Batman, and instituting a franchise approach in which “Batman Incorporated” draws on an army of like-minded crimefighters from around the world. Certainly some of that is still intact — Marts says Batwing spins right out of Grant Morrison’s Batman Incorporated storyline, while IGN’s Joey Esposito says the series “should answer the question about whether or not Batman Incorporated is still relevant.” But with Dick Grayson resuming his Nightwing role and Bruce trumpeted to the heavens as “the one true Batman” — not to mention the absence of any mention of Batman Inc. members Red Robin Tim Drake and Robin Stephanie Brown, and Barbara Gordon’s tenure in the key support role of Oracle coming to an end — it seems like Morrison’s much ballyhooed two-year plan for Batman Incorporated‘s complicated conspiracy storyline will require some revision to reach its original conclusion. Still, the good news is that that conclusion is indeed headed our way, after a brief hiatus during which Morrison will work on a project yet to be revealed.

Before you scoff, take a look at Archie & Friends Night at the Comic Shop, which came out in trade paperback form last month. (There’s a short preview at the link.) The plot is simplicity itself: A meteor hits Pep Comics, the local comics shop, and somehow this causes a ton of vintage comics characters to come to life, escape from their pages, and wreak havoc all over Riverdale. If this were one or two characters, it might work, but with about 30 or so, it just ends up as a jumble, with the regular cast interacting with a different character in every panel.

What is interesting about this book, however, is that all the characters once appeared in actual comics published by MLJ Comics, which later became Archie Comics, in the 1940s and 1950s. The back of the book includes a guide to the “MLJ Universe,” and what a universe it is! The Archie brass have already reached into their IP vault and brushed the cobwebs off some of their old characters: They relaunched Li’l Jinx as the teenaged Jinx, they plan to give hard-boiled detective Sam Hill his own graphic novel line, and they occasionally sneak Cosmo the Merry Martian into a cover. Could more be on the way?

The difference between MLJ and DC, of course, is that the MLJ characters have been out of the public eye for a while, and some of them look their age. Still, here are a few of the characters I’d like to see come back to life, along with suggestions about how to do it.

Gloomy Gus, the Homeless Ghost: It’s hard to imagine this as a humor comic: The main character is dead, but he’s not really a ghost, because he can’t find a body to be his host. “Gus has linked himself to several newly-deceased folks or folks who look like they’re about to expire, but each time he takes over their bodies he gets tangled in such mishaps that his soul transference never sticks.” Comedy gold! The writeup describes the humor in this comic as “surreal,” and frankly, I don’t see how it wouldn’t be. (Here’s a whole Gloomy Gus story if you want to see for yourself, along with a bit of background on the artist.) Since the wandering soul is a topic that comes up a lot in manga, if I were going to redo it, I would let an American manga artist like Nina Matsumoto (Yokaiden) or Svetlana Chmakova (Nightschool) have a crack at it.

Senor Banana: This comic has so many potentially offensive elements that I really have to salute MLJ for even admitting that it ever existed. Senor Banana and his sidekick Stencho Odoro are a humor team in the manner of Laurel & Hardy, or maybe Cheech & Chong—I’d say it’s closer to the latter. “Along the way they must contend with Stencho’s gargantuan wife, whose temper is as big as her waistline, Pepe le Tomahto, her jealous, dagger hurling boyfriend and Strawberry, the easily agitated and stubborn burro who likes work even less than Banana and Stencho!” If you cleaned up this comic, there would be nothing left, so obviously the way to go is to embrace the transgressiveness and turn it into brilliant satire—you know, like Cheech & Chong. (Original Senor Banana art from the Live Auctioneers site.)

Dotty and Ditto: Created by Bill Woggon, who also was the mind behind Katy Keene, Dotty and Ditto features a smart girl who loves nature and exploring the forest with her Native American boyfriend. She has a pet mountain lion, but her closest companion is her parrot, Ditto. Here’s a sample; I actually think this would update pretty well with minimal tinkering, and it would be great to see someone with an expressive style like Frank Cammuso or Eric Wight have some fun with it.

The Adventures of Pipsqueak: A funny-kids comic that stands out from the rest because of its look—it was drawn by Walt Lardner, who was also an editorial cartoonist. Given the unique art and the historical importance of the creator, the logical approach would be to compile the original comics into a nice archive edition, preferably including an interview with the artist (who is still alive); I’d tap Craig Yoe for that job.

And then there are the guys:

Young Dr. Masters, a progressive physician (his patients distrust him because he follows new scientific developments rather than the traditional cures they are used to) whose medical skills always seem to be required in dangerous situations—a wounded robber in a warehouse, an injured construction worker dangling from a girder, that sort of thing.

Kardak the Mystic, a magician who affects a turban and a tux and travels with both his fiancée and his enormous and immensely strong servant, Balthar. Kardak is particularly concerned with those who use magic powers for sinister purposes,” which doesn’t strike me as being a very large group outside of old comics. He bears a passing resemblance to Johnny Depp, and I would pay real money to see a Kardak movie with Depp in the cast. Hollywood, are you listening? (Image from the DC Comics Database.)

Fu Chang, International Detective, definitely partakes of some ethnic stereotypes, but as Gene Luen Yang explains, he blends East and West in an interesting way. I’d love to see Yang bring Fu Chang (and his girlfriend, improbably named May Ting) back to life in modern-day San Francisco.

Bentley of Scotland Yard, just another British detective, really, except that he has a specialty: Murders that are disguised to look like supernatural events. “Like in Scooby-Doo?” you might be saying, but I’d prefer to think it’s more like Jonathan Creek. Pappy’s Golden Age has a full Bentley story up so you can investigate for yourself.

There are some others—Captain Sprocket, Super Snail, Catfish Joe—but these are the cream of the crop, a set of characters who could keep writers, artists, and licensors busy for years. If I were at Archie, I’d start by bringing back those vintage Pep Comics, digitally in print, so readers could see how the characters got their start, then update them, like they are planning to do with Cosmo and Sam Hill.

The best part: Since most of these comics were episodic, there’s no continuity for readers to argue about—you could just jump right in and start creating new stories. It seems like they just had their audition in Night at the Comics Shop, but I’d love to see these guys stretch their legs a bit.

Time for a reboot relaunch!

Over on his always active twitter feed, Jock premiered a Joker cover presumed to be for an upcoming issue of his current series Detective Comics. What do you think?

Within 9 minutes Jock obtained over 25 retweets of this image, leading the artist to remark that he’s “NEVER had a response like that before. hit a nerve? maybe a funny bone….”

Stumptown

Hello and welcome to What Are You Reading? This week’s guest is Alex Segura, executive director of publicity and marketing at Archie Comics. But we’ll always know him as the guy who founded The Great Curve, the blog that would one day morph into Robot 6.

To see what Alex and the Robot 6 crew have been reading lately, click below …

*****

Tim O’Shea

So this week, I snagged a few books from the library, one of which was Fantagraphics 2006 volume one edition of E.C. Segar’s Popeye. It was still in the car when my son first started reading it and brought it into the house for himself to read. And thus inspired by a shot I saw of Chris Mautner (obscured by his copy of Kramer’s Ergot 7), I photographed my son reading Popeye. He’s enjoying the read, but when pressed to give a critical analysis of what appeals to him, the 11-year-old confided: “I don’t know, I just like to read it.”

Now on to the rest of this week’s pile, as read by me.

Cyclops #1 (one shot): Dean Haspiel plays with Cyclops and Batroc the Leaper, among a cast of many others. For me, all it took was Dean’s art. Jose Villarrubia on colors was just gravy.

Wonder Woman #609: Phil Hester continues to improve upon JMS’ initial plot pitch.I hope he gets a chance to tell his own Wonder Woman tales without a JMS structure before he leaves the book. It is interesting and effective how the book’s editors have used the reinstated letter’s column to help defend the JMS plot. Savvy use of the forum by the editor Brian Cunningham and assistant editor Darren Shan.

Detective Comics #875: I’m a longtime fan of Jim Gordon, so while Scott Snyder’s writing got seemingly bogged down at points, the exquisite art from Francesco Francavilla makes this issue a must read. Francavilla gives J.H. Williams III a run for his money in terms of trippy layout.

Captain America #616: So much talent in this giant-sized 70th anniversary issue. I’m not sure what I love more: the Mike Benson and Paul Grist 1940s vampire tale or Cullen Bunn and Jason Latour tale about the complicated aftermath of a tornado in Oklahoma. Let’s call it a tie. Honorable mention to Howard Chaykin (an artist I love) who drew an entire story involving at least two women with not one erect nipple in the whole tale.

Zatanna #11: I love Jamal Igle’s art and I want to see him have a nice long run on Zatanna. But just as Paul Dini had just won me back over to reading the book with Cliff Chiang’s arc, he’s driving me away again. For one thing, was the actual last panel of this issue’s story an inexplicable black panel? And there is a character in this issue protected by magic (not Zatanna’s) that serves as a major plot point, which is never explained. In fact, Dini has Zatanna acknowledge the plot point and then say: “I don’t have time to explain this.” Really? Where was DC editorial on that one–it cries for a revision.

Brigid Alverson

Cowboys and Aliens

What with all the talk about the Cowboys and Aliens movie, I thought it would be interesting to check out the graphic novel. My expectations were pretty low, given the unfortunate publicity stunt that launched this comic a few years ago, so I was pleasantly surprised. It’s a basic action comic with a bit of a plot twist, which is spelled out in the prologue so you can’t possibly miss it: Manifest Destiny is a lot like an alien invasion from outer space; in both cases, the invaders have superior weapons, don’t speak the language, and regard the indigenous people as disposable. The metaphor is carried through with ringing clarity as this particular bunch of aliens chooses to invade a wagon train of settlers who have been duped into buying land that belongs to the Indians. Then it all gets tossed out the window as the Indians and settlers gang up on the aliens, steal their weapons, co-opt their technology, and kick them out of Dodge. It’s good old-fashioned fun, with a fairly predictable cast but some clever moments. I know people think the movie should be a comedy, but it actually works pretty well as a straight-faced western.

On the same theme, and frankly, more to my tastes, is Graphic Classics’ latest volume, Western Classics. As always, the Graphic Classics folks do a great job of pairing artists and writers to really bring out the essence of a story. The book opens with an adaptation of Zane Gray’s “Riders of the Purple Sage,” a straight-up horse opera and a good one, and also includes the vaguely supernatural “The Right Eye of the Commander,” by Bret Harte, and an over-the-top Robert E. Howard tale of the big, dumb guy who sets everything right, “Knife River Prodigal.” There’s a nice blend of styles and stories, and not a clunker in the bunch.

Alex Segura

The Faceless Killers

Henning Mankell’s Kurt Wallander novels: If you read my interview with Tim O’Shea on this here blog, you probably know I’m a big mystery and crime fiction fan. One of the best things about reading crime novels is that you can get in on the ground floor of a good series and you know you’ll have a ton of great books to plow through. I loved Mankell’s standalone The Man from Beijing, which I read last year, but was hesitant to dive into the Wallander books until a few months ago. Now, I can’t stop. Set in Sweden, they spotlight the grizzled Ystad cop Kurt Wallander, as he battles his own doubts, insecurities and general malaise while tracking down some of the deadliest thieves and murderers his country’s ever seen. Well paced, intricate and full of surprises, the books are a handy guide to what a great mystery should be. Start with The Faceless Killers and you’ll be hooked.

Stumptown HC (Oni Press): See above. Add a dash of Greg Rucka’s writing and Matthew Southworth’s moody pencils and you’ve got a certified crime comic classic. Dex Parios isn’t your typical P.I. — she’s got a drinking problem, gambles too much and isn’t scared to dive into things feet first. And that’s what makes her a compelling read. Rucka knows how to tease readers and cagily build up the tension. Plus, the whole series is out now in one handy HC. What more do you need?

Detective Comics (DC Comics): If you kept up with my antics at my old gig, you know I’m a Batman fan. That hasn’t changed. And when I want a instant classic Batman story, I know which book to pick up at my LCS: Detective Comics. The all-star team of writer Scott Snyder, artists Jock and Francesco Francavilla have pieced together a story that feels grounded, gritty, dirty and epic all at the same time. From mysterious figures from the past lurching into the present to a host of new villains, this book’s got it all. Don’t wait for the trade on this one.

Life with Archie Magazine (Archie): One of my earliest fan geek memories involved me staying up past my bedtime with my sister to watch the live-action TV movie To Riverdale and Back Again, which featured older, adult versions of the Archies reconvening in Riverdale for their high school reunion. Now, let’s be frank — that movie wasn’t very good. But the concept is sound — what would life be like for the ol’ redhead and his friends once high school was over? Well, with Life with Archie, you have the answer, in two great storylines — one telling the tale of Archie after he marries Betty and the other featuring Archie’s married life to Veronica. Full of cameos, real life drama and great characterization from writer Paul Kupperberg (along with some of the best work of artist Norm Breyfogle’s career!), the stories are a treat for fans of Archie new and old.

Artist Francisco Francavilla has been tearing up the comics scene as of late. He’s balancing two ongoing gigs on the Big Two’s dark super-heroes — Batman in Detective Comics for DC and Black Panther: The Man Without Fear at Marvel — and still keeps up a healthy sideline of pin-ups, cover work and some great art online.

The above piece of art is concept art for a pitch Francavilla says he’s been working on some time. At this point it’s speculative as to if this will ever see the lite of day in a published comic, but we can all dream … can’t we?

Emitown

Graeme McMillan

It’s a weird week for new releases, with everyone but Marvel taking it easy and pulling back on massive hauls in order to give our wallets a nice holiday break (unless you’re a Marvel completest, in which case, yowza. Look out). That said, if I had $15, I’d put it towards the special 200th issue of What If? ($4.99), the first issue of event tie-in Chaos War: X-Men ($3.99) because I’m curious how Chris Claremont and Louise Simonson handle Marvel’s version of Blackest Night, and the second issue of Scott Snyder and Jock’s Detective Comics run (#872, $3.99), because I was really happily surprised by how much I enjoyed the first.

If I had $30, I’d put Chaos War and What If? back on the shelf, and get Emitown ($24.99) instead. I’ve heard really great things about this print collection of Emi Lenox’s autobio webcomic, and I like the idea of seeing 2011 in by discovering a new cartoonist to love.

Splurging, I’d go back to Marvel, with the brand new Ka-Zar collection by Mark Waid and Andy Kubert ($19.99). I missed out on this series back in the 1990s, but as a fan of both fish-out-of-water stories and Mark Waid stories, something tells me that this might be right up my street.

Crickets

Chris Mautner

If I had $15:

I picked up a copy of this at the Brooklyn show but if you weren’t there, then the third issue of Sammy Harkham’s Crickets ($8) is easily the pick of the week, at least as far as I’m concerned. Harkham has seemingly abandoned, at least for now, his tale of wandering golems and invulnerable men for two self-contained pieces, each with a decided literary bent (the first one is rather cheekily titled “The New Yorker.”). Both tales show a slight movement towards more introspective, character building work, with the second tale “Blood of the Virgin,” offering a nice homage of sorts to the late 1960s and early ’70s era of Roger Corman-style cheapie b-films, or at least how they were produced. Definitely one of the nicer surprises at the Brooklyn show this month and highly recommended.

If I had $30:

I’m extremely curious to check out Bigfoot ($20), Pascal Girard’s graphic novel about a sensitive teen who becomes an unwanted celebrity thanks to an embarrassing YouTube video. I really liked Pascal’s last book, Nicolas, a memoir about his younger brother who died at an early age, and am anxious to see what he’ll do with more fictional material.

Splurge:

There’s not much that’s splurge-worthy this week, but I’ll at least check out Drew Friedman’s Sideshow Freaks ($19.95), a collection of color caricatures of human oddities, courtesy of Blast Books.

Echoes

Michael May

If I had $15:

Like Graeme and Chris said, there’s not a whole lot going on this week, but I’d spend my money on the new Hellboy (The Sleeping and the Dead #1; $3.50) and Josh Fialkov’s new book, Echoes #1 ($2.99). Fialkov describes his story as “a dark horror book that asks whether you can inherit murder” and “about the darkest, scariest thing I’ve ever done.” Bold words coming from the writer of Elk’s Run.

If I had $30:

I’d add Dark Horse’s John Carter of Mars: Weird Worlds collection ($14.99), their reprinting of DC’s John Carter stories from the ’70s featuring the work of guys like Marv Wolfman, Howard Chaykin, Gray Morrow, and Joe Orlando.

Splurge:

Sometimes I regret having to pick based on a budget. Like this week when two of the books I want most count as splurge items. There’s no way I’m missing the new Atlas collection though, The Return of the Three Dimensional Man ($16.99) or Marvel’s reprint of Mark Waid and Andy Kubert’s Ka-Zar ($19.99). I was a fool in the ’90s for not picking up that series. I’m also cautiously curious about Markosia’s The Young Sherlock Holmes Adventures ($15.95). That one’s going to require a flip-through before buying though.

Chaos War: Alpha Flight #1

Welcome to another installment of “Food or Comics?” Every week we set certain hypothetical spending limits on ourselves and go through the agony of trying to determine what comes home and what stays on the shelves. So join us as we run down what comics we’d buy if they only had $15 and $30 to spend, as well as what we’d get if we had some “mad money” to splurge with.

Check out Diamond’s full release list for this week if you’d like to play along in our comments section.

Michael May

If I had $15:

I’d pick up Salimba ($9.99), because it’s Paul Chadwick drawing a jungle girl who fights pirates. Then I’d add Chaos War: Alpha Flight #1 ($3.99) to that pile. I’m a huge Alpha Flight fan and can’t wait to read about the original team’s new adventure, even if they are dead.

If I had $30:

I’d also check out Firebreather, Volume 3 #1 ($3.99). I don’t know if this is the best place to jump into Firebreather or not, but we’re looking forward to the Cartoon Network movie at our house and this seems like a relatively inexpensive way to learn more about the character’s comics shenanigans. Next, I’d pick up Secret Avengers #7 ($3.99) ’cause with Shang Chi, Valkyrie, and Black Widow, this is a team book scientifically designed to appeal directly to me. To round out the pile, I’d get Billy the Kid’s Old Timey Oddities: Ghastly Fiend of London #3 ($3.99) and Action Comics #895 ($3.99).

Splurge:

I really want that Shazam maquette ($99.99) inspired by the Return of Black Adam DVD. I don’t really need one more thing to dust in my office, but that’s a good-looking statue.

Chris Mautner

If I had $15:

Miss Don't Touch Me

I really enjoyed the first volume of Hubert and Krasocet’s Miss Don’t Touch Me, a thriller about a shy young woman who infiltrates a brothel to discover who killed her sister, so I’m definitely planning on putting money down for the second volume, out this week, if only to find out where the authors take the main character after the last story’s rather decisive conclusion.

If I had $30:

I already own a copy, so I won’t be picking it up, but the new volume of Acme Novelty Library is easily the pick of the week and should definitely be snagged if you haven’t gotten a copy yet already.

As for me, I might hold off on Miss Don’t Touch Me and instead check out Special Exits, a new memoir by former underground cartoonist Joyce Farmer about how she came to take care of her ailing parents in their final years. Yes, there’s been quite a lot of those kind of books out lately, but Farmer’s an interesting talent (she famously founded Tits n Clits in the 70s as a response to the misogynism of the early undergrounds) and the book has been building a strong, steady buzz. I’m curious.

Splurge:

It’s an easy choice for me this week, with the big hardcover release of Simon and Kirby’s Boy Commandos ($49.95). An essential pick for Kirby fans and Golden Age era devotees.

Graeme McMillan

Batwoman #0

It’s a weird week for new releases this week, with little really jumping out at me, and things I’d thought were coming out – Hi, King City #12! – apparently not on the Diamond shipping list. But that said, if I had $15, the first thing I’d pick up would be Batwoman #0, if only for the almost impossible to deny beauty of new art from JH Williams III and Amy Reeder. I’ll stick with Gotham City for my next pick, Detective Comics #871, the first issue for American Vampire‘s Scott Snyder and The Losers‘ Jock – I really liked the previews in last week’s DCU books, even if I go back and forth on Jock’s linework, as opposed to his lovely covers – and then admit that Marvel has me on the nostalgia vote with Chaos War: Alpha Flight #1 (I loved Alpha Flight, back in the day. Don’t judge me. If it helps, Jim McCann’s writing, and I’ve enjoyed his Hawkeye and Mockingbird quite a bit). Last but not least, Stan Lee’s The Traveler #1 from BOOM! Studios: I’ve already read a preview of Mark Waid and Chad Hardin’s first issue, and it’s a lot of fun. Waid does a good job playing with expectations, and it doesn’t have the same “Retro? Not so retro?” awkwardness of Paul Cornell’s first Soldier Zero issue.

If I had $30, I’d let myself be swayed by Chris and my Techland colleague and fellow Portlander, Douglas Wolk, both of whom have said good things about Miss Don’t Touch Me. I haven’t read the first volume, but it’s being reissued this week to accompany the release of the second. Of course, if I don’t like it, Chris owes me $14.95 of his imaginary money next week.

Splurging this week, I’d be generous and give my splurge to my inner child: Oni Press are doing “board comics” for the surreal and wonderful Yo Gabba Gabba this week – Gabba Ball and Goodnight Gabbaland – and, I admit it: I’d be too tempted that I couldn’t help but pick at least one up. It’s okay: You can judge me for this one. I won’t blame you.

Brigid Alverson

If I had $15…

7 Billion Needles

I would start out with the second volume of Nobuake Tadano’s 7 Billion Needles ($10.95). I have only started reading the first volume, but already I am hooked. Although the main character is a schoolgirl, this sci-fi story is truly manga for grown-ups. The story is based on Hal Clement’s Needle, and the basic premise (girl is inhabited by a being from outer space) is not entirely original. I like the execution, though, especially Tadano’s careful rendering of cluttered interiors—so different from our stereotype of Japanese simplicity.

I’ll spend some of what’s left on Jughead #204, which features another of his Jughead Jones: Semi-Private Eye stories. That should make a nice palate-cleanser.

If I had $30…

I think I’d scrap Jughead and get my mystery fix with the second volume of Troublemaker. I question Dark Horse’s decision to split Janet and Alex Evanovich’s mystery novel across two volumes—is there really that much story?—but it’s a pleasant read and I’m enjoying Joelle Jones’s lively art.

Splurge…

Having cared for both my parents as they grew old, I know that final journey can be sad but also marked with moments of humor, terror, and pathos. It looks like Joyce Farmer gets it, and her family is quirky enough to make for some good reading, so I pick Special Exits as my splurge.

Speaking of my parents, Paolo Coelho’s The Alchemist sounds like the sort of fantasy fable my father used to love, especially around the holidays, and I’d like to pick up the graphic novel adaptation that Sea Lion books is putting out.