Adventure Time

In an ideal world, all comic book editor-in-chiefs should experience working at a comic book store. Such is the case with current BOOM! Studios EIC Matt Gagnon, who spent a spell as buyer and purchasing manager for Hollywood’s Meltdown Comics. Gagnon recently took some time to discuss BOOM!’s transition away from the Disney properties and toward KaBOOM! books like Peanuts and Adventure Time, as well as creator-owned works such as Roger Langridge’s Snarked. The bulk of this interview took place well before Newsarama’s report that Mark Waid’s Irredeemable and Incorruptible were both drawing to a close this May, but Gagnon and I spoke of it briefly after the news broke. I will be curious to see what big news BOOM! will have in a couple of weeks. In the meantime, enjoy this interview. Me? I wish I was a young writer, so that I could get Gagnon to send me a Mark Waid script.

Tim O’Shea: What were your priorities when you took over the EIC role, and how successfully did you achieve what you set out to accomplish with the BOOM! line?

Matt Gagnon: I was—and continue to be—focused on maintaining the level of execution that the fans expect of us and we expect of ourselves. Before I became EIC I had already spent two years as Managing Editor, building a style and a system of how we make comics and fulfill the promises of what we solicit. Not to oversimplify our principals, but at its core we’re all about publishing great comics and shipping them on time. This July will be my 2 year anniversary as EIC and I feel like we’ve only been getting better and better.

Back in 2008 when I came to the company, one of my first goals was to make sure the trains were running on time. We’ve been very consistent since then and I’m extremely proud of the reputation we’ve garnered. It’s a testament to the insanely talented team we have here at BOOM! and the dedicated network of talent we have involved in our comics. We’ve been recognized by Diamond and our retail partners for two years in a row with the Best Publisher Award (under 4%).

Anybody who knows me knows that I have high expectations of myself and my team. I want to maximize every opportunity that we have. I don’t just want to do Planet of the Apes comics; I want to do the best Planet of the Apes comics, you know? The same goes for Hellraiser, 28 Days Later, Adventure Time, or anything else that we publish.

Creatively, I’ve always had a vision for our line and I’m proud of all that we’re accomplishing. We continue to achieve our goals every day, every time we send another issue to print that we’re proud of. But there’s always more to be done and bigger goals that we’re working toward. You can never rest on your laurels.

O’Shea: The KaBOOM! line made a rather pivotal transition in the past year, as the Disney licenses expired and the new licenses and creator-owned projects were gained. Are you pleased with where KaBOOM! now finds itself positioned?

Gagnon: I couldn’t be happier with the progression of the KaBOOM! imprint. The Disney licenses were obviously very important to us, and we were fortunate to publish Pixar, Muppets, Mickey Mouse, Donald Duck, et al, at such a formative point in the company’s development. We had a lot of success with those titles and continue to be thankful for the opportunity to be a part of that legacy.

When I look at the KaBOOM! imprint now I see a much more diverse line of comics. Whether it’s the iconic characters of Peanuts or creating brand new characters like Roger Langridge’s Snarked or a modern hit like Adventure Time, it’s a phenomenal line-up. Publishing all-ages comics is incredibly difficult in the direct market. When the Disney license was up we were hearing a lot of consternation about what our position would be in the market with all-ages material moving forward. I think we’re showing with our new line-up that we’re more committed than ever to all-ages comics.

And things should only get more exciting this year. We’ll make a big announcement in a couple weeks that will only bolster the imprint.

O’Shea: It’s safe to assume you learned a great deal about the EIC position while Mark Waid was still a full-time co-worker, but who else would you say you learned from the most in order to be best equipped for the job?

Gagnon: Oh yeah, Mark is a giant. I’ll always be thankful that I got my start working with him. I mean, c’mon, he’s one of the all-time greats. To this day I still send young writers I’m working with a Mark Waid script to study. He can get whatever he wants out of 22 pages; it’s amazing.

I learned a ton from Ross [Richie, Founder & CEO of BOOM!] and we continue to have a great working relationship. There’s an awesome team over here filled with smart people that all have something to offer.

O’Shea: There are few people in the comics editorial side of things that have a background such as yours in retail. How did your retail experience help you to understand the priorities of how to best position the BOOM! line in a struggling (and quickly changing) economy?

Gagnon: I’ve said this in interviews before, but it’s one of the best pieces of experience that I have. I spent years “behind the counter.” I’ve seen the industry from all angles: fan, professional, retailer, publisher. It’s something I’m very thankful for and I think it gives me a unique perspective into what’s important to readers and retailers. It’s certainly helped me make adjustments and continue to be successful as the economy—and the industry—have changed over the years.

The only thing I haven’t done is work at Diamond. I should go shadow my Diamond rep for a few days [laughs].

O’Shea: This question is rooted in ignorance. Was the Stan Lee line always intended to be one year, or was there an option to go past the one year?

Gagnon: We launched the Stan Lee line as an ongoing series, but most of the story development was only planned out through the first year. It’s not really uncommon when launching a new series. You have to wait and see how the market responds to what you’re doing in serialized entertainment.

There was some terrific fan support for the line, and the books were generally well reviewed throughout the run. We all still love those stories. The creative teams were amazing and their work was exceptional. At the end of the day the sales just didn’t enable us to continue past the first year. That’s the long and the short of it.

O’Shea: What’s been some of the larger challenges in trying to maintain a proper foothold in the print side of comics, while bolstering your presence on the digital distribution landscape?

Gagnon: Well, it’s no secret that comic sales as a whole have been struggling. Launching anything new is a delicate and challenging task. There’re titles we launched last year that I think would have succeeded in, say,’09 but under-performed for us. Thankfully, we’ve also had a lot of success. You have to keep hammering away and putting out comics that you believe in. Some of them will find an audience, some of them won’t (despite your best efforts). It’s a magical and joyous thing when something pops and it’s a tremendous bummer when they don’t.

We’re consistently working on expanding our presence in the digital landscape, which is important long-term. But our core print business is still very much our bread and butter. I think we’ve done a good job of doing a balancing act between the direct market, the book trade, and digital. The trick is to keep hitting all those targets.

O’Shea: With bookstores such as Borders closing, I am curious how that has impacted BOOM!’s performance on your Mass Market sales. When you were interviewed by Tom Spurgeon in early 2011, you were pleased with the business BOOM! had gained with your distribution deals with Simon & Schuster in America and HarperCollins Canada. Are you still as pleased?

Gagnon: It was sad to see Borders close, but it honestly didn’t have much impact on our Mass Market sales. Simon & Schuster did a terrific job of shielding us from any fallout. We’ve actually been doing better than ever in the book trade. We’re getting to the point as a company where our backlist is robust and S&S and HarperCollins Canada are uniquely positioned to distribute our line.

O’Shea: This year saw you turn the editing responsibilities of Incorruptible fully over to Shannon Watters, while still keeping a role in editing Irredeemable? How hard was it to leave Incorruptible, which you had continued to edit after assuming the EIC role–and why did you decide to continue editing Irredeemable?

Gagnon: The answer is pretty boring: it simply came down to work flow. Shannon had been doing the heavy lifting on Incorruptible for a while as the Assistant Editor. I was there in a supervising capacity as she honed her own (considerable) skills. When I promoted her to Editor it was only natural that she take over the series. As my responsibilities increased she started helping with Irredeemable as well. I’ve been with Irredeemable since day one so it’s a tough series to completely let go of.

That said, both titles are ending in May, so we’re close to the finish line and are focused on sending Irredeemable/Incorruptible off with the ending they deserve. Thankfully, Shannon and I have a time-tested shorthand for doing these books, and she’s very patient with me [laughs].

O’Shea: How do you see the editorial line expanding this year?

Gagnon: You’ll see more in the way of new, original series from us. Creating new stories is something that’s in the DNA of the company. It’s something that’s important to us, and something that I’m a big believer in. As a matter of fact, we’ve been going full speed since the holidays developing a bunch of new originals that will debut this year.

We’ll continue to be aggressive in the realm of licensed comics as well. We have some of the best in the business and will continue to add some key franchises as the year goes on. The overall goal is to have a thoughtful line of comics that we’re passionate about.

If we believe in what we publish—if we care—then I think that translates to the page. There’s no greater ally than the comic book reader. If you put your best foot forward and deliver a great comic, the fan of that title will support the book in ways that are astounding.

That’s the great thing about the comic book reader, if they like what you’re doing, they’ll have your back.

Angoulême

Conventions | Wim Lockefeer lines up the exhibits he’s looking forward to at the 39th Angoulême International Comics Festival, which begins today in Angoulême, France. [The Forbidden Planet International Blog Log]

Legal | Cartoonist Albert Lekgaba was sketching the proceedings of the Botswana Court of Appeal when security officers asked to step out of the courtroom, confiscated his work, and told him he could not draw in court, “especially if the judges were present.” When the judges learned of this, however, they informed the court registrar that sketching is indeed allowed, and they ordered that Lekgaba be readmitted to the courtroom and his sketches returned to him. [The Botswana Gazette]

Passings | California newspaper cartoonist John Lara has died at age 56. [Coastline Pilot]

Creators | Heidi MacDonald sums up a number of recent posts on piracy and the creative life in one mega-post, and a lively discussion follows in the comments section. [The Beat]

Eisner Awards

Creators | Tom Spurgeon cast his votes for the Eisner Awards Hall of Fame, and he urges other readers who are qualified (or who think they may be qualified) to do so as well: “The way I look at it, a Hall of Fame is a cultural document that has a chance of surviving decades into the future when things like our on-line text jeremiads and late-night hotel room conversations about what’s valuable in the medium will have long faded from memory. It’s worth having whatever small input one can have on something like that, particularly as time will also drive any objections we have from relevance.” [The Comics Reporter]

Creators | Frank Cho is so busy these days that he has decided to postpone the release of his miniseries Guns & Dinos: “I want to apologize to all my fans out there who were eagerly waiting for this book. But with only half the book done and no time to complete it, it’s only fair to reschedule the release date when the mini-series is completely finished. Fear not, I’m planning on releasing it before the year is out.” [Apes and Babes]

Retailing | Retailer Chris Brady, owner of 4 Color Fantasies in Rancho Cucamonga, California, explains why he embraces digital comics: It brings new readers to the medium, and his comiXology storefront pays him 15 to 30 percent of cover price without much effort on his part. [The Press-Enterprise]

Daredevil #8

Comics | Colin Smith sees Mark Waid’s Spider-Man/Daredevil crossover as everything a good comic should be — smartly written, accessible to new readers and grounded in reality despite the fantasy elements: “Waid’s super-people are always individuals before they’re crime-fighters, and for all the fun of the roof-running and the holographic illusions, it’s the moments of betrayal and sadness and self-deception which stay with the reader after the comics have been put away.” [Too Busy Thinking About My Comics]

Comics | Warren Ellis gets an advance copy of Brian K. Vaughan and Fiona Staples’ Saga #1 — yes, the one with the breastfeeding on the cover — and finds it good. However, he also worries that the market may not be mature enough for the book, both because of its length and its juxtaposition of different types of elements. [Warren Ellis]

Creators | Sean T. Collins interviews horror comic creator Julia Gfrörer: “I’m most interested in making art about feelings and experiences that are hidden or obscure, uncomfortable to talk about, frightening to even think of. It should be challenging for me to create, and for you to consume. I guess that it often comes off as overwrought and melodramatic, but like the song says, I can’t come through half-stepping.” [The Comics Journal]

Comics | Larry Cruz celebrates Hal Foster’s Prince Valiant, which he admits has a “stodgy” feel but nonetheless boasts glorious art and a gripping story in an unusual format. [The Webcomic Overlook]

Review | Matthias Wivel takes a look at the Fantagraphics edition of Carl Barks’ Donald Duck: Lost in the Andes. [The Comics Journal]

Review | Philip Shropshire reviews the second volume of Ed Piskor’s phone-hacker comic Wizzywig, which takes the protagonist on a through-the-looking-glass trip through the criminal justice system. [Comics Forge]

Check out Diamond’s release list or ComicList, and tell us what you’re getting in our comments field.

Fantastic Life

Chris Arrant

If I had $15, I’d try something new first with the Xeric-winning Fantastic Life GN (Big If, $9.95) by Kevin Mutch. I’ll always give Xeric winners a second look, and this looks built for me: slackers, punk rock, zombies. Next up I’d get the ongoing adventures of Butcher Baker – the Image one – with Butcher Baker Righteous Maker #8 ($2.99). I’ll admit that the series went off a little bit around #5, but I’m still holding on for hopes it’ll right itself or I’ll figure out what I’d been missing. Lastly, I’d get Secret Avengers #21.1 (Marvel, $2.99). Seriously, is Rick Remender becoming the writer of all-things secret in the Marvel U? I’m not complaining though, as he’s bringing his Uncanny X-Force mojo and, from what it looks like, a lot of new cast members.

If I had $30, I’d get my usual pull of The Walking Dead #93 (Image, $2.99) and a Hickman two-fer, Fantastic Four #602 (Marvel, $2.99) and FF #14 (Marvel, $2.99). If you would have told me two years ago I’d be seeing two Fantastic Four titles (and two I’d be reading, no less) I would have been gobsmacked. Hickman does it again. And that’s it.

What, you say I didn’t spend my full $30? It’s a light week for me, so I’d spending the remaining on bags and boards or, *gasp*, food as it says in the title. Tijuana Flats, Taco Tuesday, be there.

Coming back if I could splurge, and I’d put down my tacos and pick up the ADD HC (Vertigo, $24.99) by Douglas Rushkoff, Goran Sudzuka and Jose Marzan Jr. From the outside it looks like The Hunger Games meets Ender’s Game, and Rushkoff looks to be just the one to make that mash-up more than, well, a mash-up.

The Silence of Our Friends

Brigid Alverson

If I had $15, I’d get Avatar: The Last Airbender: Vol. 1: The Promise, Part 1 ($10.99), despite the staggering title, because it is written by Gene Luen Yang (American Born Chinese) and I’m a fan. The art looks nice and clean, and this looks like a book I could enjoy, at least until my nieces and nephews snatch it away from me. And then I’d pick up the latest issue of The Sixth Gun ($3.99), because how could I miss out on that?

If I had $30, I’d have to put The Sixth Gun back on the shelf for a little while, or borrow two dollars from someone, because The Silence of Our Friends ($16.99) is the must-have book this week. Writer Mark Long based it in part on his father’s experiences as a white reporter covering the civil rights struggles of the 1960s, and Nate Powell’s atmospheric art really brings the era to life. It’s deep without being preachy, with characters that are good but flawed, and while politics shape the plot, the true story is about the interior reality, the clumsiness and missteps that occur even among people of good will. It’s a truly stunning graphic novel and the standout choice for this week.

The splurge choices are pretty good this week, but this former reporter is not going to even try to resist the first volume of Hermes Press’s collection of Brenda Starr, Reporter, even at a stiff $60. On the off chance that a bit of extra dough comes my way, though, my next choice would be the trade of Spontaneous, a smart and beautifully illustrated comic about the mystery of spontaneous human combustion. Since it features a more modern woman reporter, I’m sure Brenda would approve.

Manara, Volume 2

Chris Mautner

If I had $15: I haven’t read The Bulletproof Coffin yet, but I know a number of folks who thought it was pretty nifty, and I do like what little of Shaky Kane and David Hine’s work I’ve read before. So I’d probably be willing to flip through the first issue of The Bulletproof Coffin: Disinterred, the first issue of the six-part sequel.

If I had $30, I’d grab Wally Wood’s Strange Worlds of Science Fiction, a hardcover collection of sci-fi stories Wood did for publishers during the 1950s that were not EC. Wood’s one of those classic comic artists I’d really like to learn more about and this seems like as good a place to go as any.

Splurge: More Milo Manara goodness awaits with the release of The Manara Library Vol. 2, which contains El Gaucho, the second of his collaborations with Hugo Pratt, and Trial By Jury, a collection of shorts never released in the U.S. before now.

The Bulletproof Coffin: Disinterred

Graeme McMillan

If I had $15 this week, I’d apparently be most interested in some sequels; like Chris M, I’d go for Hine and Kane’s Bulletproof Coffin: Disinterred #1 (Image, $3.99) – because I like my comics meta and slightly disturbing, apparently – and I’d follow that up with the debut of IDW’s new cross-continuity crossover Infestation 2 #1 ($3.99), which replaces zombies with Lovecraftian monsters as the threat du jour, something else that feels more than a little meta for some reason. As far as I know, Rick Remender and Patrick Zircher are staying entirely un-meta for Secret Avengers #21.1 (Marvel, $2.99), but as I’ve been reading a lot of Captain Britain and Excalibur lately, I’m picking this up to get a jump on the Brian Braddock era for the title.

If I had $30, I’d continue a recent Warren Ellis run and pick up the reissue of Atmospherics (Avatar, $7.99), to see what his Avatar crime work is like. Sticking with big name creators and indie companies, Kirby Genesis #5 (Dynamite, $3.99) is finally out this week, so I’d grab that as well, and then finish everything off with the latest issue of Peter Milligan’s Justice League Dark (#5, DC, $2.99).

When it comes to slurging, there’s a lot to choose from this week. I’m tempted by the Spontaneous HC (Oni, $24.99), Daredevil by Mark Waid Vol. 1 HC (Marvel, $19.99) and Catwoman Vol. 1 (DC, $29.99), but I’ve already read those books in their original serialized format, so I think I’d probably go for the Strikeforce Morituri collection from Marvel ($34.99); I vaguely remember the series past its early issues way back when, and I’d be interested to see if it holds up to my memories…

Polly and the Pirates, Volume 2: The Mystery of the Dragonfish

Michael May

I usually spend my $15 allowance on single issues, but this week I’m making a beeline for Polly and the Pirates, Volume 2: The Mystery of the Dragonfish ($11.99), a comic I’ve been waiting five years for. I’m so excited I don’t even care that Ted Naifeh didn’t draw it, especially since Robbi Rodriguez’ art looks so great. My remaining three bucks would of course go to Alpha Flight #8 ($2.99), an issue I’m both looking forward to (because it resolves the excellent story that Van Lente, Pak, and Eaglesham have been telling) and dreading (because there’s no more after it).

If I had $30, I’d circle back for my monthly series: Aquaman #5 ($2.99), Superman #5 ($2.99), X-Men Legacy #261 ($2.99), and All-Star Western #5 ($3.99).

My splurge item this week is the Daredevil By Mark Waid, Volume 1 hardcover ($$19.99). I’ve been looking forward to reading it anyway, but it made so many year-end lists that now my mouth is watering about it.

Not at all ominous...

Over what was most likely a perfect cup of Moroccan Mint green tea, Greg Rucka sat down for a discussion with Mark Waid and Steve Wacker about “The Omega Effect,” an upcoming crossover between The Avenging Spider-Man, The Punisher and Daredevil debuting in April.

In the story, the Man Without Fear will find himself in possession the Omega Drive, a file connecting five powerful criminal organizations — dangerous information that everyone’s going to want to get there hands on, right? That’s a well-used motive in our genre with the added twist of science; you see, Spider-Man is operating at the behest of Reed Richards, who invented the Omega Drive to begin with. So either Richards has been collecting dirty sheets on crime bosses in his spare time, or there’s something more delicate to what’s holding all this information in the first place. Remember all the math he used to keep in the basement telling him how to nudge society around? Yeah, this could get ugly.

That’s why we have the Punisher, who’ll go head to head with Spider-Man and Daredevil to put this information to good use — which, as we can guess, probably means shooting some fools. Waid and Rucka are more than willing to throw their supporting casts into the mix, as well as relevant story arcs that coincide with the trouble at hand. Spider-Man vowed that no one else would die on his watch, and that’s a hard vow to keep next to Frank Castle. Daredevil has had a long history with the Punisher, both falling on different sides of the very concept of justice. With his most recent fall from grace and return with a fresh attitude, how will the new Daredevil handle a man acting as judge, jury and executioner?

And the Punisher? Follow me on this one, guys, but what is Frank Castle going to get out of all of this?

(WARNING: Spoilers ahead for PunisherMAX #21 and Punisher #7, out this week.  Grab your copies and follow along!)

Yeah, he’ll get answers, information and his sticky little fingers into some Marvel Universe action. But really, what does a man like Frank Castle get from hanging out with the cape-and-tights set? Recently, I’ve wondered at the idea of the Punisher playing well with others, and I think that has a lot to do with the MAX line. The Punisher’s most modern character revival came at the hands of Garth Ennis and Steve Dillon, cementing the idea that the character comes along with some …. well, mature issues. Even Jason Aaron’s PunisherMAX #21, leaves one with a feeling of utter despair and the ugliest truth about Frank Castle’s ultimate destiny. If I could get a little spoilery for a moment — please read this series, it’s coming to a swift conclusion and is absolutely brilliant — through PunisherMAX #21, we see Frank experience flashes of his life before the Punisher; it was a lot of missed moments, a lot of actions taken that shied away from what would have been a happier, if not simply more normal, life. Being alive means something entirely different to the Punisher, like a means to an end — ab end that will never arrive.

from Punisher (2012) #7

Punisher #7 also came out this week and, in Greg Rucka’s own title, it’s very clearly stated to the readers and that one cop guy that “eye for an eye”-style justice doesn’t fly in a truly moral world. And, despite its grit and shades of gray, the Marvel Universe is a truly moral world because of the heroes that inhabit it. The Punisher works as a man outside the boundaries of where our heroes live. He’s a guest star at best, a morality tale for people who do have the luxury of friends, family and an alternate identity. Frank Castle works best when he’s not reined in or festooned with gimmicks, and he’s certainly not going to be joining the Avengers any time soon (please, dear God, no). His path is different and should certainly be less traveled by men like Daredevil and Spider-Man.

So why stand them all next to each other in this new story? Mark Waid in the discussion said: “I think we start with Spider-Man with something tonally that is very close to what Spider-Man is, but the moment the Punisher walks into the room, thanks to Greg, the tone shift. That’s part of the fun of collaborating on this thing; bouncing back and forth without it being jarring.”

These don't normally end well for others....

So we won’t have to change anyone’s M.O. to be there; Frank Castle won’t be held back, and Daredevil and Spider-Man get to be seen in a different light, one perhaps with a little more shadow. If anything, both Daredevil and Spider-Man are going to have to go up against (and possibly work with) a man who is the physical embodiment of some very personal issues. Spider-Man has shouted to the rooftops that “as long as he’s around, no one dies,” and that’s going to be challenged by the Punisher simply being nearby. Daredevil just got back from the darkest turn in his career, full of death and judgment. His recent brush with the dark side under the Hand and how far his own life had been pulling away from friends and family might bring some new facets in the relationship between Daredevil and the Punisher.

Sounds good all around until you wonder what the Punisher is going to get out of all of this. Sure, we’ll be seeing Spider-Man and Daredevil in the tonal shift that comes with having the Punisher guest star in your books. But how will their tone affect the Punisher? He’s going to give some different depth and development to the other two and, considering his co-star’s viewpoints, it would be easy to paint him as a villain (or more like … an anti-villain?) but there’s got to be something more.

The guys in charge are clearly thinking along the same lines, given what’s hinted at here:

I love Frank as a thinker, but the second we put him in 616, the second he’s not in a MAX world, he has access to 616 resources,” Rucka said. “In a couple of upcoming issues, he’s going to get his hands on a variety of resources. One of those is going to be incredibly useful to him. He will recover something from one of the people that he’s fighting that is going to make him — I don’t want to say bulletproof — but it will prove to be of great assistance.”

The story purposefully started small, but the reason ‘The Omega Effect’ story is placed so well is that Frank’s story is about to be big,” said Wacker. “He’s not only going to have to be bulletproof, he’s going to have to be SHIELD-proof as well.

Is he going to get a thing? Reed Richards’ famous mathematical sociology that charts the course of mankind? Some sort of terrible intel on S.H.I.E.L.D. that makes them look even worse that they did in “Dark Reign”? A device that bequeaths terrible cosmic powers?!!

Who knows (but I’m really not voting for the latter)? Most importantly, the Punisher will gain purpose in a world of gods, powered armor suits and super-humans. Maybe by getting him to play with others and socialize some, the grim future shown in PunisherMAX might change. From the plans they shared with us, fans will certainly find some new and fascinating corner of the character given light by two talented writers with a clear course into the unknown. April can’t come soon enough.

Matt and Felicia, sitting in a tree — or, actually, more like a giant hole instead of a tree, and I guess Spider-Man being electrocuted kind of kills the mood …

Courtesy of Marvel Comics, we’re pleased to present an exclusive preview from Daredevil #8 by writer Mark Waid and artist Kano, with a cover by regular series artist Paolo Rivera (who returns to drawing the interiors with issue #9). It’s the second part of a crossover with Amazing Spider-Man #677, which is also written by Mark Waid and features art by Emma Rios. The solicitation text refers to the Spider-Man/Black Cat/Daredevil as a love triangle, so I guess we’ll see if sparks fly figuratively between Daredevil and Black Cat as the sparks fly literally for Spider-Man.

This is the comic that topped CBR’s recent top 100 comics of 2011 list, and many of us here at the blog are big fans as well. It’s kind of cool to see a title like Daredevil, which has had very strong creative teams working on it for the past 10 years or so, reinvent itself with a completely different tone and still remain impressive.

Enjoy the preview, and look for both Amazing Spider-Man #677 and Daredevil #8 in shops later this month.

Daredevil #8

Here is the solicitation info:

DAREDEVIL #8
MARK WAID (W) • KANO (A)
COVER BY PAOLO RIVERA
VARIANT COVER BY LEE BERMEJO
• Spider-Man and Daredevil team up – Part two!
• Picking up where ASM #677 left off, the next great love triangle of the Marvel Universe continues!
32 PGS./Rated T+ …$2.99

Tom Brevoort, photo by Luigi Novi

Let’s not mince words, the online presence of Tom Brevoort has provided hours of great reading for Robot 6 readers. Given his constant and unflagging willingness to interact with consumers via social media, Brevoort is a quote machine (His Twitter bio? “A man constantly on the verge of saying something stupid–for your entertainment!?”). There’s always a directness (some would say bluntness) to his manner online–making him the ideal subject for an interview. Last year saw Marvel promote Brevoort to senior vice president for publishing. 2011 was a year of some major successes for Marvel, as well as a year where some hard business decisions were made. In this interview, conducted in mid-December via email, I tried to cover a great deal of ground (we even briefly discuss DC’s New 52 success)–and Brevoort did not hold back on any of his answers. For that, I am extremely grateful. Like any high profile comics executive, Brevoort has his fans and his critics (and many in between), but I like to think this exchange offers some perspectives everyone can enjoy.

Tim O’Shea: Whether it’s in your job description or not, fan outreach via social media is definitely part of your job–clearly by your own choice. What benefit or enjoyment do you get from interacting with the fans/consumers?

Tom Brevoort: I’m not sure that I get a particular benefit, except maybe just being the center of attention for a few minutes—maybe everything I do is motivated by ego! I’m a whore for the spotlight! But I started doing this kind of outreach back in the formative days of internet fandom, largely because I like the idea of internet fandom. I know that, if the internet had existed when I was a young comic book reader, I’d have been on those message boards and in those chat rooms all the time, obsessively—just like a certain portion of the audience today. So I like the idea of giving back, of being accessible enough that anybody who has a question or a concern knows where to find me, or at least to find somebody with an insider’s track who might have the background and knowledge to speak to their point. In a very real way, it’s all an outgrowth of what Stan Lee did in his letters pages and Bullpen pages. Joe Q, I think, was really the first person to perfect that approach for the internet age. As EIC he was incredibly available to the audience in a myriad of ways. It’s a philosophy that’s very much woven into our DNA at Marvel. And for the most part, our fans are interesting, vibrant, cool people, especially when you meet them in person.

O’Shea: Much has been made of the miniseries cancelled in mid-arc, or announced projects killed, but I am curious to learn how it impacts you to see co-workers being let go in the recent round of belt tightening? When I ask this I don’t necessarily mean on a personal level, per se, but rather in terms of the loss to Marvel’s collective creative/editorial talent, how challenging is it to deliver the best product Marvel can produce when you lose some talented editors?

Brevoort: It’s terrific, I love seeing people let go into one of the worst job markets in recent memory! I’m sorry, Tim, but I don’t think it’s possible to answer this question in anything other than a personal way—or if it is, I’m just not that dispassionate about it. I certainly understand that a business is a business, but there’s also a very human face on all of this. The people who were let go were my co-workers and friends, none of them were dismissed for cause, they’re all great, talented people. But that’s the economic world we find ourselves in right now, and as somebody who has to keep an eye on the business as a business, I understand and accept that. And it definitely means that those of us that remain have to work harder to do the same thing—that’s just simple mathematics. An editor who was once dealing with six projects maybe now has to cope with seven, or eight, at least until we’re through the backlog of material that was initially in the hands of those editors no longer on staff. So it’s definitely a lot to ask—but we’ve got the best crew in the business at Marvel, and though we may all grumble from time to time, everybody steps up to get the job not only done but done with the greatest level of excellence that can be managed. It really is an extraordinary group of dedicated people. And, on the flipside, there’s now some editorial talent out in the marketplace with super-strong skills that any other company could benefit enormously from. So a word to the wise there.

O’Shea: When 2011 began, could you ever have envisioned Marvel having cancelled a miniseries before it even finished?

Brevoort: It’s an unfortunate thing, but yes, I could. I’ve seen it happen in the past, though not quite in the way it happened on All-Winners. And some of that is my doing. We could have gone in at the last minute and tried to hack up the climax of the story, bringing things to a truncated resolution in issue #5. But with three whole issues left to go, I didn’t want to do that. Admittedly, that would have given the readers some kind of resolution, but it would have been a bad and unsatisfying reading experience. So I made the argument that, with so much story still left to tell, we should simply stop. That way, if market conditions improved down the line, and there was enough sustained interest in the project, we might eventually be able to return to it and finish it properly in the future. Hey, the last issue of Ghost Rider that I edited saw print ten years after it was created, so anything’s possible. I’m also a child of the 70s, where books would often be cancelled mid-stream, with no warning and no resolution, so I may be more immunized to this happening than a lot of other people, because I’ve seen it happen before. It stinks, nobody likes it, but again, that’s the marketplace in which we seem to find ourselves. The one thing I know for certain is that putting out issues that lose money is a good way to get to the point where you can’t put out any issues at all.

O’Shea: At the beginning of 2011, you assumed your senior VP role. With almost a year under your belt, I am curious what have you most enjoyed about your increased responsibilities? With your increased executive duties, is there an aspect of your pre-2011 responsibilities that you wish you still had time to do?

Avengers: X-Sanction #1

Brevoort: People, I think, get dazzled by the title, which maybe sounds like a lot more than what it actually entails. I’m still very much doing all of the things I was doing last year, just with a bit more stuff added on top of it. I’m maybe looking at the whole line more, rather than just half of the line. But I’m still directly editing a good number of books—Avengers, New Avengers, Secret Avengers, Fantastic Four, FF, Captain America, Children’s Crusade, X-Sanction, Defenders at least for the first two issues, and a lot more. So there isn’t a whole lot of down time, and there are definitely days when I feel like I could use another me to handle all of the stuff that’s stacked up while I was on the phone talking to a creator or off in a planning meeting of some kind.

O’Shea: While clearly a main focus of 2011 was Fear Itself, what were the other main successes of the past year?

Brevoort: I think we had a bunch of successes this year, and I’m probably going to forget all kinds of things as I run down the list. But certainly the death of the Human Torch and the rebranding of Fantastic Four as FF was a bigger success than we would have imagined. The Death of Ultimate Spider-Man and the introduction of Miles Morales. The “Spider-Island” crossover and just Amazing Spider-Man in general, a series that not only has been garnering all kinds of good fan reaction but has also consistently come out twice a month. Schism, and even more so the relaunching of the core X-titles as Uncanny X-Men and Wolverine & The X-Men. Waid, Rivera and Martin’s Daredevil, probably the best-reviewed title we’ve got right now, Remender and Co’s Uncanny X-Force—I feel like our line is very strong overall right now, even though it’s easy for people to sometimes take that for granted. You take a book like, say, Fraction and Larroca’s Invincible Iron Man, and it comes out like clockwork 12-16 times a year, with the same creative team telling highly-polished stories. After a while, people start to overlook it because it’s so consistent. Also, the steady growth of our digital initiatives. That’s a world that’s going to become steadily more important to us, and to the business in general. We had a couple good movies, too.

Miles Morales

O’Shea: In terms of “the steady growth of our digital initiatives,” what kind of milestones or successes did Marvel see in the steady growth?

Brevoort: I don’t know that there are any specific milestones I can point you to, in that most of our data about the digital world is confidential. But especially in instances where we had mainstream coverage on a particular storyline—Miles Morales, say, or Fantastic Four #600—we saw a pronounced uptick in our digital sales, with each new one besting the sales records of the previous. And all without having a measurable impact on our tangible copy sales. I think that everybody has still only scratched the surface of digital as a delivery platform for the kinds of material that we do, and that it’s only likely to grow further into a cornerstone of our overall publishing business.

O’Shea: You don’t work for DC, but you clearly have an opinion about the other major industry publisher, so I have to ask: Did DC’s 52 perform beyond your expectations, or is their success (still potentially short term, only time will tell) along the lines of what one might expect from a major line relaunch?

Brevoort: I don’t think we have good enough optics yet to predict the long term—we’re only now heading into the period of time wherein retailers can return their unsold copies, so the numbers for those months aren’t finalized yet. But there’s no two ways about it, regardless of how many books they get back, DC did a great job of getting their message out to the world and getting excited readers new, lapsed and existing into the stores to check out what they had going on. I don’t know how, at least judged in those terms, it could have been any more of a success. And I’m very happy about it—not just because we’ve seen an uptick in our sales for those months as well, but because increased competition leads to more excitement and better books. A lot of people have maybe misunderstood my message over these months, and maybe that’s my fault for not getting it across as clearly as I might have. But my biggest complaint and concern for the longest time was that it often felt as though DC had given up the fight, that they were content to just drift along, doing business as usual and not making waves. And a marketplace that Marvel is half of or more isn’t healthy—it puts too much weight on one part of the machine, too much responsibility. So I couldn’t be happier that the new DC team is stepping up to the challenge and hitting the field ready and willing to play the game. And that’ll force us at Marvel to up our game as well. The question now, of course, will be whether and for how long they might be able to maintain that increased readership base.

O’Shea: You recently discussed Marvel’s plans for the 2012 Free Comic Book Day. In reading your Formspring discussion of FCBD, I was left wondering, what is the main goal/point of FCBD to you? And while you think FCBD is being served in 2012 by a reprint, for those who are disappointed, do you understand when they may strongly disagree when you characterize them as potentially “petty”?

Avengers/FCBD 2012

Brevoort: Well, in fairness, I characterized a single question-asker’s question as possibly petty, not the audience as a whole. But as I understand it, Free Comic Book Day is an outreach program that enables local retailers across the country to mount the kind of mainstream promotion and local event that potentially draws new people into the stores. The existing fan base is served by it, sure, but it’s not really aimed at them, but at everybody who doesn’t regularly make the trek out to their local stores. So on that level, I want our FCBD entries to be entry-level friendly—not unsophisticated, but self-explanatory in terms of the story presented. And I want them produced at the highest level of quality possible. But I don’t know that there’s any pressing need for them to be all-new material. Certainly DC’s had no problem with running repurposed material in their FCBD entries the past couple of years. I mean, it’s great to be able to give people an all-new story by our best guys absolutely for free, but we’re talking about an economy in which we had to let a number of people go—it’s an expense that doesn’t recoup itself in any way, and one that isn’t even really necessary in terms of what the goal of the event is. So sure, I’m sorry that our regular readers will have to make do with “only” an Avengers comic written by Brian Bendis and drawn by Bryan Hitch that they may have purchased previously. But, y’know, this even isn’t really about you!

O’Shea: With the news of Brian Bendis of departing the Avengers franchise, after his long and very successful run, it got me wondering. When faced with the prospect of finding a new writer for a successful book like the Avengers, what kind of criteria do you use in your search?

Brevoort: Well, it’s different every time, in that you’re working with a completely different array of variable each time. But to paint the process in broad strokes, you need to assess where the series is at, what’s been strong and working and indispensable about it and what it might be lacking. In other words, and this is pretty obvious, you want to try to maintain the appeal that a book has under its current creative team and then build upon it by accentuating those areas or aspects that haven’t been explored as much. To point to a specific example and provide you some context, when Mark Millar and Bryan Hitch were finishing up their run on Fantastic Four, I needed to line up their successor. In looking at the series as a whole, having come off of JMS and Dwayne McDuffie before them, and Mark Waid and Mike Wieringo before that, I felt like the time was right to try to get a younger voice into the mix—the book had been done by apex talent for a long run, but Fantastic Four is a series that’s got a strong almost gravitic pull towards its past, those initial 100 issues are so seminal. So I wanted to bring in somebody who would have something new to say, and who maybe wouldn’t be as shackled in his thinking to the past. At the same time, I wanted to maintain the overall positive/optimistic flavor that the series has always had when it’s been really clicking, in my opinion. Given those parameters, it didn’t take me long to start speaking with Jonathan Hickman, with whom I was working on Secret Warriors at the time. Jonathan went away, pulled together his ideas, and came back with a strong pitch for the series—and away we went! So it’s very much the same kind of thing on Avengers. Brian is leaving behind a legacy that it’s going to be very difficult for somebody else to equal or surpass, but that’s the challenge of the incumbent. As it happens, I’ve already got the next Avengers writer lined up, though it’ll probably be several months before you all learn who it is—Brian’s still got about a year’s worth of great stories to tell before that switchover happens.

O’Shea: You tapped Hickman to write Fantastic Four partially because he was someone “who maybe wouldn’t be as shackled in his thinking to the past”. Am I right in thinking you also do not mind tapping writers who can partially mine the past and find new story potential, given what a writer like Ed Brubaker has been able to do with James Bucky/Winter Soldier Barnes (as well as some elements of Hickman’s work on Secret Warriors)?

Brevoort: Well, yes, sure. One of the strengths of the Marvel Universe is the conceit that it’s one vast, interconnected place in which all of these stories co-exist, going back to 1961 and beyond. So sometimes you want to take advantage of that fact. But you always need to keep the bigger picture in mind. There have been times in Marvel’s history when whole stories have been written to explain some gaffe in an earlier story—those tend to be “comics about comics” and only of interest to our most hardcore audience. The continuity and the history is meant to be there to service the stories, not the other way around. At times, people at Marvel have lost sight of that. But there’s no problem with mining the past of our characters and our publishing history, so long as the stories that you do with that material are genuine, and have some compelling emotional touch-point for a modern reader who may not have read the earlier stories your tale is based on. In other words, you can do Star Trek II: Wrath Of Khan, but like that film, you need to do so in such a way that an audience member can have a great experience even if they’ve never seen the earlier Star Trek episode that Khan was introduced in.

O’Shea: How do you avoid burnout in your demanding job–how and why are comics still fun for you?

Brevoort: I just love comics. I love the characters, I love the stories, and I love the form. And not just any one style of comics, but all sorts of comics. I still go to the comic store every week like clockwork and drop crazy money on assorted new releases. And while what I do isn’t always easy or always fun—it is a business, after all—I never lose sight of the fact that, in a very real sense, I get to sit around and make up stories about people that fly all day, and then they pay me for it. And that’s pretty great! I also get to collaborate with a broad spectrum of supremely talented people, from our assorted creators through our incredible editorial staff, our promotions guys, online, the film and television folks—just about everybody. So yes, the hours are long and the days can be grueling, and there are those times when things aren’t breaking the way you’d like them to or there’s some difficulty that has to be worked through. It’s a high-pressure situation, keeping this many trains on the tracks every month and getting to their destinations on time. But it’s also a considerable amount of fun. There’s never a better feeling than when the printed copy of an especially good issue comes into the office, and you get to look it over before anybody else.

Fantastic Four #600

O’Shea: The death and return of the Human Torch this year (and the saga that transpired along with it) has clearly resonated with readership. From your standpoint, what is it about series writer Jonathan Hickman’s approach to Marvel’s First Family that enables him to click with readers?

Brevoort: I think that readers are only now starting to get a sense of what Jonathan’s been doing, not just on Fantastic Four but on all of his books, and that is to create long-form stories in which the individual parts all mesh together with mechanical precision to create a much greater whole and a much grander reading experience, one that truly rewards multiple rereadings. In a world of short attention spans, Jonathan is one of the few guys who comes onto a series with years’ worth of concepts, and he’s able to set things up in such a way that events past a certain point continue to build and build and build in a logical way, and then ultimately pay off great. Now that folks can look back at all of Secret Warriors as a whole, it’s easy to see just how much of the overall story Jonathan had in his head when the book began, and how even events in the first teaser short story we did in the Dark Reign: New Nation book fold back into the climax 28 issues and three years later. On Fantastic Four, I just gave him a sense of the kind of thing I was looking for and set him loose, and he came back with a gameplan that we’re only now, almost three years later, getting to the climax of. I think it was beneficial as well that Jonathan had never really been a Fantastic Four reader beforehand, in that he was able to come to the characters and the material fresh, to look over the entire history of the series and figure out for himself what he thought worked best about it without any personal nostalgia coloring his viewpoint. He clearly loves writing the kids, to the point where they would often threaten to take over the series.

O’Shea: This past year also saw Daredevil endure a great deal through Shadowland, as well as Daredevil: Reborn. But when all was said and done, the new Daredevil series by Mark Waid (along with Paola Rivera or Marcos Martin on art) is a major shift in tone that has been embraced by critics and fans equally. How satisfying is it to see Marvel take such a creative shift and pull it off so effectively?

Daredevil #1

Brevoort: It was a gamble to break with the past so severely in terms of the tone and the style of Daredevil, but it’s definitely a gamble that’s paid off big time. And that’s all thanks to the efforts not only of Mark, Paolo and Marcos, but especially those of editor Steve Wacker and his team. For my money, Steve is the solidest line editor in the business today. He’s great to work with, he’s got a strong point of view and a vision for what he does, he thinks about the whole package even beyond just the story and the artwork, and creators love working with him. And maybe it’s just that his sensibilities and mine are similar, but his batting average in terms of the content of his titles has been tremendously good: Avenging Spider-Man, Daredevil, Punisher, Venom, Scarlet Spider—those last three are books that, by all rights, I shouldn’t be enjoying anywhere near as much as I do. And, of course, keeping the juggernaut that is Amazing Spider-Man on the rails and successful both commercially and critically for such a long period of time. Getting back to Daredevil, obviously Marcos Martin is a genius, and Paolo Rivera’s an incredible talent, but it’s especially nice to see somebody like Mark Waid gathering such kudos. Like we were talking about with Invincible Iron Man before, Mark’s been around the industry for so long and has such a track record for producing excellent work that I think it’s easy for people to overlook what he does; “Oh, it’s another good Mark Waid comics again. Yawn.” Whether it’s just ageism or familiarity breeding contempt or whatever, the fact remains that Mark’s been a power hitter of great consistency for two decades now—so it’s very nice to see him getting the sort of attention and praise often reserved for new hot young guys.

O’Shea: We have talked about some of the great writing of Marvel in the past year or so, and while we have briefly touched upon the greatness of Paola Rivera and Marcos Martin’s work, I wonder if you’d like to discuss some of the other artists that really seemed to hit their stride in 2011 (and/or you look forward to knocking it out of the visual park in 2012)?

Brevoort: It’s truly an embarrassment of riches at Marvel in terms of artistic talent, so this is something I could go on about at length, and never run out of material. But focusing more on promising up-and-coming talent, there are three or four creators who seem to really be hitting a stride, beyond the ones we mentioned earlier. Sara Pichelli has been a revelation on Ultimate Spider-Man, her sense of environment and character acting is second to none. Nick Bradshaw harnesses the detail-craziness of an Art Adams around an appealing, bouncy, energetic penciling style. Jerome Opena is a terrific action artist, with a subtlety of line that I’m not sure entirely translates into ink. Ryan Stegman draws great , appealing characters with a lot of bounce, very much in the spirit of Joe Madureira or J Scott Campbell. And there are plenty of others, of course—but that’s a smattering of folks that come to mind this morning.

O’Shea: Looking ahead to 2012, if response is strong enough to the Marvel Season One books, would there be a possibility of pursuing an ongoing series with those creative teams, or is the focus solely on original graphic novels of the characters’ origins?

Brevoort: I wouldn’t rule anything out—every option has been discussed, doing follow-up volumes (“Season Two”) or serialized follow-ups, and every other option in-between. But it’s all a moot question until we can see how people respond to the initial books. At this point, I’ve read the completed Fantastic Four Season One volume front to back, and it is outstanding! I couldn’t be more pleased with it—and I say that having had nothing particular to do with it. All of the credit goes to Roberto Sacasa, David Marquez, Lee Duhig and editor Lauren Sankovitch. These guys understood the mandate of the line and really delivered the goods, in a way that I think will be appreciated by fans old and new. The X-Men Season One book is similarly looking and reading well, based on the 40 or so pages I’ve gone over so far.

Brevoort's Twitter photo

O’Shea: Any closing thoughts you’d like to leave Robot 6 readers with?

Brevoort: I think that my general message for comic book readers of all kinds right this moment would be: relax! It’s so easy to become overly anxious or overly outraged or overly agitated about all sorts of aspects of what we do, the characters we create and the worlds we build. And we love that sort of emotional investment! But keep in mind, these are just stories! It’s all just entertainment! If you’re being entertained, then everything is fine! And if you’re not, try something else! Try something new! Reading comics shouldn’t be a job, and neither should it be a series of existential crises on a month-by-month basis. Also (and I know that this isn’t something that most readers are going to be willing or able to do), stop being so concerned about what’s going to be happening three or six or nine months down the line and try to focus a little bit more on what’s going on right now! Don’t miss the precious moment in the anxiety about what tomorrow will bring! None of what we do is life-threatening, it’s not likely to change the world in any but the most subtle of ways—the drama need not be quite so overblown!

Also, it’d be nice to get into a blog entry headline from time to time for something other than saying something provocative.

The latest episode of The Variants, the humorous web series set at Zeus Comics in Dallas, features the yearly visit of Richard’s brother Will. Will has a secret he’s been keeping from his brother–he’s actually comics writer Mark Waid. And who better to play him than the actual Mark Waid? The Daredevil and Irredeemable writer shows off his acting chops not only in the store, but also in a flashback sequence that shows the two brothers playing with action figures at a young age. I can’t wait to see the episode that introduces their sister …

Justice League America #61

Don’t ask me how I remember this, but it was just about twenty years ago that the first previews of Dan Jurgens’ Justice League began appearing. After five years, the “bwah-ha-ha” era was winding down, and Keith Giffen and J.M. DeMatteis were leaving Justice League America. Giffen was also stepping away from plots and breakdowns for Justice League Europe, with JLE’s scripter Gerard Jones taking over as the book’s only writer; and Brian Augustyn replaced Andy Helfer as both books’ editor.

With a number of the New 52 titles changing creative teams before they’re even a year old, it’s too early to start talking about any long-lived, let alone definitive, runs on a particular book. Still, DC clearly hopes these books will be around for a while, even without the folks who launched ‘em. It got me thinking about past changes of the guard, and how they have followed some well-established interpretations.

* * *

Let’s begin with the Jurgens League, which was a big part of a wider effort to establish the Justice League as a mini-franchise. In the spring of 1992, the League family included JLA and JLE, as well as the oversized anthology Justice League Quarterly. “Breakdowns,” an epic crossover between the two monthly books, left the two teams pretty much disbanded, only to reunite (with some newer, higher-profile members) in the one-shot Justice League Spectacular. Although the overall effect made JLA and JLE less wacky, the changes also tried to give the books more of a high-adventure feel, deliberately trying to evoke the Silver Age team. The covers of JLA #61 and JLE #37 each paid homage to early Justice League of America moments, with JLA’s copying Justice League of America #1 and JLE’s parodying the original team’s origin (from JLofA #9).

Justice League Europe #37

In hindsight, it was part of a cycle which should be familiar to longtime Justice League fans. As a response to the “Detroit League’s” lineup of lesser-knowns, Giffen, DeMatteis, and penciller Kevin Maguire had built Justice League International around veterans from the original team (Batman, Black Canary, Martian Manhunter), familiar characters with no previous League affiliation (Mr. Miracle, Dr. Fate, Captain Marvel), and those newer to the spotlight (Blue Beetle, Booster Gold, Captain Atom, Guy Gardner, Dr. Light). For years the JLI was successful without the likes of Superman, Wonder Woman, Aquaman, or Hal Jordan, mostly because it poked fun at the kind of omnipotent super-team to which they would belong. However, when Jurgens and Jones (and JLE’s new artist Ron Randall) took over, the two Leagues expanded to accommodate exactly those characters. Superman joined Beetle, Booster, Guy, Fire, and Ice in Justice League America, while Power Girl, Flash, Crimson Fox, and Elongated Man welcomed Hal, Aquaman, (eventually) Wonder Woman, and (for the first arc) Batman into Justice League Europe.

Strange as it may sound, this was a big deal at the time. After a few years of post-Crisis On Infinite Earths creative renovations, DC was starting to rediscover the Silver Age. Jurgens’ first villain was Xotar the Weapons Master, not seen since 1960′s Brave and the Bold #29, and his last big storyline involved Doctor Destiny and a twisted version of the Satellite League. Intervening was 1992′s “Death Of Superman” storyline, and since Superman was part of the League, Doomsday got to sideline Booster and put Beetle in a coma. There’s some metatextual hay to be made out of a Silver Age pastiche featuring self-referential post-Crisis characters being decimated by an early-‘90s stunt-plot built around killing one of the world’s most recognizable pop-culture figures, but in the end it was just a big mess. Jurgens’ JLA ended up with Wonder Woman, Guy Gardner, Maxima, the Ray, Black Condor, Agent Liberty, and Bloodwynd, and Jurgens left soon thereafter. When the JL books were reshuffled a year or so later, Gerard Jones was the new writer, and the cycle began anew.

Teen Titans vol. 2 #1

As it happened, Jurgens also ended up taking over the Teen Titans from longtime writer Marv Wolfman. Of course, Wolfman’s association with the Titans went back to the late ‘60s, but he’d really made his mark in 1980, in collaboration with artist George Pérez. Wolfman stayed on New (Teen) Titans for some fifteen years, and by the time Nightwing put the book to bed with issue #130, there didn’t seem to be much more to do with those characters. Accordingly, Jurgens started fresh in Teen Titans #1 (October 1996), with a group of super-powered youngsters sharing a common origin. Leading the group was the Atom, stuck in the body of a 16-year-old following a temporal accident, and helping to mentor them was Mr. Jupiter, a figure from one of the original Titans’ other relaunches. Jurgens’ Titans lasted two years, although issue #12 featured the originals in the start of a four-part storyline and Captain Marvel Jr. joined around issue #17. The book ended with issue #24, but the original Titans reunited in 1998′s JLA/Titans miniseries, and one of Jurgens’ characters (Argent) joined the subsequent Titans title. Argent even appeared in the seminal JLA storyline “Rock Of Ages,” albeit as one of the last superheroes standing after Darkseid’s global conquest. With the Titans’ New-52 history uncertain, who knows when they might pop up; but for the most part, they made it through the past few crossovers relatively unscathed. However, DC hasn’t tried a completely-new Titans book since then (not counting the recent all-villains Titans, that is), and I would say the feature is subject to the same ebb and flow of big-name characters as Justice League is.

Speaking of ex-Titans, The Flash vol. 2 was lucky enough to have only a handful of writers during its twenty-year run. Mark Waid spent some six-and-a-half years writing (or co-writing with Brian Augustyn) Wally West’s adventures, most notably letting Wally come to grips with his place in the Flash legacy. Waid also gave Wally a distinctive, matter-of-fact voice appropriate to a character who’d spent most of his life with super-speed. Accordingly, when Geoff Johns took over Flash, he inherited a well-adjusted protagonist and didn’t try to fix what wasn’t broken. Instead, Johns focused on Wally’s surroundings: breathing life into the blue-collar, hockey-loving Keystone City; offering new perspectives via detectives Chyre and Morillo; and famously focusing on the Flash’s Rogues’ Gallery. Johns stayed on Flash for five years, effectively wrapping it up in time for an Infinite Crisis-related relaunch.

So, can we draw some conclusions from these three disparate examples? I doubt there are any hard-and-fast rules, but I do have some observations. First, despite writing and drawing both, Dan Jurgens was asked to do two different things on Justice League America and Teen Titans. Essentially, JLA picked up where Giffen and DeMatteis left it, except that a) Jurgens tried to fold it into the Superman titles and b) Jurgens wasn’t nearly as funny. (His recent Booster Gold work was a lot better by comparison.) Conversely, Teen Titans was supposed to be something new (if grounded in the familiar DC universe) and turned into something pretty familiar when the new stuff failed to catch on. By contrast, the new stuff in Johns’ Flash was mostly new perspectives on familiar elements, like Keystone City and the Rogues.

We tend to forget it because Gail Simone was associated with the characters for so long, but Chuck Dixon was the original Birds Of Prey writer, guiding Black Canary and Oracle through various one-shots and miniseries before writing the first forty-six issues of the original ongoing series. (Terry Moore and Gilbert Hernandez each wrote a few issues in between Dixon and Simone.) Dixon’s BOP was a distaff version of his other DC work, which at the time included Nightwing, Robin, and Green Arrow. It was hard-nosed, no-nonsense storytelling; and although there were some relationship issues, the series was more action-oriented. Today, naturally, we remember Simone’s BOP for its characters: Babs, Dinah, Helena, Zinda, Charlie, et al. Again, like Johns, Simone took what Dixon left and gave it her own perspective. (I try not to sound like Paula Abdul, but there it is.) Simone ended up writing more issues of Birds Of Prey than Dixon did, and now she surely comes to mind more readily than he does. Still, the fundamentals of the feature didn’t change all that much.

Doctor Fate #25

Of course, other titles underwent more radical changes. When J.M. DeMatteis and Shawn McManus left Dr. Fate after two years, writer William Messner-Loebs and artists Vince Giaranno and Peter Gross changed casts almost completely. Stay with me, because this can get complicated: Dr. Fate was originally Kent Nelson, bearer of a mystic helmet which housed Nabu, an omnipotent Lord of Order. By the time DeMatteis and McManus launched their series, Nelson had died and Nabu was inhabiting his body, and Fate was a guy named Eric Strauss (magically aged to adulthood) and occasionally also Eric’s stepmother Linda. However, thanks to a series of events much too complicated to be summarized, the protagonists for Moore and Gross’s run were Inza Nelson (Kent’s wife) and Kent himself, back from limbo (or someplace effectively similar), with Kent’s original body now the home to a Lord of Chaos named Shat-Ru. Thus, different faces on comparable roles. Both DeMatteis and Messner-Loebs used Dr. Fate to explore broad philosophical questions, although each writer went in a different direction. Where DeMatteis was more concerned with larger issues of creation, destruction, and significance, Messner-Loebs had Inza transform her neighborhood for the better, literally removing evil impulses from her neighbors and behaving like a benevolent deity. It was an engaging run, although it only lasted a little over a year before the book was cancelled.

J.M. DeMatteis got another crack at a nigh-omnipotent superhero when he wrote Hal Jordan as The Spectre. Previous writer John Ostrander cast the Spectre as the embodiment of God’s wrath, but DeMatteis gave him a mission of redemption. DeMatteis’ Spectre series (drawn first by Ryan Sook and then by Norm Breyfogle) lasted a little over two years, and with Hal’s subsequent return as Green Lantern, may end up merely as a forgotten footnote to his backstory.

And speaking of footnotes, I felt compelled to hunt down every issue of Who’s Who in the Legion of Super-Heroes just to understand the references in early issues of the “Five-Years Later” version. Following Paul Levitz’s departure, writers Tom and Mary Bierbaum and artist/plotter Keith Giffen relaunched Legion of Super-Heroes in the fall of 1989, but set it in a universe five years removed from the glittering utopia Legion readers had come to love. (Not being a regular Legion reader, I thought this would be a good jumping-on point, but I ended up jumping into a fast-moving stream without a float.) Ironically, while this version of the Legion was grounded firmly in existing continuity, a big chunk of that continuity had been rewritten to accommodate post-Crisis changes to Superman. Even so, the 5YL Legion survived for five years (appropriately enough), until Zero Hour provided the opportunity for a more complete housecleaning.

Firestorm #56, John Ostrander's first issue

Finally, there’s Firestorm, co-created by Gerry Conway in the mid-‘70s and guided largely by Conway for the next ten years. Firestorm, the fusion of student Ronnie Raymond and scientist Martin Stein, first had his own book, which lasted five issues before being cancelled. Because Conway also wrote Justice League of America, he soon brought Firestorm into the League and wrote the character’s contemporaneous backup series in Flash. Not surprisingly, when the ongoing Fury Of Firestorm debuted in 1982, Conway wrote its first fifty-three issues. Essentially, Firestorm was Conway’s baby until John Ostrander came along — and one of the first things Ostrander did was give Martin Stein cancer. That kicked off a whole slew of twists and turns and brought in a raft of new characters. It took both Ronnie and the Professor out of the picture for long stretches, leaving behind an affectless Firestorm who struggled to find his proper function. In fact, the Ostrander run delved deep into the mechanics of the character, laying the groundwork for how he’s perceived today. Ostrander’s Firestorm (drawn by Joe Brozowski, then Tom Grindberg, then Tom Mandrake) was a sweeping saga of hope, survival, and ultimately, transcendence, which took the character from relatively-mundane superheroics to Swamp Thing-style levels of cosmic responsibility. Firestorm was cancelled with issue #100, so Ostrander was on the book a little less than four years, but that was more than enough time to alter the character irrevocably. (It also made the character somewhat unrecognizable, but subsequent appearances got around that.) The Jason Rusch Firestorm revamp built on many of these ideas, and the current Fury Of Firestorms seems to be playing with them as well.

* * *

Naturally, all of these examples would be more appropriate if we were still playing by all the old rules. (It feels more than a little strange to talk about “the old days” and mean “August,” but that’s about where the New-52 has left us.) There aren’t too many New-52 books with long-established creative teams. Geoff Johns has been writing Green Lantern for about seven years now, Paul Levitz has been back with the Legion for a while, and despite the book’s considerable hiatus I guess you could say there’s only been one set of writers on Resurrection Man. For all intents and purposes, we’re probably in the post-Grant Morrison era of Bat-books as well.

Otherwise, though, I don’t feel comfortable pointing to any given New-52 book and predicting a lengthy tenure for its current creative team. That said, I don’t think any of the Bat-writers are going anywhere, Morrison probably has a good bit to say about Superman in Action Comics, and Scott Snyder and Jeff Lemire seem settled-in for the long haul on Swamp Thing and Animal Man. I wouldn’t be surprised if most of the New-52 titles got a good couple of years out of their current creative teams — but I wouldn’t be surprised either if the superhero line looked significantly different two years from now. Maybe it’s because we’re only on the first week of Month 4, but the whole thing has a weird sense of impermanence, like it’s just a more normal version of Flashpoint’s altered reality.

Maybe that’s by design: for good or ill, these folks are telling the stories they want to tell, and when they’re done, they’re done — whether that takes six months, one year, or five years. That’s not a bad way to go. It’s basically what happened with Sandman, Hitman, and Starman, each of which is remembered for its singular vision.

However, not every book has that luxury. I wouldn’t want to be the writer following Geoff Johns on Green Lantern. I suppose the examples above are meant for that person, and I guess one of the big takeaways has to do with a book’s fundamentals. If those fundamentals are maintained, and you can offer readers some new insights into familiar elements, you’re probably set for a decent run. That sounds pretty basic, but these days, there’s more freedom to redefine those fundamentals and/or play with readers’ expectations — and that’s assuming the reader has some expectations. In that respect, Dan Jurgens had it easy on JLA: just add Superman to Giffen and DeMatteis’ comedic cast, and let the reactions write themselves.

Today, though, DC is presenting the New 52 largely on its own merits. Readers may have expectations about Justice League, Superman, or Batman, but they’re not necessarily comparing Duane Swierczynski’s work on Birds Of Prey to Gail Simone’s. Indeed, the New-52 isn’t old enough to encourage such comparisons. Rather, if I’m being charitable, the superhero line is still finding itself in these early months, and DC is figuring out what kinds of readers its New-52 books are attracting. We’ll see in a few years whether they’ve settled down with particular creative teams, and then we can apply these examples more accurately.

Hello and welcome to What Are You Reading? Our special guest today is Andy Burns, editor-in-chief of the pop culture site Biff Bam Pop!, which is doing a holiday gift guide with giveaways through Dec. 24. You can follow them on Twitter for more information.

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

*****

Tim O’Shea

Super Dinosaur

Super Dinosaur #6: I appreciate the fact that Robert Kirkman is writing a smart kids book with this series. What I mean is the villains are not easy cardboard stand-ins that get the crap kicked out of them by the heroes. The villains in Super Dinosaur, look in the metaphorical rear view mirror and actually say, “Hey, this guy is dragging us down, let’s dump him” as happens in this issue. It’s refreshing to see villains that conduct (off panel, thankfully) lessons learned meetings. Also, it is intriguing to see how Maximus poses more of a challenge to the heroes as their prisoner versus when he was free.

FF #12: In between Fantastic Four #600 and FF #12, apparently Dragon Man was transformed into a creature that thinks he’s part monkey. How else do you explain why new series artist Juan Bobillo (who loses an “l” in his name in the actual credit page, but they get it right on the cover) has Dragon Man walking on his hands and feet? In general, if I was not still interested in Hickman’s plot, I would not return for FF #13. Bobillo is a great artist, and in fact this issue he renders the kids with some great facial reactions and moments, but he just does not strike me as a good fit for this story. Case in point, the issue opens with Val translocating (Val’s word, not mine) part of the Baxter Building into the side of a mountain. A great visual storytelling opportunity for an artist, but with Bobillo, he went with a faraway shot to convey the scope of what had occurred…that just left me feeling unimpressed.

Wolverine #19

Wolverine #19: Anytime where I get to write “Logan saves a bar in this issue” is a win for me. I will be curious to see if in the next arc writer Jason Aaron maintains the whimsical tone prevalent in this arc. I hope so, but most may not see that as the proper vibe for the main Wolverine book. Time will tell.

Thunderbolts #166: Time travel allows writer Jeff Parker to throw this Thunderbolts cast into any era he wants to. And thus, placing the team in 1888’s London in a tale titled “The Ripper Tour” is fine choice. I have a sneaking suspicion that Parker and artist Declan Shalvey (the latter being perfectly suited to draw a story in this era) are leading us to think one thing about certain ‘Bolts that will be revealed otherwise in the next installment of this arc.

Herc #10: The series that I enjoyed (but sadly not enough folks joined me in the fun) comes to an end with this issue. As I read this issue, I found myself wishing I could read 10 issues of mortal/bloated Zeus serving as a sidekick to his son, Herc. Writers Greg Pak and Fred Van Lente try to squeeze in as much as they can (sans kitchen sink) with appearances by both Kingpin and Elektra. What I appreciated about the use of these two characters is that it made sense in the larger scope of current Marvel continuity to use these characters. Added bonus? You get to see Elektra smile in this issue, something I do not think I have ever seen. The end to the series is quite satisfying, if all too soon for my preferences.

Daredevil #6

Daredevil #6: I hope whomever replaces Marcos Martin on the alternating arcs understands as well as he did what Waid is trying to do with this series. When approaching Marvel characters in particular, Waid seems to like to consider the physical mechanics of the characters. I recall the writer discussing during his Fantastic Four days how it might sound when Reed stretched, or what the noise Ben would make when he walked (the stones of his body crunching against each other). In the instance of Daredevil, Waid is having a field day exploring the nuances of what the hero’s heightened senses can detect. Also,I think Waid is building Matt as a character going through recovery, trying to reclaim a great deal of what he has lost and regain the ability to smile again–and mean it (even though often he may not feel like smiling). If you are not reading Daredevil (and Waid admits in the must-read Tucker Stone interview with him that it is not selling as well as he would hope a critically acclaimed book would [“It's doing okay sales wise, but it's not blowing the roof off the joint.”]), you are missing out on the strongest, and most refreshing, approach to the character since Frank Miller.

Andy Burns

Morning Glories

Morning Glories – When it comes to this series from Image, I’m really just a raving fanboy. I was a little behind on picking it up, but I wound up getting the first 12 issues via a comiXology sale a few months back (note: I read the majority of my monthlies digitally at this point). By the end of that first issue, I was completely hooked on the story of the students entering Morning Glory Academy. Joe Eisma’s art is wonderful to look at, while Nick Spencer’s writing is seriously special. He’s got unique voices for all the characters and is clearly building his tale in each issue. The common refrain you’ll hear about Morning Glories is that it’s a cross between Lost and Runaways–I think it’s a fair comparison, but it’s also one that puts a hell of a lot of pressure on the creators to deliver monthly. Amazingly, Spencer and Eisma seem to be doing so with ease. Hands down my favourite series at the moment.

Ultimate Spider-Man – I consider myself a Spidey fanatic, but I’m not a fan so entrenched in the mythos that I get up in arms when great change occurs. For example, when “One More Day” went down I wasn’t screaming bloody murder (and I actually really enjoyed “One Moment In Time”). So when it was announced that we’d be getting a new Ultimate Spider-Man, well, that didn’t phase me either. Instead, I wanted to see what Brian Michael Bendis was going to come up with Miles Morales. Four issues in and honestly, I love the book. I love Bendis’ writing–the language just feels right. The conversations between Miles and his buddy Ganke sound genuine and real. Even better, Bendis isn’t rushing the story at all. It’s not just throw on a suit and instant superhero. He’s taking his time to make Miles Morales a believable hero, which means as a reader I’m becoming more invested in the character with every issue.

This Haunted World

This Haunted World – This apocalyptic supernatural thriller from Sea Lion Press is a digital exclusive, written by Mark Powers and illustrated by Rahmat Handoko. Something to consider for creators and companies working in the digital realm–make sure your descriptions for a given title are solid and evocative. I wound up taking a chance on This Haunted World because the description was really interesting and evocative. The 99 cent price point didn’t hurt either, mind you.

Legends Of The Dark Knight: Marshall Rogers – Just because I’m a digital comic geek doesn’t mean I still don’t enjoy holding a nice hardcover collection in my hands. A few weeks ago on our site, writer JP Fallavollita recommended our visitors check out this new hardcover compilation of artist Marshall Rogers’ Batman stories. I wound up picking up the book a few days after the recommendation and I’m glad I did. There’s some classic moments in the hardcover, including Hugo Strange auctioning off the secrets of Batman/Bruce Wayne and appearances by Rupert Thorne, all stuff I’ve never read before. Rogers’ art holds up nicely decades later, as does the writing of Steve Englehart, Denny O’Neil and others. It’s definitely of a certain moment in time, but one worth revisiting.

Dead of Night

Dead of Night – This is the latest novel from Jonathan Maberry, who has done lots of work the last few years with Marvel, including the two mini-series, Marvel Universe Vs The Punisher and Marvel Universe Vs Wolverine. Dead of Night is the story of a zombie outbreak that occurs in the small town of Stebbins County, Penn. It’s a quick-moving read that never sacrifices character development for cheap scares. I’ve known Maberry for a few years now and what amazes me about him is that as good as he was with his first novel (2006’s Ghost Road Blues), he legitimately keeps getting better with every piece of work he puts out.

Angel & Faith

Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.

Check out Diamond’s release list or ComicList, and tell us what you’re getting in our comments field.

Graeme McMillan

I have to say, this is an amazingly slow week for me in terms of new releases. If I had $15, I’d pick up the fourth issue of Dark Horse’s Angel & Faith series ($3.50), which has surprised me by turning out to be my favorite by far of the new Buffy series (due, in large part, to Rebekah Isaacs’ artwork, which is superb). I’d also grab the third issue of IDW’s Star Trek monthly ($3.99), in the hope that it’ll be as good as the first two issues; hardcore Trek fans, you should really be looking at this book, if you’re not already. Also on the list to grab: Thunderbolts #166 (Marvel, $2.99), continuing a great storyline from what might be one of the most underrated books from either of the big two publishers. One of the few nice things about Marvel’s recent Cancelpocalypse was seeing so many people speak up about how much they love Thunderbolts, and I’m right there with them; Jeff Parker’s done great things with this book.

If I had $30, chances are I’d put one of the above books – Angel & Faith, perhaps? – back for the week (or try and sweet-talk an extra 50 cents from the invisible budgeting gods who rule this column) and grab Rebellion’s Complete Alan Moore Future Shocks collection ($19.99), which collects all manner of (very) short stories from the Bearded One’s early days in 2000AD, with art by equally young masters like Dave Gibbons, Alan David, Steve Dillon and Brendan McCarthy, amongst others. Borag Thungg indeed, Earthlets.

When it comes to splurging, I’m taking that to mean double-dipping as opposed to buying insanely outrageously expensive items. I’ve already read Mark Waid’s wonderful Captain America: Man Out of Time, but now that it’s available in paperback (Marvel, $16.99), I might be tempted to buy it a second time.

Chris Arrant

Spaceman

If I had $15, I’d be all over the board but would start with the new Joe Casey/Nathan Fox joint Haunt #19 (Image/TMP, $2.99). I admit I didn’t jump onto the Haunt bandwagon when it first started, and despite seeing Greg Capullo on the book I never found the time to catch up. Seeing Casey and Fox jump on this gives me just the chance to do that. Next up would be Spaceman #2 ($2.99); I applaud DC for keeping the price point at $2.99, and seeing this dramatic divergence from 100 Bullets from Azz & Risso is something I eat up. Last up would be a pair of Marvel picks: Daredevil #6 ($2.99, Marvel) and Wolverine #19 ($3.99, Marvel).

If I had $30, I’d add to my stack starting with the new Thunder Agents Vol. 2 #1 ($2.99, DC). I enjoyed Nick Spencer’s first run on the title, and I’m a big proponent of artist Wes Craig and I’m excited to see what the two of them can do. Next up would be Uncanny X-Men #2 ($3.99, Marvel); stepping past my ambivalence to Greg Land and my appreciation of Kieron Gillen, I’m interested to see this team expand beyond the classic X-Men dynamic and turn into mutant ambassadors/enforcers in a political way. After that I’d get FF #12 (Marvel, $2.99). I love the transition of this book from being “The team formerly known as the FF” to being Marvel’s version of the Goonies, and seeing artist Juan Bobillo join it is invigorating as well as surprising. Lastly, I’d get Thunderbolts #166 ($2.99).

If I was to splurge like I did last Thursday at the dinner table, I would dig into The Complete Alan Moore Future Shocks ($19.99, 2000AD). I’ve read a majority of Alan Moore’s work post­-Swamp Thing, but his early British career is woefully underrepresented in my memory. I’m interested to see these stories from a younger Alan Moore, and I’d endorse more publishers to do more creator-centric collections like this in the future (hint hint, DC Comics, Alex Toth).

Brigid Alverson

Ernest and Rebecca: My Best Friend Is a Germ

If I had $15…

I would start with a graphic novel from Papercutz, Ernest and Rebecca: My Best Friend Is a Germ ($11.99), which Jim Salicrup pitched hard to me at NYCC. It’s an all-ages story of a girl who makes friends with a microbe, which helps her cope with her parents’ separation and various other problems. Since that’s likely to give me the sniffles, I’ll cheer myself up afterwards with Archie #627 ($2.99), the first issue of the Archie-meets-KISS arc.

If I had $30…

I’d toss the Archie comic and add in B.P.R.D.: Being Human ($17.99). I like the B.P.R.D. comics but I haven’t really read enough of them; this is billed as a stand-alone volume, so it looks like a good investment.

Splurge…

There’s a new book out from Archaia that caught my eye: Rust, an all-ages superhero story set on a farm during the Great Depression. At $24.95 for a hardcover copy, that’s a splurge, but it’s a manageable one. My other splurge would be Tintin: The Complete Companion ($35), a reissue of a book that came out a few years ago. And since I seem to be going for the Euro-comics this week, I’ll add in the fifth volume of the French fantasy story The Elsewhere Chronicles ($6.95), because I really like this series–it has more of an edge than most kids-in-a-strange-land stories.

Chris Mautner

Complete Alan Moore Future Shocks

If I had $15:

I’ve been reading the series as its been coming out in pamphlet form but if I wasn’t I might likely spend my $15 on the third RASL collection. Not many have said much about Jeff Smith’s current work lately, but it remains a slam-bang, captivating noir/sci-fi saga.

If I had $30:

I’d definitely pick up the Complete Alan Moore Future Shocks collection from 2000AD. I haven’t read much of Moore’s early work apart from Miracleman and really would like to become better acquainted with those stories, if for nothing else than for when I get around to doing a Comics College piece on Moore.

Splurge:

The new Diary of a Wimpy Kid book, Cabin Fever, would make a perfect stocking stuffer for my daughter …

Amazing Fantasy #15

Comics | While going through a box in his attic, a Grange Park, Illinois, man discovered a copy of Amazing Fantasy #15, the first appearance of Spider-Man, that he had bought as a kid. While other copies of the comic have fetched as much as $1.2 million, Chimera’s Comics is selling it for $12,000 due to its condition. [LaGrange Patch]

Comics | Brian Truitt profiles Marvel’s Fantastic Four, talking to Mark Waid, Tom Brevoort and Tom DeFalco about the long-running comic. [USA Today]

Publishing | Janna Morishima, formerly of Scholastic and Diamond Comic Distributors, has joined Papercutz as its first marketing director. [Papercutz]

Creators | Alan Moore discusses his friendship with Harvey Pekar: “We developed a friendship, because of a mutual love — an obsession, really — of old books. Harvey loved looking around the old tomes in my library, and Joyce told me I only enabled Harvey. They hadn’t got a spare inch of space, and Joyce would blow a fuse if he brought home a slim volume of poetry. He would smuggle them into the house by stealth. He’d slip them in among the old dusty books, and leave them there for about six weeks, then one day, walk over to the shelf and open them like they were cherished artifacts. The fact that this would take weeks showed his level commitment to great literature. He did everything short of wrapping them in plastic and hiding them in the lavatory.” Moore wrote the introduction for the forthcoming Harvey Pekar’s Cleveland, a posthumous graphic novel due in March. [Fast Company]

Art by Cameron Stewart

Creators | Andy Khouri talks to writer and artist Cameron Stewart about his work on B.P.R.D. Hell on Earth: Exorcism, part of a flurry of upcoming B.P.R.D. comics due out next year. [ComicsAlliance]

Creators | Author Marc Singer discusses his book Grant Morrison: Combining the Worlds of Contemporary Comics. [Mindless Ones]

Creators | Just a few months after winning the Pulitzer Prize for editorial cartooning, Mike Keefe has accepted a buyout offer from the Denver Post. Keefe plans to “semi-retire” and will continue to draw cartoons for the Cagle Syndicate. [Comic Riffs]

Commentary | Alex Woodward looks at Steve Duin and Shannon Wheeler’s Oil and Water. [Gambit]

Review | Manga newbie Jeff Jackson Ian Johnson reads Breathe Deeply, a new indy manga from small publisher One Peace Books that mixes medical ethics, suspense, and wistful romance. [Comic Attack]

Analysis | Kristy Valenti looks at Osamu Tezuka’s use of theatrical techniques and motifs in two very different books, Princess Knight and The Book of Human Insects. [comiXology]

Snarked!

Welcome to the turkey hangover edition of What Are You Reading?, your weekly look into the reading lists of the Robot 6 crew. Our special guest today is Andy Hirsch, creator of Varmints and artist of The Royal Historian of Oz.

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

*****

Tom Bondurant

Daredevil #3

I have never been a big Daredevil fan, but so many people have been saying such good things about Mark Waid, Paolo Rivera, and Marcos Martin’s work that this week I grabbed all five issues of the latest series. Overall I thought it was very good. Certainly it’s been put together well, especially the layouts designed to show DD’s point of view. The lawyer in me is still trying to process the ethical implications of Matt and Foggy’s new business (and also the practical considerations which drove them to it). I’m not sure it’s won me over to Daredevil for good, but I’ll probably follow the series as long as Waid’s on it.

Yesterday I was happy to see our library had a copy of Deadly Storm, the graphic-novel adaptation of Richard Castle’s first book featuring hard-luck investigator Derrick Storm. Being familiar with Castle primarily through his work with the New York City police department, unfortunately I hadn’t read the original Deadly Storm, but I suspect it had more room to flesh out its characters. This graphic novel was a quick read, propelled by Storm’s narration and various action sequences. It features a few reversals and red herrings, but on the whole it’s a pretty straightforward story of a rumpled gumshoe getting caught up in something much bigger than what he’s used to. I thought the script (by Brian Michael Bendis and Kelly Sue DeConnick) was talky without being wordy, capturing the feel of Castle’s prose pretty well. The art (breakdowns by Lan Medina with Tom Raney, finishes by Scott Hanna with Dan Green) was a little less successful. It told the story competently, but its characters’ features were often angular in an off-putting way, and there was at least one too many brunette femmes fatales. I take it from the credits that Medina was one of Howard Chaykin’s assistants, so some panels had that certain Chaykin flair, but the art tended to take me out of the story. As a Castle fan, I found Deadly Storm a pleasant enough diversion, but not quite essential reading. Maybe Marvel should have adapted one of the Nikki Heat books instead …

Brigid Alverson

Stargazing Dog

I finally got around to reading Stargazing Dog, the new single-volume manga released earlier this year by NBM, and honestly, I found it disappointing. Partly that was because the basics weren’t in place: The drawing was crude in places, the characters had a limited range of facial expressions (which robbed the book of much-needed nuance), and the book was poorly produced, with typos and backward text. I don’t usually mind flipped manga, but this was done without any attention to detail, so, for instance, all the numbers on a speedometer appeared backwards. Beyond that, the story itself was unconvincing‹the characters were simply flat, acting in stereotyped ways without much reflection. Basically, it’s the story of a guy who, without much explanation, loses his job and his family and travels around in his car with his dog until he dies (of a heart condition, but really of sheer inertia). The one part I liked a lot was the extra story at the end, about a social worker who goes to fetch the man’s body and attempt to return it to his family. The social worker had a lot of personality and a real back story, and I wish the rest of the book could have had that kind of depth.

The first volume of Only Serious About You was much more enjoyable, with characters who at least talk to one another and express emotion. It’s the story of a single dad who works as a cook in a restaurant and takes care of his five-year-old daughter; a customer at the restaurant makes a play for him, but the dad is straight. Then his daughter gets sick, and the customer gets to play Good Samaritan. It’s actually more complex than that, and it’s a good soap opera with an attractive male cast. My one complaint is that the ex-wife is such a flat character–more a story device than a real person, in fact. She leaves her husband and child for the vaguest of reasons and then abruptly demands the child back. This is a yaoi manga, so the focus is on male relationships, and the story is not really all that plausible, but the charming characters and straightforward art make it readable even for those of us who are not yaoi fans.

Breathe Deeply is a medical drama that weaves questions of ethics and philosophy into a romantic soap opera about a dying girl. The girl actually dies in chapter one, of a heart condition, but her memory haunts the two boys who loved her. Both boys grow up to be heart researchers, but with totally different approaches–one wants to use embryonic stem cells to grow new tissue, the other tries to engineer an artificial heart. The story is surprisingly nuanced, both in its consideration of the ethical issues involved and in its depiction of the romantic triangle. There’s also some good beaker-tipping lab intrigue to keep the plot moving. It’s a dense manga, filled with detail and plot twists, but it’s also complete in one volume, which makes for a very satisfying read.

Andy Hirsch

Bear Quest

Bear Quest, Zach Taylor’s surreal interpretation of 8-bit action platforming starring a cyclopean blue bear, reads like the fevered field notes of a six-year old watching his older brother play Nintendo. Yes, it is as cool and crazy as it sounds, and Taylor demonstrates a storytelling technique that I don’t think I’ve ever seen before.

Y’see, Bear Quest exists as two simultaneous comics on a single page. Your classic sprite aesthetic runs along the bottom third as a series of screens, but above is a fully rendered version of “what’s really happening.” The plot is as absurd as any game of the 8-bit era, and flipping the book sideways for the amazing finishing move LINEAGE BURN makes for one of my new favorite pages.

Pirates of Mars, by JJ Kahrs and Veronica Fish, is a snappy pulp adventure about exactly what it says. Kahr writes a crew of believable, lovable misfits (yes, complete with meatbag-hating emancipated robot), and Fish knocks it out of the park with some gorgeous black and white brush work. Less immediately apparent but so very, very admirable is the efficiency of the whole project. There’s nothing self-indulgent or unnecessary holding it down; not a single wasted page. On the blog, Kahr rightly explains that a pulp adventure has to “sing for its supper,” and that it does. The whole first volume is up online, but the physical book is a newsprint comic, and you’d better believe I’m a sucker for that. Seriously, pick this up. Don’t you all like Firefly and swords?

Gastrophobia

David McGuire’s Gastrophobia chronicles the 100 percent historically accurate adventures of an exiled Amazonian, her son and their Pomeranian in Ancient Greece, and it’s got to be the webcomic I miss most between updates. McGuire has an outrageously charming and expressive style that’s just fun no matter what the particular tale is about. Go ahead and read the most recent storyline before coming back.

Yup… that’s some good Care Bears versus My Little Pony fan-fiction.

The day a new issue of Roger Langridge’s Snarked! comes out continues to be the day I head over to the comic shop. Honestly, Langridge is a fellow that knows what he’s doing, and what he’s doing is having an adventure that really earns the label “rollicking”. Every bit of it is so well-crafted, even outside the confines of the story pages. Reluctant protagonist Wilburforce J. Walrus (of The Walrus and the Carpenter) helms the (hilarious) recap page and letters section, and the zero issue included an honest-to-gosh activity section. An activity section!

Also, Daredevil, but at this point that ought to be a given.

Wolverine and the X-Men

Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.

Check out Diamond’s release list or ComicList, and tell us what you’re getting in our comments field.

Chris Arrant

If I had $15, I’d get one from almost every box–Image’s Invincible #85 ($2.99), DC’s DMZ #71 ($2.99), Marvel’s Wolverine and The X-Men #2 ($3.99) and independent title RASL #12 ($3.50). Not much to say about any of these I haven’t already said, except anytime Cory Walker draws a book I’d pay twice cover price.

If I had $30, I’d sneak out of Thanksgiving preparations to first get a book I was surprised I liked as much as I did, despite the last issue’s ending: Shade #2 (DC, $2.99). One thing I wasn’t amped to see was Deathstroke, but given James Robinson and Cully Hammer’s track record I’ll give them the benefit of the doubt. Next up would be the epic (in my mind, at least) team-up of Warren Ellis and Michael Lark on Secret Avengers #19 (Marvel, $3.99). Seeing Ellis boil down the concept into “Run the mission. Don’t get seen. Save the world.” Hits me right between the eyes, and this new issue’s preview has be salivating over it. Last up, I’d pay the giant size price tag for Fantastic Four #600 (Marvel, $7.99) although my patience has worn a little thin with ending the series then bringing it back for #600.

For splurging, I’d put it all down on IDW’s Parker: The Martini Edition hardcover ($75). I already have the individual books on my shelf, but getting it all under one roof plus beaucoup process sketches and conversation from Darwyn Cooke makes this a must-have for me. And I can always gift my old individual Parker graphic novels to someone else!

Graeme McMillan

Flash #3

It’s a surprisingly light week for me this week, so if I had $15, I’d go for some books that I know I liked last time around. For example, The Flash #3 (DC, $2.99); Francis Manapul and Brian Buccellato are doing a great job on this title based on the first couple of issues, so I’m on board for awhile. Same with Wolverine and The X-Men #2 (Marvel, $3.99); I was surprised by just how much I loved the debut, and bringing back what seems to be Krakatoa only makes me even more gleeful about the sense of humor on display here. Peter Milligan’s Justice League Dark #3 (DC, $2.99) would round out the haul; I liked that the second issue felt much more like Milligan’s Vertigo heyday to me than much of his recent work, and I’ll happily go for more of that, please.

If I had $30, I’d add DC Comics Presents The Life Story of The Flash #1 (DC, $7.99) to my pile; I didn’t read this book in its previous original graphic novel incarnation, but I loved Mark Waid’s original Flash run, so this feels like a lost gem from that incarnation for me. And I might go for Fantastic Four #600 (Marvel, $7.99), too, depending on whether or not I was feeling up for Jonathan Hickman’s style when I got to the store; if nothing else, I’m curious about the Ming Doyle strip therein.

Splurgewise, while I admit I’m tempted by the Parker Martini Edition (IDW, $75), my heart well and truly belongs to Evan Dorkin’s Milk & Cheese: Dairy Products Gone Bad hardcover (Dark Horse, $19.99), collecting all of Dorkin’s hilarious, manic, violent strip from the 1990s; I first discovered it in Deadline way back when, and that led me to find out about Pirate Corp$, Dork! and all of Dorkin’s other stuff. He’s really one of the most underrated cartoonists around, as far as I’m concerned, and I can’t wait to get this book.

Chris Mautner

RASL #12

If I had $15: It would be a toss-up for me between getting the 12th issue of Jeff Smith’s RASL and the ninth volume of NBM’s Smurf line, Gargamel and the Smurfs, and the 29th Little Lulu volume, The Cranky Giant. It would be a tough decision, but I suspect Little Lulu would win out in the end.

If I had $30: Assuming I didn’t get those Smurf and RASL books, I’d face another tough choice between the impressive Milk and Cheese collection from Dark Horse or The New Adventures of Herge, a docudrama/biography of sorts of the famed Tintin author by L’Association co-founder Stanislas and writers Jose-Louis Bocquet and Jean-Luc Fromental. (I’d probably get them discounted online in order to squeak under my budget — sorry local LCS.) Milk and Cheese would likely win out this round, as I love those little homicidal maniacs. Merv Griffin!

Splurge: OK, but all the really cool, must-have books are in the splurge category this week (as usual). In one corner, after years and years of fits and starts and delays and promises galore is the first volume of Fantagraphics Complete Pogo collection, Through the Wild Blue Yonder. In the other corner we have the first volume in Fantagraphics other, other, other big reprint project, Donald Duck, Lost in the Andes, which collects some great stories by the masterful Carl Barks. Then, in our third and final corner, there’s Everything: Blabber Blabber Blabber, the first in a series of big hardcover books collecting everything the also masterful Lynda Barry has ever done. Any of these books would be a pick of the week on their own. All three together? Just forget about your budget this one time. Your bank account will understand.

Michael May

Justice League Dark #3

If I had $15, I’d begin with my usual DC series for the week: Aquaman #3 ($2.99), Superman #3 ($2.99), and Justice League Dark #3 ($2.99). As I think about those though, I realize that I’m reading JLD for the potential of what I think it could be and where I hope it’s going, not because I’m particularly enjoying what it is. That sounds like something I need to stop buying monthly and wait for the collection. I’ll give it this one more month before trimming it out. I’m much more looking forward to Alpha Flight #6 ($2.99), which has been reliably entertaining since it started. I’m heart-broken that there are only three issues left. Finally, since I’ve still got three bucks in my pocket, I’ll pick up another issue from a canceled series, Daken: Dark Wolverine #17 ($2.99), but that’s because it’s got the Runaways in it and I miss those kids.

If I had $30, I’d add All-Star Western #3 ($3.99), the only New 52 title I don’t mind paying four bucks for. With Justice League and Action Comics, I count pages and look at back-up material before wincing that I’m paying that much for a comic. With All-Star Western, I feel like I’m getting four bucks of value in the pages themselves, however many there are. After that, I’d add Super Dinosaur, Volume 1 ($9.99). I read the first issue and it was fantastic. Nine-year-old me was thrilled, and he largely controls my wallet.

It’s easy to pick a splurge item this week. I’ve been wanting to read a good collection of the original Teenage Mutant Ninja Turtles comics for decades and IDW is making that finally possible with Teenage Mutant Ninja Turtles: The Ultimate Collection, Volume 1 ($49.99).

Alvin Schwartz

Passings | Alvin Schwartz, the prolific writer who penned Batman comics and the Batman and Superman comic strips for DC Comics in the 1940s, passed away Oct. 28 after a long illness. He was 95. Before leaving comics in 1958, Schwartz wrote for most of DC’s titles, including Aquaman, Wonder Woman, Green Lantern and The Flash. [News from ME]

Creators | Tucker Stone talks to Mark Waid about his work on Daredevil, and Waid confirms that Marcos Martin, originally announced as the artist on every other arc, won’t be working on the book after issue #6: “Unfortunately, it was something that came up while we were working. He’s doing 4, 5 and 6. When he came on, I don’t think things were firmed up with his next project and now they have. I salute him, and I think it’s going to be great and I want to see him go off and do creator owned stuff. But my heart breaks.” [comiXology]

Bunker

Comics | Out magazine spotlights the debut of Bunker, the Teen Titan with “a decidedly more flamboyant twist.” [Out]

Comics | The Texas Library Association has released their “2012 Maverick Graphic Novel List,” which notes great graphic novels for teens. The list includes Daredevil Reborn by Andy Diggle and Davide Gianfelice, Astro City Shining Stars by Kurt Busiek and Brent Anderson, Kagan McLeod’s Infinite Kung Fu, Brian Michael Bendis’ Avengers, Barry Deutsch’s Hereville: How Mirka Got Her Sword and many more. [Texas Library Association]

Creators | A Distant Soil creator Colleen Doran will appear on the Dec. 12 edition of Stalked: Somebody’s Watching, which will tell the story of a fan who “believes he is in love with her and inundates her with love letters, cards, and gifts. When she spurns his advances, he attempts to ruin her career by spreading lies about her throughout the industry, according to the show’s description.

Creators | Tom Spurgeon talks to colorist Rich Tommaso about his work on Fantagraphics’ Carl Barks Library project. [The Comics Reporter]

Hiya kids, it’s time for What Are You Reading?, a weekly look into what the Robot 6 crew has been reading lately. Today’s special guest is Thom Zahler, creator of the delightful superhero/romantic comedy comic Love and Capes.

To find out what Thom and the Robot 6 crew have been reading lately, click below.

*****

Michael May

Baltimore

I didn’t get to Baltimore: The Plague Ships before Halloween like I’d planned. I had illusions about reading the novel it’s based on first, but I’m slow with prose and the graphic novel was just sitting there on my reading table; taunting me with its gorgeously gruesome Mignola cover and its peg-legged, harpoon-wielding hero. I’m sure that I would have gotten more out of it had I read the novel first, but Mignola and Christopher Golden did a fine job (as they will) of keeping the comic self-contained and filling in enough details to explain the world (an alternate reality in which WWI was cancelled on account of vampire-plague) and What’s Come Before (Lord Henry Baltimore may have sort of caused the whole vampire-plague and is hunting the Vampire-in-Charge for reasons having as much to do with Revenge as Saving the World).

Ben Stenbeck’s art has a great look (he’s got a special gift for fungus-zombies) and in the sketchbook part he explains how closely he worked with Mignola on creature designs. And thanks to Dave Stewart’s colors, The Plague Ships feels very much like part of the Hellboy-verse even though it’s not.

I wasn’t planning to say anything about Justice League #3, because I’m still frustrated by the price tag, but I have to mention how perfectly and succinctly Geoff Johns updated Wonder Woman’s mission for the post-Flashpoint DCU. “This place…is filled with so many wonderful things…but there is also a darkness that lurks here too. One I’m going to fight. That’s what I’m here for. That’s why I’m staying. To fight.” The post-Crisis missionary-of-peace/Amazon-warrior dichotomy never worked for me, but this essentially updates her Golden Age motivation for coming to our world and it’s awesome in its simplicity.

Brigid Alverson

Tesoro

Natsume Ono’s Tesoro is a collection of her short stories that were published between 1998 and 2008. Ono has a lovely, linear drawing style, and we can see it develop from scribbly to more controlled between the earlier and the later stories. Her storytelling technique improved as well. I like Ono’s work because her characters are so human; a lot of manga characters behave in stereotyped ways, almost like little person-bots, but hers have moments of real doubt, awkwardness, and silliness. Several of the stories are set in Italy, as were her manga Gente and Ristorante Paradiso, and others reflect small incidents in everyday life in Japan. The book is beautifully produced with French flaps and earth-toned inks, and it really feels like something special. While genre manga such as Naruto and Vampire Knight will always dominate the American market, it’s nice to see Viz bringing over more literary titles like this one.

It’s well known that Osamu Tezuka was an admirer of Walt Disney, and that shines through in his Princess Knight, which was originally published in 1953. The edition I am reading, published by Vertical, is actually a retelling of the story that Tezuka did in the early 1960s, but the Disney connection is still there; this is a children’s story, and it is filled with adorable animals and cutely rounded angels and villains. The pacing also makes me think of animated cartoons, with lots of short gags and asides. Princess Knight was one of the early shoujo manga that set the style and the conventions for many manga that followed, but it is quite enjoyable in its own right, aside from any historical significance.

Tim O’Shea

Supergirl #3

Supergirl #3: As I settled into the third issue of this series, I realized something I should have realized at the outset of this series. Why did DC set up a new universe where right out of the gates it’s clear that Superman is not the sole survivor of the destruction of Krypton? Why did the new Supergirl have to be so oddly related to Superman, essentially in the same way it was in the old DC universe? I was distracted in the first two issues as the new Supergirl gathered her wits about her. In this third issue, I just found myself bored, feeling like the series has settled into another Supergirl series that will suffer ultimately lackluster sales and tread on the brink of cancellation. But I am getting ahead of myself, for right now, with this issue #3, I realize I have no interest in returning for issue 4.

Blue Beetle #3: Again a new DCU retreading much of the same ground as the last Blue Beetle series. But in this instance, there’s a major difference in that I find myself still interested. And the reason likely is the supporting cast—namely Jamie’s strong family ties. In this issue, writer Tony Bedard allows Jamie’s mom (and her love of her son) to shine through with a really great, intense scene. Also the villains in this round of the Blue Beetle seem a bit more violent than the last one (not an asset, or a detriment, merely an observation).

Captain America #4

Captain America #4: For the first arc of a new Ed Brubaker Captain America title, this plot is sluggish and not engaging at all. What really astounded me in this issue was Steve McNiven’s art; more specifically his portrayal of Sharon Carter in one scene. Worried about the fate of Steve Rogers, McNiven has Carter nervously bite her lip. It would be understood she’d worry about Steve, but to have a longtime, accomplished SHIELD agent and a member of the Secret Avengers bite her lip? The helpless female lip bite is beneath Carter’s character, no matter how much she may care for Rogers. (Plus it shows minimal faith in a guy that just a year or so ago proved he could come back from the friggin dead)

Birds of Prey #3: This new incarnation of the Birds of Prey has little in common with the old one, but to my delight it continues to work for me. Writer Duane Swierczynski does a great job of juggling all of the cast members and giving them little moments to impact the storyline, while still moving it forward and engaging.

Avengers Academy

Avengers Academy #22: I was glad to read writer Christos Gage tweet that the book is not at risk for cancellation (unless the rumors of its cancellation negatively impacts the number of people buying it, then we have the infernal self-fulfilling prophecy), so I can respect his request for folks to pre-order the book. For Quicksilver fans wanting to know if he was ever going to talk to dad (Magneto) in this series, you get your answer in this issue. Clearly Gage had been loading up and looking forward to writing this issue, but in his haste to tackle the meet-up at every single angle, he dropped the ball slightly. I still love the series, do not get me wrong. But when given the chance to unleash a major character reveal, the reaction to the news is muddled and lost amongst the other action ongoing in the issue. It is my hope this reveal has rippling impacts. In the meantime, however, I still consider this the best Avengers book Marvel is publishing.

Thunderbolts #165: Regular WAYR readers will not be surprised. A book written by Jeff Parker? O’Shea loves it. Indeed, but this is an extra enjoyable Parker story (no really), because it is a time travel story. Parker getting to play in 1940s Marvel, with the Invaders is never a bad thing in my book. With this issue, Parker is at his best with the Namor and Satana scenes (though the dialogue and action from Moonstone is a close second).

Thom Zahler

Daredevil

Mark Waid’s Daredevil has been raking in its share of accolades. You now why? It’s fantastic! Everything they say is true. Mark’s writing a comic book in the very best sense of the world: long stories, short stories, overreaching arcs and yet ever 20 page issue is a satisfying chunk. What’s most remarkable to me is how quickly he manages to pivot Daredevil from the bleak character he’s been to a more shiny happy character, and yet it doesn’t feel forced but effortless.

Mark, along with his artists Paolo Rivera and Marcos Martin are also finding new ways to show and to use Daredevil’s powers. That’s not an insignificant task for a character who’s been around as long as The Man Without Fear has. They manage to visually illustrate Daredevil’s very non-visual senses in just a stunning way.

Really, I love everything about it. It’s Shakespeare the way it was meant to be seen.

Over at DC, I find myself loving Action Comics. That’s a superhuman feat in itself because the new telling of Superman’s early years is not the one I’ve gotten used to, or even the one I’d prefer. But Grant Morrison is harkening back to the early 30’s rough-and-tumble Superman and carrying me along for the ride. It’s a Superman with a bit of an edge, and if you’d pitched it to me that was I would have turned it down. But it seems to be working.

Grant Morrison has a way of embracing all the varied, and sometimes conflicting, facets of a character. He’s making this book one of the ones I have to read as soon as it comes out. And the art by Rags Morales is just beautiful. That guy must have gone to a good school. (Kubies rule!)

You may have missed it, but Dracula the Unconquered was one of the highlights of Halloween. The other was seeing the Tim Burton exhibition at the LACMA, but that’s not important right now. The book, written by Chris Sims with art by Steve Downer and Josh Krach is the type of comic I want to see more of. I think in complimenting Chris on it, I compared it to a Twix bar. It’s got all sorts of sugary goodness to it, but enough of a solid crunchy core to it that it’s not empty calories.

Dracula the Unconquered

Dracula the Unconquered takes place in 1901 as Dracula is freed from his imprisonment in the Tower of London by nefarious people for nefarious plans. I don’t want to spoil anything more than that. Here’s the thing: it’s an all-ages comic. My goddaughter will love it when I give it to her, and I love it to. It doesn’t make the common all-ages mistake of talking down to its audience. She will like the fun art and the frenetic pace of the story.

Most interesting to me is that Dracula here seems to have the bloody past from the novels, and yet the character is instantly engaging and likable. I’m looking forward to seeing how Chris straddles that line.

Also, the comic is embracing digital only. It’s a 24-page story all for just a dollar! (Listen up Big Two.) It’s the perfect price that you can’t say “no” to, and distributed in a way that wouldn’t be possible years before. I thing digital and print books can co-exist, and I’ going to enjoy seeing Action Age help carve this path.

The Dreamer

Lastly, while I haven’t finished reading it yet, I adore Lora Innes’s The Dreamer, published by IDW. The second collection of Lora’s time-traveling historical romance just came out this week, and so far it’s just as good as the first. Lora writes and draws the book, with colors by Julie Wright.

Lora excels at portraying very grounded, human characters doing grounded, human things. It’s an artist’s compliment, but I envy her ability to portray fashion and fabric in a way which eludes so many of us. Yet, her art is never overwrought and has a Disneylike quality to it. It’s just so… smooth.

It’s also a historical piece and Lora doesn’t skimp on the history. She’s clearly got a love for the American Revolution time period and it shines out of every inch of the book. She doesn’t sacrifice storytelling for accuracy or the other way around either, it’s very much a well-balanced approach. I find myself thinking “I wonder if that really happened” and then, more often than not, find out that it did indeed. It’s great to see someone who cares so much about the accuracy of the world they’re building and the story they’re telling.

The book also exists as a webcomic, too, so give it a look at http://www.thedreamercomic.com/.

Big Questions

Hello and welcome once again to What Are You Reading?, where every week we talk about the comics, books and other stuff we’ve been reading lately.

Our special guest this week is musician and comic creator Nate Powell, who you might know from his most recent graphic novel, Any Empire, or the Ignatz and Eisner Award-winning Swallow Me Whole. When he’s not creating comics, he’s hanging out at the United Nations with the likes of R.L. Stine, Ann M. Martin and other teen-fiction writers in support of What You Wish For, a collection of young adult stories and poems. Proceeds from the book will be used to fund libraries in Darfuri refugee camps in Chad.

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

*****

Michael May

Planet of the Apes

In this week’s Food or Comics I said that I’d run out of ways to praise BOOM!’s Planet of the Apes series. Having read the seventh issue, I’ve found another one.

As the series has progressed, writer Daryl Gregory has been using the ape/human conflict to shine a light on human atrocities like terrorism and containment camps. I wasn’t comfortable with that at first-–in fact, I’m still not–but I realize that that’s the point. These are complex issues and it’s very much in the Planet of the Apes spirit to touch on them in a way that lets them remain difficult. Is terrorism always evil or are there ever causes that justify it? Planet of the Apes doesn’t claim to have the answers, but it’s raising the questions in fascinating and, perhaps more importantly, entertaining ways. It also helps that the art’s so beautiful and exciting, it makes me cry.

Tim O’Shea

Gladstone’s School for World Conquerors #6: Writer Mark Andrew Smith completely surprises me with the conclusion to the first arc. Instead of being the reveal I thought it would be, he instead gives us a plot moment that will serve as a catalyst for even bigger things in the series. The battle scenes that dominate the issue are some of artist Armand Villavert’s strongest pages of the series. If I have not convinced you to buy the series before now, you may be interested to know that Image will soon be releasing a trade paperback of these first six issues.

Secret Avengers #18: This issue in particular reminded me of writer Warren Ellis’ early 2000s Global Frequency series. As much as I appreciate the writer’s approach to Shang-Chi with this issue, what really shines (and makes the issue a must read) is David Aja’s Escher-like layouts on a particular series of fight scenes.

Avengers Academy

Avengers Academy #20: Writer Christos Gage’s ability to write an ensemble cast never ceases to amaze me. This issue serves as a major transition point in the series, allowing readers and characters to look in the rear view mirror and see where the story has gone and the potentials of where it might travel. When I started reading this series, I never fathomed that Veil would be so central to the book’s appeal and theme. Not to be a stuck record, but if you are one of those readers who have been left cold by most Avengers writing for the past several years, this is the book for you.

Avengers Solo #1: Jen Van Meter’s script (Hawkeye as detective is the core premise) works for me, but is severely hindered by the art. I normally like Roger Robinson’s art, but for whatever reason in this particular assignment he is inked and colored in a vibrant noir style that comes across as a poor imitation of Howard Chaykin. Two characters in the book have a costume so similar in design; I could not tell who was who. I so wanted to praise this story from the rooftops, as I am a huge Van Meter fan. The back-up Avengers Academy tale is a solid follow-on to this week’s issue, written by Jim McCann and with art by Clayton Henry.

All-Star Western #2: This is one of the new DC universe books that are not hindered by starting from scratch. Jonah Hex is Jonah Hex and Moritat on art is just some of the most exquisite Hex/horror/Western art you can buy for—oh crap I just realized I paid $3.99 for it. Memo to DC, you are really annoying me with making me pay an extra buck for a preview of a crappy-looking Lee Bermejo story that I will never buy.

Daredevil

Daredevil #5: I have run out of words to praise Mark Waid’s Daredevil. Just go get it. This may be the first current mainstream Marvel book I will let my 12-year-old son read (he normally reads the all-ages titles), That’s how much I enjoy the series.

Spaceman #1: Not really sure what story Brian Azzarello and Eduardo Risso is trying to tell with this nine-issue mature reader miniseries. But offering the first issue for a buck made me buy it. The art is, as always with Risso, strong as hell. But the dialogue that Azzarello saddles some of the characters with is quite annoying. I will leaf through the next issue, but I am unsure if I will actually buy it.

Spider-Man Marvel Adventures #19: Sean T. Collins writes a really great battle story between Kraven and Spidey in an office building. That’s a
sentence I never fathomed writing. Seriously, artist Pere Perez has a stairwell layout that was a sheer delight to view, would love to know if that was Collins’ idea or totally from the mind of Perez. And that was after getting to enjoy the first half of the comic, which has J.M. DeMatteis and Clayton Henry doing a Freaky Friday-type tale with Spidey and Silver Surfer.

Nate Powell

Master Of Reality by John Darnielle (33 1/3 series, Continuum Books, 2008)

Master of Reality

“I opened up my eyes, and I wondered whether my younger self was actually somebody who’s still inside me at all… I’m 26, but I’m not ready for my 16-year-old self to be dead. So I bring his ghost to work with me and hold séances behind a locked office door and when I come out of it there’s this gigantic salad in front of me and I want to start eating it with my bare hands, reciting these childish lyrics out loud, spitting sunflower seeds and bacon bits in big chunks at the wall.”

I can’t believe it took me this long to get around to reading this book. I’d eagerly awaited its release from the moment I heard news of its existence, but it finally arrived in my mailbox as a considerate gift from Leigh Walton with the attached note, “See if it isn’t the most Nate Powelly book ever written.”

Almost immediately, this novel just felt right. Darnielle’s music has proved crushing and illuminating, particularly the 1997 Mountain Goats album Full Force Galesburg, having both encompassed the shittiest period of my life and having held some responsibility for pulling me out of that self-erasing era. Master Of Reality (using Black Sabbath’s 1971 masterpiece as its core) challenges itself to represent certain sentiments we’d only admit we truly take or took seriously in trusted company—that music can truly be salvation, that our surroundings are truly ugly and lame, that the people we think we know truly don’t understand. What makes this kind of exploration bold is the potential for embarrassment, as creators and as readers. Darnielle’s protagonist and narrator is a smart, sensitive, troubled teenager in the mid-1980’s—but importantly, not too smart, and troubled because he’s simply too sensitive for the strip-mall blight around him. I accept this contract with the author, and I believe in the gravity of his character’s assessment of the world, of clichés laid out with an intimate enough lens, close enough to the embarrassment itself, that such statements immediately cease to be clichés.

Darnielle’s protagonist ruminates on Sabbath as a teenager and again later as an adult having unearthed his old psychiatric center-mandated journals, hammering in the fundamental, primal function of headbanging, assumptions on the fathers of metal’s decision-making processes through the limited perspective of an American teenager, and for any true lover of Black Sabbath, an utterly convincing blueprint of their two-dimensional.

“Normally even the hard music is supposed to sort of take you higher but when I borrowed this album from Mike I knew it wasn’t just the pot, it was like the whole point was ‘everything is a bummer, even your fantasies are a bummer.’”

Downtune those guitars, children.

From The Graveyard Of The Arousal Industry by Justin Pearson (Soft Skull Press, 2010)

From The Graveyard Of The Arousal Industry

As abrasive and impenetrable as his musical endeavors can be, Justin Pearson’s memoir is laid out the only way I could imagine it, as the music’s blunt, brash foil. Pearson’s account is incredibly intimate without even a trace of sentimentality, and this is important to accept early in the reading process. He makes no qualms about the emotional and physical barriers he’d learned to establish for the sake of survival in a fucked-up childhood and adolescence, and the necessity of building something real under his own power, and through whatever means were available at the time.

Struggle, Pearson’s first band, was one of the earliest hardcore punk bands I was exposed to as an eighth-grader. Our bands floated and toured around in the same circles for years, but only played together a few times. His most widely-known band, The Locust, drew as much ire and hatred as it did excitement and anticipation. As a 22-year-old stuck in the trap of needing to be painfully earnest about every goddamn thing that came out of my mouth, I found myself as frustrated as I was stimulated at Locust shows, which inevitably spawned 3-hour debates about the band later that night at the diner. When Soophie Nun Squad and The Locust occasionally shared the stage, we were (cosmetically) polar opposites trying to communicate similar things with our music, and this healthy-but-dissonant relationship was hard to reconcile in a well-meaning but deeply flawed late-90’s punk climate—a climate stating that we should make waves against the shores of the outer world, but should generally avoid challenges to our collective concept of why we think we’re not a part of the world we hate, why we think we’ve got so much in common anyway, and who we alienate.

Pearson’s music has always been a part of this essential push-pull relationship, and I’ve grown to increasingly love and respect his bands’ dedication to the truly annoying, the truly questioning, the truly interesting. Decade-old memories of naked young men wearing only gas masks shitting on a Michigan venue floor while uprooted shrubbery is thrown amidst makeshift fires and flying bodily fluids finally get the answers they’ve been longing for. His narrative is honest and unabashed enough to raise the question within me, “why didn’t I just ask him all these questions when I was twenty? Just how many assumptions did I make about people around us? What the hell was wrong with me?”

Big Questions by Anders Nilsen (Drawn & Quarterly, 2011)

I started reading Nilsen’s individual issues starting with #3, and had been waiting for this collected volume for ten years. I won’t hesitate to say that Big Questions is probably my favorite comic of the last decade, and that it approaches uncertainly, darkness, hope, cruelty, dedication, and selfishness in a way that makes most other efforts seem like a waste of paper.

Nilsen gets away with a task of this size by simply following the (mostly animal) characters’ actions without an obvious directorial perspective—the reader never feels that they’re being intentionally moved in a particular direction or towards a certain topic by the creator. This might be because the narrative took nearly 15 years (in as many installments) to unfold, and a lot changes in a creator’s priorities in that time. Major events in the storyline come as genuine surprises, and my emotional response to the losses of certain characters was much heavier than I expected.

The world depicted in Big Questions is certainly aware of ours, and of its political and social realities, but only one ambassador from “our world” makes his way through the book, slowly and begrudgingly adapting his method of interacting with others, relearning what it means to survive. Most of the internal social structure is found within a group of birds who are drawn so similarly that it came as a shock and a true joy to discover that I’d grown to care about each bird and their individual struggles so deeply. A kind of magic was at work; the birds’ once-uniform depictions retroactively became nuanced, attentive, undeniably unique.

Big Questions, like McCarthy’s The Road, is not in any way a pick-me-up, but its flashes of lightness in an impenetrably grave situation provide measured glimpses into the other side of a world just behind it, or just before it. This collection is a necessary exploration of an endlessly murky and uncertain existence.

Americus by MK Reed and Jonathan Hill (First Second, 2011)

Americus

Reed and Hill are successfully making a case against people losing their goddamn minds these days. Americus is a focused, efficient narrative tackling the poisonous, anti-intellectual, privileged forces of the authoritarian evangelical Neanderthals we know so well against, well, a world they think is theirs.

I grew up in the suburbs of Arkansas, just down the road from Americus’ fictional Oklahoma town. The setting could have truly been anywhere in the country, but at no point came off as a generic depiction of suburbia. No, this was the world in which many of us came of age. Cultural threats and scapegoats shifted every few years—the Satanic Ritual Abuse craze of 1985 begat the Judas Priest suicide trial-farce that fueled the proper Satanic Panic in which I devoted myself to heavy metal, the occult, and fantasy storytelling. This era was essentially put to rest with the West Memphis Three witchhunt of 1993, to be quickly replaced by a deep suburban terror of Dr. Dre’s The Chronic, only to be dethroned in time by Marilyn Manson. What made the perceived threats so bizarre was the evangelical Neanderthals’ insistence that depictions of reality and fantasy were interchangeably dangerous.

Americus centers around a popular all-ages fantasy epic patterned after the success of Harry Potter and its predecessors. We get glimpses into the literary adventures cherished by so many folks in the book, but don’t get too much, and this is important, as the town’s (and my town’s, and yours’) authoritarian evangelicals have never really been concerned with what’s actually in the offending articles. In fact, the whole crux of the book and its frustrating reality is that such vocal opposition is focused on what the books represent, which is a world that has room for more than just one perspective or value system. Possibility really is frightening.

MK Reed’s dialogue is quite natural and believable, and Jonathan Hill’s brushstroke is clear, competent, and descriptive. Americus, as a graphic novel readable by anyone age 12 and up, is an welcome addition to the much-needed broader discussion about the role of the Arts in our society, the powers and motivations at play in the effort to crush a more truly representative world, and the terrifying rise of these proto-fascists we know so well, not just at the local level, but when the battlefield is what we read, listen to, and how we think.

Youngblood

Creators | With the announcement that Rob Liefeld’s Extreme Studios is back in business, former Extreme Studios employee and current Image Comics publisher Eric Stephenson reflects on his time with the studio. “From 1992-1998, Extreme Studios was more or less my life. Youngblood, Supreme, Brigade, Bloodstrike, Team Youngblood, New Men, Prophet, Youngblood: Strikefile, Bloodpool, Glory… We put out a lot of comics, and for the most part everyone involved was incredibly young. Rob and I were amongst the oldest at 25. So many of the artists involved in various aspects of production were just out of their teens, and that made the work as frustrating as it was fun. But looking back, the main thing I remember about that time is Rob wanted to share his success with people who loved comics and wanted to make a living in the business as much as he had.” [It Sparkles!]

Webcomics | A Distant Soil creator Colleen Doran, who began serializing the comic online in 2009, notes “my bottom line is up significantly, and my online audience is ten times higher than when I started the five day a week online serialization of A Distant Soil 2.5 years ago.” She also shares advice she received when she started the endeavor that hasn’t worked for her. [A Distant Soil]

Tom Morello

Creators | Orchid writer and musician Tom Morello shares his thoughts on his new book, politics and social issues in comics, and the story in Action Comics #900 that featured Superman renouncing his citizenship, among other topics. [Vulture]

Creators | Speaking of politics in comics, Marzena Sowa talks to Hero Complex about her upcoming Vertigo graphic novel Marzi: “When I started to write Marzi, the first stories concerned my daily life in Poland: I wrote about my family, my neighbors. Then, progressively, political questions started to appear and I realized that the politics had so much space in my childhood life I hadn’t even imagined. Marzi is getting bigger, and her curiosity and will to understand the world is getting bigger too. She feels concerned by the world and she tries to understand it — understand why it doesn’t work correctly. At a certain point she starts to speak, she is not only a mute witness of what is happening in her country. She starts also to claim her own freedom; but for instance she is maybe too small to be heard by her parents, but she won’t give it up.” [Hero Complex]

Creators | The New York Times profiles the husband-and-wife cartooning duo Raina Telgemeier and Dave Roman. [The New York Times]

Creators | Phil Hester and Jonathan Lau discuss their work on Dynamite’s Bionic Man comic book. [TFAW]

Creators | Mark Waid talks about his work on Marvel’s recent revival of the CrossGen title Ruse. [Mulholland Books]

The Death-Ray

Creators | Daniel Clowes talks about re-release of “The Death Ray” and his “drift toward more sympathetic figures” in his work: “I decided at a certain point that one of my goals is to find a way to connect with the characters no matter how awful they may seem or how hard they are to be around, to try to look at their humanity and find a way to love them by the end.” [Montreal Gazette]

Creators | Jonathan Liu catches up with Anya’s Ghost creator Vera Brosgol after sitting on a panel with her at Portland, Oregon’s Wordstock. [Wired]

Creators | Underground comics legend Robert Crumb shares his other “passion” — early 20th-century popular music. [BlogCritics]

Creators | Robin Furth discusses adapting Stephen King’s The Dark Tower to the comics medium, collaborating with Peter David, and Stephen King’s thoughts and involvement. [Biff Bam Pop! - part 1, part 2]

Comics | Saladin Ahmed looks at four of comics legend Jack Kirby’s “most ethnically adventurous creations” — The Thing, the Howling Commandos, Black Panther and The Black Racer. [tor.com]

Black Hood

Comics | The Beast Must Die at the Mindless Ones blog looks back at Mark Wheatley and Rick Burchett’s covers for Black Hood, from DC’s early 1990s !mpact line [Mindless Ones]

Commentary | Robot 6′s own Sean T. Collins reviews Brian Ralph’s Daybreak. [The Comics Journal]

Fandom | Looking for a Halloween costume? Found Item Clothing details 34 pop culture costumes you can make on your own, including Wonder Woman and Charlie Brown. [Found Item Clothing]

Robots | The Calgary Sun spotlights Phil Allen, who created a giant robot he hopes to sell to help pay for his wife’s liberation treatment for multiple sclerosis. “Science fiction has been talking about robots for 70 years and now I know why there aren’t any … It’s a huge undertaking when you decide to build one.” [Calgary Sun]

Green Arrow

The New York Comic Con officially opened its doors this afternoon, but comics publishers and distributors have been releasing announcements leading up to it all this week. Here’s a round-up of news from today, as well as some that hit earlier this week.

• DC Comics, who were having a pretty good week already, announced two creative team changes for the New 52. Ann Nocenti of Daredevil and Longshot fame will write Green Arrow starting with issue #7. She spoke to Comic Book Resources about her approach to the series: “I have a particular way of writing a comic. Comics are short. They are only twenty pages, so you can take a year of comics and that can be your opera, and the opera can have a lot of different passages in it. I kind of believe every issue should be a single story, just a complete story. But there is a momentum that forms like triptychs over it, and then it forms your big overtures, and then the whole thing ends up kind of operatic. I also want a beginning, middle and end, a classic short story approach to every single comic. What I do is I try to figure out, what is the kick in this comic, what is the main feeling I want to get, and everything in the comic has to serve that.”

• And Marc Bernardin (Monster Attack Network, The Highwaymen, The Authority) will take over the writing duties on Static Shock beginning with issue #7. “As a fan and as a writer, one of the great things about Static isn’t just that he’s a new hero, it’s also that he’s a young hero,” Bernardin told CBR. “He will make the mistakes of youth and, even though the New 52 is resetting a lot of heroes to their early days as do-gooders, there’s nothing quite like the fumblings of a teenager.”

• General Mills cereals will include free custom editions of Justice League comics in October and November.

• And in case you missed them earlier this week, they also announced a change to Wonder Woman’s origin, as well as two Vertigo projects — Dominique Laveau: Voodoo Child and adaptations of Stieg Larsson’s bestselling Millennium trilogy.

• Dark Horse today announced five new Star Wars projects — Star Wars: Knights of the Old Republic—War!, Dawn of the Jedi, Knight Errant – Escape, Blood Ties – Boba Fett is Dead and Darth Vader and the Ghost Prison.

Infestation 2

• IDW has made several announcements leading up to the show. Coming up this January is Infestation 2, the sequel to this year’s crossover event Infestation. It will feature everyone from the Transformers to G.I. Joe to to the Teenage Mutant Ninja Turtles to Bat Boy and fighting Lovecraftian Old Ones. “We learned how to do this, how to tell a story that is connected to all these different properties but not necessarily involving them all in the same book,” IDW CCO and EiC Chris Ryall told CBR. “And all the usual trial and error when you’re doing a big event that you’ve never done before. The other good thing about that, having never done it before, some of the licensors weren’t entirely sure what we had in mind so we had to keep all the characters separate. Now that we can show them what we did and show them how it succeeded before, now we’re able to cross over some of the characters and have the properties meet up.”

Ryall confirmed that Danger Girl is not only part of the crossover, but also will get a new series next spring.

• IDW also announced Road Rage, a comic adaptation of “Throttle,” a short story co-written by Locke & Key writer Joe Hill and his father, horror novelist Stephen King, as well as “Duel,” the Richard Matheson short story that inspired it. Ryall and artist Nelson Daniel will adapt the stories, with covers by Phil Noto and Tony Harris.

And what else do Road Rage and Infestation 2 have in common? Temporary tattoos!

• Mike Costa (GI Joe: Cobra, Blackhawks), Ryan Browne (God Hates Astronauts, Blast Furnace) and Disney Imagineer/sleight-of-hand artist Jon Armstrong are teaming up for a new miniseries from IDW called Smoke and Mirrors.

Incorruptible #25

• Mark Waid’s hero-turned-villain, the Plutonian, will take on his nemesis-turned-hero, Max Damage, in an Irredeemable/Incorruptible crossover that will appear in Irredeemable #32-33 and Incorruptible #25-26.

• Archie’s Red Circle characters will return next year as part of a digital comics subscription service.

• Graphicly announced this week that The Walking Dead, Invincible and Irredeemable are now available on Newsstand, a new feature of the newly released iOS 5 for the various Apple devices. Newsstand allows you to subscribe to serial publications like magazines and, obviously, comics, then automatically updates them in the background when new issues become available.

• ComiXology had two announcements this week — they’ve added IDW to their iOS application, and they’ve released a Marvel app for the Android.

• A second Free Comic Book Day, tied to Halloween 2012, is being planned by Diamond Comics Distributors.

• Before hitting the New York Comic Con, Orchid writer and musician Tom Morello went to Zuccotti Park where the Occupy Wall Street protests are occurring to perform.

Incorruptible #25

BOOM! Studios has announced a four-issue crossover pitting Mark Waid’s fallen superhero the Plutonian against his nemesis Max Damage in an epic tale spanning Irredeemable and Incorruptible.

The story examines how the Plutonian, the world’s greatest superhero turned mass murderer, and Max Damage, the reformed supervillain become adversaries. It kicks off in December in Irredeemable #32, by Waid and artist Diego Barreto, and continues in Incorruptible #25, by Waid and Marcio Takara, before concluding in Irredeemable #33 and Incorruptible #26.

“This is the crossover we’ve been waiting to tell,” BOOM! Studios CEO Ross Richie said in a statement. “We get to peer deeper into Max Damage’s origins. These two iconic characters have been powerhouse adversaries since the first issue and we are thrilled to add to the mythology of both of these great series.”

Read the follow announcement below:

THE IRREDEEMABLE/INCORRUPTIBLE CROSSOVER YOU DEMANDED IS HERE! THE PLUTONIAN VS. MAX DAMAGE

October 13, 2011 – Los Angeles, CA – The epic match-up between the world’s greatest hero-turned-villain and his arch villain-turned-hero is here! This December, read both IRREDEEMABLE and INCORRUPTIBLE for the full story on The Plutonian vs. Max Damage and their superhero adventures. These epic new titles from BOOM! Studios are both written by Mark Waid (KINGDOM COME, THE TRAVELER) with INCORRUPTIBLE’s art by Marcio Takara and IRREDEEMABLE’s art by Diego Barreto. BOOM! Studios offers the first part of this four issue crossover in the 22-page issue of IRREDEEMABLE #32 and the story continues in INCORRUPTIBLE #25. This action-filled arc concludes in IRREDEEMABLE #33 and INCORRUPTIBLE #26.

“This is the crossover we’ve been waiting to tell,” says BOOM! Studios Founder and Chief Executive Officer Ross Richie. “We get to peer deeper into Max Damage’s origins. These two iconic characters have been powerhouse adversaries since the first issue and we are thrilled to add to the mythology of both of these great series.”

The legendary IRREDEEMABLE/INCORRUPTIBLE crossover continues toward its explosive conclusion! The Plutonian and Max Damage have always been epic adversaries… but how did they get that way? The crossover event that tells the story of their first face-off starts here! Not Reading INCORRUPTIBLE? You’re missing out! This is the first issue of the IRREDEEMABLE/INCORRUPTIBLE crossover: a can’t-miss issue of Mark Waid’s multiple Eisner and Harvey Award-nominated superhero series!

IRREDEEMABLE and INCORRUPTIBLE are written by Mark Waid (KINGDOM COME) with INCORRUPTIBLE’s art by Marcio Takara and IRREDEEMABLE’s art by Diego Barreto. Each issue features 22-pages of story and carryies a price point of $3.99 with a Diamond Code of OCT110916 for IRREDEEMABLE #32 and OCT110918 for INCORRUPTIBLE #25.

In honor of Oosterveer, BOOM! Studios has made both collected editions available for free via comiXology (click the links above to go to the download pages). If this is your first time on comiXology, you will have to create an account, but it’s painless, and once you download the comics, you can read them on pretty much any device you own. Both comics also are available via the iPad app. There’s no mention of how long they will be available for free.

BOOM! Editor-in-Chief Matt Gagnon has also penned a nice appreciation of Oosterveer.

(Via Johanna Draper Carlson, who gave The Unknown a good review when it first came out.)

Update: BOOM! sent out a notice this morning noting that the comics are also available for free on iVerse, Graphicly and mydigitalcomics.