Y’all familiar with Suicide Risk? It’s this new(ish) comic by BOOM! Studios written by Mike Carey with art by Joerge Coelho. It’s this whole thing. Basically, (catch-up time) there is this cop who nearly gets killed by these super nasty super villains, and he realizes that there is no way he can stop them without dying. At the same time, he is offered (for a chunk of change) that chance to develop super powers, thereby giving him a bit of an edge in his fight. Like you, me, and the rest of the world, he takes his shot.
Dammit. I already support a relatively expensive comic book habit that precludes me from doing meaningful and important things like go on trips, buy gas, and eat things other than ramen. Unfortunately for me, I’ve discovered yet another comic that I simply must have.
Greg Rucka and Michael Lark’s Lazarus was probably my favorite new series of 2013, and it’s about time I got around to reviewing an issue. The series, set in a dystopian future where a handful of families control the world in a high-tech feudal society, is a great blend of intrigue, action, and speculative fiction. Though the sixth issue (part two of the current arc) is one of the slowest of the series so far, it’s still a solid piece in the evolving story of Forever Carlyle, and a glimpse at this still-new fictional world.
I apologize up front if I confuse anyone with the title of this issue, but I refuse to call it X-Men #10: Now Ghosts #1 or whatever, because I just find that a little ridiculous. It’s also been a bit of a recurring struggle to enjoy the book as fully as I would like to when it’s endured such a revolving door of artists. It was initially announced as a Brian Wood and Olivier Coipel book, which immediately got my attention. He’s my favorite writer and a terrific artist. That lasted three issues. Since then, the title was momentarily conscripted by a crossover event, and we’ve seen artists David Lopez, Terry Dodson, and Barry Kitson come and go. For this issue, we have Clay Mann and Kris Anka sharing art duties. The good news is that some cheesecake tendencies from Terry Dodson aside, all of these artists are pretty interesting. Call me an old cynic, but I just long for the days that a single creative team would steward a run of 100, or 50, or heck, even 24, or 12 issues of an uninterrupted, on time, monthly series.
Travel back to the early 1950s with Dark Horse Archives' third volume of Forbidden Worlds, presented in a prestige hardcover format and gloriously lurid color, complete with all the original ads, editor’s pages, short one-page stories, and, of course, all of the quirky, bizarre, unbelievable (but sometimes true!) publisher’s promises, and every once in a while slightly unintelligible tales found within the pages of issues nine through fourteen of this supernatural comics anthology. Straight out of 1952 and 1953, these stories of malevolent beings bent on revenge, sinister haunted houses, world-destroying monsters, and unfortunate coincidences are rife with hyperbole, turning the use of elaborate adjectives into a work of art. During especially over-descriptive scenes, I found myself removing all of the "–ly" adjectives and just reading the normal, much more direct sentence that remained. While at times comical – who knew you could create so many adjectives to describe evil, or darkness, for that matter – they often bring a highly stylized sense of mood and setting to the stories (letting me know exactly how I should be reacting to the story) and infusing the circumstances foist upon the characters with a certain amount of dread and terror. If I were to start using half as many adjectives in my everyday life, my day-to-day activities would seem much more exciting, and I guess this speaks to the time in which these comics were being made.
My favorite thing about The Star Wars is when I am sure that I know exactly what is going to happen. I have spent more time with Star Wars than some people have spent with their children. So, when I am reading a comic based on the original Star Wars story, I am never surprised. The Star Wars surprises me every time.
David Lapham’s adaptation of The Strain, by Guillermo Del Toro and Chuck Hogan, has been interesting. The first volume played out like a modern take on a classic monster movie, where we only saw hints of the big bad and never really saw how bad things were getting. The second volume almost played out like an apocalypse. The third volume does something I didn’t expect. It plays out as a detective story after the world has ended.
At The Paley Center for Media in Beverly Hills, CA, Fanboy Comics' Bryant Dillon chats with Casting/Dialogue Director Andrea Romano about her work on Justice League: War and some hints about what's next for DC Animated.
At The Paley Center for Media in Beverly Hills, CA, Fanboy Comics' Sam Rhodes chats with actor Christopher Gorham about his work as The Flash in Justice League: War and what his fantasy superpower would be.
At The Paley Center for Media in Beverly Hills, CA, Fanboy Comics' Sam Rhodes chats with producer James Tucker about his work on Justice League: War, bringing the New 52 to DC Animated, and more.