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Mage: The Hero Denied #2

Mage: The Hero Denied #2

Mage 2So, the basic setup for the new Mage series is shaping up to be similar to the previous two volumes. At least one big fight scene and LOTS of talking. Seriously, you sign up for Mage and you’re signing up for lots of dialogue. As far as the issue breakdown goes (LIGHT SPOILERS AHEAD), it’s 7 pages of Kevin and Magda arguing, tucking their kids into bed, and going up to the attic; 4 pages of evil insurance adjusters literally swallowing nightmare fuel; 4 pages of Kevin and Magda talking about a magic crock pot while Hugo stares out a window; 3 pages of Kevin taking his son out for lunch; and 5 pages of Kevin fighting a pair of flaming goat-men. I’m enjoying the series so far, but fair warning, that’s the sort of issue breakdowns you’re going to get, so if you prefer more action and less chatter in your comics, then you’re probably better off passing on Mage.

Was the above paragraph filled with spoilers? Sort of, a little bit. But none of it really felt like plot development so much as plot outlining. Issue two is still very much in the “setting up the story” stage, but as with the previous issues, the magic of this series is in all of the little details. The Gracklethorns reveal that they’re even less human than they initially appear and we start getting names, as well as distinctions between the five of them. Kevin cooks dinner, implying that the domestic duties are more evenly split between Kevin and Magda than I’d thought at the end of issue one. Magda’s hesitation to leave their home is based more on not wanting to disturb some magic spells she’s brewing than on a desire for pure domesticity. And the house is a rental, meaning they don’t have as much money as they initially appeared to have. Still no clues about Kirby, Joe, or the Mage. Hugo is reading an Animorphs book, which firmly dates this story at least fifteen years in the past.

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It’s So Weird I Can’t Look Away: DC Comics’ Young Animal Imprint

It’s So Weird I Can’t Look Away: DC Comics’ Young Animal Imprint

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In 2016, DC launched a new imprint called Young Animal, an offshoot of its Vertigo stuff, led by Gerard Way and editors Jamie Rich and Mark Doyle. Young Animal’s goal is to relaunch some DC characters for mature audiences. I hadn’t been paying attention, but got drawn in by Cave Carson Has A Cybernetic Eye.

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The B&N Sci-fi & Fantasy Blog on the Best Comics & Graphic Novels of August

The B&N Sci-fi & Fantasy Blog on the Best Comics & Graphic Novels of August

The Mighty Thor Volume 3 The Asgard Shi'Ar War-small Serenity No Power in the ‘Verse-small Frostbite Joshua Williamson-small

I don’t get over to my local comic shop nearly as often as I’d like to. Fortunately, there are some great resources to let me know what I’m missing. One of the best is the B&N Sci-Fi & Fantasy Blog, which does occasional  surveys of the best new graphic novel releases. Two days ago I reported on Jeff Somers’ summary of the Best Science Fiction & Fantasy Books of August at the B&N Blog; this month I found Ross Johnson’s summary of the 29 top comics and graphic novels of the month just as fascinating.

It includes Atari Classics: Swordquest by Roy Thomas and Gerry Conway, Valerian: The Illustrated Treasury, by Pierre Christin and Jean-Claude Mézières, George R. R. Martin’s The Mystery Knight, Paper Girls, Vol. 3, by Brian K. Vaughan and Cliff Chiang, Invader Zim, Vol. 4, SLAM! Vol. 1, by Pamela Ribon and Veronica Fish, Batgirl: Stephanie Brown, Vol. 1, and lots more. Here’s a few of the highlights.

The Mighty Thor, Vol. 3: The Asgard/Shi’Ar War, by Jason Aaron, Steve Epting, Russell Dauterman, and Matthew Wilson (Marvel, 160 pages, $24.99 in hardcover, August 1, 2017)

The War of the Realms is well and truly underway, and Malekith the Dark Elf is using the chaos to his advantage. Thor takes it upon herself to unite the squabbling factions that make up the ten worlds under her command in order to strike back at Malekith and end the war. But he’s ready with an alliance of his own, and the Odinson stands in the shadows.

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Repent Your Crimes: Marvel’s Black Bolt Series

Repent Your Crimes: Marvel’s Black Bolt Series

I’ve been a Saladin Ahmed fan for a while. I probably heard his first fantasy fiction at Beneath Ceaseless Skies with Mister Hadj’s Sunset Ride, or in Podcastle’s Judgement of Swords and Souls (click on the links for free audio versions). I also met him in person in 2013 when I ended up at the same table as him during the Nebula Awards Banquet (where his first novel had been nominated).

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So I perked up when I saw that Marvel had Ahmed writing a new Black Bolt solo series. I picked up the first issue in June, put it in my backpack and promptly…. left it sitting in my TBR pile. For two months. And I didn’t even crack it open until issue #4 was already out.

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Mage: The Hero Denied #0 and #1

Mage: The Hero Denied #0 and #1

Mage 0So, I’ve been meaning to get back into writing comic reviews, but there’s frankly been very little out there that got me excited. I’m more of an old school comic fan, preferring the comics that would actually take ten or fifteen minutes to read. Yeah, I’m a slow reader, but even I can push through most modern comics in two or three minutes without much trouble. All splash pages and dialogue-free scenes. It seems like most modern comic writers don’t know how to tell a serial story: each issue should be its own story, as well as a part of a greater narrative.

But I’ve long been a huge fan of Matt Wagner (check out my previous reviews for Mage: The Hero Discovered and Mage: The Hero Defined), so I knew I was going to be on board for the third and final part of his Mage trilogy: The Hero Denied. Issue #0 came out in July and, while it looked great, it was basically a half-issue meant to work as a teaser for the main book, so there wasn’t much to review. Also, I got suckered in by a nice issue #0 for the Red Sonja reboot that fed into a series that was disappointing. So I decided to wait until a proper issue #1 came out before deciding whether or not it was worth my time to commit to review the whole series.

Since you’re reading this, you can guess how I feel about issue #1.

But let’s start with issue #0. (spoilers to issues #0 and #1 beyond this point)

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New Treasures: Graphic Classics Volume 26: Vampire Classics

New Treasures: Graphic Classics Volume 26: Vampire Classics

Gothic Classics Graphic Classics Volume 14-small Graphic Classics Volume 23 Halloween Classics-small Graphic Classics Volume 26 Vampire Classics

I’ve been a huge fan of Tom Pomplun’s Graphic Classics comic anthologies for years, ever since I received a copy of the first one, Volume 1: Edgar Allan Poe, in 2001 (back when they were Rosebud Graphic Classics, a spin-off of Rosebud magazine). Some of my favorites are Volume 4: H. P. Lovecraft, Volume 14: Gothic Classics, and Volume 23: Halloween Classics (back cover here). But I hadn’t seen a new release in over three years, ever since Volume 25: Canine Feline Classics back in 2014. So imagine my surprise when I accidentally stumbled on a copy of Graphic Classics Volume 26: Vampire Classics, which snuck into bookstores on June 28. Here’s the description.

Vampire Classics features a unique adaptation of the 1922 silent film, Nosferatu. Plus a horror-western by “Conan” creator Robert E. Howard and Ray Bradbury’s “The Man Upstairs.” With “The Strange Orchid” by H.G. Wells, “Olalla” by Robert Louis Stevenson, and a short story by famed horror writer and co-editor Mort Castle.

Our previous coverage of Graphic Classics includes:

Graphic Classics Half-Price Sale
It’s Halloween Already with Graphic Classic’s Halloween Classics
Get Graphic Classics Volume 23: Halloween Classics for only $10 in October

Graphic Classics Volume 26: Vampire Classics was published by Eureka Productions on June 28, 2017. It is 144 pages, priced at $19.95. See all our recent Comics coverage here.

Hobo Fights: A Chat with Image Comics’ Rock Candy Mountain Creator Kyle Starks

Hobo Fights: A Chat with Image Comics’ Rock Candy Mountain Creator Kyle Starks

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Image Comics is soon releasing the first trade paperback of Kyle Starks’ Rock Candy Mountain, collecting issues 1-4. The original solicitation runs as follows:

Eisner-nominated comic creator Kyle Starks would like to invite you to enter the magical world of hobos. The world’s toughest hobo is searching through post-WW2 America for the mythological Rock Candy Mountain, and he’s going to have to fight his way to get there. Lots of hobo fights. So many hobo fights. A new action-comedy series full of high action, epic stakes, magic, friendship, trains, punching, kicking, joking, a ton of hobo nonsense, and the Literal Devil. Yeah. The Literal Devil.

Who could turn down a description like that? I had a chance to catch up with Kyle for an e-mail interview about this fiesta of fisticuffs and the hobo code of honor.

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A Kick-ass Female Perspective on Comics That’s Disturbingly Close to Real-Life: The Refrigerator Monologues by Catherynne M. Valente

A Kick-ass Female Perspective on Comics That’s Disturbingly Close to Real-Life: The Refrigerator Monologues by Catherynne M. Valente

the-refrigerator-monologues-smallThe Wonder Woman movie has received considerable buzz for depicting an interesting lead female character who actually has a personality, is not dependent on some guy to come to her rescue and truly is the star attraction; it even has a female director. It’s enough to make you forgive the silly and at this point yawn inducing CGI pyrotechnics between good and evil ending that is apparently sacrosanct in these sort of flicks. Look, I enjoyed the movie, but for all its merits it’s still a sad commentary of our times that Wonder Woman is considered somehow ground breaking. Problem is, compared to the latest crop of superhero movies (maybe even movies in general) the bar isn’t set very high.

You want some real kick-ass female perspective on the comic book world that’s disturbingly close to real-life? Check out The Refrigerator Monologues by Catherynne M. Valente. This is a series of short stories set in shared alternate comic book universe (with characters such as Grimdark and Kid Mercury and Doctor Nocturne evoking various Marvel and DC Comics personages) linked by a sort of AA session in which deceased women (with one exception who for her own reasons hangs out among the unliving) take turns explaining how they ended up in Deadtown, i.e., thanks to some male superhero or supervillian exploit.

The title of the collection is a take-off of The Vagina Monologues — the Eve Ensler play about sex and body image told from the perspectives of a variety of women representing different ethnic, sexual and class identities — and comic book writer Gail Simone’s observation that comic book women are typically hypersexualized for a male audience and often end up “refrigerated” — killed, disabled, or otherwise rendered marginalized or powerless in order to advance a male character’s storyline. Indeed, in “Happy Birthday, Samantha Dane” the title character literally ends up in a refrigerator. (And, by the way, is just one of many great comic book kind of names that Valente invents for her cast of characters. Also by the way, it’s worth noting that in Wonder Woman a male character dies to advance our heroine’s story — perhaps an intentional inversion of the refrigerator motif?)

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The Tripartite Hero: Matt Wagner’s Mage

The Tripartite Hero: Matt Wagner’s Mage

Mage: The Hero Denied #0At the Emerald City Comicon in early March, Image Comics announced that starting in August they’d be publishing writer/artist Matt Wagner’s Mage: The Hero Denied, a 15-issue series with a half-length 0 issue and a double-sized conclusion. Hero Denied will be the final part of a trilogy Wagner began over thirty years ago, and I want to prepare for that last installment by looking back here at the first parts of the saga. The Mage books are two of the finest works of a great comics talent, urban fantasies mixing excellent action storytelling, a mastery of plot beats, and a sense of the mythic into gripping stories — and stories with a semi-autobiographical slant, no less.

Mage: The Hero Discovered was published by Comico from May 1984 to December 1986 (I read it in the three-volume 1987 Starblaze trade paperback collections). Wagner wrote, drew, and coloured the series, with letters by Bob Pinaha, and Sam Kieth inking from issue 6 through 15. The story follows Kevin Matchstick, inhabitant of the modern-day world, as he encounters a mysterious figure named Mirth who turns out to be a mage; Mirth introduces Matchstick to a grander and more terrifying world, one of wizardry and horrors, and leads him to the hidden truth of his nature and his link to a hero out of legend. Mage: The Hero Defined came out from Image from July 1997 through October 1999, again written and drawn by Wagner, this time with colours by Jeromy Cox and letters by Sean Konot. The series follows an older Matchstick through a stranger world of greater magics and other heroes; Matchstick meets another mage, faces consequences of his earlier actions, and discovers deeper truths about the archetypes behind him.

Always intended as a trilogy from the beginning of the story back in the 80s, the second and third chapters have necessarily been slow to follow because the story is in part an autobiography. Kevin Matchstick is the alter-ego of Matt Wagner: he’s drawn to resemble his creator, aspects of his story are fictionalisations (fantastifications?) of Wagner’s life, and other characters are analogues of people Wagner knows — and since Wagner’s a professional in comics, a number of the characters in the second series are thinly-disguised versions of other comics artists. The Hero Defined is therefore also an odd document of 1990s comics culture. If you don’t know the background, you don’t need to know it. If you do, you see another level to the story: artists become mythic heroes and villains. That works with the central concern of the tale — the transmutation of everyday life into archetypal struggle.

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Old New Pulp: Byron Preiss’ Weird Heroes

Old New Pulp: Byron Preiss’ Weird Heroes

Weird Heroes Volume 1Weird Heroes was a series of eight books put out by Byron Preiss Visual Publications from 1975 through 1977, a copiously-illustrated mix of novels and short stories that aimed at creating a new kind of pulp fiction with new kinds of pulp heroes. The series had a specific set of ideals for its heroes, linked with an appreciative but not uncritical love of pulp fiction from the 1920s through 40s. Well-known creators from comics and science fiction contributed to the books, and one character would spawn a six-volume series of his own. And yet Preiss’ long-term plans for Weird Heroes were cut short with the eighth volume, and today it’s hard to find much discussion of the books online (though they’re well-remembered when they are discussed). That absence is a little surprising, as a whole new generation of writers has come along with an interest in creating new pulps. Now that we’re separated from Weird Heroes by about the amount of time it was separated from the original pulps, it’s well worth a look back at its truncated run.

Editor Byron Preiss was only 21 years old when he founded Byron Preiss Visual Publications in 1974, and the company began putting out two series of illustrated paperbacks the next year, Weird Heroes and Fiction Illustrated (which ran for four volumes with a fifth issued under a different name). Both were packaged by BPVP to be published by Pyramid Books. Weird Heroes started its run with two anthologies of short fiction that, according to Preiss’ introductions to both books, were conceived as a single volume but divided up due to length constraints. Over the course of the series’ run, it published work by Archie Goodwin, Steve Englehart, Harlan Ellison, and Michael Moorcock, alongside art by Jim Steranko, Alex Niño, Neal Adams, and P. Craig Russell.

In the editorial matter within the first book, Preiss laid out what he hoped to do with the series. Across a general introduction, a historical discussion of “old American pulp,” and an interview with Fritz Leiber later on in the book, Preiss articulated a specific sense of what old pulps did well, what they did poorly, what he wanted to take from them, and what he wanted to improve on. He also wrote about presenting an alternative to the heroes that had emerged up to that point in 1970s popular culture. Broadly, he wanted to recapture the storytelling thrills of pulp fiction and its sense of wonder, while avoiding its misogyny and racism — and unlike what he saw in both the pulps and much 1970s hero fiction, he wanted to find a way to resolve stories and conflicts without the use of violence and murder.

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