This Month in Comics
We all went into November hoping everything was going to be okay. (Check out that cover for “Faith” #5, for instance.) Turned out, that wasn’t quite the case. Suddenly we started to see all of our art in a brand new context; suddenly it’s saying something different than what its creators probably intended; suddenly we remembered that the Voldemorts and Vaders are the bad guys and their fascist doctrine is not exactly aspirational.
There’s no doubt that within the coming months we’re going to see a shift in the themes of these stories, to address our fears and to help keep us vigilant at the dawn of the US Oligarchy. (And if they don’t or if they avoid it, that really makes them a bunch of cowards, doesn’t it?). This month’s comics almost feel like a relic of a bygone, more optimistic era, of a time before a bunch of ridiculous people decided Immorten Joe should have a higher power.
Best Issue: “Ether” #1 by Matt Kindt and David Rubín (Dark Horse)
“Ether” #1 did a lot of things right for its debut issue. It introduced us to a handful of characters and gave us enough of their personalities and motivations to make us interested but kept enough of their characterization hidden to keep us coming back for more. It presented a new alternate dimension world, but never let the world-building get in the way of the story. It established a mystery plot and it introduced some intrigue and heartbreak into the narrative. Matt Kindt and David Rubín also handled it with expert control and precision. This was a real treat not only to read and watch unfold, but to simply look at. David Rubín had been around for a while already, but this was the year he started to get the attention he richly deserved. “Ether” #1 is offers only further proof of that.
Best Writer: John Acurdi, “BPRD: Hell on Earth” #147 (Dark Horse)
I’ll admit that this nod is going out not only because of a well-delivered issue, but in recognition of a legacy. The guy only wrote the title for something like twelve years. During that time, he helped ground and bring together all the mythological elements Mignola so casually threw out in the original “Hellboy” stuff; he demonstrated a significant understanding of character, so you found yourself actually caring whether or not these people lived or died, and he had such a sense of tension and buildup, it was a treat to watch everything come to fruition. “BPRD” #147 is a nice topper on a well done achievement.
Best Artist: Zander Cannon, “Kaijumax” #12 (Oni)
We talk so much about how Zander Cannon’s “Kaijumax” impacts us with its story, its empathetic characters, and its dense plotting. But I think it’s almost too easy to overlook the art. “Kaijumax” #12 is a true indicator that Cannon knows how to tell a sequential story. All these disparate elements finally come together in this issue and it’s heartbreaking. He captures the most emotional, effective expression. He uses his page to set a beat and rhythm to fantastic effect. Even his lettering (even though he produces “Kaijumax” digitally with Manga Studio, he still steadfastly and painstakingly letters the book by hand instead of typing it in like the usual digital lettering houses do; this gives the book a more complete look, like the words are a part of the sequence rather than something pasted on later) helps set the tone. His actual linework may look more cartoony and chipper than the material calls for, but it allows him to get away with a lot more, and to deliver some of these emotional blows with far better finesse. You don’t forget the images from “Kaijumax.” You just don’t.
Best Mainstream Corporately-Owned Superhero Comic: “Wonder Woman” #10 by Greg Rucka and Nicola Scott (DC Comics)
When Rucka first started his ‘Year One’ segment on “Wonder Woman”, I had noted that it seemed kind of unnecessary, considering Renea de Liz had already, and to great effect, covered the same ground in “The Legend of Wonder Woman.” Well, a couple issues in, he finally turned onto his own road. While “Wonder Woman” #11 (with Liam Sharp) might have brought a lot of these story elements together — because if nothing else, Rucka is always about the long game — this issue has her blocking bullets with her bracelets for the first time. And it’s glorious. Scott delivers it in a heart-pumping slow motion set piece. I think ‘Year One’ has been the stronger of the two stories anyway because Scott’s so inventive with the page. The accomplishment here, of seeing Wonder Woman save everyone, is satisfying and uplifting.
Continued belowBest Collection: “Wuvable Oaf: Blood & Metal” by Ed Luce (Fantagraphics)
Heavy metal, wrestling, and queercore culture all mesh together in this collection of new “Wuvable Oaf” strips. Luce produces some genuinely laugh-out-loud moments, some grimace-inducing action sequences, and plenty of relatable human endeavours. (I’m sure we’ve all had Chatroulette experiences like Oaf before.) Having such a focus on such a tiny niche doesn’t make the book at all alienating; in fact, it opens us to new cultures and perspectives and has a lot to say about our culture, community, and way of life that’s applicable to anybody.
Significant Achievement: “The Complete Peanuts Volume 26: Comics and Stories” by Charles Schulz (Fantagraphics)
“Peanuts” may be the most significant, important, and popular comic of all time. And Fantagraphics finally finished their 26-volume collection of the strips. Where do we even begin talking about its achievements, its worldview, its expert cartooning, its melancholy humor? Well, okay, getting all these books is a good place to start, and they look crazy smart on the shelf. Fantagraphics did excellent work with these collections and it’s worth it for you to make the space on your shelves to host it.
Best News: Young Justice Returns
Cartoon Network, in their Time Warner glory, isn’t sure what to do with their properties but they remember you liking this so, here it is again.
