Alex + Ada #15 |
Alex + Ada #15: The loss of such a great comic will be a hard
one to bear. After tracking the human experience, with all of its triumphs and
tragedies, through the eyes of a sentient machine, the ride has finished. This
final issue is a true departure, taking place over several decades. The
situation is as dire as we thought—the authorities have seized Ada, and she is
probably in pieces in a warehouse somewhere. Or worse. Alex has been sentenced
to a long prison stay as an example to anyone else who wants to give their
robot helper sentience. But as the years roll by, society begins to challenge
assumptions regarding robot rights. Alex is released to a completely new world,
a world much friendlier to his point of view. And that’s not the only surprise
waiting for him.
Comics don’t get better than Alex + Ada. Intelligent, challenging and engaging, this is
everything science fiction, and comics, should be. Show this one to a civilian
who hates comic books. Bravo.
Rating: ***** out of 5 stars
Archie vs. Predator #3 |
Archie vs. Predator
#3: I have a high quotient for what is inappropriate in decent society, and I’m
nigh unoffendable. But something about this comic just isn’t right. Writer Alex
de Campi and artist Fernando Ruiz deliver a crossover between the Riverdale
gang and the violent alien hunters known as Predators. The art is classic,
cartoony Archie, which is disturbing enough, but the action is not. The
Predator is right out of the films; ripping spines out of Riverdale regulars and
leaving trails of blood through Pop’s Diner. Jughead’s severed head crammed
inside a broken vending machine (at least he died doing what he loved) elevates
AvP to theatre of the absurd. As the bodies are piled up and dismembered,
Archie, Betty and Veronica mount one final Hail Mary effort to destroy the
alien who has killed most of their friends. This book is weird.
Rating: *** out
of 5 stars
The Fade Out #7 |
The Fade Out #7: Ed Brubaker and Sean Phillip’s latest masterpiece
is a visual treat as well as a noir-laden trip through the movie business of
the 1940s. The book started out slow, but the creative team, as well as the
story itself, is now running on all cylinders. Screenwriter Charlie Parish,
suffering from intense writer’s block, and up and coming actress Maya Silver,
finally give in to their suppressed feelings and spend the weekend together.
When Maya is called back to her movie set early, she and Charlie go right back
to the dirt, grit and lies of Hollywood. Charlie is tempted to just take off,
but he’s still working on what happened to Valeria Sommers, the murdered
actress Maya replaced. And he’s hoping no one notices that his current script
is ghostwritten by the drunk (and blacklisted) Lincoln Kessler.
Dirty, sexy and
full of bad people doing bad things, The
Fade Out is another stunning success from the Brubaker/Phillips team. Brilliant.
Rating: **** out of 5 stars
The Shadow #100 |
The Shadow #100: Dynamite is the perfect company to
publish the Shadow. I suppose all the Shadow comics they have published add up
to one hundred, ‘cause this is the Centennial issue. Says so on the cover. The
book contains five excellent and pulpy Shadow stories. The best two are “The
Laughing Corpse” by Victor Gishler and Stephen B. Scott, about the Shadow’s vengeance
on a murderer, and “The Curse of Blackbeard’s Skull,” a prose piece written and
with spot illustrations by Matt Wagner. The latter story is about secret
college societies, a mystic skull, and murder. All stories portray the Shadow
as the force for justice and vengeance that he is. A fitting package for a rare
comics milestone. Don’t forget, the Shadow knows.
Rating: **** out of 5 stars
We Stand on Guard #1 |
We Stand on Guard #1: I’m afraid I have to reject
the premise of We Stand on Guard. In
the near future, the United States declares war on Canada. And not just a cold
war, or dropping a few bombs onto the vast wilderness. In this comic, the U.S.
gleefully destroys major Canadian cities and revels in the civilian causalities.
We send automated robots into the wild to kill insurgents—the ones we capture are
sent to work camps. We put boots on the ground, destroy their air force and put
our staunchest ally under martial law. Why? The book doesn’t make that clear
yet, although one insurgent claims we wanted their water (it is in the future).
If so, why wouldn’t we just ask? Canadians are so polite, after all.
This book
is a Liberal’s dream, and I suspect many Liberals wouldn’t question that
America is capable of such actions. But is writer Brian K. Vaughn saying it?
Vaughn is a Liberal, that was plain in his masterwork Y the Last Man. I’m not saying he believes America is capable of
the actions laid out in WSOG. But the U.S. is portrayed as a violent,
bloodthirsty nation who murders civilians in a surprise attack on an ally. Then
we occupy that ally with major military force to subjugate, not liberate. Brian,
our enemies do that, not us.
The book
is beautifully realized. Vaughn creates real and vibrant characters, and artist
Steve Skroce continues to be a talented illustrator. But this entire concept will
have to tread very carefully with me. I’ll give this concept some rope, but if
I sense the strong whiff of actual America hatred put off by outlets like
MSNBC, The New York Times and Ariana
Grande, then I’m out. No one needs that kind of odium in their life.
Rating: No
rating yet, I’ll see where it goes.
The Spirit #1 |
The Spirit #1: Most folks who know anything
about comics are at least passingly familiar with Will Eisner’s creation The
Spirit. Debuting in 1940, The Spirit
was a comic book enclosed in newspapers, and for twelve years was superb and
seminal sequential storytelling. Fresh takes have been attempted by new
creators several times in the last few decades. Some of them have been fun
pastiches, but no one has really captured Eisner’s original zeitgeist. If anyone has a chance to do
so, it could be writer Matt Wagner.
The Spirit is square-jawed do-gooder Denny
Colt. When Colt is mistakenly declared dead, he decides to stay dead and fight
crime as the masked hero the Spirit. In Wagner’s new take, the Spirit, and
Denny, have been missing for two years. Crime is running rampant and
Commissioner Dolan is trying to keep things under control. The Spirit’s
girlfriend, Dolan’s daughter Ellen, has moved on to a new life and new
boyfriend. And classic supporting character Ebony White, the Spirit’s
assistant, is reimagined as a young P.I. in a much more politically correct
version. There is a lot to like here, and Wagner puts his own twists on the
characters and their world. Add the missing Spirit mystery and there is plenty
of reason to come back for the next issue. It looks like Wagner will be
inspired by, but not enslaved to, Eisner’s original vision.
Rating:
***½ stars out of 5
Coffin Hill #20 |
Coffin Hill #20: The final issue that wraps up a riveting
20-part epic. This is yet another comic ending prematurely that will be much
missed. Emma Coffin, the witch of Coffin Hill, has finally escaped her ghostly
prison. Her descendant Eve Coffin is the only being standing between her and
the total destruction of the town. Emma celebrates her liberation with some
petty revenge, then faces Eve for a final showdown, daring Eve to try and stop
her. A bloody and defeated Eve lies helpless on the black and white tiled floor
of the Coffin mansion. But Eve may have one more trick up her sleeve ... Either
way, a witch is going to burn tonight.
It is sad such a quality book as this is
going away. Writer Caitlin Kittredge has shown she has monstrous talent, as has
artist Inaki Miranda. These two creators have proven they are incredibly gifted
storytellers. I’ll be watching where they go from here.
Rating: ***** stars out
of 5
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