The Best of 2015: BEST PAGES & PANELS

TREES #8

SAVAGE DRAGON #208

I HATE FAIRYLAND #1























SOUTHERN BASTARDS #11


























DESCENDER #7

























PAPER GIRLS #1












SPAWN #259

THE DARK KNIGHT III: THE MASTER RACE

If anyone asks how Batman morphed from the candy-colored, oh-so silly 60's TV show to the dark-infused, noir-based, nihilistic Christopher Nolan films, look at Frank Miller's mid-80's mini-series, The Dark Knight Returns. It was revolutionary at the time, and so well-regarded that it's still producing sequels thirty years later. The first sequel, The Dark Knight Strikes Again, was mostly a misfire, and I think even DC realized that Frank Miller is not the same Frank Miller, so for this third time around they've brought on a co-artist, Andy Kubert, and a co-writer, Brian Azzarello. Miller is still here, but only co-writing, drawing the back-story, and drawing a few variant covers. The story is a continuation but it's a new world; a new, female police commissioner, thugs that text in txt speak, a female Robin who takes over as Batman while admitting that, "Bruce Wayne is dead." There's also Wonder Woman and her daughter, who wants to break open a bottled world of Kandor, a still-dead, frozen Superman up in Antarctica, and a really bad, really weird back-story with The Atom, a guy who can shrink. Granted, it's only book one, and perhaps it will eventually reveal an epic tale worthy of publication, but for now it feels tired, stale, same-old. DC should have just let Miller write and draw the whole thing, as it's his world and creation. Azzarello is not the best writer, as he often tries too hard to tap into what's "cool" about street life (he just comes across as an old man yelling at kids to get off his lawn). Kubert does a good job, though, and his art is a lot better than Miller's these days. This feels a lot like Before Watchmen. When Dan Didio took over at DC he went bold. He made every book a new #1 then brought back Sandman and Watchmen and now The Dark Knight. But Watchmen was a mistake without Alan Moore. And this, even with Miller, feels like a mistake. What was fresh and new in 1986 is not fresh and new now. It's not an awful book, and maybe in the end it will at least just be entertaining fluff, but what was once a shot of adrenaline to a character now just feels like a cash-grab.
**

THE GODDAMNED #1

Jason Aaron and R.M. Guerra's Scalped was one of the best books to come out in the last decade. They're back with a new book loosely based on characters in the "Genesis" section of The Bible. If this were a film or TV show or regular fiction book I think it'd be getting a ton of press because it's controversial. But, alas, it's a comic book. Who cares (Airboy #2's controversy over the "tranny" bar scene in July was pretty much known to only those that frequent comic book news sites and transgender-rights blogs)? Which is a shame, because it's a book worthy of talking about. The art is the star, but the story is interesting enough to cause debate. Cain, son of Adam and Eve, is the main star. In this version he's a gorgeous, un-killable hunk wandering the wastelands of Earth. The villain is Noah. Yep. There's not much else in this first issue but a set-up, and so far it's not even half as good as Scalped or Aaron's other Image book, Southern Bastards, but it does has potential to be a wild, intriguing ride. The art here is gloriously gritty. The cavemen-like people remind me of the infected characters in Crossed. The world is a dirty, nasty hell-hole. It's certainly a violent, rough book. I'm not sure if Aaron is trying to say anything about religion or if he's just out to entertain and write a good story. With art this good, does it matter? **1/2

NEW #1's

It's been quiet in the comic book world the last few week. No more! Today was a big day. Marvel ripped off DC and, this month, starts re-booting all of their books with #1's and mostly new creative teams. DC started their new Batman weekly today. And, last but certainly not least, Brian K. Vaughan has a new book out. So the big question: are any of these books worth reading?

DR. STRANGE #1: I've been reading comic books since the late 80's and have probably read a book featuring every character out there at one time or another...but I've never read a Dr. Strange title. Has he even had his own book in the last twenty years? Either way, he's back with the stellar team of Jason Aaron and Chris Bachalo. The art is terrific (Bachalo is one of my favorites). And Aaron, as usual, is having a lot of fun here. First off, they do a good job at quickly introducing Dr. Strange's origin (he was a surgeon who got into a car crash and met a wizard that gave him powers while looking for a cure for his damaged hands). Second, they set up a big bad that's bringing "a coming slaughter" that makes you at least curious to read #2. The book doesn't really feature anything we haven't seen before but it's entertaining. *** (out of ****)

THE AMAZING SPIDER-MAN #1: Marvel changed writers and artists on all of their new #1 books except for this one. Writer Dan Slott has done a good job but, seriously, he's been on the book for years. We need new blood. In this issue, Peter Parker is in Asia where a new Parker Industries lab has opened up. And the big reveal at the end is that Dr. Octopus' mind is still alive and now in the A.I. of a robot in Parker Industries. The art, by Guiseppe Camuncoli, is kinetic and vibrant as usual (who ever did the cover should be fired, though...Spider-Man looks fat). I'm tired of this status-quo, though. It's not a bad book, it's just basic and same-old. **

INVINCIBLE IRON-MAN #1: They put Bendis on Iron-Man, so at least that's something new. Iron-Man has never been a good comic book. And now it's extra hard because good luck trying to make people believe Tony Stark isn't Robert Downey, Jr. (Bendis writes him like Downey's portrayal, if you wondered). The book is definitely helped by David Marquez's art, which is glorious (he did work with Bendis on Ultimate Spider-man). The story has Stark on a humorous date. Then Stark heads to Dr. Doom's country where Dr. Doom shows up without his mask. Bendis is a great writer of dialogue and quips and pacing. He's not all that great with anything else. And this, like the other new Marvel books, is really just more of the same. It's light fun, nothing more. **1/2

PAPER GIRLS #1: A new Brian K. Vaughan book is always a reason to celebrate. And this book is a lot better than We Stand on Guard, Vaughan's U.S. vs. Canada book that just came out in July, which is a relief. The story is set in 1988 in the Cleveland suburbs and is about a group of 12 year old girls that deliver newspapers on their bikes. The opening dream sequence is so crazy and wild and funny that it really sets the stage for something new, fresh, exciting, and fun. By page two you realize how truly great a writer Vaughan is. His books are alive, pulsing with energy. There are very few comic books out there like a Vaughan book. Stuff like this is the reason we read comic books. And, granted, it's not perfect. 12 year old's don't smoke or talk or look like this (Cliff Chiang's sketchy art is just okay). I guess Vaughan figured high school girls wouldn't be delivering newspapers so he had to make them younger even though he's still writing them like 16 year old's. That's fine...because this is not a realistic book. Towards the end a sci-fi element/mystery is introduced. I would be happier if it was just a normal story about middle-school girls without any "aliens" or whatever the villains turn out to be...but the book is so engaging it's hard to complain. This is one of the best books I've read all year. ***1/2

BATMAN & ROBIN: ETERNAL #1: A new DC weekly started today, this one shorter (26 issues) than Batman: Eternal (52 issues), which ended earlier this year. The other big difference is that Bruce Wayne lost his memory and isn't Batman anymore. James Gordon is Batman now. So this book, so far, seems to be mostly about the assorted ex-Robins and side players of Gotham. Batman: Eternal had a main story featuring Gordon framed for murder and this new book seems to feature a story with Bruce Wayne framed for murder (years ago as Batman he killed two people while under the mind control of a villain known as "Mother"). The bad thing about a weekly book is that you get the B-team of writers and artists. At least with this first issue we get the decent art of Tony Daniel. The writing in this issue is by James Tynion IV with a story credit by Scott Snyder. I do love the weekly cliff-hanger style of these type of books...and I love Batman and Gotham enough to keep reading, but it could be a hell of a lot better. **1/2

WE CAN NEVER GO HOME #3

The only negative thing I can say about this issue and this book is that it's not exactly original. The hook is basically "what if Bonnie & Clyde had super powers?" The super-power angle is new but the rest is an oft-told tale also similar to other Bonnie & Clyde rip-offs, Badlands and True Romance. But those are classics. I guess it's okay to re-hash quality. And this is, without a doubt, one of the year's best books (and from a new publisher, Black Mask Studios). The story has a male teenage nerd/outcast/loser hooking up with the hottest, prettiest girl in school and they hit the road and rob drug dealers and fight cops amidst humorous quips. I will say the best aspect of the book is the dialogue. It's cool and funny but also realistic. This can be a hard line to move along. I remember reading The Fault in Our Stars and being completely taken out of the story by how unrealistic the "cool" and "clever" dialogue was. It was as if the characters stopped for awhile to think of what to say before they said it...creating perfect, funny, smart lines that no one has ever or will ever speak outside of a book or pre-written speech. The dialogue in We Can Never Go Home is funny and cool and clever but realistic when it comes to teenagers. What's not realistic is that the nerd/loser/outcast would ever score the hottie...but who doesn't like a bit of escapist fantasy? The book is just too good to focus on the minor flaws. It's a wild, entertaining, totally engrossing read and the last page in this issue (shown above) is a fucking killer ending. ***1/2 (out of ****)

WE STAND ON GUARD #1

Brian K. Vaughan is one of my favorite comic book writers. Not just now...but of all time (Frank Miller and Alan Moore are probably the only two better than him). So it's a little sad to admit that his new book, We Stand on Guard, isn't very good. Perhaps it is better than I give it credit for...but Vaughan set such a high standard with Y: The Last Man, Runaways, and Saga, that this new book just feels weak in comparison. The premise is that there's a war between the U.S. in Canada in the future. It's the future, hence the U.S. has giant robots fighting. In this issue we see a Canadian family get blown up at the start of the war and then the little girl that survives has grown up to be a freedom fighter in the woods. Steve Scroce, who left comics to draw storyboards for Hollywood (he did boards for The Matrix), does a decent enough job here upon his return. His work is unique and pretty and movie-like, albeit a little stiff. For 34 pages of art the book at $2.99 is a steal. I'd love to say that it'll get better eventually but, alas, it's only a mini-series. ** (out of ****)

SECRET WARS #1

The big summer event books are here. DC has Convergence, which I haven't read yet but heard is awful (the Superman and The Question tie-ins have gotten good reviews). Marvel started their 8 part Secret Wars this week with a $4.99 debut with writing by Jonathan Hickman and 32 pages of Esad Ribic art. It should be said that the last time Hickman did a big event book for Marvel it was also meant for the hardcore fans who knew the entire, convoluted back story from multiple previous issues. That book, Infinity, was atrocious. Marvel hasn't learned their lesson. I might have read a few of the 33 issues of The New Avengers and 44 issues of The Avengers that set up Secret Wars. But, apparently, not enough to have any idea what's going on now. Which begs the question: does Marvel want new readers or not? All I know is from what I've read on various comic book websites. So I do know that the Ultimate universe and the Marvel universe are combining. You really wouldn't know that if you only picked up and read Secret Wars #1. And how or why the two universes are combining is still a mystery to me. All I know is that in this issue a bunch of characters talk while things blow up in front of them. I will say that the art by Ribic is glorious. He's one of Marvel's best artists. And we still have 7 more issues to go. It could get better or more coherent. Don't hold your breath. *1/2 (out of ****)

IMAGE REVIEWS

I went to the comic book store today and bought six new books, all published by Image Comics. And they weren't old...they all came out today. I even passed up on another Image book I'll probably eventually read online, Jupiter's Children. I didn't buy any DC books because it was the first week of their "Convergence" two-month initiative...meaning it's two months of fill-in books (I did leaf through Convergence #1 and the art was bad and it looked like a mess...plus it was $4.99). I didn't buy any Marvel books either, although I will read Miles Morales: Ultimate Spider-Man #12, Howard the Duck #2, and Ant-Man #4 eventually online ($3.99 for twenty pages of art is just a little too much in my opinion). So it's crazy, right? How good Image is these days? I guess you can thank The Walking Dead. And they keep their prices low and quality high (their books all usually have great letters pages, have more than twenty pages, and are less than $3.99). I think even Marvel and DC realize they have a shrinking fan base. Both "Convergence" and Marvel's "Secret Wars" this summer are bringing forth a plethora of new mini-series leading to new #1's of most of their books along with new titles (both events are, oddly, about parallel-universes combining to form one ultimate universe with every character ever). The other companies can try all they want, but Image is king these days. Here are some short reviews of a few of their current titles:

DESCENDER #2: How many books does Jeff Lemire write? Like a hundred? He's probably more famous for his art (Sweet Tooth was cool), but he did write a nice Green Arrow arc and this new Image book has a great premise. In some future galaxy, giant robots show up out of nowhere and lay waste to a bunch of planets. Then they disappear. The only clue is that they contain similar programming to a robot boy model. The catch? There's only one of these robot boy models left and he's all alone on a far-away mining colony. And it just happens that a group of anti-robot bounty hunters have arrived on the mining colony to capture him. Great premise (even though a robot boy sent to a human family has been done before in A.I.). The first issue was, so far, the best issue of any comic this year. This second issue isn't half as good. It doesn't reveal anymore of the mystery and thus isn't as compelling. The water-color art by Dustin Nguyen is very cool and very unique, though. Definitely curious to see where this goes. **1/2 (out of ****)

BIRTHRIGHT #6: This one also has an intriguing premise. A young boy in our world falls through a portal that transports him to a Lord of the Rings type world where he grows up to be a warrior fighting an evil sorcerer. There's more. He comes back to our world all grown up but time here hasn't passed...so he's grown up but his family is the same. He also comes back possessed by an evil spirit. Yeah, it's pretty crazy. This issue is not the best, though, and so far the book hasn't reached its potential. In this issue we finally get to see the evil sorcerer dude, a bear is killed, and both worlds look to be merging soon. It's a cool, wild romp but this issue is all set-up and needed more. **

RAT QUEENS #10: The first few issues of this book were insanely good. It's dropped off a bit. One reason is the change in art. The old artist (Roc Upchurch) was a better fit for the comedy aspect of this book. Upchurch was arrested for hitting his ex-wife and so they threw him off the book and brought in Stjepan Sejic, who's work in awesome. Sejic is a little too standard for the silly stuff to entirely work, though, so it might take a few more issues to regain steam. This issue is the big finale of an arc involving demons in the sky that look like Chtuhlo. It's a bit of a quick finish. The flashback opener is awkward. And it's not as funny ha-ha as the other, better issues. **

THE LEGACY OF LUTHER STRODE #1: This, the third mini-series in the Luther Strode universe, is already the best. The reason, so far, anyway, is the art. Tradd Moore made his big break on this book way back when then went to Marvel to work on Ghost Rider and do covers for Secret Avengers. Perhaps working with a talented, professional staff at Marvel helped because his art in this book is insane. It's by far the most gorgeous art I've seen this year. The story, as thin as it is, has Strode, a muscled, super-human hero, and his girl escaping from cops, hiding out, then returning to take on two super-human villains. It's all action and blood and guts and it's wild, albeit nothing entirely fresh. The art is the star, though, and we get forty pages of it for $3.99. ***1/2

NAILBITER #11: Joshua Williamson also writes Birthright and Ghosted, but right now Nailbiter is his best book. The premise is that a town in the Pacific Northwest has spawned a ton of serial killers...so what's their secret? Two F.B.I. agents head up their and get their money's worth. This is a mystery but also a horror/suspense tale with murder and surprises and twists. There's catacombs below a cemetery and creepy, black-masked dudes lurking in the woods and a torture chamber. It's crazy, entertaining stuff. This issue is one of the best, too, with a lot of storylines reaching their boiling points and a great last panel. The only problem is that there are way too many unrevealed questions and one awkward page of art, but this is definitely one of Image's best books right now. ***1/2

BATMAN ETERNAL #52

If you enjoy getting some new every week then I'm sure you loved Batman Eternal. It was a weekly book that just ended its year-long run. But with this quick fix came problems. There was never going to be one writer or artist. There was always going to be strands you didn't enjoy. And it was never going to be even half as good as Snyder and Capullo's current Batman run, which is awesome. I read all fifty-two issues. This means it wasn't awful. While a lot of it was crap, the main storyline was a good one. Police Commissioner Jim Gordon was framed and imprisoned. A new, evil, anti-Batman guy took over. An unknown menace, who turned out to be Bruce Wayne's brother, Lincoln March, orchestrated complete chaos in Gotham. The rest was hit-or-miss. Hush showed up. Batman's butler, Alfred, had a daughter that showed up. Some villains broke out of Blackgate. There was a weird supernatural story below the sewers that baffled me. In this finale we got a showdown between Batman and his brother (and this last issue, at $3.99 for 38 pages, is a steal). The art in this series was all over the map but at least we got a cool Jae Lee cover for this issue. The writing was also sub par, thanks mostly to the fact that only the B-team was involved. For what it was, though, it was high-entertainment week to week. It never got truly dull. Some of the storylines moved to other books (Arkham set-up shop at Wayne Manor, Catwoman took over as the mafia boss). You probably had to love Batman to enjoy this, but, really, who doesn't? Issue #52 *** The whole series **1/2 (out of ****)

MEN OF WRATH #1-5

It's a little strange that this book flew under the radar (the final issue, #5, just came out last week). Writer Jason Aaron is pretty popular name in comics (he currently writes Thor, Star Wars, and Southern Bastards). Artist Ron Garney isn't a top name but he did work with Aaron on Wolverine. I guess you have to blame Marvel's Icon imprint, an extremely sorry, throwaway imprint if there ever was one. Maybe they didn't promote it enough? The only books published by Icon these days seem to be Bendis' books, Powers and The United States of Murder, Inc. The reason Icon was created was so Marvel writers/artists could publish their own books without going to another company like Image. It didn't fucking work! Jason Aaron's Southern Bastards is at Image. Hickman, Fraction, and Remender all have multiple Image books...so I'm not sure what the point of Icon is. Either way, Men of Wrath is good enough that it's too bad it got buried and forgotten so easily. It's not as good as Southern Bastards but it's certainly similar. The premise is basically there's this regular Joe who ends up in a heap of trouble. A group of evil dudes send a hit man to kill this regular Joe and the hit man happens to be...his father. Yep. Issue #1 and #5 are just okay, but towards the end of #2 and throughout #3 and #4 the book gets action packed and suspenseful and extremely wild. It's heavy on the violence, very brutal and very nihilistic. It's guys and guns and revenge. Typical, right? But Aaron is a king at this type of story. It's not a masterpiece or anything (Garney's artwork is a bit sloppier than usual) but good enough that it's a little sad it got lost in the shuffle. **1/2 (out of ****)

NEW MARVEL #1's

WOLVERINES #1

I suppose Marvel saw and liked the sales that DC had for their weekly series started last year, Batman Eternal. So Marvel starts their own weekly series about...well...what is it about? Wolverine is dead (or, at least, encased in adamantium and presumed dead). The new Weapon-X project created a few new super-dudes that inhabit this book along with a few other heroes and villains like Sabretooth and Mystique and Lady Deathstrike. So far I'm not really sure where this book is going or what it's ultimately going to be about. I guess it would've helped if I had read the mini-series that linked this book to last Fall's Death of Wolverine series. Either way, the characters head to the destroyed lab where Wolverine's body is. There's some fisticuffs. I'm confused. Usually writer Charles Soule and artist Nick Bradshaw deliver the goods. But this book is just a mess (it doesn't help that pages 17 and 18 are randomly drawn by someone else). If Marvel wants anyone to pony up four bucks every week for twenty-pages it's gonna have to be fucking awesome. * (out of ****)

 ANT MAN #1

A new Ant Man movie is coming out this summer starring Paul Rudd so here's the new series (Marvel Studios seems to be getting desperate finding new franchises, no?). At least they got red-hot writer Nick Spencer to work his magic (the humorous, amusing tone is very similar to his The Superior Foes of Spider-Man book that recently wrapped up). I have no idea who Ant Man is...but after reading this I realize why he's not Batman famous. He can shrink to the size of an ant. That's it. Yes. That's all folks. But the book is very funny, very fun. It's light, easy, entertaining. The story so far as Scott Lang, aka Ant Man, trying to get a job and be a good dad to his daughter. He skips out on a bodyguard job for Tony Stark so he can move to Miami. It's simplistic but a treat. ***

STAR WARS #1

 They got their best writer to write it, so at least Marvel did something right when they got the Star Wars comic book rights back. Artist John Cassaday does a hell of a job here. Han Solo looks like Harrison Ford, etc. The book looks great and the plot and dialogue are spot-on. The story is entertaining and the climax is nice...but this book is the definition of fan fiction and that's a problem. It just feels like a cheap copy of the original Star Wars films. They also can't change the storyline so it's a little muted in that sense (Darth Vader isn't going to kill Leia or anything as an example). If you want same-old, same-old then I suppose you'll enjoy this. But Jason Aaron is a beast that is best when set loose (see Southern Bastards, Scalped, or Astonishing Spider-Man & Wolverine). He's restrained here, and it shows. **1/2

Best Comic Book of 2014: BATMAN

 There were a ton of good books that came out in 2014. Image Comics had a hell of a year. Saga, Nailbiter, Umbral, The Fade Out, Birthright, Sex Criminals, Southern Bastards, The Walking Dead, Invincible, Stray Bullets: Killers, Wytches, Starlight, and Shutter were all great. Crazy that one independent company could put out so many awesome books. Marvel had Ms. Marvel, The United States of Murder, Inc. and The Superior Foes of Spider-Man which were good. Lumberjanes and The Woods from BOOM! Studios were both terrific. The Bunker from Oni Press was strange, wild, and compelling. And DC had The Wake which was entertaining and bizarre. But the best book of the year was Batman (by writer Scott Snyder and artists Greg Capullo, Danny Miki, and FCO Plascencia). The first half of the year the book was set in the past during "Zero Year" when Batman battled Dr. Death and The Riddler. The second half of the year Batman faced off against The Joker. Super-hero stories are, obviously, pretty pedestrian these days. But when they're done right they're a sight to behold. Snyder and co. presented what we all want to see in comic book: big set-pieces, major arcs, villains trying to take over the world, gorgeous art, cliff-hangers, drama, interesting characters, and thrill-ride action. This book had it all. It was always the book I looked forward to reading the most and was always the one book I couldn't put down. Month after month it surprised and entertained and was exactly the super-hero book we all wanted and needed. It was the book of the year.

Best Issue of 2014: THE UNITED STATES OF MURDER, INC. #1

There were a lot of reasons why this issue stood out. First off it was forty pages for $3.99, a steal in this new era of $3.99 20 page books. Second, it was awesome. Michael Avon Oeming was born to draw gangsters and crime. His art has never looked better. And the story by Bendis is one hell of an idea. What if the mob won? What if they've taken over a big chunk of America and rule while the politicians and cops stay outside their zone? On top of that, there's a killer reveal at the end. Everything just clicked. The book was engrossing and entertaining and dark and wild and interesting and dramatic. How every first issue should be; delivering the goods then making you wishing you could read #2 asap.

Best Writer of 2014: BRIAN K. VAUGHAN "SAGA" "THE PRIVATE EYE"

Saga and The Private Eye were two of the best books this year and Brian K. Vaughan wrote them both. While the dialogue, relationships, and character arcs are relatable, the worlds are sci-fi and fantasy and are hugely creative, wild, insane, and fun. The books are funny and dark, entertaining and kinetic. They're like nothing you've seen before. Fresh, fun, and engaging to read. And Vaughan is a master at pacing, at cliff-hangers, at keeping you interested. Vaughan has always been one of the best writers out there and this year he proved it yet again.

Best Art of 2014: BROOKE ALLEN (ILLUSTRATOR) & MAARTA LAIHO (COLORIST) "LUMBERJANES"

Think of the most colorful, coolest, shockingly fun thing to look and that would describe the art of Lumberjanes, one of the funniest, freshest, and most entertaining books of the year. The art is like a cartoon come to life. From the beautiful, vibrant colors to the action to the facial expressions to the layout; it was the best looking book of the year.

Best Cover of 2014: BATMAN #31

One of the big reasons Batman was the best book of the year was the artwork (Greg Capullo on pencils, Danny Miki on inks, and FCO Plascencia on colors). And this cover goes beyond mere comic book art. It's beautiful. That it also sums up the storyline within perfectly is an added bonus.