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 ****)