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Snapshots for 8/10/05
There's no way that Don and I can cover all of the material we have for review in full reviews, so these capsule reviews will offer some brief comments on other recent releases.
 And with the third issue, it all clicks. While the story of an isolated militia town was intriguing, the first two issues of Elk's Run seemed a little slow-paced, but I now see that Fialkov was building a foundation and using the slow pace for tension. In this third issue, when events from the first two begin to snowball and more cracks appear in the "perfect town" of Elk's Run, it becomes clear that establishing the mood and foundation was important. With that understood, the artwork of Noel Tuazon and colorist Scott Keating clicks with me more as well, and though I still find some of the specific storytelling a little fuzzy, the dull browns and yellows of the palettes and the somewhat oppressive mood in the art throughout begins to make more sense. Tuazon and Keating are showing the reader the illusion of the dull community, and it makes for an effective contrast with the sinister events that unfold in this issue.
The shifting point of view also becomes clearer now that we're three issues in, and this issue's look at how the "mother hen" of the community views the events going on is a fascinating look at maternal instinct as it applies in a community where isolation and the ever-present threat of violence are part of life. The most interesting moment, however, comes fairly late in the issue, as one of the community members makes a decision that puts the hidden community in a direct path with the society outside, and promises to speed the pace up considerably. Elk's Run has been all about mood up to this point, but with the mood now firmly established, the actual story has gotten underway in a big way with this issue, and in so doing, hooked me much more into the story. Those seeking a moody suspense piece should give the Elk's Run Collected Edition from Speakeasy a look when it hits.
 This issue seems to hold the revelation of the identity of The Adversary, and if it's the truth, it's a bit of a doozy. I say if because Willingham has faked out the readers before, but the story of The Adversary's rise from humble beginnings certainly fits the general style of Fables, and it's a good story to boot, based on a traditional fairy tale but given the more expanded twist that Willingham has given many of the Fables. I'm being careful not to give anything away here, which means I can't really get into the specifics of why this issue is so good, but Little Boy Blue's adventure back into the Homelands has been one of the best stories in Fables, and this issue is probably one of the particular high points. With forty issues out of the way, the Fables story is showing no signs of slowing down or disappointing, and if you haven't jumped on yet, this modern fantasy title is well worth checking out in trades.
 Well, you've gotta give the Luna Brothers credit for going a bit farther afield in Girls than they did in Ultra. This book is just weird. But in that good way. Beautiful girl laying eggs containing more beautiful girls? The whole gaggle of them engaging in angry violence against a few people, turning the book into a twisted horror-survival story for an issue, while the town rumormongers gab outside? Like I said, it's more than a little bizarre, but the strangeness and uniqueness of the whole thing just makes it more compelling. Certainly the Lunas do a great job of selling a band of naked, seemingly feral girls as a threat, and the small town setting gives the whole thing an ineresting context, as no one is really thinking of the implications of her arrival or anything like that, they're dealing with it from a more immediate perspective and letting the drama of their own lives overwhelm the larger implications of the girl's arrival. We're three issues in and I'm still not entirely sure where the story is going, but I'll be damned if I'm not still fascinated to find out. Girls is a book that will live or die on its payoff.
 In this ish: The Goon goes to jail and gains a gang of kid sidekicks. Of course, if you know The Goon, you know that this description doesn't really do justice to the story, which includes a Johnny Cash tribute, an unusual take on prison politics that includes the phrase "I'll have you know, sir, that not only is my anus impenetrable, but it can withstand a blast from a fifty kilojoule laser!", the accidental poisoning of a cruel matron and a fistfight with a shark. Powell's artwork is also as beautiful as ever, even in depicting the deliberate ugliness of the inhabitants of "the hole" or the shabby looking kids that make up The Goon's would-be rescuers. The Goon continues to be a bright spot of imaginative weirdness and twisted humor in the marketplace, and I suspect that the two Eisners it earned this year will not be the last for the title.
GRAVITY #3
by Sean McKeever, Mike Norton & Jonathan Glapion (Marvel Comics)
 We've all seen Spider-Man quit numerous times. We know it's not going to stick. The beauty of Gravity, though, is that McKeever and Norton have established a story that is just as much about a kid adjusting to college life and the big city as it is about a new superhero adjusting to the challenges of the hero business. When Gravity gets himself beat up by a powerful villain, when he starts to feel frustration about the changes in his life, it's easy to believe him throwing in the towel. Gravity has an old school Spider-Man vibe, but the story being told here is one you couldn't actually tell with Spider-Man, a story about growing up and making your choices about what's really important without the artificial status quo of a licensed money-maker pressuring the story in one direction. In amidst these larger stories, McKeever manages some nice small moments, like Lauren's postcard collection or Greg's frustration with his roommate, that make this story of a fish out of water something more than the usual. Gravity is definitely one of Marvel's best new books, and I'm curious to see where the story of this new hero will go, all the moreso because his newness means that the end isn't easy to forecast at all.
 Hero@Large is a solid, if not inspiring, first issue. Hogan's story is the latest to blend superheroes with other forms of celebrity, and so we find our protagonist dropped by his agent and immediately zoomed from top hero to flophouse failure. From there, he finds a new reason to regain his self respect and try being a hero again. It's fairly standard stuff, but done reasonably well, and there's reason to hope for more in the last panel of the book, which is a cute gag that gave me a chuckle and served notice that Alpha Major's image problems aren't entirely a thing of the past. The artwork by Treece has a weird, angular and cartoony quality that is reminiscent in some ways of Skottie Young's work on New Warriors, and if some of the moments seem a little underplayed, there are certainly others (such as Alpha Major's extended humiliation upon being deserted by the Justice Five or that last panel) that display great timing. Hero@Large hasn't hooked me yet, but there's enough promise in these pages to at least get me to keep an eye on it.
HERO CAMP #3
by Greg Thompson, Robbi Rodriguez, & Mark Englert (Image Comics)
 Each issue of Hero Camp seems to be just a little bit better than the last, and this issue's tale of the villainous Goat seeking out the help of some of the campers against the Chupacabra (goat sucker) is hilarious fun. It's not just the fun to be had in the uneasy truce between hero and villain, but in Thompson and Rodriguez's design for the Chupacabra. His casual, confident method of speech, peppered with Spanish, is a hilarious contrast to his tiny size and cute appearance, but Rodriguez also gives him a legitimately nasty looking "combat" mode that shows us why his confidence is warranted and provides some terrific slapstick comedy and action. In a switch from the past two issues of Hero Camp, the first story is actually more of a character piece while the backup features heavier action, as Sport engages in a big 'ol action sequence complete with guest stars from Invincible and Wildguard courtesy of Capes artist Mark Englert. This is a fun series with a distinctive visual look and a great mixture of comedy and action, definitely one of the best books Image is producing right now, and I say that as a fan of a lot of Image's current output.
INVINCIBLE #24
by Robert Kirkman & Ryan Ottley (Image Comics)
 Speaking of the best books Image is producing right now, we have the latest issue of Invincible. There are some neat little character moments in this issue, as Mark has a long-delayed visit with his mother and checks in with an increasingly jerky William, but most of the issue is given over to an extended fight sequence that also happens to be the culmination of a long-running subplot. And quite possibly the birth of Mark's archnemesis, in ironic counterpoint to a comment he makes to his mother earlier in the issue. Ottley and colorist Bill Crabtree always do these big action setpieces well, and this issue is no exception, with the high-tech machine of Levy and the Mauler Twins a great backdrop, and the overwhelming forces of Maulers a great foe to challenge Invincible. It's a relatively low content issue compared to Invincible's usual mile a minute pacing, but it's got plenty to keep the reader entertained and it's nice to see some of Kirkman's long-running subplots paying off.
 Well, it's taken longer than usual (three issues instead of three pages), but Watson has finally hooked me again. Though Simon's experience with his three-year-old girl is wildly different from my experience with my two and a half year old to date, there's enough common ground now for me to relate, and the love that Simon feels for his daughter is coming through more clearly now, even if the focus is still on the frustrations. This issue deals with a couple of common issues, the fear of losing your child and the difficult balance between providing for your child financially and providing for them emotionally. Watson's focus is still very much on Simon and how these choices affect his life, but in this issue I've become clearer on the fact that what affects Simon also affects his wife and daughter, and Simon comes off as considerably less selfish in this issue than he has in previous ones. Sure, he's still equally worried about his career and his daughter, but it's clear that part of his worry about his career is for how that affects his daughter as well. Watson's artwork is beautiful as usual, and never more effective than when he's painting the picture of a distraught mother who has lost her child or a panicked father who fears he could lose his as well.
 Mort Grim is a gorgeous book, with Chris Pitzer's usual sense of design shining through and Fraser using an interesting white, yellow and black color palette with his stark artwork to great effect. Fraser's work has been compared to David Mazzuchelli, and I can see that, but I'm also reminded of the work done by Peter Kuper. Fraser's storytelling is excellent, and there's not a wasted line or bit of space in any of his panels. The crash between the truck and the big rig, the isolation of a motorbike cop on a remote highway and the excitement of a mid-chase brawl all come through loud and clear in the work. However, while the visceral emotions and actions are clear, the story is anything but. Fraser's story seems to involve the metaphysical world, with a personification of the grim reaper, a "god dog" and a man trying to escape his time, but I've read this book five times now and I'd be hard pressed to tell anyone what the story is actually about. Mort Grim is a thing of beauty, a success as an art object, but as a story it falls far short for me. Those looking for a book that features stunning artwork and evokes moods will want to check it out, those looking for a more conventional story might want to give it a pass.
 How does what sounds like an ill-advised revamp of a cult favorite team become one of my favorite projects at Marvel? It all comes down to the skill involved in the execution, and with this series, Zeb Wells is proving that he can do far more than just bring the funny, not unlike Marvel's other up-and-comer Dan Slott. There are three stories in this issue, but the book doesn't feel cramped at all. Instead, Wells covers the all-important origin stuff, from the backstory on new character Microbe to the story of how the New Warriors came back together as this reality show version, all the while telling a funny story of the Warriors stranded in middle America with a flat tire and the amusing story about how the show is being pitched to the network. Plenty of story, tons of gags and even a little bit of heart in the form of the relationship between Microbe and Night Thrasher, this is probably the best issue of New Warriors so far. At least in terms of writing, because when it comes to the art, Skottie Young really didn't have any room to improve after the impressive first issue, and his work here is as exceptional as it has been on the rest of the series. It really is like watching a cartoon as much as reading a comic, given the amount of expressiveness and flexibility he gives the characters, and the bright colors by Young and Beaulieu are amazing as well.
SEVEN SOLDIERS: ZATANNA #3
by Grant Morrison, Ryan Sook & Mick Gray (DC Comics)
 In this issue, we see the first real crossover of events between two of the Seven Soldiers miniseries, and Morrison's promise of standalone minis with links between them is put to the test. I'm a rotten guinea pig, since I'm reading all of the Seven Soldiers books, but I have to say that the incursion of elements from Shining Knight into Zatanna reads pretty seamlessly, and I suspect that even if this is the only one you're following, you won't feel the need to have read Shining Knight to know what's going on. It's just that readers who have read both will know more, and have a larger picture of what's going on, and those who have read Morrison's JLA: Classified arc will know even more. The book opens with a fun sequence of Zatanna and her new apprentice busting up ghosts, but quickly turns to larger story stuff, including a reveal about the new apprentice that I did not see coming but that I loved. This bizarre, occasionally confusing but mostly fascinating story is accompanied by gorgeous artwork by Sook, Gray and colorist Nathan Eyring that captures all the weirdness, violence and spooky behavior perfectly.
 I recently said in my review of K Chronicles that the upside of the political turn the U.S. has taken for me has been that some of my favorite comedians and cartoonists have gotten funnier, with plenty of targets for vicious satire freely available. That's also evident in Stupid Comics, as Mahfood applies his general disgust with trend-following pop culture devotees to those who are also following the common trends in politics. Neither side is spared, as Mahfood expresses a disgust more with people's tendency to get into the programmed us vs. them mentality rather than thinking for themselves, and I must admit, there are a few zingers that struck home for me as well given my own love of some pop culture. In amidst a sea of misanthropic (and darkly funny) strips, Mahfood also turns the "camera" on himself for a look at conventions, art shows and family visits, not to mention a clear love of the ladies and the booze (in moderation, of course). This is the sharpest Stupid Comics that I've read, and it is of course accompanied by Mahfood's distinctive hyper-packed full of detail artwork, which makes it a treat for the eyes as well as the brain and the funny bone.
 Usagi Yojimbo is one of those books that is tough to review, because basically all I'm doing is repeating myself by saying how amazing the book is on a consistent basis. "The Treasure of the Mother of Mountains" is looking like a high point for Usagi, and this third part features a fascinating look at the evolution of one of the long-running supporting characters, a terrific action sequence and quite the cliffhanger ending that leaves Usagi in a surprising amount of danger. I've written before of how much I love Sakai's long-term plotting and vast cast of characters, so I'll focus in this capsule on how impressive the art was in this particular issue. Sakai opens with an amazing 3/4 of two-page splash that instantly encapsulates the feelings Motokazu has in walking into a large city, and he does a great 3/4 page panel that effectively works as a montage of Motokazu's samurai training as well. Then there's the sense of movement and clever staging as Usagi and Tomoe engage in an unusual chase and fight sequence by sliding down a mountain, an example of Sakai's seemingly unending creativity in terms of setting and interesting action elements. Usagi is one of the medium's unsung treasures that deserves a much wider readership, and "Treasure of the Mother of Mountains" is as good a jumping-on point as any. Give just about any issue of Usagi a try and you'll most likely be hooked from then on.
VILLAINS UNITED #4
by Gail Simone, Dale Eaglesham & Wade Von Grawbadger (DC Comics)
 I think I've been pretty clear on my feelings about the countdown to Infinite Crisis, and how that has killed much of my enthusiasm for all of the DC Universe titles, but Villains United, despite being a core part of all of that, remains a monthly read worth looking forward to. Gail Simone broke in by writing humor, but she has quickly broadened her range to include kickass action and memorable villains, and those are two of the factors that make Villains United so compelling. Simone's "Secret Six" are not the heroes of the piece, they're the protagonists, and other than the reinvigorated Catman, there's no question that these are still the bad guys. Deadshot and Cheshire in particular are note-perfect with their past portrayals, and they both get some memorable moments in this issue. Deadshot, with only five words, has the best moment in a terrific action sequence by Eaglesham and Von Grawbadger, and Cheshire's moment with Catman is an interesting one as well, given how it synchs up with her past history with conflicted hero Speedy. I have to admit, I was a little confused about the revelation of the Society's "power source," given that he has his own monthly title where this hasn't been reflected yet, but it's a minor bit of continuity confusion for a pretty fun surprise moment. Supervillains teaming up, great action and just a little bit of Simone's sense of humor slipping into the character interaction makes for a dark but enjoyable comic book read that even us Infinite Crisis haters can enjoy.
THE WALKING DEAD #20
by Robert Kirkman, Charlie Adlard & Cliff Rathburn (Image Comics)
 Weirdly, Walking Dead #20 engages in one of my most hated trends in modern comics, the issue where we get a lot of talking heads scenes, but for some reason, on this book it works. I suspect that part of the reason it works is that despite the decompressed pacing, a hell of a lot actually happens in this issue. Certainly it helps that Kirkman and Adlard provide some tense scenes and a burst of surprising violence that will have lasting ramifications for some of the characters, and that there's another memorable cliffhanger, but I think the big difference between the talking heads of Walking Dead and the talking heads of some modern superhero comics is that the characters just seem to have more to them. These seem more like people than a collection of powers and a costume, and so I'm more interested in the details of their lives than in seeing them punch out the bad guys. Adlard also makes great use of the decompressed pacing, notably in the opening four pages that has both zombie slapstick (seriously) and a payoff to a plan that the heroes had been working on a couple issues back. Meanwhile, the slow burn on some of the developing character relationships, whether it's a potential Michonne-Tyreese-Carol triangle or Otis's disturbingly angry racism, has proven in the past to pay off with explosive consequences, and the lighter moments with Andrea and the laundry is a nice reminder of the realities of survival in this world.
 Wildguard: Fool's Gold is the second follow-up to Todd Nauck's Wildguard: Casting Call miniseries, and though I was once unsure that the concept had legs beyond its miniseries roots, I now feel like I want to see this book as an ongoing series. Nauck has shown that there's more to Wildguard than the reality show gimmick, as he incorporate common superhero tropes with unusual touches like putting the heroes into a modeling show or competing with superhero boy band members for attention and gives each of his characters the kind of personality that makes for fun Claremont-style interaction in the midst of the superhero action. Fool's Gold, like the previous Wildguard stories, has an old school, classic superhero feel to it, but Nauck has set these characters in a world where superheroes are more immersed in the pop culture, giving Wildguard a bit of a new twist alongside its classic superhero structure. Throw in the always enjoyable "where are they now?" stories about the multitude of Wildguard contenders who didn't make the team, and you've got a book that feels like a universe unto itself, not unlike Image's other superhero books Invincible and Noble Causes.
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