Over the last year or so, I’ve really grown to appreciate Jeph Loeb. I don’t think that he’s a particularly good writer, and he’s been justifiably parodied in Gavin’s Ultimate Edit series, but I do think that he fills a niche that I’ve come to enjoy. He writes very simple, completely un-self conscious stories about superheroes. If you want a dumb comic about dumb dudes wearing dumb tights fighting each other… Loeb’s Hulk is very entertaining.

I’ve liked a few Loeb books before. Spider-Man: Blue and Daredevil: Yellow were entertaining and very pretty, thanks to quality artwork from Tim Sale. While they tended to be fairly emotionally manipulative, they also really got at what makes Peter Parker or Matt Murdock work. A sheepish Peter Parker being tended by Gwen Stacy and Mary Jane, looking they best they’ve looked since John Romita Sr. last drew them, is dead on.

Loeb’s Hulk, though, is his All-Star Batman & Robin the Boy Wonder. ASBAR is distilled Frank Miller, all of his idiosyncrasies and interests packed into a bullet and fired directly at your brain. Hulk is Loeb jettisoning any semblance of emotional connection or nostalgia-as-crutch, instead choosing to focus on the purely superheroic aspects of the superhero genre. There are no secret identities, no real subplots, no supporting cast, none of that. Everything is about Red Hulk. Everything in the book ties back to him, or was caused by him, or is about him.

Hulk is distilled superheroics. While Captain America, Daredevil, New Avengers, and even books like Batman & Robin feature overt influences from other genres and mediums, Hulk really only has two influences: comics about the Hulk and other Jeph Loeb comics. There is no noir, spy, soap opera, manga, or exploitation influence to be found here. Every single twist and turn and plot can be traced back to comic books, whether it is the unstoppable new creation beating up All Your Favorites or a group of women teaming up seemingly because they are women.

Large and in charge.

This is a book where Moon Knight, the Sentry, and Ms Marvel team up because they kinda resemble Batman, Superman, and Wonder Woman– DC’s Trinity. They not only team up as a replacement Trinity, but Loeb’s dialogue for them is exactly the same as it would be if they were the real thing.

The introduction of Red Hulk is equal parts appealing and off-putting. He beats, outsmarts, embarrasses, and harasses everyone he goes up against, coming out on top each time. He’s the unstoppable force and immovable object all rolled up into one being. We’ve seen this before, where an author’s pet character is put over by beating up a recognizable character, but Loeb ups the ante to an absurd degree. Red Hulk punches out the Watcher in a beautiful spread. He beats Thor with his own hammer through the kind of plot maneuvering little kids routinely practice.

It is loud and it is dumb and it is on a scale that is extremely entertaining. It’s like being in a speeding car on the highway, doing 90 in the fast lane, during a pouring rainstorm. You know how things should work, and generally they perform as expected, but there’s that moment when you pull the wheel left and the car’s momentum shifts and suddenly you’re spinning and completely out of control. Then you stop spinning and you laugh and shake and laugh some more. It’s stupid, and it isn’t a good thing, but you get a weird rush off it.

Basically, what I’m saying here is that, when it comes to Hulk, the best possible comparison is Big Boi and Gucci Mane’s Shine Blockas. Jeph Loeb is the Gucci Mane of comics. He’s not great, but he’s catchy and doing something familiar in a slightly different way. He’s passable, just there to provide a little background noise (‘s gucci) and provide a way for the artists to put some drawings on the page. A little lowest common denominator, not very clever, but gets the job done. At the same time, the artists are the Big Boi in this extraordinarily tortured metaphor, banging out art that’s intended to impress you and drawing the kind of things they’ve apparently always wanted to draw. You check for it, and you feel a little bad over it, but you still seek it out to see what’s next.

You can look at the plot and work out the mystery yourself (Glenn Talbot is pretty clearly Red Hulk, Red She-Hulk is probably Betty Ross, Thunderbolt almost definitely isn’t dead), but all of that is beside the point.

The mystery is just a storytelling engine, something to throw Red Hulk into fight scenes with other characters. Loeb builds it up and ignores it in equal amounts. Domino sees Red Hulk transform, which sets off a story arc about Red Hulk trying to protect his secret identity. During the course of the story, there are no hints about who he is or what she saw, besides a guy in a hat turning into a monster.

Hulk is a book where the plot is secondary, at best, to the action. This is due in no small part to just how Jeph Loeb writes comics. From an interview on CBR a couple years ago:

Hulk fans will surely agree Ed McGuinness’ exaggerated and highly expressive style is uniquely suited for depicting the adventures of Marvel’s green goliath. Appropriately, the artist is himself one of professional comics’ most zealous Hulk devotees. “Ed has wanted to draw the character since he was a kid (and if you know Ed that was like two years ago) – so it’s just a pleasure giving him cool stuff to smash!” Loeb remarked. “And there’s a lot of that!”

“The Hulk is the type character that has affected me on the genetic level, ” Ed McGuinness told CBR News. “There’s just something so cool about this guy who has all the power in the world and can’t do anything to control it. I love the misunderstood monster idea, too. I want the Hulk to be a force of nature! I want the Hulk to wreck stuff! Who doesn’t?”

Writers always talk about “tailoring their scripts” to their artists. Sometimes it means adjusting the number of panels, adding or removing wiggle room, or something like that. When Loeb does it, though, I get the feeling that he’s just writing what his artist wants to draw first, and then fitting his story around that. Grant Morrison’s Seven Soldiers was tailored to all of its artists, but it was still primarily Morrison’s story. Hulk, though, gives Ed McGuinness a chance to draw almost every major Marvel hero doing what they do best: battling each other. And it continues on for all the other artists, too. Frank Cho gets to draw the lady-centric arc. Art Adams draws monsters. Ian Churchill gets to work some new artistic muscles. John Romita Jr gets to take a tour through the Marvel U and draw an amazing Kirby-style spread of the Fantastic Four versus the Hulk.

Comics, for me, are a 50/50 affair. Half of the appeal is in the writing, the other half is in the art. Hulk is a book where more than half of the appeal is in the art. Loeb gives these guys a chance to go wild, often leaving the plot or common sense in the dust, and the book is better for it. I wouldn’t want every book to be like this one, but Hulk? I like it a lot.

There are three, technically four, collections out right now. The hardcovers are annoyingly priced (25 or 20 a pop), but the first volume is available in softcover. Personally though, Hulk: Green Hulk/Red Hulk is the way to go. It’s in Marvel’s oversized hardcover format, which is honestly the absolute best way to read Marvel books, and collects the first couple arcs. Ed McGuinness, Frank Cho, and Arthur Adams’s art looks great at the size. If you’re in the mood for something loud and dumb, give it a try.

–John provides a brief intro
-Theme music: 6th Sense’s 4a.m. Instrumental
-Gavin gave Esther Mark Gruenwald’s Squadron Supreme for Christmas. She gave him a scathing review in exchange.
-Psyche.
-We talk about Squadron Supreme, its place in history, and a few things Esther liked about it.
-David didn’t like Supreme Power much at all, seems like.
-CEOutro

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More meat than last week. Also features Deadpool’s new black glove fingernails. hermanos pointed them out to me and I can’t not notice them throughout that issue. Why does Deadpool now have black glove fingernails? Why?

Blackest Night: Wonder Woman #2
Greg Rucka, Nicola Scott and Eduardo Pansica

Deadpool Team-Up #897
Adam Glass and Chris Staggs

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Me reading a Captain N comic didn’t happen because someone suggested it to me. Nobody told me that there was a Captain N comic. I didn’t stumble upon it or come across an issue in a bin anywhere. It’s just that one day I randomly reminisced about the cartoon and thought to myself, “Was there a Captain N comic book? I bet there was.”

Lo and behold, my instincts were correct. You know I had to get my mitts on this one. The five-issue series came out over the course of 1990, released by Valiant Comics. They released the Game Boy comic around that time, which I’ve reviewed months back.

To fully understand the comic and what makes it worth talking about, you have to understand the TV show. Captain N: The Game Master is a cartoon about a teenager named Kevin Keene who is so good at playing his NES that he and his dog Duke are pulled into his Nintendo by “the Ultimate Warpzone”. It’s there that he exists in a multiverse of videogame franchises, even if they weren’t Nintendo-owned. Armed with a controller belt buckle and a zapper gun, Captain N fights for the original character Princess Lana along with existing videogame heroes Kid Icarus (aka Pit), Mega Man and Simon Belmont. Those three are probably banded together due to their shared success in having awesome theme music. The main villain is Mother Brain from Metroid, commanding over the Eggplant Wizard, King Hippo, Dr. Wily and the Count (they couldn’t call him “Dracula” for whatever reason). Donkey Kong’s there too, but he’s more of a wildcard villain, like the crocodile from Peter Pan.

In concept, it’s a videogame fanboy wet dream. Unfortunately, there were some snags to the show, such as the character designs for the preexisting heroes. Kid Icarus is a midget who won’t stop adding “icus” to the end of his sentences, yet he’s the least problematic. Mega Man is also a midget, only pudgy and more annoying. They saw how dynamic and cool his 8-bit sprite was and came up with that? Then there’s Simon Belmont. Jeeeesus. Instead of a badass vampire hunter, he’s a doofy narcissist with pilot goggles. I get that these guys are all based on early 8-bit designs that lacked characterization, but as a marketing ploy, I can’t imagine any kid was thinking, “I want to play as that annoying, scratchy-voiced toddler in the green tights!” It got even worse in the third season when they introduced Alucard, re-imagined as a totally radical skater dude.

It’s like if Poochy wanted your blood.

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I was never an Ian Churchill fan, even as a kid. I have some friends who really dig his stuff on the various X-books in the ’90s, but I never got into him. And when I came back to comics, his art was of a style that I definitely wasn’t into. It was a little too derivative of Jim Lee, but even more stereotypically Image Comics– unlikely breasts, boobsocks, stick legs, super long torsos, poor acting, etc. He was, in essence, what I didn’t like about superhero books.

Back in October, I read interview on CBR with Churchill about him doing an arc on Jeph Loeb’s Hulk. The stuff about him adjusting his style in the ’90s to be more like Jim Lee in order to get more work was interesting. I’ve heard about Herb Trimpe trying a similar tactic and not meeting with much success. I read the interview, found it a little interesting, but still decided to skip the issues. How different could the style be? It’d still look more or less like his work on Supergirl, right?

I skipped the first couple issues and didn’t think twice. I saw the cover to the second issue on a wall at the comic shop and was kinda surprised. It really, really didn’t look like Churchill’s style. Lots of spot blacks, no crosshatching, the hair wasn’t plasticky… weird. So I picked it up. That ended up being a good decision.

I really dig Churchill’s new style. He’s jettisoned a lot of what I disliked about his work and come up with something really interesting and neat. You can look at it and see some of Churchill’s flourishes. The chins are undeniably Churchill’s work, but overall, his style is something like Dan DeCarlo meets Ed McGuinness, with a small dose of Humberto Ramos in terms of character anatomy and structure. It looks good on the page, and is appealingly “superheroic” in terms of style.

I’m enjoying Churchill’s storytelling a lot more now, too. He’s still using around the same number of panels as in his prior work, but the cleaner style gives him room to make the faces more cartoonishly expressive. The figure work is better, too. There are still muscles stacked on muscles, but the lack of excessive detail makes it look cleaner, less cluttered, and more attractive.

A few artists I like have gone through serious changes to get where they are now. Chris Bachalo reinvented himself as as a monster of an artist, a guy who can make anything look good even as he weirds it up to the max. Travis Charest used to be a crappy Jim Lee knockoff before he was a master of hyperrealism. Patrick Zircher went from doing okay middle of the road stuff on Cable/Deadpool to knocking Terror, Inc. all the way out of the park with a fresh new style. (Ask Carla about his work on BLOOD COLOSSUS sometime.) With able assistance from Mark Farmer on inks and Peter Stiegerwald on colors, Churchill has managed to reinvent himself for the better.

Alert reader Nathan Valle sent me an email.  A cunning gentleman, Valle opened the email with a link to this entry, knowing that I can’t resist reading my own work.  In the linked piece (on the off chance that you, the reader, don’t want to read my opinion all over again), I bemoan the fact that Tim has become grim, gritty, boring, and completely unrecognizable to long-time fans. 

It seems, though, that a change has come over Tim Drake.  There’s a new love interest, who both knows that Tim Drake is Robin and seems to be okay with it.  That cuts out a lot of the usual superhero love story cliches, in which a superhero keeps trying to make the relationship work while keeping the dominant facet of his or her life under wraps and therefore failing at both crime-fighting and love.

Tim also seems to be more cerebral.  The exact quote was, “he’s stopped acting like a crazy man and actually using his head.”  Good news, indeed.

And so Valle concludes, “So essentially this is my “there are no more sharks in the beach” “all clear” message, not a two fisted urging that you come back since Yost did decide to go this route in the first place and that may be enough for most to stay away, but I personally have hope for the future now.”

We shall see, sir.  We shall see.  I’m picking up Red Robin next week, and if it’s still all grim, I am calling you a liar to your face!  On the internet!

Any readers who wish to side with this gentleman can comment below.

I have a review of a comic about a certain late-80’s/early-90’s animated series almost finished. In the meantime, here’s a segment from it that I couldn’t find a spot for in the article.

How did a shitty cartoon turn into a surprisingly good comic series? Check back in a day or so.

-I usually say “I don’t really read autobio comics,” but that’s pretty much a lie, I’ve realized. Erika Moen’s DAR: A Super Girly Top Secret Comic Diary is fascinating to me. She ended it yesterweek, and I’ve had it open in a tab ever since, hopping around from strip to strip. It’s really strong and very entertaining. It’s also a little baffling to me, as well. Moen is able to share things on a level I’m completely incapable of duplicating. It’s not that I’m emotionally cold (hey lay-deez, how YOU dooooooin’), it’s just that she’s open in a way that’s both foreign and appealing. It’s good reading, and her farewell strip is a beast. Plus, the series of strips about the guy who pooped on her bathroom floor was funny.

-Emi Lenox’s Emitown is also must-reading, for both similar and different reasons. What I like is that it’s almost like a highlight reel, or skimming someone’s diary. You never know if you’re gonna get a post about one subject or six. It’s a fifty-fifty draw- you’re getting either a single round or buckshot. The only surety is that you’re gonna get shot. Pardon the tortured gun metaphor, what I’m really trying to say is that the strip is entertaining and her art is great. Great emotional work and it never feels cluttered. Look at the faces in this one. I particularly like the bit where the cat laughs at her. Dope sense of humor at work there. She updates throughout the week.

-Julian Lytle’s Ants is more of a sitcom than a serial gag comedy strip. You dip in and out of watching these guys interact with (or talk about) current events, video games, music, whatever whatever. The slanguage is on point, and each strip is just a glimpse into the life of these guys. The latest is part of a series where the ants are riding on Asgard because they’re out of Eggos. Lemme tell you this: I can relate, because if EL Fudges end up shorted? I’m going out masked up, eyebrows down, and a whole bunch of guns on the backseat of the car. Julian updates on Thursdays.

–D-pi‘s Gratuitous Ninja has a few episodes out right now, and it’s shaping up to be pretty cool. It’s fresh, working in that same kind of cultural fusion lane as Jet Set Radio Future (sorry kids, I copped that on Xbox and missed it on Dreamcast) ran in. There’s a strong influence from video games, music, Japanese culture, and something I can’t quite put my finger on. I think Ron and I grew up on a lot of the same things, and it’s dope to see that on the page. Check it out on Wednesdays.

I grew up around a small battalion of cousins. I was part of the first wave, and we had around seven years before the next group came through. Even now, I’ve got a younger brother who’s a year old, and if I didn’t live all the way across the country, I’m sure I’d still be in the thick of it. So, a lot of stuff in Kiyohiko Azuma’s Yotsuba&! is old hat to me. Only, it’s funny now, because I’m not being shanghai’d into watching someone else’s kid or changing diapers. I can appreciate it for what it is, rather than wishing I was outside on my bike instead of watching some rugrat drool all over the place.

I read the 7th volume in December and loved it. My complaints about the translation still stand, but that’s a difference of opinion. The source material is incredibly strong, from art to writing, and it shows in the translation. Yotsuba&! is the kind of book that you makes you bark laugh, or snort, or guffaw, or whatever embarrassing laugh it is people hate to do these days. When you read Yotsuba&!, you’re going to like it. That’s just the way things work. It’s natural. I read Yotsuba&! 7 while going through hell at work. Bad day after bad day, coming home pissed off, so on and so forth. But, Yotsuba&! was a bright spot. It’s the kind of book that cheers you up, if only for a little bit, and is more than welcome due to that fact.

I picked out seven things I liked from this volume of Yotsuba&!. I don’t know that they’re the seven funniest things, but they are things that I think encapsulate what Yotsuba&! is all about. They range from comedy to craft to characters, all from volume 7. This is a good volume to pull from, being both the latest and blisteringly funny, to boot. There’s a couple pages in there that kill me every time I look at them.

(After you read this, read this. Azuma won the Excellence Prize in manga at a 2006 media festival and gave an acceptance interview. It’s pretty interesting and well worth a read. Thanks to Jog for finding it.)

Yotsuba&Mundanity
Real life is mundane. When I wake up in the morning, I calculate whether or not I can sleep several more hoursminutes, figure out what time I finally fell asleep, and then get out of bed, landing on the wrong side. I brush my teeth with my eyes closed, pull on clothes, and hit the streets. Have you ever seen a little kid wake up? No, you haven’t, because they wake up before we do, with three times as much energy.

I like the body language in this panel, with Koiwai and Yotsuba both brushing their teeth the same way, but looking completely different at the same time. Yotsuba is wide-eyed and alert, while Koiwai is still sleepy. It’s not too hard to see that Koiwai probably taught her how to brush her teeth, judging from their posture, but the difference between the two speaks volumes. To Yotsuba, every action, every event, is something to be devoured. To Koiwai, it’s just another morning.

Yotsuba&Real Life
The attention to clothes in Yotsuba&! is lovely. Characters don’t just wear Generic [Color] Shirt and Straight Slacks. Clothes have patterns, jeans look like jeans, and people actually look like they pay attention to what they put on in the morning. Yotsuba and the girls next door all wear age appropriate material, from an adorable shirt with a bunny on the front on Yotsuba to classy sweaters and skirts on the eldest girl. Even Koiwai, who spends most of each volume in boxers and a white t-shirt, makes sense when he goes out. If all you did all day was type at a computer at home, you’d do the same. (Don’t front. I know several pro bloggers and none of y’all wear pants, except when someone asks you to.)

What’s nice about Yotsuba&! are these occasional interludes where Azuma just lets Yotsuba roam freely around the area. Part of it is that I like seeing him being able to break out of the tiny panels that made up his Azumanga Daioh work and really go at a panel. There’s some photoref going on, but the way his cartoony characters interact with their environment is always golden. Yotsuba never sleeps straight. She’s always sprawled or draped over something. Falling asleep partially draped over a table with cup phones wrapped around her body? It looks good and it fits her personality.

But the best is just seeing Yotsuba roam and the things she does. Everything focuses down onto the most important part of Yotsuba&!, which is that everything is wonderful if you look at it with the right eyes. A walk to the store isn’t just ten minutes of walking. It’s strolling past neat bushes, finding a cool stick, making noise (everyone who has ever seen a kid make noise just to make noise raise your hand), and, when all that becomes boring, turning yourself into an airplane and flying along.

There is a purity in Yotsuba that I can appreciate. A lot of the appeal of the series is that she isn’t tainted by the things that make adults bitter and mean. Everything is new, everything is wonderful, and Yotsuba is in the perfect position to appreciate all of it. And, by seeing the world through her eyes, we can appreciate it, as well.

Yotsuba&Comedy
Sometimes, man, Yotsuba&! is just funny. Yotsuba runs afoul of a sheep, gets knocked down, hops up, and hits the sheep with a hook. That’s comedy. The cherry on top is that this is apparently not just a one time thing- she makes a habit of punching animals.

Yotsuba&Cartooning
Yotsuba trying to decide what to put back at the story, and putting all five years of her experience toward figuring out her dilemma, is another good scene. This one shows Azuma’s skill at cartooning. Yotsuba goes from listening intently in panel two, paying close attention, to carefully examining the goods, to realizing that she can’t put anything back because she needs all of it, before being told a possible solution that she hadn’t even thought of, and then she’s determined.

I really like this progression. Azuma gets a lot across with not a lot of lines, particularly in the fourth panel, where Yotsuba’s practically in agony over having to make a hard decision. His realistic approach to clothes and backgrounds gives way when it serves the story, turning faces into two circles and a line. It’s easy to overdo, hard to get right, but Azuma tiptoes on that line with a deft touch. Yotsuba is the most expressive, but her expressiveness tends to infect other characters in a believable way. Her nature encourages other people to turn child-like, like when Yotsuba and Koiwai have giant monster battles.

Yotsuba&Focus
One of my favorite things is when a little kid gets super fixated on something. I have a cousin who loves to play video games. I made the mistake of showing him the Wii at an early age, and he was the first one that wasn’t dumb enough to fall for the old “give a kid the controller, leave it unplugged, pretend like it’s two player” trick. After that, it was on. Wii, GameBoy, Xbox, whatever, he was all about it. He was really into Rayman Raving Rabbids for a while, and it got to where you couldn’t mention anything that even sounded like Wii or Rayman or Rabbits without him peeking around the corner like, “Are we about to play Wii?” He knew what he wanted and anything that brought him close to that was a good thing.

That’s a big part of why I like this scene in Yotsuba&! 7. Yotsuba doesn’t know what a patissier is, but she knows that chefs cook food, and food is hamburgers, so Fuuka is… going to cook hamburgers! Duh! It’s obvious! Of course, when Fuuka reveals that she is going to make a cake, Yotsuba loses it and declares her undying love on the next page. That’s the other thing about kids. Show them the next awesome thing, or another awesome thing, and they’re ready to go, they don’t even have to switch gears.

And once again, through Yotsuba’s eyes, everything is magical. I’m a big fan of hamburgers, but I don’t think I get as excited as Yotsuba does over them. We might be equal on cake, though.

Yotsuba&CrossCutter
In terms of calling shotgun, Cross Cutter beats all. Right, Heidern?

Right.

Yotsuba’s “Hmph!” in the second panel on the second page is amazing. That’s Azuma’s cartooning at work again, using a little to accomplish a lot. It getting an entire panel to itself is a deft touch, giving the comedy a chance to breathe. We’re right there with Yanda, wondering “Did that just happen?”

Yotsuba&Yanda
Yotsuba is adorable, but she’s also a smug jerk. She’s just so matter of fact and condescending on this page. Why else would you go to a ranch, but for the cows? C’mon Yanda, you’re dumb. The little fist pump in panel five like “So there!” would make it if not for panel 7 and the look on her face. That panel kills me every time.

Greame McMillan at Io9, has quoted Grant Morrison as revealing that the Pirate Batman we saw was only concept art, and not the center of a story. 

I’m heartbroken.  That art was incredible.  Batman, staring out of the page, daring you to make fun of his puffy shirt-cuffs and tri-corner hat.

But I can let that go.  I can let everything go.  It’s funny, the persistence of hope.  Even now that I know there’s no chance, some part of me cradles the flickering hope that Batmanderthal will be in the comics.  I don’t know how he would go about serving justice pre-bronze age, but I know it would be fantastic.

Just concept art?  Say it ain’t so, DC.  Say it ain’t so.