-I’m slowly getting into Michael DeForge’s work. It’s weird and a little out of my wheelhouse of cusswords and violence comix, but I like how creepy and weird and John K his style gets sometimes. He’s put Kid Mafia #1 online for free, asking only that if you read and enjoy it, you kick him fifty cents via Paypal. I read it, I liked it, and I paypaled him fifty cents in Canadian dollars. If you like it, you should do the same.

I like this idea, and I hope more cats who produce minicomics start doing this. I’m not much for paper books and totally fine with making it rain via Paypal. Hopefully you are, too!

–I did a podcast with Chris Eckert from Funnybook Babylon about our comic book origins. I really like this photoset he made for the chat, which really says it all:

Is it any wonder my taste in comics turned out like it did? That Batman cover is crazy, though. I also spill the beans on the time I had a nightmare about Terry Kavanaugh, which is one of the stupidest things that has ever happened to me. We talk a lot about Image comics, too. I guess I hadn’t realized how fundamental their stuff was for/to me until this chat, so it was nice to look back and sort of reconcile what I like now with what I liked then.

-Michael Peterson and Kevin Czapiewski have launched Project Ballad, a webcomic about a girl named Kendra Price, RPGs, and maybe… video games?? Start reading it here. It’ll update Monday-Wednesday-Friday from here on out. You should read it. I am.

-I watched Lena Dunham’s Girls, but I don’t really have a thinkpiece in me like the rest of the internet. I hated it, basically, because the experiences and people I watched on TV were so completely and utterly alien to my experiences. Like, magic, kung fu? I can buy that. Asking my mother for eleven hundred bucks a month to pay my rent while I douchebag around town? My mom would die laughing and then haunt me for the rest of my life, telling me to get a job in between ghostly guffaws. So yeah: not for me.

-I watched Frederic Jardin’s Sleepless Night the other night. I liked it a lot. It’s this tight little crime thriller about a cop who robs the wrong guy and gets his son kidnapped. Most of it takes place in one building, there are several factions, and I love love loved that the violence was so awkward and off-putting. Tomer Sisley as Vincent is not playing Jason Statham as Jason Statham, as the fight scene in the kitchen proves. He’s just a cop, rather than a supercop. Also there are father/son issues, and I’m a sucker for those, not to mention gunfights and action.

A lot of Sleepless Night takes place in a nightclub, but it never dragged the movie down like every other nightclub scene does for me.

Sleepless Night reminded me about Fred Cavayé’s Point Blank because… well, they’re both in the same genre, French, and pretty good. Point Blank shakes out a little differently. Samuel is a regular dude, a nurse, put into a tough situation. He sucks a a lot of things, but the movie livens things up by teaming him up with a hardened criminal. That doesn’t mean that you won’t see cross on double cross on triple cross over the course of the movie, though. Gilles Lellouche is perfect as the desperate regular dude, and Roschdy Zem gets a good turn as a gangster. There’s a scene in an apartment that was tremendous, really great writing, action, and film-making.

-My man Sean Witzke put me onto Yamantaka // Sonic Titan, which is a… some type of band. Rock? Noise? Whatever. I really like “Hoshi Neko,” but the entire album is pretty good.

I don’t really have the frame of reference to describe it in proper terms, I guess, so I’m going to copy & paste from their blog:

YT//ST was founded in late 2007 by performance artists alaska B and Ruby Kato Attwood, born from the ashes of the late Lesbian Fight Club. Armed with mixed-race identities, mad illustration skills and a whole pile of home-brew junk electronics, alaska and Ruby wrote and performed the first mini ‘Noh-Wave’ Opera, ‘YAMANTAKA // SONIC TITAN I’ in April 2008. YT//ST continued to perform short homebrewed operas, eventually forming a network of Asian and Indigenous artists through collaboration and formed the current YT//ST collective.

They have this weird multi-disciplinary sound, sort of dissonant but appealing at the same time. The vocals sound like they’re coming in from a distance, or through a filter, and instruments sound like they fade in and out of the mix as needed. I dunno, I could keep putting words that don’t quite fit on it or you can listen to “Hoshi Neko” and “Reverse Crystal//Murder of a Spider” and hear exactly what I mean. I bought the album and it was more than worth my time.

–This guy Boulet is so good. I love this strip about childhood dreams, too.

-Philip Bond is still drawing spacegirls.

-Faith Erin Hicks is great. I think she’s super interesting as a person, going by her essays on making a living in comics & animation and whatnot, and of course she’s scary talented. She’s got a Tumblr now, which includes this great picture of Liz Sherman from BPRD:

I really really like this. Liz’s bored expression, which extends to the lazily arcing cigarette smoke, is pitch-perfect. Even the lazy posture, starting from her bent left leg on up. But, and maybe this is weird, my favorite part is Hicks’s signature. “feh.” is the best signature since Walt Simonson’s dinosaur. Someone should do one of those knock-down, drag-out, ultra-long, “here are all of my opinions on every subject ever” interviews with Hicks. I bet it’d be a great read.

–Powerhouse blogger Kate Dacey is curating a Manga Movable Feast on Viz Signature, which may well be the best comics imprint since the glory days of Wildstorm. The MMF is a collection of reviews, criticism, and just content in general, all on the subject of Viz Sig’s fantastic catalog. I’m not sure if I’ll have time to contribute this time (my motivation for everything these days is on approximately a negative thousand million, but it’ll pass. I’ve been working on this simple post since Wednesday, ha ha), but I did pick Takehiko Inoue’s Vagabond Vizbig 9 and Naoki Urasawa’s Pluto: Urasawa x Tezuka as part of my best of 2010, and I still like this look at Inoue’s writing. I’m down for another Vagabond reread, actually. Maybe that’ll be this summer’s big series of posts? Inouefest, 2012. In-No-Way-Fest 2012. Anyway! Go, read! Kate’s list of 7 essential books is pretty good.

-I’m probably going to pre-order the super deluxe funcrusher plus monster package of El-P’s Cancer 4 Cure (that title!!!!!) and Killer Mike’s RAP Music. I love those guys, and dropping 85 bones on their work doesn’t seem like a huge extravagance. I’ll have to wait to see how next payday shakes out, though. I definitely want the vinyl of both. I just have to make sure the math makes sense. It may be smarter to just order Cancer 4 Cure and R.A.P. Music on vinyl separately, though. I don’t necessarily need the instrumentals or poster.

-Paul Jenkins and Humberto Ramos have a kickstarter going for their book Fairy Quest. Here’s a video:

And a widget:

I like these guys, especially when they work together. I’m going to kick some cash their way come payday, too.

-Here’s a couple STS videos I liked. I like how regular the video for “Good Intentions” is. It’s just a bunch of guys hanging out and doing things. It fits the theme of STS’s Goldrush, too, which is laid back flips of established songs. And STS is a spitter, too. Always a treat to hear a new verse.

-Tucker’s Comics of the Weak is still the best post every week. He’s got Jog and Abhay backing him up this week, plus Nate Bulmer, so maybe you should get down or lay down. Also, I vote you don’t get to make the Holocaust into a pithy comeback in your stupid fight comics. Been there, done that.

-Next week: I’ve got my uzi back, you dudes is wack, face it, the Wu is back (hopefully, but if the Celtics beat the Hawks on Sunday, I may spiral back into the Pit of Depression)

There’s little more disappointing in comic books than a bad ending. A story that’s bad from start to finish? It happens all the time. A story or series with a rough beginning? As long as they can get past it and get their footing, it gets a pass. A rough ending, on the other hand, easily poisons your final thoughts on a product. For instance, let’s say Return of the Jedi ended with a scene of Luke saving the galaxy by viciously murdering Darth Vader and the Emperor. Not only would that have sucked, but Return of the Jedi would have sucked and the Empire Strikes Back would have sucked in retrospect.

That’s how I feel about Siege, the miniseries by Brian Michael Bendis and Oliver Coipel. The miniseries ended about a week ago and I wasn’t quite sure what to make of it initially. Why did the ending bug me so much?

First, let’s look at the miniseries itself and how it ranks as an event. At only four issues (regardless of the unfortunate delay), it’s really refreshing. With Secret Invasion and Blackest Night, I’ve become completely sick of overly long event comics. This goes doubly for the two examples, as it means every single comic tie-in is going to be the same basic story told over again. Siege is quick and to the point. The issues are action packed and move the story forward at breakneck speed. The tie-ins are quite good for the most part, with the worst being at least inoffensive. It’s the first event where the Ben Urich tie-in mini is actually pretty good.

The art’s rather nice too.

Then you have to look at what it’s all about. Usually with these event comics, they do so well because they’re really dynamic story ideas. You can rant about how people only buy them because they’re important to continuity, but I mostly disagree on the basis of having described these stories to non-comic readers and seeing their reactions. If you tell someone about what World War Hulk or Civil War or Blackest Night is about, a lot of the times they’ll come across as interested.

How do you describe Siege to somebody? “There’s this crazy jerk who is one of the country’s bigwigs and he conspires with a trickster god to attack a floating city of gods in Oklahoma just because they’re there. The crazy jerk has a uber-powerful ace in the hole and a bunch of superheroes interject themselves into the battle.” It doesn’t have any real kick to it.

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From Peter Parker Spider-Man Vol. 1: A Day in the Life, which is sadly out of print but available for cheap used, I present the Death of the Chameleon. Words by Paul Jenkins, art by Sean Phillips.

Last time on We Care a Lot, I talked about Daniel Way’s Venom on-going. Hitting the halfway point, I decided to stop and give myself a break to recuperate. It’s good to know that while that series was going on, Venom started to appear elsewhere. And why wouldn’t he? The reason he was turned into a full-blown bad guy again was so he could go back to being Spider-Man’s threat of the day.

Venom would make his return to Spider-Man’s world in Spectacular Spider-Man #1 for a five-issue story called The Hunger. This isn’t to be confused with the super-awesome four-issue story from years earlier called Venom: The Hunger, but it usually is. It’s kind of funny how although it’s obvious Paul Jenkins probably didn’t read that Len Kaminski story, he more or less wrote the same story, only with Spider-Man and without the happy ending.

As Paul Jenkins writes the story, we get Humberto Ramos on art. This is rather interesting, considering Francisco Herrera is doing the art on Venom at the same time. A little research shows that Ramos mentored Herrera and that really shouldn’t come to a surprise of anyone. Case in point:

Which came out a month apart.

Though there are parts that annoyed me, The Hunger isn’t so bad. If anything, it’s easily the most important Venom story in the past 15 years, so you have to give them that. Really. While it introduces some ideas that don’t go anywhere, it still gets the ball rolling and leads us to where we are today.

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“When I speak, respond with the first word you think of. One.”
“Two.”
“Life.”
“Two.”
“Death.”
“Two.”
“Murder.”
“Happens.”
— Dr. Bruce Wayne and Two-Face from Elseworlds: The Batman of Arkham

For the past month, graphic novels have been doing quite well at the Barnes and Noble where I work. Sure, the Iron Man, Hulk and Hellboy stuff were doing fairly well over the course of the summer, but once Dark Knight arrived, everything flew off the shelves. I was put in charge of ordering in just about anything Batman-related that would sell. I mainly went with anything Joker and/or Two-Face themed. Surprisingly, Dark Knight Returns sold out early to the point that all of the warehouses were out of it. Great foresight there, guys.

Joker stuff sells like crazy, especially Killing Joke. Even the hastily scrapped-together biography we got on Heath Ledger has been taking off. Two-Face stuff, on the other hand, has been eating it. Nobody cares about Harvey, sad to say.

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Marvel’s Mythos series is pretty interesting. They’re 32 page one-shots that re-tell, and sometimes re-adjust, the origins of a few Marvel heroes. They don’t fit into any ongoing series, so the collection will likely come in the form of a “Marvel Mythos” premiere hardcover sometime over the next year, hopefully. From the first solicit:

AN ALL-NEW SERIES OF PAINTED ONE-SHOTS FROM MARVEL, RECAPTURING THE EARLIEST DAYS OF OUR GREATEST HEROES! The first of a series of quintessential, stand-alone, done-in-one stories by Paul Jenkins and Paolo Rivera, MYTHOS: X-MEN takes readers back to the formative days of Xavier’s School for Gifted Youngsters, and recounts the first encounter between the nescient, teen-aged X-Men with their ultimate nemesis, Magneto! Filled with new detail and nuance, the MYTHOS books are also the perfect starter set for those readers new to the Marvel cast of characters, or to those who known them only from movies and television cartoons!

The line-up thus far has been pretty much par for the course. X-Men, Hulk, Spider-Man, Ghost Rider, Fantastic Four, and Captain America. The books haven’t really functioned as direct movie tie-ins, save for maybe Ghost Rider or Fantastic Four. Instead, they’re quick primers on the character that also serve as a light continuity patch. Characters are modernized and origins are retooled for the modern day. The FF were given their powers on a space station, instead of fighting Russkies, for example. Come to think, their origin is probably the most changed.

Usually, this is the exact kind of story I’m not interested in. Continuity Comix? Give it a miss. For some reason, though, I’m really digging them. I think it’s because they feel like a throwback. They’re like the backups that used to show up in Marvel comics, like “Here’s the secret of Spider-Man’s webshooters!” or “Here’s the layout of the X-Mansion!” Paul Jenkins and Paolo Rivera make it work, though.

Rivera’s art is fully painted, but still manages to come with enough of a retro flair to make it reminiscent of old comics. He uses a color palette that isn’t garishly dayglo, nor is it Alex Ross-y. It’s not subdued either. It feels just right. His facial expressions come through clearly, in part due to the large size of the panels giving him room to work. Johnny Storm’s casual embarrassment, the Congressman’s bemusement, and Sue Storm’s complete and utter lack of surprise at her little brother’s antics all are true to life. You can recognize them on sight. I also love that they included the schematic of the old school Baxter. I love seeing that stuff.

Paul Jenkins caught a lot of flack post-Civil War: Frontline. You’d think the man hadn’t written a good comic in his entire life, the way some people talk. However, looking back, he’s got The Sentry, Inhumans, and he had a killer run on Spider-Man. His last issue of Spectacular Spidey, with art by Mark Buckingham? That was one of the best issues of Spider-Man in years. It was pitch perfect.

The core of all of those stories that Jenkins did so well on lies in the relationships he puts on display. Ben and Peter, Norman and Peter, Black Bolt and his subjects, Black Bolt and Medusa, Sentry and his wife/friends, and so on. He’s putting in similar work on the Mythos books. They are about the origins, yeah, but more about the choices, or lack thereof, that led to the origins and the choices that followed. Reed desperately trying to talk Ben down, or Captain America thinking about the men he served with and the things he missed, are what makes these books so good. Johnny Blaze making the decision to sell his soul and Peter Parker’s rage and shame at realizing he caused the death of his uncle are more crucial scenes that succeed.

I started this post with the intention of talking about the Captain America book, but got way off track. The Cap book is a good one because it focuses on Steve Rogers, not Cap. It’s about his life, his dreams, and his regrets. I’d challenge anyone who thinks that Jenkins doesn’t “get” Captain America to read it. I’m willing to bet that you won’t come away with that feeling. This page alone is dead on. I love the dual Nick Fury appearances… and is that milk Cap is drinking?

The Jenkins/Rivera team is a great one. They’re telling tales that you’d think were inessential, but are actually really good. I’m hoping Marvel does the series justice when it collects it. I’m hoping for an oversized HC, myself, but that’s because I’m addicted. I also kind of want Jenkins to get a crack at the Fantastic Four for a while, too.

Also, this cover is basically the definition of awesome. I didn’t even catch the detail on the shield when I first picked up the book.

Ka-pow.

Have you guys read the new Marvel and DC solicits? I love comics, but those things are a bore and a half. It’s like they don’t even want you to read their books.

It’s cool, though. Here are the ones that are new and good and interesting. Jumping-on points only here, with one exception, perhaps. My pithy and vitally important commentary is in italics.

DC Comics is first since Marvel is better!

BATMAN #667
Written by Grant Morrison
Art and cover by J.H. Williams III
The Batmen of All Nations reunite for a weekend of fine food and nostalgia, but an unexpected visitor has other plans for the gathering. Batman, Robin, and the rest of the Club of Heroes find themselves trapped and at the mercy of a dangerous madman on the Island of Mister Mayhew!
This is why I read Grant Morrison. Mad ideas that sound completely goofy. He’s Silver Age with a Modern Age sensibility. Plus, I hope the sweet Knight and Squire from JLA Classified 1-3 shows up.

ROBIN #163
Written by Adam Beechen
Art by Freddie E. Williams II
Cover by Patrick Gleason & Wayne Faucher
It’s Tim Drake’s first Father’s Day as Bruce Wayne’s adopted son, and he wants everything to be just right. Unfortunately, the justice-crazed supervillains known as The Jury pick that very day to go on a murder spree in Gotham City!
This is a great idea for a story. The “family” part of Bat-family doesn’t get looked at often enough. “The Jury,” though, conjures up images of a certain ’90s anti-Venom team.

BATMAN: HARLEY & IVY TP
Written by Paul Dini and Judd Winick
Art by Bruce Timm, Joe Chiodo and others
Cover by Timm
Paul Dini and Bruce Timm -two of the masterminds behind Batman: The Animated Series – join forces in this volume collecting the miniseries BATMAN: HARLEY AND IVY! Also included is the special: HARLEY AND IVY: LOVE ON THE LAM by Judd Winick and Joe Chiodo, plus a newly-colored story rom BATMAN BLACK AND WHITE VOL. 2!
It’s Harley Quinn, so shut up and buy it.
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Just a few quick bullets on what I’m thinking about in the world of comics right about now.

– This week’s 52 was good. Lobo’s reintroduction was great, and his origin, completely with pompadour, was a good look, too.

– I have a new issue of Kabuki to read. I’m positively giddy. I may wait until tomorrow to read the latest issue of the best non-monthly series ever.

– All-Star Superman, by The King of All-Comics and Frank Quitely, delivered. Lex Luthor’s eyebrow and sheer arrogance come through perfectly and hilariously.

– Mike Carey’s first issue of Ultimate Fantastic Four? Way better than Millar’s entire year, of which I read approximately the first three months. It’s that good.

– Black Panther’s World Tour has started up, and it’s going to be a doozy. Doom gets what’s coming two different ways. Next month is the Inhumans, I cannot wait for that.

– The Boys 02 is the second issue in a row to feature, er, doggy-style. Pun possibly intended. This is one of the most mean-spirited books I’ve read, but we get some good character insights in Billy Butcher and friends. I’m definitely interested, and Robertson’s art? It’s great.

– Have you guys seen Chris Bachalo’s cover to X-Men 190? It’s incredible. The scene it depicts happens a little different in the comics, but that’s water under the bridge. There’s precious little Rogue in this book, but her old costume is lovely and her new assertiveness fits a character who’s been a mainline X-Man for years now. She isn’t just “Sugah sugah mope mope mope.” She’s a fighter. Carey is doing a bang-up job on this series. This guy is remarkably good in the Marvel U. His Hellblazer was good, but Lucifer never grabbed me. His Marvel stuff, though… too good. Loving it.

– Mythos: Hulk by Paul Jenkins and Paolo Rivera is a four dollar bundle of joy. The Mythos series (right now just Hulk and X-Men) is a retelling of Marvel origins. They are updated for the modern era and boiled down to their essences. Rick Jones isn’t dared by friends to go onto the testing site, he’s an intern who isn’t paying attention. That sort of thing. They’re good stuff, and Rivera’s art is a treat. Highly recommended, and I hope they collect all of them into a handsome hardcover down the line.

– I read Wonder Woman 02. I’m done with the series. I realized that the moment I saw Wonder Woman start to do that stupid spinning thing from the TV show. No sir I do not like it. The Dodson’s art is great, as always, but Heinberg leaves me flat. Not quite Young Avengers flat, but flat. It wasn’t just the spinning what done it, either. It’s a book that seems to be trying very hard to get me to care, but does a poor job of closing the deal. Giganta is smart and tall… okay? Donna Troy is Wonder Woman and sucks at her job… okay? Wonder Woman is sneaking around and hiding… why bother? It’s weird. My favorite portrayals of Wonder Woman have been in the Morrison/Waid/Kelly JLA era. Doug Mahnke drew the absolute best WW ever. The wet hair look was way better than the usual comic book poofy hair. He drew her lean, but powerful, and his Angry Wonder Woman was something to behold. So, uh, now that I own the first 90 or so issues of JLA in trade form, I guess I’ll go read those when I want to read about Wondy.

– Someone explain this image to me. Is this from the new issue of Teen Titans? I found it linked off SomethingAwful’s BSS forum and it… bleh. Johns, what are you doing, man? That first row, save for Aquagirl and Speedy is worthless, and I like Speedy despite Judd Winick’s handling of her. The second row has Beast Boy and Offspring and they’re cool, but the rest of that row is worthless, too. I realize I’m prejudging here, but Little Barda is too much. DC just needs to leave the Fourth World alone. Give it to Morrison and a good artist and just keep it out of anyone else’s hands. It’s cool to see Mas y Menos and Captain Marvel Jr, but again, the rest of the characters? Bleh. On the bottom row, I think that the two Daughters are interesting ideas, if pushing the gimmick a bit, and I like Ravager, and that leaves Osiris. If Osiris turns out to be Isis’s brother, he’s got the most poorly thought-out code name ever. It takes a lot for me to read Titans. Introducing a bunch of no-names and go-nowheres isn’t really drawing me in. The series hasn’t really grabbed me since Titans Tomorrow, to be quite honest. Maybe it’ll pick up, but I basically have read Teen Titans for two years of my life. I can do without it. It’s turned into the JSA, in that it’s a book about a team full of characters who should be guest-stars at best.

– To be quite fair, Whedon’s Astonishing X-Men is boring me, too. Ha ha, Wolverine, yes, but the rest of the book is cute references up the wazoo and SHOCK REVEALS. It’s very pretty, but I’m not even remotely interested in the story. It feels like it’s treading water, with Neat Callback Scene (Kitty Pryde in the sewer last issue made me roll my eyes hard) to Neat Action scene with no meat inbetween.

– Just to complete the custom combo, I found Serenity boring and Firefly decent to middling at best.

– Cameron Stewart is awesome. You all know this, yes? His upcoming book about Vietnam looks like the bee’s knees. However! He and his Royal Academy of Illustration and Design cronies are having a draw-off, and Harley Quinn was the pick for today. Harl is probably my favorite bat-villain, so go check it out. I kind of like Cam’s, since it’s classic Bruce Timm style, but all of them are good. Go look!

– Oh man, I’m totally going to pitch DC Joker Loves Harley Quinn and do it in the Spider-Man Loves Mary Jane style, but with more mayhem. Yes.

– Here’s an interview with Georges Jeanty, artist of The American Way. He’s a great talent, and TAW is totally a sleeper hit. It gets better and better. It’s telling a great tale of superheroics in the 1960s and actually deals realistically with race. I’m loving it, and 4l member Thomas Wilde likes it, too. He doesn’t like anything but Barb Wire, Vampirella, and other bad comics, so him liking a good book is astonishing. I’m kidding! He doesn’t actually like any of those books. However, if he doesn’t write for the blog, I’ll tell everyone that he does and then kill him while he sits in shame.

– I’ve gotten a buttload of trades over the past couple weeks. X-Men: The Coming of Bishop, Birds of Prey: Sensei & Student, Starman: Sins of the Father, X-Men: Golgotha, some JLA v3 trades, Ghost Rider/Wolverine/Punisher: Hearts of Darkness, Spider-Man: The Assasin Nation Plot, The Punisher/Wolverine: African Saga (Carl Potts and Jim Lee! Whatever happened to Carl Potts?), and Monster volumes 3 and 4. Also Absolute Kingdom Come, though I don’t like Alex Ross’s art very much at all, but I love extra content in hardcover comics. I sometimes fear that I have bad taste in comics, but I love them too much to quit.

– So, summing up: Comics are great right now, Wonder Woman’s series is blah, Teen Titans is blah, but comics are still great, the internet is awesome, and I’ve got bad taste in comics. This ended up a lot longer than expected. It was supposed to be a short post!

– Peace!

Well, it’s like this.

I love Spider-Man. I could give you five different reasons why your favorite hero is completely inferior to your Friendly Neighborhood Notaninsect. Your Superman is nothing. Behold, I teach you the Spider.

This is the Spider-Spotlight. Once a week or so, I’m going to headline a few of my very favorite Spider-artists, Spider-writers, and Spider-stories. Originally, this was just going to be an art feature, but comics are a visual medium, too, so the art and the words go hand in hand. I’ll do my level best to keep spoilers at a minimum, just in case i convince you to go out and pick up these books.

Don’t take this as a Best Of… list. It’s just some stuff I think is pretty awesome and that you should think is awesome, too, or else Slappy the Spider-Fairy is going to come down and eat your soul.

First up? Paul Jenkins and Humberto Ramos. Read the rest of this entry �