Reviews of Comics from Wednesday 4/1

Gotham Academy: Endgame #1

Story: Becky Cloonand & Brenden Fletcher

Art: Jeff Stokely, Clio Chiang, Joy Ang, Vera Brosgol

I firmly believe that scary stories are best told out loud, to a group of people, and in the dark. The communal scare is a binding experience. So, as the Joker's rampage continues through Gotham, the students of Gotham Academy, including series protagonists Olive, Maps, and Pomeline, are sealed up in the school gym in tents to avoid the chaos and share a series of Joker themed tales of terror. Olive tells the tale of a stolen Laughing Mask that haunts the boy who stole it. Professor MacPherson, who teaches history, tells a particularly macabre and gory tale from her native Scotland about the Wandering Jester, who if you don't laugh with him, you become a part of his act straight out the worst of EC Comics. And Olive shares a story told by her mother about Gotham's own version of Bloody Mary, the Smiling Man (a nod to Snyder's conceit in the main Batman title that the Joker is in fact an immortal who has been haunting Gotham for centuries, I believe). Each of these tales of terror is drawn by a different artist, giving them a unique look that still fits nicely with the style of the monthly comic. It's also interesting to see how jaded Maps is, how she brushes off the presence of the Joker as someone who interrupted her cartoons a couple times a year and then as stopped by Batman. When you look at how the adults and the superheroes are all affected by the Joker in all the other tie-ins, this reaction is fascinating: when you grow up with something like the Joker making the world as terrible as it can be, you just get used to it. There's also the mention of another of Gotham Academy's legends, The Custodian, who defends the campus from all threats external to the school, and as some of the people infected by Joker Venom begin to raid the school, a man dressed in antique garb with swords begins to fight them off. And where exactly is Headmaster Hammer in all this? If you've been picking up "Endgame" and not Gotham Academy, or vice versa, this is a great way to get a taste of the other series. And if you haven't read either, and just like a good spooky story, then pick it up.

Graveyard Shift #4

Story: Jay Faerber

Art: Fran Bueno

Jay Faerber and Fran Bueno's tale of vampiric terror, Graveyard Shift, comes to an action packed conclusion in this exciting fourth issue. Having identified where the vampires who turned Hope have been working out of, Liam and his vampire fiancee head to confront them. But Cromeyer, the master vampire, is prepared, and Hope is brought to his photography studio while Liam is brought down into his dungeon. We follow our two leads as they fight very different threats. Faerber sticks to all the classic vampire rules, so Liam come prepared with an arsenal that the cocky vampires don't even search him for, while Crommeyer attempts to lure Hope over to the dark side (Yes, a bad pun, but I stick by it). This was a really well structured series, starting out with an exciting, action filled first issue, then slowly building the world over the next couple issues to set up this final confrontation. It really gave Fran Bueno a chance to shine, showing some great fight scenes, and some really monstrous vampire faces.  When the dust settles, Liam and Hope set off for future adventures to try to find a cure for Hope's vampirism. Yes, that gives away some of how the series ends, but this is a classic monster movie: good is going to defeat evil. And if you are even the slightest fan of vampire movies and tv, you are going to get the biggest smile when you see the last page; I'm not going to give that away. Graveyard Shift was a great horror story in a model that isn't often used anymore: the monsters were villains and the good guys were good guys. If you like The Lost Boys, Near Dark, or The Monster Squad, you can't go wrong with Graveyard Shift.

Guardians of the Galaxy: Best Story Ever

Story: Tim Seeley

Art: Reilly Brown, Iban Coelle, Jacopo Camagini

There are a lot of fans who don't like one shots because, unless they're part of major stories they, "don't matter." And fans of that particular mindset probably skipped this one-shot, and if they did, they missed a very fun comic. Star-Lord and Rocket are in prison, and in a cell together begin telling the story of one of the Guardians escapades; with Thanos on trial for his crimes before a gathering of cosmic entities, like Eternity, Infinity, and the Loving Trilobite ("Living Tribunal! Don't they teach you anything on Earth?"), Nebula is going to help free him, and the Guardians stand in their way. While the guards are distracted, the remaining Guardians are sneaking into the facility for reasons unknown. The bickering Rocket and Star-Lord sequence is a lot of fun, as writer Tim Seeley does a good job of capturing both of their voices. It's also cool to see Nebula backed up by the Graces, a group of female warriors introduced in the run up to the original Annihilation crossover brought together and trained by Gamora in one of her darker times, of which Nebula was a member. This is one of those plot threads I always hoped would be picked up somewhere, and I'm happy to see them used again. Rocket and Star-Lord wrap up their story as the caper works out and the Guardians make their escape, but we then get a different version of the ending, one that is a bit more thoughtful, and continues to draw the relationship between Gamora and Nebula a bit closer to the movie continuity without feeling forced. There's the final reveal of the McGuffin that the Guardians were trying to steal, which is just singularly ridiculous and perfect for the "Guardians as rag tag band" concept that has been their recent shtick. If you enjoyed last summer's Guardians of the Galaxy movie, this is a great issue to give you a better idea of their comic book status quo.

Kanan: The Last Padawan #1

Story: Greg Weisman

Art: Pepe Larraz

While I haven't disliked Marvel's new Star Wars line, I've grown less and less wowed by it. It's not that it's bad, it's just that it doesn't feel like anything new; after twenty plus years of stories set in that period between Episodes IV and V, there's not much new to be mined. But the debut of the first Marvel series set in another time period has rekindled my hope. Kanan: The Last Padawan tells the backstory of Kanan Jarrus, the lead of Disney's well received Star Wars: Rebels cartoon. Set as the Clone Wars are coming to an end, we see Caleb Dume, Kanan's  real name that he abandoned to go on the run from the Empire, and his master, Depa Billaba, leading their clone battalion to retake the world of Kaller from the Separatist Droid Army of General Kleeve. After victory is assured, the Republic forces find themselves less than welcome by the natives, with Kalleran leader Gamut Key downright rude to Master Billaba, something she takes far better than her Padawan. Moving out of the city, we get a thoughtful discussion of how young Caleb is adjusting to being a Padawan instead of just a youngling at the Jedi Temple, how he fits in with clones, like Commander Grey and Captain Styles, and the Jedi's role in the war, something Billaba sees as heading in the wrong direction for the order. We also see more of Caleb as the inquisitive student, an impression first hinted at in the novel A New Dawn, another recent Star Wars tale that shone a light on another aspect of Kannan's backstory. The issue ends on a dark note, as writer Greg Weisman doesn't drag out the suspense leading up to what all Star Wars fans know is coming: Styles receives the transmission from the newly christened Emperor to execute Order 66, meaning next issue will begin Caleb's flight for his life and heading towards becoming Kanan. Greg Weisman, showrunner of the first season of Star Wars: Rebels and creator of one of the greatest modern animated series (Gargoyles) and showrunner of the one of the best superhero cartoons ever (Young Justice), does his usual deft work of establishing character and setting, and gives old fans of the Star Wars Expanded Universe hope that not everything has been forgotten; his reference to Master Billaba being known to be unstable is a clear reference to her fall to the dark side in the novel Shatterpoint. That bit of knowledge, or any foreknowledge of Rebels, is completely unnecessary, though, to enjoy a Star Wars comic that stands up well with many of the Dark Horse tales of the Clone Wars.

Southern Bastards #8

Story: Jason Aaron

Art: Jason Latour

The second arc of Jason Aaron and Jason Latour's southern Gothic, "Gridiron," wraps up the origin of the series antagonist Coash Euless Boss. After the first arc introduced and quickly killed off the character most readers assumed was going to be the series lead, it was an interesting choice to spend the second arc digging deep into the history of the man who killed that character. Aaron's work on Scalped showed that he was fascinated in making all his characters as three dimensional as he can, and so giving us an understanding of who Coach Boss is makes perfect sense. This issue we see the final confrontation between Euless and his abusive father, a confrontation that ends with Euless proving just what he'll do to be involved with football. He gives a speech about why the game matters, why he loves it, and what he loves about it; it's not the winning, it's the beating of the other team, the moment when they're so beaten he can see in their eyes they just want to quit. It's a cold speech, the kind that sends a little chill down your spine. And we see what Boss does to become the young coach, the deal he makes with local mobster Mozel, and how he tells Big, his mentor, that all this is "worth the blood" to be able to be on the field, to be able to do the only thing he's good at in the world. But it's apparent that Big has his misgivings, and the issue ends back at the present where it seems that the events of the first arc and the death of Earl Tubbs, has been the final straw that Big can no longer take. The final pages set up the next arc, as there's another Tubbs headed to Craw County, and there's a storm on the horizon. We might understand Coach Boss, but for me, I sure as hell don't like him, and I hope that storm hits him hard.

And Dan Grote visits Black Bolt in the zero issue of the new title in Marvel's new hoped for franchise...

Uncanny Inhumans #0

Story: Charles Soule

Art: Steve McNiven, Jay Leisten and Justin Ponsor

Uncanny is a loaded word to tack on as the title adjective of the new Inhumans series. It plays into reader concerns about the caste-obsessed subrace supplanting mutants because of movie-rights issues.

But the Uncanny in Uncanny Inhumans doesn’t seem to be so much a shot at Uncanny X-Men as it is an homage to Rick Remender’s first volume of Uncanny Avengers, specifically the subplot about Kang the Conquerer raising the progeny of superheroes.

In Uncanny Avengers, Kang stole the X-Man Archangel’s twin children from a Red Skull concentration camp and raised them to get mutants out of his way so he could rule time properly. In Uncanny Inhumans, Black Bolt – deposed ruler of the Inhumans – asks Kang to send his son, Ahura, into the timestream to save him from the end of the world, aka this summer’s Secret Wars.

The book presents itself as a Black Bolt solo title. We follow him from the streets of Rio de Janeiro, thwarting a crew of poachers hunting terrigenesis cocoons; to New Attilan, where his estranged wife, Medusa, scolds him for past grievances before sending him through a portal; to 1908 Siberia, where Kang is hiding out with Ahura.

The opening of the Siberia sequence is some of Steve McNiven’s best artwork in this issue, as Black Bolt storms Kang’s castle, which is guarded by an army of time-plucked knights and soldiers. When Black Bolt’s done playing games, he whispers “Goodbye” and blows a hole in the wall.

The one real downside to this book is it’s a little heavy on exposition. The poachers explain to each other who Black Bolt is. Medusa recounts recent events. Kang explains to Black Bolt that he is a time traveler as if that were not already evident. And Ahura, moody teen that he is, feels compelled to keep explaining that Black Bolt’s full name is Blackagar Boltagon, one of the more patently ridiculous firsts and lasts in the Marvel Universe.

But first issues have a lot to set up. Writer Charles Soule has built up a lot of good will having written the most recent She-Hulk series, one of this blog’s more beloved titles of the past year, so let’s see where he and McNiven take Marvel’s royal family.

Reviews of Comics from Wednesday 1/28 Part 2

Abigail and the Snowman #2
Story & Art: Roger Langridge

Friendship is an important theme in a lot of the all ages work I've read by Roger Langridge. It is a tent pole of the Muppet franchise, was the key theme in Musical Monsters of Turkey Hollow, and it's the friendship of the Carpenter and the Prince and Princess that make the selfish Walrus become a better person in Snarked!. Once again, Langridge looks at unconventional friends in Abigail and the Snowman. After befriending the Yeti she dubbed Claude, young Abigail brings the Abominable Snowman only children can see with her to school. When the other kids see Claude, they begin to open up to Abigail. The sad, lonely little girl of the previous issue is happy, something her father notes. Abigail's dad is a wonderful character, loving and doping his best by his daughter while struggling to make ends meet. Of course then men in black from the previous issue are still hunting Claude, but a run in with Abigail's teacher, who will not permit people to wear sunglasses in doors (a little beat set up early in the issue, so when it comes up with the agents it makes perfect sense), has them remove the classes that allow them to see Claude, and we get a series of slapstick moments that are very funny. Langridge has a talent for balancing comedy and character, so we get scenes of Claude snoring away on Abigail's floor balanced with scenes of Abigail's father hustling to get work as an electrician. The happy scene of Abigail, Claude, and her new school friends at Burger Thing for Abigail's birthday is a picture of joy, and is shortly juxtaposed with the appearance of a new threat, a new man called to hunt down Claude who looks considerably more competent than his previous pursuers. It's high stakes without being scary; Langridge knows exactly how far to push the story and keep it all ages. Two issues down means the series is half over, and Abigail and the Snowman is another example that Boom! is publishing the best all ages line of monthly books in comics right now.  And , by the way, boy does Langridge draw an awesome Nessie. If that sentence doesn't pique your interest, I don't know what will.

The Dying & the Dead #1
Story: Jonathan Hickman
Art: Ryan Bodenheim

Ah, the Jonathan Hickman first issue... I'm a huge fan of Hickman's creator owned works, with both East of West and Manhattan Projects on my list of the best books Image is publishing right now. And Hickman is a master of giving you a first issue that has a ton of story and is loaded with potential. And that's even more clear when he has a first issue that's the size of two issues. The feel in this book is more fantasy than anything I've read by Hickman. While East of West has it's apocalyptic overtones, that fantasy is set in a very science fiction world. Here, we're dealing with a "real" seeming 1969 that has mystical ancient beings, artifacts, and magic sounding words. What I found most interesting about this issue is how it feels more intimate than any Hickman comic I've ever read. His series usually charge out of the gates with these sprawling casts. Here, while we meet quite a few characters, including a legion of identical women whose names all seem to begin with an A (Hickman's own Clone Club?), the mysterious Bah al Sharur, and the pale denizens of the mystic City, the Courier, the Bishop, and his Advisor, this is very much the story of The Colonel. Hickman has addressed this as the last story of the greatest generation, and the Colonel was a war hero of that generation, and is now about to lose his wife to cancer. But he is offered a chance to save her by the Bishop, who he has some past association with, by retrieving a stolen object. This is a classic story, a variation of sorts on Orpheus. This is going to be a series about love and about one man's attempt to save the one thing he loves. A Hickman comic is always full of big, crazy ideas, but this time it's more grounded in statements of what love is and means. Ryan Bodenheim's art fills the world with almost balletic violence, while designing a wonder in The City. A world of conspiracies, artifacts, and magic seems perfectly fit to Hickman's style, and I'm curious to see which direction he takes this new series.

Graveyard Shift #2
Story: Jay Faerber
Art: Fran Bueno

It's hard to find fiction nowadays where the primary purpose of a vampire is to scare you. Thanks to the likes of Anne Rice, Joss Whedon, and Stephanie Meyer, vampires are sex symbols, tortured souls who only need to be loved. And there's nothing wrong with that. I like Lestat and Spike as much as the next genre fan. But I do miss days where vampires were freakin' terrifying. Jay Faerber and Fran Bueno's Graveyard Shift is putting that terror back in vampires. After being attacked by vampires the previous issue, and finding his fiancee has been turned, police officer Liam runs from the collected vampires, dragging Hope along with him. Safe in a mausoleum, the two discuss what they should do next once she comes out of her vampire form. It looks like we're dealing with vampires in the mostly classic sense; they're vulnerable to holy objects as well as the sun. Bueno does a great job of making the vampires scary looking, and the action sequence as Liam and Hope flee the vampires is excellent. As Liam tries to learn more about the case that earned him the dubious honor of the vampires' attention, he tries to figure out what to do with his new status quo with Hope. We're still in the story phase where Liam is up to his neck in questions and doesn't have many answers. Horror has always existed closer to the real world than it's sister genres of science fiction and fantasy because the horrific encroaching on the real is part of what gives the genre its power. The ending of the issue is tragic but not unexpected, as it seems clear that vampires in this world are monsters, but ti's still sad when you realize the repercussions. Faerber is working a slow build this issue, after all of last issue's action. It's not drowning in exposition, but it spends a lot of time setting up the action that the series will climax in, which I think is the way a second chapter should work. It definitely has me hooked to see exactly what Liam is going to do as the vampires close in.

King: Flash Gordon #1
Story: Ben Acker & Ben Blacker
Art: Lee Ferguson

This week saw the debut of the first two of five titles from Dynamite that will celebrate the centennial of King Syndicate, the company that published many of the great newspaper strips, by creating a universe where these characters will coexist. I've never read many of those classic strips, but with the creators involved in these books, I had to give them a try. Flash Gordon comes from Thrilling Adventure Hour creators Ben Acker and Ben Blacker. Thrilling Adventure Hour is a throwback to classic radio, so it seems appropriate that they're writing something here that hearkens back to another classic form, but with their usual modern take. Acker & Blacker throw you right into the action on this one. There's no exposition to explain who Flash is or exactly who the people around him are, but the story does a good job of getting that across. You get to know Dale Arden and Dr. Zarkov, and while Ming the Merciless doesn't have a large role in the action, it's not hard to understand his place as despotic dictator. The issue opens with Flash waking up in Dale's bed after a night of drinking, and him being sure they must have slept together, despite Dale never confirming it, and it's pretty clear there's more there than what is being said, but the joke of Flash just being, :Well, we're together now," is charming. The action of the issue has Flash and Dale infiltrating a mine to get a telestone, the substance that allows Ming's minions and governors to communicate over distance. Of course, things don't go according to plan and soon they're running from robots and Ming's men. Flash is a charming meathead, not stupid but always referencing his sports prowess and being a bit full of himself, while Zarkov is the egotistical jerk he is often portrayed as. If you read the 2014 Flash Gordon Annual, you could tell that Acker and Blacker love Dale from the short featuring her they wrote, and that comes across here, with her as the most together of the trio of heroes.This comic is classic space opera, full of the fun and action you can expect if you know Acker and Blacker's Sparks Nevada, only inverted, with a bit more action than humor. Oh, and at one point, one of the alien princesses says of Flash, "Will you save every one of us?" His response? "I'm just a man." You quote Queen, you've got me sold.

King: The Phantom #1
Story: Brian Clevinger
Art: Brent Schoonover

And the second of these King titles is The Phantom, coming from Atomic Robo co-creator Brian Clevinger. For a character who I only know from cartoons and that Billy Zane movie, I'm suddenly reading two books featuring him (the other from Hermes Press written by Peter David). Clevinger starts out by introducing a new Phantom, and by doing this has a good way to explain the legacy of the character. But the new Phantom is not a member of the family that has long held the name. Lothar Kehwabe is serving as a sort of Phantom regent, seeking out the person who should rightly hold the name. But he's capable, fighting modern pirates and warlords in Africa with the aid of Guran, his tech guy. We learn that Earth was targeted by an alien warlord (no details yet, but I can only assume it's Ming) and tech has been reset to pre-internet levels (think the early 80s). It does make for different story choices, and works well with the throwback feeling of these books. By issue's end, Lothar and Guram have to infiltrate the Vultures, a clan of pirates that numerous previous Phantoms have fought, whose leader has set himself up as a warlord. Along the way, we also meet intrepid reporter Jen Harris, who is also investigating the Vultures. Of course, being an intrepid reporter in comics whose name doesn't rhyme with Dark Trent, she is captured, and looks to be meeting our hero next issue. The comic has all the pulpy feelings you'd expect from The Phantom, action and excitement, something that is right up Clevinger's alley. Like everything Clevinger writes, it's a fun, action packed, engaging comic, and is well worth checking out, even if you don't know anything about The Phantom. This could make you a fan.

Rasputin #4
Story: Alex Grecian
Art: Riley Rossmo

Alex Grecian and Riley Mossmo's historical fantasy about the like of the Mad Monk Rasputin reaches the point where he comes into contact with the Tsarina Alexandra, the moment that sets him down the path that will lead to his eventual... I don't know what exactly. Going to the palace to attend to the ailing prince, Rasputin must prove his abilities by first healing the dog of little Anastasia, an act that costs Rasputin dearly. But Rasputin is a good man, although one literally haunted by his past. and he does it. But the animal nature enters him, and now part of the dog resides in Rasputin, a part that is in the fore for much of the issue. Rasputin snarls, snaps, and eats like a dog, a contrast to the soft spoken monk who we have seen in previous issues. And still, we know his fate is coming, as these scenes are flashbacks told from the moments of Rasputin's betrayal, as he flees after being shot, stabbed, etc/ I never imagined sympathizing with a monster like Rasputin, but the series has done it's job well, fleshing out a character who is historically known to be a vulgar glutton who dealt in the pleasures of the flesh. Riley Rossmo's art on the issue astounded me; his feral Rasputin is a terror. The wild designs as Rasputin using his abilities are aided by the tremendous colors of Ivan Plascenia, who has done impressive work throughout the series. Rasputin is an excellent character study, building a portrait of a man, not a monster.

Teenage Mutant Ninja Turtles/Ghostbusters #4
Story: Erik Burnham & Tom Waltz
Art: Dan Schoening

The crossover of the century ends with a satisfying bang. As Donatello and Egon attempt to get the portal to send the Turtles home ready before the window to get them home closes, the rest of the teams must face the forces of Chi-You, the Chinese ghost/god. It's an issue packed to the gills with action, with possessed people, evil gods, and possibly exploding containment units. Burnham and Waltz again perfectly capture the voices of all the characters. I am really impressed with how they've written Winston of the Ghostbusters. In the movie, Winston was the straight man and the audience proxy, there to ask the questions so the big brains could explain the crazy technobabble, hence his classic, "Tell him about the Twinkie." But over the course of Burnham's run on Ghostbusters, Winston has been given the background as an ex-Marine, and the most steadfast of the Ghostbuisters. As an ex-soldier, he connects with the Turtles on a different level than the others, as one fighting man to another. But the Science Bros of Egon and Don have their own plot, and I like how the two, who spent early issues arguing over the existence of ghosts versus aliens, now come together to save everyone from getting blown up. This series seems to mark the end of the Ghostbusters line from IDW, probably in preparation for a big relaunch around the new movie, and I'm sad to see it go; especially under Burnham and Schoening, a lot was done to really expand the Ghostbusters universe and both flesh out the classic characters and add some new members. But if it has to go, this mini-series was a great send off.


And this week, Dan Grote gives us another book from Image

Bitch Planet #2

Words by Kelly Sue DeConnick

Art by Valentine De Landro, Cris Peter and Clayton Cowles

We’re two issues in to Kelly Sue DeConnick’s women in prison in spaaaaaace tale, and already we’re going for the Hunger Games thing. But I have a sinking feeling we’re not headed for an on-the-nose ripoff.

The administration of the Auxiliary Compliance Outpost (aka Bitch Planet) has extended an offer to inmate Kamau Kogo, the central character, to participate in a series of brutal games called Megaton. She smells a setup from the start, but her fellow inmates try to talk her into it with visions of sabotaging the system, in a great multipanel sequence in which plus-sized inmate Penny Rolle wordlessly starts a riot in the background.

At this point, we don’t have a great handle yet on the individual women of Bitch Planet, but one face that’s already familiar is that of the author herself. The pink hologram that appears in different forms to the inmates is the spitting image of DeConnick, and I get a kick out of it every time, be it dressed as a Catholic nun, a workout instructor, a news anchor or a heretofore unseen member of the Hellfire Club.

We also meet the literal patriarchy that runs the government, headed by a man who insists on being called Father and who believes that pitting us vs. them is what makes a society work.

If you find the misogynist conspiracy in this book a bit overreaching (as if the concept of a prison planet for “noncompliant” women weren’t out there enough), definitely read the backup essays by feminist authors, who do a great job of explaining why the book’s message matters.

Also, the book’s ’60s pulp-movie covers and fake Silver Age comic book ads on the back are perfect works of pop art.

Reviews of Comics from Wednesdays 12/24 & 12/31

Abigail and the Snowman #1
Story & Art: Roger Langridge

If you haven't picked it up from the things I've written about The Muppet Show Comic Book, Snarked!, and The Musical Monsters of Turkey Hollow, I love the work of Roger Langridge. The fact that BOOM! Studios chose the first issue of his new project, the all ages Abigail and the Snowman, to be their skip week end of year book made me happy, because it meant that, due to the limited field of what was released, the book got a higher profile than it might have gotten otherwise. Abigail is a lonely girl who just moved to a new town, hasn't made any friends, has a dad who's a bit clumsy, and has a vivid imagination. She's sweet and funny, and has her own imaginary dog. And then, one day, playing alone at the park, she meets a Yeti. The Yeti escaped from a government lab, and has the power to cloud men's minds, so no adult can see him. However, kids can, and he and Abigail become fast friends. The government agents, guys who you could easily see working in spy stories like Get Smart, are pursuing the Yeti, so now the race is on for Abigail to protect her friend. The Yeti, by the way, is not your Harry and the Hendersons cryptid, but is intelligent and well spoken. The set up for the book is charming, as would be expected from Langridge. The characters are all lovable, and I think many comic readers will feel a kinship to Abigail, with her wild imagination. The set up is simple and elegant, and let's Langridge play with character, something he is a master of in these all ages stories. His art is second to none, and his design for the Yeti is wonderful, making him expressive without losing the fact that he's, well, a Yeti. Abigail and the Snowman was a perfect comic to start 2015 with, something that glows with fun, joy, and promise. I'm crossing my fingers for the series to go over well enough to earn some more issues, like Lumberjanes did, or at least a sequel. More Langridge is always a good thing.

Graveyard Shift #1
Story: Jay Faerber
Art: Fran Bueno

I'm calling it right now: there is no genre Jay Faerber can't write. Between his current space western, Copperhead, his crime series Near Death, and his superhero series Noble Causes and Dynamo 5, Faerber has written some great comics. Graveyard Shift is a classic horror story, about a police raid gone wrong. After a suspect is seemingly killed in a raid, the police officers who were on the raid are murdered all in one night. Liam, the last remaining member of the squad, is having dinner with Hope, his fiancee, when a knock at the door admits... vampires. The fight is dirty and brutal, leaving a fire,a wounded Liam, and a dead Hope. But Hope was bitten, and upon visiting her grave, Liam sees more of the darkness that is hiding in the world. There's a lot to like in this comic, with it's well written characters, and dark, moody art. One of the things that really grabbed me is how old school this feels when it comes to its horror. In the essay at the back, Faerber talks about his influences, and you can see the classic monster movie feel. These aren't Joss Whedon witty vampires, or Twilight sparkly ones. Nope, these are monsters in the sense of your best 80s horror movie, Fright Night, Lost Boys, or Near Dark. Fran Bueno adds to the atmosphere with art that makes the monsters look good and scary. Liam is a likable protagonist, and spending time with him and Hope in their home life makes the horror all the more real when it happens, and I'm curious to see where he goes in the rest of the series, whether he becomes the grim avenger or is partnered with a classic vampire hunter (or maybe the Frog Brothers. It could be them). So many horror comics have a modern feel, are trying to do something different, which is great, don't get me wrong.  But Graveyard Shift takes the classic horror tropes and runs with them, crafting a scary narrative that follows all the old rules and still feels fresh.

And from Dan Grote...

S.H.I.E.L.D. #1

Story: Mark Waid

Art: Carlos Pacheco, Mariano Taibo and Dono Almara

Marvel’s newest book may have been “inspired by the hit TV series,” but it reads more like a love letter to the Phil Coulson of the first Avengers movie, the one who gushed about his Captain America trading cards and became a rallying point for the heroes upon his (quickly reversed) death.

In S.H.I.E.L.D., Coulson’s title is “Special Ops Supreme Commander.” And while he doesn’t wear a metal faceplate or a blue bag over his head, he does appear to have access to every superhero in the Marvel Universe.

And he knows how to use them, a skill honed through a childhood of figuring out which superheroes could beat whom in a fight, or memorizing the X-Men in the order in which they joined. “Remind me to tell you sometime how Quicksilver could kill the Hulk if he wanted to,” he tells Agent May at one point.

That right-tool-for-the-job approach has Coulson throwing tanks like the Hulk and Hyperion at fire demons, Valkyrie and the Black Knight (nice to see you again after MI13, Dane) at a MacGuffin-empowered, sword-wielding Mideast terrorist and the Vision at a possessed Heimdall.

Coulson’s relationship with the heroes is downright rosy compared with the way other high-ranking SHIELDers have interacted with the capes-and-tights set. We’ve been subjected to years of Nick Fury standing in a corner chomping a cigar looking like his secrets have secrets, and about a decade of Maria Hill getting in good guys’ faces wagging her finger and saying, “I don’t like you, I don’t trust you, etc.” Coulson plays poker with these guys, but he also has their tells memorized.

Agents May, Fitz and Simmons make their 616 debuts in the book, but the big missing TV agent – Skye – is glaringly obvious. If you’ve seen the mid-season finale of the show, you know working Skye back into the comics is going to be tricky, and I’m curious to see how Mark Waid and company handle it. That said, this book is already the best attempt I’ve seen at cramming Coulson into the comics.