Comic Book Journal

Way back in August I wrote a brief blog on my favorite writer Steve Segal. If you want to walk down memory lane to see why I picked him, see http://www.comicbookjournal.net/whos-your-favorite-writer/.
This issue marks the last issue of American Virgin, the story of Adam Chamberlain as he lives an abnormal life as a young adult who can hear God and strives to “save himself,” both literally and figuratively.

For those who had been aboard this title from the very beginning, there was only one way the story could end and Segal ties up the loose ends very nicely, by giving Adam a requiem and killing off the title character as he comes home pure. Stylistically this final issue had a nice touch, with very subtle backgrounds and the characters are, as always, nicely rendered. Becky Cloonan had a very successful run with this series, and proves that while her style, artistically speaking, is not fit for a lot of titles, she proves she is consistent and has been so throughout the series. The colors are as always appropriate and subdued and especially with the scenes with Satan, serve to contrast the duality in good and evil; right and wrong effortlessly.

As far as plotting goes, Segal, ends the series on a high point, but on the flip side, it seems rushed somewhat. With only twenty-three issues, I am left wondering if the series was prematurely canceled or it was a deliberate choice to leave the series at this point. This issues is definitely not a great jumping on point for new readers, but does justice to the series if a reader wanted to try something different then prehaps read the series in its entire run.

I will attempt now to put aside my fondness for Segal and company to give this book a rating. As a single issue I’d give the book a solid seven out of ten. What is it missing? Well not everyone will jump on board with a main character who is a young adult with no outwardly special powers or great plight. So characterization is a little off sometimes, also at times the series is not as readable as it should be, meaning transitions are off between the reality of Adam being with God and the previous events, which are told through flashbacks and memory. Also there are times when the art is a little loose and some characters are sketchy and not well refined.

On a whole the series is brilliant while read in over a few sittings. This is definitely a series that should be complied into a complete graphic novel. For the series, I’d give it a nine out of ten for originality, and overall readability. Check it out you will not be disappointed. I recommend it for mature readers looking for something more than typical superhero fare.

While I was reading this, I realized that I had never read anything by Brian Azzarello before even though he has become a bit of a legend for his style in the comics world. Let me start by saying I think this title is the perfect fit for him because he is definitely non traditional with his technique. I don’t know much about his background, but my bet is he was a screenwriter before coming to the comics world. His pacing is fantastic, with cut scenes between the separate narratives timed perfectly. This what I have to say I liked best about the book. If this was a traditional Marvel or DC title, I don’t think it would have kept my attention though. He moves slowly to develop the story over a period of time, and I don’t think with a stand alone issue it would work. This issue shows a group of kids and the aftermath of a crime. One of their friends had his brains blew out of his head (literally) in front of them and they are left to try and understand why. Eduardo Risso’s art is subdued thanks to excellent coloring techniques and his loose rendering seems to fit with the atmosphere with this title.

While Azzarello tells a good crime story, I was left thinking afterwards, he doesn’t do noir very well. And let there be no mistake not all crime stories are noir, nor should they be. Frank Miller could have done this particular issue better, as I have hereby decreed him the king of noir, with Sin City. So I tip my hat to Brian for his careful planning and meticulous plot work, but I think his characterization is a little off, even in attempting to make it emotionally wrought with the inexplicable death of a teenager he fails to connect in a way. I just didn’t care what happened to the characters. Maybe if I had read the series up to this point I would have had more understand of why this event was important, but that’s the point I hadn’t. This title is not accessible to new readers which could kill its sales.

Everything together I would have to give this issue a seven out of ten. While it is an excellent read, it would be so much better if it didn’t have mob elements threw in the mix and had a “previously…” section for new readers. I say pick up this issue if you’re looking for a good read on a rainy Sunday morning–don’t pick up this issue if you’re looking for a jumping on point for the series.

If you like this type of continuing storyline and want to see the perfect example of noir and mystery read my favorite title from last year Durwin Talbot’s Bonds. If you haven’t seen it already here’s my review. http://www.comicbookjournal.net/the-ties-that-bond/ I recommend this every chance I get.

One of the best things I like about comics is the annual issues. I have to say that I love the quirky, one-shot feel and just the genuine storytelling that these issues contain. Often not a part of ongoing title continuity these issues give creators room to tell a different type or style of story. The Superman 2008 Annual is no different and was a joy to read. I decided to focus on DC for a little bit today as I’ve been spending a lot of time as of late in the Marvel Universe (partly because I’m really digging the Messiah Complex). What’s the best thing about this issue? I’d have to say the scripting. Busiek does a fantastic job of not only driving the story with compelling action and conflict, but also through captions really gets inside Superman’s head and his feelings about Lois and his son. Also the art, (at least in the primary story) was simple and defined. Judging by his art it is clear that Pacheco enjoys drawing Superman, and he does it well. On a scale of one to ten I’d give this stand-alone a seven. It’s easy to follow nicely written and well drawn. The only flaw it had was the back-up story, which tells a nice quiet tale of a rare day off in Superman’s world, but the story lacked action and the art was too loosely rendered for my tastes. If you’re looking for a nice quick read to pass the cold winter night though, it wouldn’t be a bad pick.

Speaking of cold winter nights and the holidays, I STILL haven’t received any entries for my holiday contest and time is growing short. It’s simple but it’s like that lotto if you wanna win you gotta play. If you wanna review the contest again it’s at www.comicbookjournal.net/contest-announcement.
All you have to do is write a Superhero-themed letter to Santa (Superman asking for a new collar for Krypto or something like that) and submit it as a comment on the blog, (which goes directly to my personal e-mail) The winner will receive some fantastic prizes delivered. The contest ends on December 15th and judging will end on December 17th. Any comments, questions, or suggestions? Feel free to let me know and I’ll do my best to get back to you.

People who never read comics often ask me, “I’ve never read comics. Where do I begin?” Recently, the first example of a title I give them to read is Fables. Fables recently won an Eisner for best continuing series, and I agree, it is. For you, loyal readers, who have never read Fables, I do refer you to my blog for Vertigo graphic novels. It is: http://www.dccomics.com/sites/vertigo_num1s/. This will let you read the first issue at no cost. The art is gorgeous and the concept of continuing fairy tales, set in a modern day world is intriguing. The writing is also top notch. Taking time to read this issue will make you realize why comic books continue to be the most underappreciated, underused art form today.

Now that we’ve covered artists, I want to know who’s your favorite comic book writer. Without a doubt mine is Steven Seagle. A great series for fans of the macabre to check out is his revitalization of “House of Secrets.” While it had only a twenty-five issue run from Vertigo with two one-shots, it’s prose and plot while circular in nature, is one of the most addicting, expressive books I’ve ever read. The most basic element in any writng, whether graphic novels, prose or poetry is likable characters. In the series his characters are instantly likable, yet all have unique personalities and their own vulnerabilities. Seagle is not just a one-trick pony though, his work has spanned from independent titles to taking of Marvel’s merry mutants, the X-Men. And he’s still going strong. American Virgin, another terrific Vertigo series tackles the concepts of love, lust, and morality in society today. So here’s some kudos to Steven Seagle. Is there anyone you think deserves some praise?

Just what’s in your library?

For the past three to four years, my own library has developed an ever-expanded graphic novels section.

Over the next couple of days, I’m going to be studying just how the library setting has impacted the comic book industry.

Consider this first part just a survey - a brief outline of the state of graphic novels in my local library - as well as anyone who cares to answer.

But not all libraries are created equal, so understanding just what kind of library helps us visualize where the graphic novel section fits in here.

Here’s my round of questions:

1) Is there a specific place for graphic novels in the library?

Yes - it’s actually located in the section of the non-fiction half of the library, around all the various superhero encyclopedias and comic collector books. There’s a sign on this column that reads “graphic novels” and shows a manga girl reading a book.

2) Just what kind of library is it?

Its a small town local library. Its very nice for a small town library - two floors, not including a basement/meeting area, as well as internet access and inter-library loan connections to other regional collections.

3) How would you rate the library itself?

8 out of 10. It doesn’t have the biggest CD collection, but the staff is helpful and the library is generally well-kept.

4) How would you rate the graphic novel section, if there is one?

Also 8 out of 10. It started out small, but its grown by at least several new titles per year. It can be pretty messy - don’t evn touch the Star Wars books, as kids have gone through them so much they verge on the brink of disintergration. But when you’ve worked children sections in a library like me, you learn to accept some rugrat messes here and there; on the plus side, some of the stacks are probably unreachable for kids at least until they hit middle-to-late middle school.

Well, those are my answers. What’s your take? Are graphic novels a rising force in the stacks or is mine just the exception to a very dull rule?

I, or rather, my schedule, still isn’t up to 100 percent, so I had something a little different in mind for these week’s list - mixing some much needed research with the feature today.

Maybe you are a writer. Maybe you are an artist. Maybe you are both - in which case I’m very jealous. Here’s the hypothetical - you have a finished project, and you want to get it out to a major comic book publishers. Unfortunately, never mind the many, many, many hardships it took to get that project on paper - the journey to publication hasn’t even begun yet. Don’t get me wrong - submitting can be a both uplifting and humiliating process - but if you’re a first-timmer, please leave all your well-founded dreams of doing Daredevil or Detective Comics on the first try behind - comic book submissions aren’t quite that easy, as seen below.

10) DC Comics: The comic book juggernaut provides a Talent Search for sharp-eyed artists. If you are not of the artistic inclination, however, you’ll find absolutely nothing here for the writers. The website bluntly states the process is only able to review artists, not writers. Keep in mind these policies are in place for their acquisitions, including DC’s Vertigo and Wildstorm.

BOTTOM LINE: “At this time, DC Comics does not accept unsolicited artwork or writing submissions.” The unsolicited part does bring up the option of perhaps finding an agent to represent you, but please be wary. The comic book industry is plagued with scams and fradulent agents. Always ask agents of previous works. The best way to find agents is to read the acknowledgements section of the books you read, be it fantasy, graphic novels or just plain fiction. Though this process does add a whole new layer to the submission process, you might find a bold ally in getting published with the big boys.

9) Aspen MLT: Michael Turner’s company has seriously the best looking comics out there. Not only does he have a talent for drawing beautiful women - a linchpin in the comic biz - but he also draws everything else beautiful in my opinion. To slip into Aspen would be a comic book geek’s dream, as well as a huge asset on a professional resume - even if the invitation is only open to artist
.

BOTTOM LINE: While we writers have to sulk about in the corner once again, it’s a huge opportunities for artists regardless. The submissions page - at the bottom of company info - breaks guidelines down for pencillers, inkers and colorists. The instructions tell you exactly what they are looking. If you are artistically-inclined, this is a breakthrough position.

Marvel: The company does offer avenues for both writers and artists. It requires no more than 5 pages of sample artwork or an inquiry letters from writers. Keep in mind, however, you probably won’t get that winning pitch published here - at least not at first. If you do land a job here, as writer or artist, it will be on one of their pre-existing titles, which, let’s be honest, is a helluva breakthrough. But since the company doesn’t read unsoliticed writing materals, you might consider taking that dream project you’ve been penning for years somewhere else.

BOTTOM LINE: If you do send them either artwork and inquiry, read the directions. The instructions call for a self-addressed stamped envelope as well as a completed Marvel Idea Submission Form. This is standard procedure - so get used to it - to stop lawsuits from people who “claimed” to have written some idea they submitted to Marvel. I error on the side of Matt Albie from Studio 60 - if they would have written it, they would have written it. But if you don’t trust the people you’re sending it to - don’t send it to them, simple as that.

7)Dynamite Entertainment: I picked up their Battlestar Galactica/Lone Ranger flip book on Free Comic Book Day and I was deeply impressed. Plus, they also write “Army of Darkness” and “Red Sonja” - two of the hottest titles in the biz right now. For their part, they request an inquiry letter from writers (as well as samples from colorists, pencillers and painters), which is pretty much the same as Marvel’s submission process above, with one added bonus - they may request proposals after hiring. This is a major bonus over Marvel - you can not only get your foot in the door, but you can also get your dream project possibly published as well.

BOTTOM LINE: Given the number of steller licenses this company owns, it will need to prove its caliber in originals sooner or later. This creates a demand, and its a demand YOU, the creator, should certainly take advantage of.

6) Dimestore Productions - This company might not have much in the way of razzle and dazzle as the other companies listed above, but Dimestore offers creators a yearly contest known as Small Press Idol. The contest has competitors vying for a chance to publish a mini-series with the imprint after several rounds on public voting. Not only isn’t is it downright fun to see what other creative teams are doing, but it also offers a much-needed forum for feedback to creators. The judges all provide great critque of each Round - be it premise and cover art, character designs, sequentials or the ultimate Issue #0 sell-off. I don’t care what anyone says; that Simon Cowell has nothing on Roger Foucault!

BOTTOM LINE: There’s only so much your family and friends can tell you about your work. While Dimestore might not have the vast resources of other publisher, it does offer a way to refine your work over and over again, even if you don’t win the big prize. In addition, the company offers many other publishing opportunities year-long!

5) Image - The company revolutionized the comic book industry - showing a little guy (albiet comprised of the best of the best) could withstand direct competition with the big two. But that was the 90’s, and Image has fallen into uncertain times. Though core titles like Savage Dragon and Spawn still run strong, much of their original universe has been fractured, and the company is certainly looking for new creators to pick up the pace. BUT make sure you read the fine print before you submit. There’s a reason the submission guidelines read “WE DON’T PAY PAGE RATES.” This means they are not the ones paying you - like an agent, they take a flat fee from the sales, but unlike an agent, it is possible for the creators to endure losses just as well as profits.

BOTTOM LINE: Don’t let this deter you from submitting to Image - it’s a huge opportunity. But conceptualize a marketing plan before you submit. Don’t just assume “It’s their job to sell this” - because its also your job if you want to make any money - especially with some responsibility for losses. Another comic company I explored - Too Hip Gotta Go Comics - runs by a similar system and explains it better than I ever could. Consider them in the same vein as Image - there are advantages and disadvantages to each company. Give both a good thought if you chose this route.

4) Antarctic Press - This company’s Free Comic Book Offering was called Pirates vs. Ninjas. Did you hear me? Pirates and Ninjas! Brilliant! That’s not all that’s brillant about this company. Though best known for more manga/anime style ventures such as “Gold Digger” and “Ninja High School”, the submissions page of this comic publisher contains a State of the Industry address at the bottom which YOU MUST READ if you want to work in comics.

BOTTOM LINE: Never submit to a comic publisher unless you know the general look of their line. Antarctic Press has a very colorful adventure feel to it, but the honesty of the submission guide combined with the loose and fun feel of their publishing line creates a very inviting atmosphere. They accept both inquiries for writers and artists.

3) Arcana Studios: Some publishers have submissions down to an art form, or at least, an on-site Internet form. Expediancy is something one must consider in comic book submission. After all, why send a comic submission out for three days through the mail, plus postage, when you can send it for free through the wonders of the Internet. Arcana, the publishers of “100 Girls”, “Starkweather” and “Dragon’s Lair”, makes it pretty easy to send your work - provided its completed with at least 5 pages of art.

THE BOTTOM LINE: Definitely one to consider. They have a strong line, and their titles span a wide range of weird and wild, and they’ve risen to top ranks of new comic book publishers because of this. There are a couple of things, however. First off, there are some holes in their website - including dead links and spelling/grammar errors - which are worrisome to the eye. Secondly, the submissions guideline seems more promise than pitch. It doesn’t read with the honesty of Too Hip Gotta Go or Antarctic - and while I’m sure they intend to deliver on their word - its just a bit odd when the publisher is selling to the creator and not the other way around.

2) Ape Entertainment: We’re down to the last two, and both publishers have one thing in common: versatility. Ape Entertainment offers quite a lot outside of the gorilla marketing (yes, that’s a pun, not a mispelling) assoicated with Silver Age Comics. Their titles span from classic pulp (Black Coat) to modern day everymen (Bizarre New World) and an indie terror (Horrorwind). The publisher wants both artists and writers, but is only accepted completed creative teams for the latter. Still, the sheer variety of their submission guide is a comic book creator’s dream.

BOTTOM LINE: They’re pretty much looking for something of everything. Unlike most companies, they accept all genres and all age-groups. In fact, not only do they consider comic book publications, but also role playing games. And they can be reached by web-link (preferred), e-mail and snail mail. Their submission guidelines are very thorough and very clear - they even explain what artistic position fill easier than others. Ape Entertainment also alternates between the role of publisher and packager. They are more on the market for one-shots and mini-series, so this might not be the place for that magnum opus ongoing you’ve been penning for so long. Still, it should rank high on any submission list regardless.

1) Dark Horse Comics: Dark Horse is proving to be a giant in the industry, and stable one that. Those are two qualities usually mutually exclusive with here-today, gone-tomorrow status of comic book companies - one company I reviewed on Free Comic Book Day just wanted to last six months in the industry! Dark Horse got its start the same way Dynamite - by picking up licenses such as Star Wars, Aliens/Predator and Buffy the Vampire Slayer. But Dark Horse Comics would proved its own versatility in later years with in-house hits like “Hellboy”, “Sin City” and most recently “City of Others”. What amazes me is, for as long as I’ve been a comic book fan, Dark Horse Comics has always been open to submissions. The merit of a company company is often judged in how it treats its submissions, and Dark Horse certainly stands above them all.

BOTTOM LINE: There of good to go around. Dark Horse is among the only companies I’ve encountered which still ask for a full script - giving writers a change to strut their stuff with some page length. The company looks for sequential quality over pin-up power for artists, though it accepts submissions of both. And all submissions must include - you guessed it - a Submissions agreement. Did I mention they have page rates - although unknown at this time - a huge bonus over Image!

HOWEVER, just because Dark Horse is the No. 1 Best Bet for Comic Creators, there are some disadvantages to these publishers just like all the rest of the list. The biggest disadvantage for Dark Horse is time. First off, they only accept snail mail. Secondly, due to the huge volumes of submissions they receive (don’t blame them, comes with the territory), they only send responses to people they wish to hire. But just look at their New Recruits Program - they’ve just narrowed down their 2005 list to 20 (admittedly the list was in thousands) and their 2004 New Recruit winner is just now going to the printer.

BOTTOM BOTTOM LINE: Patience is a virture, and Dark Horse is worth the wait, but if your project could be in limbo for a very very very long time!

Time for the Oscars of comics, better known as the Eisners, which makes more sense to me. I mean, I know who Will Eisner is, but I’m still not sure who the hell this Oscar guy is.

The nominees for the 2007 Eisner Awards have been announced. This is actually something I kind of participated, blissfully hoping for a nod myself, from my webcomic “Hector!” and its first year of operation.

It was a long shot . . . a HUGE long shot . . . but I actually did send something out, so it was kind of cool regardless of the lackluster results. But more on that later.

There’s quite a few things of interest in each category, but here are just a few of the highlights:

Stan Lee is up for an Eisner in “Best Short Story” for an entry entitled “Spider-Man Meets Stan Lee”. If I was in Spider-Man’s position, I’d punch Stan Lee in the mouth. Hard.

Will Eisner’s own creation “The Spirit” is back in the Eisners now for “Best Single Issue or One-Shot”. The nomination goes to issue #1 of Darwyn Cooke and Jeph Leob’s “Batman/The Spirit #1″. Though it was among one of the first Spirit comics not written by Will Eisner, the cover was downright hilarious and well-worth the price of admission!

Two of my favorite titles are up for Eisners in the “Best Continuing Series” category - Grant Morrison’s “All-Star Superman” and Allan Heinberg’s “Young Avengers”. If you’re a comic book fan, you owe it to yourself to pick at least one issue of these books up - I think “All-Star Superman” is already out on hardcover as well.

The “Limited Series” category seems a tight race between Paul Pope’s “Batman: Year 100″ and “Through the Looking Glass: Hatter M” by Frank Beddor, Liz Cavalier and Ben Templesmith - both extremely popular series which have sold out almost instantly every time they touched a store front.

“The Long Ranger” is actually up for an Eisner in “Best New Series” - I had heard about this book, but I didn’t know it was actually out. The Long Ranger will need all his six-shooters to make it past the considerable competition though - among them Ed Brubaker’s much-talked-about series “Criminal”.

I got beat by the best in the Digital Comics category. I was so worried I’d be out-done by a bevy of video game comics yet again. “Girl Genius” is great, and one I should probably start including on the Wrap-Up.

The Best Writer competion looks to be mostly a competition between Brubaker and Morrison - those two have contributed so much to the comic book industry lately, its hard to see one of them not going home with something. Besides, Bill Willingham hasn’t stepped out from under the shadow of Fables nearly enough, even with Shadowpact.

I’d really like to see Ben Templesmith (”Fell”, “Hatter M”) win Best Painter, but he’s in for one helluva a fight - Jill Thomspon of “Scary Godmother” fame is among the competition.

John Cassaday of “Astonishing X-Men” seems a shoe-in for Best Cover Artist, but I don’t know, I’ve seen amazing things from Conan’s Tony Harris.

You can see all the rest of the entries here. I’ve done my part

This is a more personal, subjective list than last week’s. As such, it’s open to debate, interpretation, and of course, argument. These are the most important comic books seen through the filter of me.

In other words, I wouldn’t be here writing this if it weren’t for these.

10. G.I. Joe by Larry Hama - It’s fitting that I begin with this one, because it links right back to “Top 10 Accidental Comic Book Discoveries”. The comic below is billed “The Most Unusual G.I. Joe Story Ever!” with good reason - because a mistake somewhere down the production line caused the comic to be printed without dialogue. Fortunately, it just so happens the titular ninja on the cover - Snake Eyes - doesn’t speak at all, and Marvel went ahead with it as is. G.I. Joe might not look like much in a stack of comics, but often times the action series penned by Larry Hama performed heads and tails over its animated counterparts.

Favorite Moment: After a spirited chase with his rival/former blood brother Storm Shadow, Snake Eyes finally learns the truth - Storm Shadow didn’t betray him, didn’t kill one of his Masters, and has infiltrated Cobra for revenge. By the time fellow Joes catch up with Snake Eyes, he’s slumped against a wall processing everything that just happened. When Scarlett asks Snake Eyes where’s Storm Shadow, the shadowy ninja gives no indication he’s heard her. A jilted Scarlett replies, “Nevermind. You never answer.” as she walks away.

9. Ultimate Spider-Man by Brian Michael Bendis and Mark Bagley - Most simply forget that its just an awesome story. During a time when Mary Jane was dead and Spider-Man was spiraling back into the “Why me?” category of whiners, Ultimate Spider-Man fixed so many problems which had plagued the Spidey continunity in the regular line. It wasn’t just Peter Parker in trendy clothes - it was how a young and scrawney Peter Parker would respond verbatum if he was some regular kid in New York. Mary Jane was no longer simply a sexy party girl outclassing Peter, but a fellow science geek with heart. And the best parts of the book - from the highest moments of Spider-Man’s rise to the most tender and soulful aspects of Peter and MJ’s relationship - were entrusted to powerful art with absolutely no words in between.

Favorite Moment: When Peter Parker reveals he’s Spider-Man to MJ - she falls off the bed laughing, and then freaks out when she realizes the truth. Moments later, MJ is more at ease with the prospect, but Aunt May isn’t - she bangs on the door and demands the two stop with the “hanky panky” and even asks if Peter about “protection”!

8. The Shade by James Robinson - As much as I love Starman, I have to admit the highlight of the book is the enigmatic Shade, a (semi)-reformed supervillain with immense longevity in every sense of the word. Given his own series by Robinson, The Shade is one of the great buried treasures of the comic world, and a pain in the bins to track down since often confused with Shade: The Changing Man. The Shade sheds very little light on the exact nature of the English gentleman’s origins, instead focusing on a treacherous family called the Ludlows, whom Shade butchers after their manipulations backfires. The mini-series centers around the complex relationships the Shade has with the future generations of Ludlows, who are often inevitably drawn into the centuries-old bloodfeud with the immortal. After two hundred years crossing country and genre completely, the Shade has one final confrontation with one last Ludlow in the heartland of America - although another shows up later in Starman.

Favorite Moments: After saving his arch-nemesis Jay Garrick (the Golden Age Flash) from a particularly nasty variation of Ludlow in the 1950’s, the Shade writes in his journal of a subsequent encounter with the Flash while bank-robbing. The two smile at one another in mutual respect before “Jay punched me in the jaw. He was good at that.”

7. Green Lantern/Green Arrow by Denny O’Neil and Neal Adams: Wikipedia defines Green Lantern/Green Arrow as “a socially-conscious, left-wing creation that effectively took over Green Lantern’s book to use him as a foil and straw man . . .” Part of this is true - the social conscious part as well as the forcing of Green Lantern to share the spotlight with the boisterous Oliver Queen. But what made such a concept work is the even-balance of the characters - one a lot more fair and balanced than the talking head newscasts of today. O’Neil did make Green Lantern quite a bit more of a wallflower than today’s version, but he complimented the works by making Green Arrow an over-the-top loudmouth who makes Howard Dean look tame. Even more stunning was how the book forced both intergalatic policeman Hal Jordan and streetwise man’s man Oliver Queen to challenge and change their beliefs by confronting real life issues instead of soap-boxing about them.

Favorite Moment: After Green Arrow kicks out his ward Speedy for . . . ummm . . . doing speed, his sidekick goes into a tailspin trying to sort his life out. Eventually enlisting the aid of Hal and G.A.’s on-off lover Black Canary, he is successful is kicking the habit - but to Oliver’s unwelcome surprise, Speedy ends up kicking his not-so-canny mentor along with the habit, citing how his friends were ones who helped him through this - not trash talking or tough love rhetoric.

6. Preacher by Garth Ennis and Steve Dillon - Flipping through a trade of Preacher is one of the most macabre sensations you’ll ever come across. I dare you to try it. Inside, you’ll see grosteque, disturbing and downright blasphemous illustrations which will make you wonder “Why on earth am I even standing here doing this?” But if you read all the way through that same trade, you’ll find heart and hilarity attached to each one of those literally gutsy installments. Preacher is all about Jesse Custer, a disillusioned preacher on a not-so-metaphysical journey to find God, and must literally fight Heaven, Hell and everything in between to do so. While I don’t necessarily agree with Preacher’s sacreligious tone, I totally dig the content - immensely insightful social commentary on the darker side of faith and freedom. Ennis intelligently imports John Wayne and the Wild West to find a light at the end of a vastly nihilistic journey through the American Dream. This is Garth Ennis’ best work - also his saddest and also his funniest, and definitely his liveliest.

Favorite Moment: You think The Da Vinci Code is bad? In one storyline we’re introduced to the bloated yet bulimic Allfather - a grossly obese parody of the Pope, who charges an ill-suffering guard to watch over “the kid” - the inbred descendant of you-know-who. The poor guard watches as the kid prances around drinking gasoline while claiming to turn it into wine, but things get even worse in the end, as the guard watches as the Allfather is flung from a helicopter during a coup - and splats right on top of them!

5. Aquaman by Will Pfeifer - Will Pfeifer has the makings of a comic book legend, but you’d never know it save for a few choice reviews. A couple years ago, he was charged with writing Aquaman - probably a death sentence for most writers. But Will was actually a local favorite of mine - I knew of his columns in the Rockford Register Star and his work on the series H.E.R.O. Then, halfway through the story arc, it hit me - this guy is really good. I soon found I was liking Aquaman in a way I never had before. He was back in the orange and green scales costume, but the artistic execution didn’t bring back laughable memories of Superfriends. Instead, it proved one natural constant - Aquaman is the best at what he does, even if, or especially if, that’s talking to fish. The storyline itself was brillant - with San Diego falling into the ocean to form Sub Diego, and giving Aquaman a new reign as commander of the disaster-ridden city, filled with Americans turned water-breather virtually overnight. DC really threw pearls to swine with this one - favoring Kurt Busiek’s new Arthurian take over Pfeifer’s street-bound business, and Sub Diego, to my knowledge, hasn’t appeared all that much since, although the new Aquagirl, established by Pfeifer, appeared as a member of the makeshift Titans in 52.

Favorite Moment: The immense details Pfeifer employs in the rebuilding of Sub Diego, as huge humpback whales support falling buildings while electric eels are used to restart a man’s heart, and, far more sinister, an army of sharks provide a toothy border for any water-breathing citizen who tries to flee to the now-poisonous surface.

4. Spectacular Spider-Man #200 by J.M. DeMatteis and Sal Buscema- I bought this one at Odd Lots in a “value pack” of comics supposedly totalling more than $20 in worth for just 7 bucks. The pack included a few lame 90’s Avengers, a lot of Power Ranger comics, and this one, with a silver cover and artist signature at the bottom. The issue itself focuses on the final fate of Harry Osborn, as he escalates his conflict with Peter Parker by stalking his former friend through the streets of New York. Along the way, Pete and MJ deal with marriage problems while the picture-esque home life of Harry and Liz Osborn, with their son Normie, threatens to trigger the Osborn madness a generation further. The real crux of this issue is the ending. I don’t profess to know what will happen to Harry Osborn in the upcoming Spider-Man 3 less than a month from now, but if this is his final chapter in the Spidey franchise, this should be the basis. This issue tells you everything you need to know about Harry - who he is and what he does - in the face of his father’s bloodcurdling madness.

Favorite Moment: Again, the ending. I don’t want to spoil it in case the filmmakers do indeed chose to purse a direction similiar to this, but the final scene with Harry and Peter is touching and tragic combination all rolled up into one. Definitely one of the best-written Spider-Man moments to come out of the soon-to-be-Clone-dominated 90’s.

3. Daredevil by Frank Miller - In my stack of 80’s comics, it was easy to see Darevil stood out the most. The coloring, the shading and the point of view were all so radically different from the time. I’ll bet it was a bit like reading “The Spirit” in the 40’s or anything by Jack Kirby in the 60’s - it was an entirely different perspective. Though there were still plenty of other comics in my uncles’ collections I would give a read, Frank Miller’s writing on Daredevil was as diversive as the artwork. Daredevil wasn’t just the gimmick hero - the blind guy - he was a living and breathing figure, one who made mistakes and learned to make payments for them. The covers often touted the complex themes and tones within, with tag lines like “How does a man search for his soul?” While I didn’t have any of the groundbreaking comics dealing with Kingpin or Elecktra, what I saw in the issues I have showed just how powerful this medium could be.

Favorite Moment: I’m terrible with issue numbers, but my favorite comic has Daredevil playing Russian Roulette with a bed-ridden Bullseye, discussing how their last much-publicized battle caused a media-frenzy which pushed a young boy often the edge - eventually wounding a classmate at school with his father’s gun. In the end, Daredevil reveals the gun is empty, and says “I guess we’re stuck with each other.”

2. Watchmen by Alan Moore and Dave Gibbons - What you have to understand is I found out about Watchmen through Wizard Magazine. So I knew all about the high body count, the break-neck ending, and the uncoventional adversary. I didn’t actually read it until two years ago. And that’s when I saw the true core of Watchmen - the characters. Though deconstructionist and nihilistic, every character - from the abusive Comedian, the impotent Nite Owl, the removed Dr. Manhattan - show their humanity at one point, and when they do, the result is absolutely amazing. Moore even succeeds in bringing sympathy and humanity to Ozymandias, the ultimate villain of the piece, after all he has done - so much so that I liked him a whole lot better than the remaining so-called heroes.

Favorite Moment: Wizard was wrong to frame Rorscharch as the bad-ass of the piece. Rorscharch is sociopathic, absolutist, and I suspect, possibly homosexual (given his frosty reaction to Silk Spectre), all of these contributing to the all-consuming hatred and rage seething beneath the mask. Yet despite all of these flaws, and a great deal of others, Rorscharch doesn’t crack, doesn’t accept anything less than the truth, and stands alone as the only hero who refuses to give into the world peace/mass murder trade-off the other heroes accept. This is the sole brillance of Watchmen - though cosumed by his flaws, Rorscharch’s willingess to sacrifice himself for his ideals define him as the piece’s true hero.

1. Astro City by Kurt Busiek and Brent Anderson - Hidden behind the view of superheroes fighting out-of-this world threats and monsters, Busiek and Anderson’s Astro City explores the masks people wear day-to-day just as much if not more than the masks heroes wear fighting supervillains and bank robbers. While I love and recommend each one of these books, my favorite by far is Confessions, which follows a young man named Brian as he serves as superhero sidekick Alter Boy to the methodical and mysterious Confessor. Aliens are laying siege to the space around Earth, while the citizens of Astro City are becoming paranoid following a series of grisly murders. And it doesn’t help matters any that the Confessor has a secret of his own that will change everything for Brian and the heroes of Astro City.

Favorite Moments: Like Spectacular Spider-Man #200, I don’t want to give too much away. Suffice to say, after Brian learns his mentor’s secrets, he asks the Biblical-themed Crossbreed what they thought of the revelation of the Confessor’s true nature, to which Noah, leader of the Crossbreed replies, “What matters more, the burdens we bear or the way we bear them?” Like Stan Lee and Jack Kirby’s X-Men before them, Kurt Busiek and Brent Anderson’s characters work on so many different levels, with layers only limited by the reader’s perpsectives.

Well, that’s all for me today. I’ve told you mine, now I would like to hear yours. What comics out there propelled you further into the medium and kept you coming back to the shop for more?