So let’s end “Pandemic Comics” where it began, with a shipment from Midtown Comics.
One of the big geek stories to come out of the pandemic was DC’s decision to break from the distribution model the medium has used for the past quarter century and essentially ship its own comics rather than use a middle man. It was hugely controversial, but it happened and I figured there was no way I wasn’t going to be a part of this, so of course I ordered some of the results from Midtown, one of the unofficial replacement distributors. I guess Midtown was so eager for participation in the experiment they decided to chip in a free comic with these orders. Cool beans! The insane thing is that fans seem to have forgotten one of the principle features of this medium is the necessary evil of the collectors market. There have been people arguing that comics never had to take a break because they could have just gone digital, and...that’s the kind of myopic self-interest you can see anywhere, really, but still funny to see argued. The comics DC shipped for the week of April 28, 2020 are likely going to be big money in the collectors market. That’s not necessarily why I got some, since I’ve never participated in the medium this way (the shop in town I frequent most irritates me because it seems to think, and perhaps even function, as a collectors market first and foremost), but it seemed like an interesting prospect on the belief that no one was viewing it that way. I only ended up getting two comics from the releases, padding out the order with a few other purchases, but in the short-term they were rewarding (reading) experiences, so on that score I already feel vindicated, since I probably would never have read them otherwise. Anyway, read on:
Batman #89
One of the selections, a third printing of Punchline’s cameo debut. This is the first time I’ve read James Tynion IV’s Batman. Anyone who’s familiar with my recent comic book tastes knows I’m a Tom King guy. I didn’t decide to skip out on further Batman because of Tynion, but because it was always going to be difficult, in my eyes, to replace King. A lot of fans were clamoring for this, wanting to end the difficult reading experience that was King’s run. If I had reservations for Tynion, it was that he appeared to be as opposite of King as DC could possibly get. I had read a little of his Detective Comics, so I knew what some fans were wild about (he had basically taken the Batman Eternal approach, the Batman family approach), but again, I didn’t see how that could possibly satisfy me after everything King had done. Plus, I always saw Tynion as a Scott Snyder minion, Scott Snyder Lite.
Well, I was wrong. I actually really enjoyed the issue. Tynion alters his approach. It’s no King, but it’s not Snyder either. At this stage I would say maybe somewhere in between? He tosses villains new and familiar at Batman. Where Snyder never really seemed to see Batman in the iconic sense, the mythical “can rise to any challenge” Batman, Tynion sees his Batman, as he approaches the challenge of the Designer, as a challenge. And again, where Snyder constantly saw Batman as not up to the challenge, Tynion looks like he’s approaching Designer as a Moriarty, a worthy opponent. King frustrated fans, I think, most in that he heavily favored misdirection, where every expectation either felt inevitable or followed a logic King either waited to explain for later or felt like a disappointment after massive buildup. In short, you were invested or you weren’t. And this Tynion approach is fresh all over. And I look forward to reading more.
Bloodshot Reborn #2
This was the freebie, something I’d read previously, but didn’t mind revisiting, from Jeff Lemire, Bloodshot having previously purged himself of the nanites that had given him his powers, but realizing it wasn’t as good an idea as it had seemed. This was, at least for me, the best time to be a Bloodshot fan, and why I will be interested in watching the Bloodshot movie regardless of how it did in theaters earlier this year (when theaters were actually open, earlier this year). Valiant may not know how to keep the ball rolling indefinitely (its modular approach worked well short-term, but it resulted in short-term memories all around; there’s no reason why Valiant shouldn’t be flooding the market with the evergreen material it’s already produced, but with no momentum there’s no memory and therefore no way to keep the memories going), but that’s no excuse. I’m a Bloodshot guy.
The Multiversity: Pax Americana
I was trying to order the whole collection (and ended up doing so elsewhere) but had to “settle” for Morrison’s critique of Watchmen, via the Comic Book Legal Defense Fund variant cover (thus contributing to it during the pandemic, which felt right). There’s a big deal among fans concerning the “rivalry” between Morrison and Moore, with Moore partisans convinced Morrison is a pathetic wannabe, even to this day, compared to Moore. This is the first time I’ve revisited Pax Americana since its original publication. Morrison & Quitely obviously have a lot of fun commenting on Watchmen’s legacy, but I remain convinced that Morrison’s perspective is correct, that Moore was ultimately myopic in his conclusions, but Moore’s conclusions affirm where his career ultimately headed, and Morrison’s where his have led. And this might be the least controversial conclusion to be found.
Robin: 80th Anniversary 100-Page Super Spectacular
Now I’ve read the Action Comics, the Detective Comics, the Flash, the Wonder Woman, and even the Marvel Comics anniversary specials, and finally this one. And Robin’s, I think, is the most rewarding. The special is completely in my wheelhouse, celebrating, most of all, the Robin era as I experienced it. Even though Marc Wolfman writes the first story, the art is from Tom Grummett, who embodies the iconic ‘90s moment when Robin finally starred in his own ongoing series. Chuck Dixon & Scott McDaniel reunite! The Grayson team reunited! Even Adam Beecher & Freddie Williams reunite! The whole thing is, well, spectacular. The only thing missing is new Patrick Gleason material (they were able to include a vintage Batman and Robin cover); Frank Miller and Carrie Kelley similarly only appear via a pinup, but I guess that’s okay. Gleason recently left DC after about a decade. It’s not surprising he didn’t return for this. Still remains the definitive Damian artist. The special was published after I’d made my previous Midtown purchases, but just before the lockdowns began, so I hadn’t had a chance to read it before. But there was no chance I wouldn’t include it in another order. Very glad I did so!
The Sandman Universe: The Dreaming #20
As it turns out, an entirely faithful account of the inner workings of the Dreaming from Neil Gaiman’s Sandman. Not the expansive storytelling model that was Neil Gaiman’s Sandman as a whole (but so little else is, much less Gaiman’s other material itself), but rewarding all the same, and apparently the final issue of this particular run. This was the other 4/28 release, original material, that I purchased. I was hesitant because the writer was Simon Spurrier, who in my only other experience with him to date (X-Club, from like ten years ago) came off as an insufferable hack. Here he came off much better! So I’m glad I gave myself the chance.
Showing posts with label Comic Book Legal Defense Fund. Show all posts
Showing posts with label Comic Book Legal Defense Fund. Show all posts
Friday, May 8, 2020
Monday, April 20, 2015
Digitally Speaking...48
Digitally Speaking...covers comics I've read from my comiXology account...
CBLDF Defender #1 (Creator Owned)
From April 2015.
The Comic Book Legal Defense Fund takes comics seriously, as in they champion creator rights, and the right for readers to have access to comic book material. It's basically the comic book version of the inexplicable banned book phenomenon. Banned books, as in the concept of allowing ninnies to censor what you're allowed to access. Mostly this takes place at schools and libraries, which means the very institutions intended for society to build itself up are in fact breeding ground for people to tear each other's potential down. This strikes me as wrong. This debut issue of a journal detailing CBLDF's activities and relevant discussions such as Neil Gaiman's experiences (via an interview) and the Charlie Hebdo controversy (in which one culture violently attempts to tell another what is acceptable, and the other responds with cartoon drawings) is pretty dry. Usually the Defense Fund enlists industry veterans to make actual comic book material out of the discussion first begun with Seduction of the Innocent (also covered in the issue, by the way), but for whatever reason chose not to do so here. Insightful material, but could use more innovative analysis. Personally, using more examples of challenged material would be more interesting. An excerpt from Persepolis is almost completely unreadable in even the greatest enlargement, which only enhances the size of the pixels. Alas, comiXology's Guided View is useless in this instance.
Daredevil: The Man Without Fear #1 (Marvel)
From 1993.
This issue begins Frank Miller's origin of Daredevil alongside artist John Romita, Jr. This was years after Miller's famous work on the character, and it shows, how well he knows Matt Murdock, calling back to mind things Miller had done previously. By the end of the issue, Matt's father has refused to throw a fight (this is depicted in the movie released a decade later) and been murdered for it, following Matt's blinding and subsequent training under Stick, although his interest in the law and even nickname "Daredevil" is presented as predating all of this. Romita has a distinctive style that is already in full evidence, pretty much exactly as seen in his current Superman work. Perhaps tellingly, it looks much like Tim Sale's work. And hey! speaking of which...
Daredevil: Yellow #1 (Marvel)
From 2001.
After years of telling Batman stories together, Jeph Loeb and Tim Sale went over to Marvel and started a series of character sketches there, too. Their Daredevil read a lot like Frank Miller's, and looked like it, too. Probably not a coincidence. Miller's work paved the way for Loeb, who always seemed to have an instinct for superhero psychology and an intuitive grasp of their personal narratives. Later he'd bring this to his greatest success, Superman/Batman, which began life as a series of dueling monologues straight out of the work he'd done in Batman: The Long Halloween and Daredevil: Yellow, among others. Yellow is another origin story, and the first issue covers the same fateful sequence concerning Matt's father as detailed above. Yet repetition, as always, creates resonance, especially when covered by expert hands. One master to another...
The Defense Fund could find a lot of illustrations in Matt Murdock's story. Miller depicts the formative days of the boy who would become Daredevil as full of delinquency and fallen heroes. Yet this only serves to create the man who would become a hero best known for never giving up. Surely a message worth spreading? Comic book fans, especially superhero fans of the Marvel persuasion, are always arguing that this is a medium that celebrates triumph over adversity. Isn't that the CBLDF mission statement?
Django/Zorro #5 (Dynamite)
From 2015.
Django/Zorro, and Grant Morrison's Annihilator, became the first time I read a comic book first-run digitally. I haven't made that clear until now. My local comics shop is supposed to have the series (both of them, actually) pulled for me, but then, the guys who run this store are always screwing up. So I didn't even realize I hadn't read this particular issue yet until I checked in on my comiXology account. I don't always have time to read the material there, which is why my alphabetical journey through it has taken such a long time. As it turns out, this is the issue of Django/Zorro I've been waiting for all along, the moment the Quentin Tarantino in the story really pops. Not just because the late Dr. King Schultz makes a cameo, or that Don Diego de la Vega (a.k.a. Zorro) pulls off the same trick Schultz does in Django Unchained concerning revealing the identity of someone he has a bounty on, or that gunfire irrupts abruptly. Okay, maybe a combination of all these is enough. It's the first time Matt Wagner seems interested in more than a superficial juxtaposition. Here he's making a clear effort to evoke not just the spirit of Tarantino's movie but its feel as well. And this is a good thing.
(I've also added Descender to my subscriptions. Where will I strike next???)
CBLDF Defender #1 (Creator Owned)
From April 2015.
The Comic Book Legal Defense Fund takes comics seriously, as in they champion creator rights, and the right for readers to have access to comic book material. It's basically the comic book version of the inexplicable banned book phenomenon. Banned books, as in the concept of allowing ninnies to censor what you're allowed to access. Mostly this takes place at schools and libraries, which means the very institutions intended for society to build itself up are in fact breeding ground for people to tear each other's potential down. This strikes me as wrong. This debut issue of a journal detailing CBLDF's activities and relevant discussions such as Neil Gaiman's experiences (via an interview) and the Charlie Hebdo controversy (in which one culture violently attempts to tell another what is acceptable, and the other responds with cartoon drawings) is pretty dry. Usually the Defense Fund enlists industry veterans to make actual comic book material out of the discussion first begun with Seduction of the Innocent (also covered in the issue, by the way), but for whatever reason chose not to do so here. Insightful material, but could use more innovative analysis. Personally, using more examples of challenged material would be more interesting. An excerpt from Persepolis is almost completely unreadable in even the greatest enlargement, which only enhances the size of the pixels. Alas, comiXology's Guided View is useless in this instance.
Daredevil: The Man Without Fear #1 (Marvel)
From 1993.
This issue begins Frank Miller's origin of Daredevil alongside artist John Romita, Jr. This was years after Miller's famous work on the character, and it shows, how well he knows Matt Murdock, calling back to mind things Miller had done previously. By the end of the issue, Matt's father has refused to throw a fight (this is depicted in the movie released a decade later) and been murdered for it, following Matt's blinding and subsequent training under Stick, although his interest in the law and even nickname "Daredevil" is presented as predating all of this. Romita has a distinctive style that is already in full evidence, pretty much exactly as seen in his current Superman work. Perhaps tellingly, it looks much like Tim Sale's work. And hey! speaking of which...
Daredevil: Yellow #1 (Marvel)
From 2001.
After years of telling Batman stories together, Jeph Loeb and Tim Sale went over to Marvel and started a series of character sketches there, too. Their Daredevil read a lot like Frank Miller's, and looked like it, too. Probably not a coincidence. Miller's work paved the way for Loeb, who always seemed to have an instinct for superhero psychology and an intuitive grasp of their personal narratives. Later he'd bring this to his greatest success, Superman/Batman, which began life as a series of dueling monologues straight out of the work he'd done in Batman: The Long Halloween and Daredevil: Yellow, among others. Yellow is another origin story, and the first issue covers the same fateful sequence concerning Matt's father as detailed above. Yet repetition, as always, creates resonance, especially when covered by expert hands. One master to another...
The Defense Fund could find a lot of illustrations in Matt Murdock's story. Miller depicts the formative days of the boy who would become Daredevil as full of delinquency and fallen heroes. Yet this only serves to create the man who would become a hero best known for never giving up. Surely a message worth spreading? Comic book fans, especially superhero fans of the Marvel persuasion, are always arguing that this is a medium that celebrates triumph over adversity. Isn't that the CBLDF mission statement?
Django/Zorro #5 (Dynamite)
From 2015.
Django/Zorro, and Grant Morrison's Annihilator, became the first time I read a comic book first-run digitally. I haven't made that clear until now. My local comics shop is supposed to have the series (both of them, actually) pulled for me, but then, the guys who run this store are always screwing up. So I didn't even realize I hadn't read this particular issue yet until I checked in on my comiXology account. I don't always have time to read the material there, which is why my alphabetical journey through it has taken such a long time. As it turns out, this is the issue of Django/Zorro I've been waiting for all along, the moment the Quentin Tarantino in the story really pops. Not just because the late Dr. King Schultz makes a cameo, or that Don Diego de la Vega (a.k.a. Zorro) pulls off the same trick Schultz does in Django Unchained concerning revealing the identity of someone he has a bounty on, or that gunfire irrupts abruptly. Okay, maybe a combination of all these is enough. It's the first time Matt Wagner seems interested in more than a superficial juxtaposition. Here he's making a clear effort to evoke not just the spirit of Tarantino's movie but its feel as well. And this is a good thing.
(I've also added Descender to my subscriptions. Where will I strike next???)
Tuesday, June 24, 2014
Reading Comics #124 "Reading FCBD 2014"
Atomic Robo (Red 5)
I'm on record for loving me Atomic Robo. Earlier this year I read every other FCBD offering featuring the most awesome Tesla-inspired fighting robot in comics (recapped here). In the eighth installment of this peculiar series, there is, alas, no Dr. Dinosaur (what's up with that?). Maybe it's because I just read all those, but this time it seems a bit been there done that. Although I still recommend Robo to any and everyone. Red 5's other samples aren't very inspiring, either. They be a small publisher for a reason, yo.
Bongo Free-for-All (Bongo)
Featuring nothing but the Simpsons (plus a weak nod to Futurama on the back cover that's actually nearly as much a nod to...Archie). The first tale features Bart and Milhouse trying to accidentally gain superpowers, like they do in comics. The one real result is Milhouse's hair becoming amazing. Then there's a Spy vs. Spy (a classic feature of Mad Magazine) featuring Itchy and Scratchy. Then there's a Mr. Burns story that has some fun with the idea of his being "the best boss in the world." Then back to Bart and Milhouse, imagining the behind-the-scenes of Krusty Burger. Then more superhero adventure-type things. Then a "Where's Waldo" feature with Ralph from Sergio Aragones! Simpsons comics are always good stuff!
(Help the CBLDF) Defend Comics (CBLDF)
The Comic Book Legal Defense Fund helps you take comics more seriously than you every thought possible, and this handy special helps you understand exactly how! Highlight, for me, is an excerpt from Fred Van Lente and Ryan Dunlavey's excellent Comic Book Comics (later reprinted as Comic Book History of Comics) featuring the (in)famous tale of Fredric Wertham, the man who declared war on the medium in the 1950s. Although since it takes up the bulk of the issue, this isn't such a difficult accomplishment. The other highlight features Sergio Aragones again, as well as Mark Evanier, Tom Luth, and Stan Sakai (a sequence originally featured in CBLDF Presents: Liberty Comics #1) in a series of examples of people being silly about comics (and not in a debating-who-would-win kind of manner).
The Dumbest Idea Ever! (Graphix)
Excerpted from a longer work, this is actually...kind of...a fictional account...of how this...thing...was created...in the first place. Not greatly impressed, but maybe the whole thing is better?
Guardians of the Galaxy (Marvel)
This one is basically, with the title feature, a primer on the comic book version of the team (likely comparable to the movie version hitting theaters this summer) from Brian Michael Bendis. Not hugely inspiring, but I guess you don't expect a lot from something like this, especially since it doesn't even get the whole issue. The next segment belongs to Jim Starlin and Thanos, two names that historically have gone very well together, and is an excerpt from the Thanos: The Infinity Revelation graphic novel. Either it's not the greatest excerpt, or it's not the greatest pairing of these two. Hard to say. Then there's a silly Spider-Verse excerpt from Dan Slott. I just don't know what to make of Slott's overall vision for Spider-Man. This is how he chooses to follow-up Doctor Spider-Man? I know I'm not usually Marvel's biggest fan, but this was not a hugely inspiring FCBD offering.
The New 52: Futures End #0 (DC)
I haven't been reading the latest DC weekly series, but it's an undeniably good idea, making a whole bunch of characters who don't necessarily have viable homes in the current landscape suddenly relevant, headlined by Grifter and, especially with this special preview, Batman Beyond in his official continuity debut. I'm a DC guy, and it's always nice when there's full-issue new material from anyone for FCBD, so it's especially nice for new material for a major new project available. This is the way it's done.
Previews: What's @ Comic Shops (Diamond)
Ideally everyone who wasn't already familiar with reading comics as a hobby picked this one up. It's an excellent primer.
Project Black Sky (Dark Horse)
As part of Dark Horse's latest attempt at jump-starting a superhero franchise, this is possibly also its first ever major crossover event, featuring Captain Midnight and Brain Boy in starring roles (also involved are Ghost and X, both of whom have been part of past attempts). The writer is Fred Van Lente, who was a considerable favorite of mine back when he was working at Marvel but another of those creators who've been floating around looking for ideal context again. Captain Midnight, by the way, is a pastiche on Captain America. That's the hardest thing to overcome with this story. Otherwise probably a pretty smart gamble on Dark Horse's part.
The Rise of the Magi #0 (Top Cow)
I think this is an irredeemably terrible title for the project, but the actual comic isn't too bad, finally a Top Cow idea that doesn't have anything to do with the Artifacts concept cobbled together from characters like Witchblade and the Darkness (Think Tank is the other notable attempt for the publisher to break out of its bubble). As for what it is, Magi is a fantasy concept.
Rocket Raccoon #1 (Marvel)
It is what it is. Groot comes off best. Hey, did you know he's Groot???
Shigeru Mizuki's Showa: A History of Japan (Drawn & Quarterly)
Excerpted from a larger work, this was one of the best things I read from all my selections. This special features the best look at Japan during WWII from a sympathetic point of view since Letters from Iwo Jima. Anyone still trying to reconcile the country we know today with the one that attacked Pearl Harbor ought to consider having a look.
Steam Wars #1 (Antarctic Press)
The biggest pleasant surprise of the whole bunch, one I hesitated a great deal picking up because I feared it would be terrible. But it's awesome, it really is, a variant on Star Wars that completely nails it.
Teen Titans Go! #1 (DC)
Yes, DC and Marvel each get two selections, one for kid readers and one for whoever reads comics otherwise. Based on the cartoon that was actually brought back a few years ago, this was another highlight for me, unexpectedly written by Sholly Fisch of all people, the guy who was doing all those excellent backup features during Grant Morrison's run on Action Comics. Good fun.
The Tick (New England Comics)
Aside from the Teenage Mutant Ninja Turtles, The Tick is the most famous indy character in comics, having successfully (to a much more limited extent) completed the leap to television both in animated and live action (a series that starred Patrick Warburton). This latest FCBD offering details every previous release in the free series. In a just world, The Tick would be more famous. Good stuff.
Valiant Universe Handbook 2014 (Valiant)
Dry reading featuring bios for a set of characters who've had a thousand chances to catch on (they were among Dark Horse's previous superhero attempts, for instance). This was perhaps not the best way to go about FCBD, but it's at least a handy reference that can be looked through later. Just not right-now-kind-of-later.
Worlds of Aspen 2014 (Aspen)
Looks at new series Zoohunters and Damsels in Distress. Neither look like great, per say.
2000 AD (Rebellion)
One of the longest-running comics outlets is British and an anthology that's released every week (up to nearly two thousand issues!), known as the birthplace of Judge Dredd, who is coincidentally the star of the standout story from this special. The creator responsible is actually Chris Burnham, the artist who collaborated with Grant Morrison during the final run of both Batman Incorporated and Morrison's long Batman run as a whole. The last pleasant surprise, as I'd never really had an opportunity to fully appreciate Dredd before; Burnham's story did an excellent job explaining the character's appeal.
I'm on record for loving me Atomic Robo. Earlier this year I read every other FCBD offering featuring the most awesome Tesla-inspired fighting robot in comics (recapped here). In the eighth installment of this peculiar series, there is, alas, no Dr. Dinosaur (what's up with that?). Maybe it's because I just read all those, but this time it seems a bit been there done that. Although I still recommend Robo to any and everyone. Red 5's other samples aren't very inspiring, either. They be a small publisher for a reason, yo.
Bongo Free-for-All (Bongo)
Featuring nothing but the Simpsons (plus a weak nod to Futurama on the back cover that's actually nearly as much a nod to...Archie). The first tale features Bart and Milhouse trying to accidentally gain superpowers, like they do in comics. The one real result is Milhouse's hair becoming amazing. Then there's a Spy vs. Spy (a classic feature of Mad Magazine) featuring Itchy and Scratchy. Then there's a Mr. Burns story that has some fun with the idea of his being "the best boss in the world." Then back to Bart and Milhouse, imagining the behind-the-scenes of Krusty Burger. Then more superhero adventure-type things. Then a "Where's Waldo" feature with Ralph from Sergio Aragones! Simpsons comics are always good stuff!
(Help the CBLDF) Defend Comics (CBLDF)
The Comic Book Legal Defense Fund helps you take comics more seriously than you every thought possible, and this handy special helps you understand exactly how! Highlight, for me, is an excerpt from Fred Van Lente and Ryan Dunlavey's excellent Comic Book Comics (later reprinted as Comic Book History of Comics) featuring the (in)famous tale of Fredric Wertham, the man who declared war on the medium in the 1950s. Although since it takes up the bulk of the issue, this isn't such a difficult accomplishment. The other highlight features Sergio Aragones again, as well as Mark Evanier, Tom Luth, and Stan Sakai (a sequence originally featured in CBLDF Presents: Liberty Comics #1) in a series of examples of people being silly about comics (and not in a debating-who-would-win kind of manner).
The Dumbest Idea Ever! (Graphix)
Excerpted from a longer work, this is actually...kind of...a fictional account...of how this...thing...was created...in the first place. Not greatly impressed, but maybe the whole thing is better?
Guardians of the Galaxy (Marvel)
This one is basically, with the title feature, a primer on the comic book version of the team (likely comparable to the movie version hitting theaters this summer) from Brian Michael Bendis. Not hugely inspiring, but I guess you don't expect a lot from something like this, especially since it doesn't even get the whole issue. The next segment belongs to Jim Starlin and Thanos, two names that historically have gone very well together, and is an excerpt from the Thanos: The Infinity Revelation graphic novel. Either it's not the greatest excerpt, or it's not the greatest pairing of these two. Hard to say. Then there's a silly Spider-Verse excerpt from Dan Slott. I just don't know what to make of Slott's overall vision for Spider-Man. This is how he chooses to follow-up Doctor Spider-Man? I know I'm not usually Marvel's biggest fan, but this was not a hugely inspiring FCBD offering.
The New 52: Futures End #0 (DC)
I haven't been reading the latest DC weekly series, but it's an undeniably good idea, making a whole bunch of characters who don't necessarily have viable homes in the current landscape suddenly relevant, headlined by Grifter and, especially with this special preview, Batman Beyond in his official continuity debut. I'm a DC guy, and it's always nice when there's full-issue new material from anyone for FCBD, so it's especially nice for new material for a major new project available. This is the way it's done.
Previews: What's @ Comic Shops (Diamond)
Ideally everyone who wasn't already familiar with reading comics as a hobby picked this one up. It's an excellent primer.
Project Black Sky (Dark Horse)
As part of Dark Horse's latest attempt at jump-starting a superhero franchise, this is possibly also its first ever major crossover event, featuring Captain Midnight and Brain Boy in starring roles (also involved are Ghost and X, both of whom have been part of past attempts). The writer is Fred Van Lente, who was a considerable favorite of mine back when he was working at Marvel but another of those creators who've been floating around looking for ideal context again. Captain Midnight, by the way, is a pastiche on Captain America. That's the hardest thing to overcome with this story. Otherwise probably a pretty smart gamble on Dark Horse's part.
The Rise of the Magi #0 (Top Cow)
I think this is an irredeemably terrible title for the project, but the actual comic isn't too bad, finally a Top Cow idea that doesn't have anything to do with the Artifacts concept cobbled together from characters like Witchblade and the Darkness (Think Tank is the other notable attempt for the publisher to break out of its bubble). As for what it is, Magi is a fantasy concept.
Rocket Raccoon #1 (Marvel)
It is what it is. Groot comes off best. Hey, did you know he's Groot???
Shigeru Mizuki's Showa: A History of Japan (Drawn & Quarterly)
Excerpted from a larger work, this was one of the best things I read from all my selections. This special features the best look at Japan during WWII from a sympathetic point of view since Letters from Iwo Jima. Anyone still trying to reconcile the country we know today with the one that attacked Pearl Harbor ought to consider having a look.
Steam Wars #1 (Antarctic Press)
The biggest pleasant surprise of the whole bunch, one I hesitated a great deal picking up because I feared it would be terrible. But it's awesome, it really is, a variant on Star Wars that completely nails it.
Teen Titans Go! #1 (DC)
Yes, DC and Marvel each get two selections, one for kid readers and one for whoever reads comics otherwise. Based on the cartoon that was actually brought back a few years ago, this was another highlight for me, unexpectedly written by Sholly Fisch of all people, the guy who was doing all those excellent backup features during Grant Morrison's run on Action Comics. Good fun.
The Tick (New England Comics)
Aside from the Teenage Mutant Ninja Turtles, The Tick is the most famous indy character in comics, having successfully (to a much more limited extent) completed the leap to television both in animated and live action (a series that starred Patrick Warburton). This latest FCBD offering details every previous release in the free series. In a just world, The Tick would be more famous. Good stuff.
Valiant Universe Handbook 2014 (Valiant)
Dry reading featuring bios for a set of characters who've had a thousand chances to catch on (they were among Dark Horse's previous superhero attempts, for instance). This was perhaps not the best way to go about FCBD, but it's at least a handy reference that can be looked through later. Just not right-now-kind-of-later.
Worlds of Aspen 2014 (Aspen)
Looks at new series Zoohunters and Damsels in Distress. Neither look like great, per say.
2000 AD (Rebellion)
One of the longest-running comics outlets is British and an anthology that's released every week (up to nearly two thousand issues!), known as the birthplace of Judge Dredd, who is coincidentally the star of the standout story from this special. The creator responsible is actually Chris Burnham, the artist who collaborated with Grant Morrison during the final run of both Batman Incorporated and Morrison's long Batman run as a whole. The last pleasant surprise, as I'd never really had an opportunity to fully appreciate Dredd before; Burnham's story did an excellent job explaining the character's appeal.
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