I Hate Fairyland 12 (April 2017)

I hate fairyland #12

Gert has turned over a new leaf and she’s going to be a good guy in Fairyland now. Of course, no one better tell Gert how to go about turning over that leaf; she and Larry are ronin on a mission to save a baby. It gives Young a lot of gags outside the norm, plus chances to homage Usagi amongst other samurai classics. It’s kind of slight–there’s a lot of action–but it’s a fun, gross time. Like Fairyland should be.

CREDITS

Writer and artist, Skottie Young; colorist, Jean-Francois Bealieu; letterer, Nate Piekos; publisher, Image Comics.

Godshaper 1 (April 2017)

Godshaper #1

Godshaper is simultaneously weird and simultaneously not. The world has gone back to the dark ages, technology-wise, but everyone got a personal god to compensate. The gods can be modded (Godshaper isn’t the most original book, but Simon Spurrier assembles the details in interesting ways), only you need a Godshaper to do the modding. Yet Godshapers don’t get gods, so they’re pariahs. Only the Godshaper the comic follows has an outcast god, leftover from when its person died. Undoubtedly there’s a story to be told. Until then, they’re unlikely, slightly scheming compatriots. There’s also a whole music thing. It’s a fine read, with solid art from Jonas Goonface.

CREDITS

Writer, Simon Spurrier; artist, Jonas Goonface; letterer, Colin Bell; editors, Cameron Chittock and Eric Harburn; publisher, Boom! Studios.

Black Hammer 8 (April 2017)

Black Hammer #8

The strangest thing about Black Hammer, which I can’t believe I hadn’t noticed before–or did and didn’t comment on (or worse, did and did comment on)–is how both Lemire and Ormston excel at the tragedy. The comic is at its best when the characters are suffering their worst. This issue has a little bit of passive suffering–Gail has no happy memories–but also the active, confounded suffering of new addition Lucy Weber. Lemire has her the catalyst for possible change, giving the reader foolishly renewed hope for the characters. It’s a depressing issue, but gloriously so (Ormston has a great time with it); the cliffhanger is an evil shocker too.

CREDITS

Writer, Jeff Lemire; artist, Dean Ormston; colorist, Dave Stewart; letterer, Todd Klein; editors, Cardner Clark and Daniel Chabon; publisher, Dark Horse Comics.

Hadrian’s Wall 6 (April 2017)

Hadrian's Wall #6

And another surprising turn of events. Higgins and Siegel were holding out, setting up a soap opera crime melodrama when they really had something else. The flashbacks are now slightly annoying, only because they feel like backstory Higgins and Siegel are doing out of obligation rather than dramatic gristle. They’re explanations of events discussed multiple times in exposition; exposition could’ve gotten the “truth” across as well. Reis has some help on the art–Eduardo Ferigato–and I’m curious where Ferigato came in. There’s some talking heads stuff and it’s okay, but it’s far from dynamic. Though Reis never does lengthy talking heads particularly well. But Hadrian’s Wall still has some surprises in store. It’s a good series. Higgins and Siegel might be in the victory lap with two to go.

CREDITS

Writers, Kyle Higgins and Alec Siegel; artists, Rod Reis and Eduardo Ferigato; letterer, Troy Peteri; editor, Matt Idelson; publisher, Image Comics.

Redneck 1 (April 2017)

Redneck #1

Texican Gothic with vampires. Donny Cates does this drawling narration for the book, which has a family of rural Texas vampires trying to get by. Some have Jesus, some don’t. One of them might have turned into Nosferatu but with wings. Vampires can get drunk on paint thinner, which is a neat detail. It’s a lot of action, a lot of immediate character introduction. Cates does well with the exposition–the drawl means he can hide a fair amount just in there–and Lisandro Estherren’s art is solid. Redneck starts strong.

CREDITS

Writer, Donny Cates; artist, Lisandro Estherren; colorist, Dee Cunniffe; letterer, Joe Sabino; editors, Arielle Basich and Jon Moisan; publisher, Image Comics.

Bullwhip 1 (April 2017)

Bullwhip #1

Is Josh Bayer the right person to write Bullwhip? It’s about a seventies female superhero who fights bad guys named “The Misogynist” and time traveling space vampires who are also misogynists. There are enough misogyny “jokes,” one might even think Frank Miller wrote this thing. So, no, he’s not the right person. He goes overboard with the joke and lacks any humanism in his portrayal of Bullwhip. She’s the butt of various jokes and action setpieces, but she’s hardly the lead in the comic. It also has time traveling vampires, which is fine, though it’s all ripped off from popular media (save the vampire aspect). At least Ben Marra and Al Milgrom’s art is all right.

CREDITS

Web of Oblivion!; writers, Benjamin Marra Josh Bayer; penciller, Marra; inker, Al Milgrom; colorist, Matt Rota; letterer, Rick Parker; publisher, Fantagraphics Books.

Copperhead 12 (April 2017)

Copperhead #12

It’s another too fast read, mostly because Copperhead has been gone so long you want to spend more time with the characters. But it’s also because Moss’s art doesn’t invite dwelling as much as Godlewski’s did. Moss has got the aliens down, he’s got the pace down, but he hasn’t got Clara. Close-ups yes, but not the medium shots. He loses track of her expressions. Still, it’s good stuff. Just rushed.

CREDITS

Writer, Jay Faerber; artist, Drew Moss; colorist, Ron Riley; letterer, Thomas Mauer; publisher, Image Comics.

Supergirl: Being Super 2 (April 2017)

Supergirl: Being Super #2

There’s something a little off about this issue. Tamaki does “teenage Kryptonian on Earth in hiding” action tragedy and kind of runs away from Kara. She’s in every scene–save the ominous teaser cliffhanger–but she’s not present. Tamaki is more comfortable writing her thinking about other people than herself. There’s still a lot of good stuff–and excellent art–but the script meanders and avoids.

CREDITS

Hold On!; writer, Mariko Tamaki; penciller, Joëlle Jones; inker, Sandu Florea; colorist, Kelly Fitzpatrick; letterer, Saida Temofonte; editors, Paul Kaminski and Andrew Marino; publisher, DC Comics.

The Flintstones 8 (April 2017)

The Flintstones #8

It’s like Russell wanted to bite off more than he should be able to chew–Trump, the patriarchy, capitalism–and prove he could do it. And he does. He handles three big plot threads, with the patriachial thread tying into everything else–including Fred’s self-discovery and Wilma’s reunion with her mother. Great Pugh art, some rather funny moments. It’s a fantastic comic.

CREDITS

The Leisure Class; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

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