Secret Society Comics

Review: “Harleen” #1 (of 3) from DC’s Black Label

Written by Stjepan Šejić
Illustrated by Stjepan Šejić
Colored by Stjepan Šejić
Lettered by Gabriela Downie

Harley Quinn’s story began when Dr. Harleen Quinzel was walking home from the bar, after the pitch for her criminal psychology research grant didn’t go as well as planned. She’d run into the Joker on Gotham’s streets that night, and her life would never be the same.

“Harleen” Book #1 of 3 is really Act One of Three in terms of the overall story. And so Šejić very clearly sets up the circumstances surrounding the main character’s situation.

Harleen Quinzel is a young psychiatrist whose research got funded against all odds, so she’s on a mission to prove herself and get people to look beyond her past. Dr. Quinzel hypothesizes that Gotham’s most hardened criminals have lost their ability to feel empathy, and that restoring that ability could be both rehabilitative and preventative.

She needs to prove her theory on criminal psychology and validate that she’s where she is now because she’s earned it. And all of this hinges on her ability to study DC’s laundry list of A-list criminals: most notably The Joker, who is locked up in Arkham after Batman took him down the night Harley was walking home.

Locked away, the Joker needs an audience, and she’s listening. (It’s her job, after all.)

Stjepan Šejić (pretty much) single handedly made “Harleen” DC’s best Black Label book thus far. Sixty pages full of constantly entertaining panels later, I’m thinking about how impressive it is that one guy can so fully understand the fundamentals of art and storytelling.

“Harleen” #1 is a story about a bright young woman with a tendency for self-sabotage. Narrated by her future-self, it’s structured to show Harley’s reflections on Harleen’s downfall.

Šejić cleverly repeats verbal motifs for symbolic effect in “Harleen” #1. For example, Harley thinks about her budding relationship with The Joker as stars aligning. It suggests that some mystical element wedged itself between Dr. Quinzel and her science, pulling her towards her fate.

The writer/artist also uses visual motifs to this end in “Harleen” #1. Harley constantly draws on the symbolism of light and shadows, poetically saying how when you’re walking toward the light you can’t see your own shadow behind you. To represent this visually, Šejić creates a half-page panel where Dr. Quinzel walking toward her bright future as a psychiatrist studying Arkam’s most notorious criminals, but behind her the shadow of Harley Quinn lurks with a gun and mallet in hand.

Because “Harleen” #1 is told in retrospect, there is a lot of tension between the past and present in the art. The moment The Joker and Dr. Quinzel first met, both characters flank the leftmost and rightmost side of two splash pages, eyes locked on each other, The Joker pointing his gun directly at her, with panels in between showing all her major decisions up to that life-altering moment. Šejić uses this structure to comment on how life is just a series of decisions leading up to one moment that might undo all those decisions, good or bad.

In these ways, the genre elements of thrillers, tragedies, and romance stories comes through in the art of “Harleen” #1. From the moment Dr. Quinzel meets The Joker, before she learns that her research was even funded, she is doomed.

It seems that Harleen’s hypothesis about criminals lacking empathy might only be half of the story. As she unravels her future by inevitably growing closer to The Joker in Books 2 and 3, she might discover they are the way they are because of self-destructive tendencies. Only then will she be able to empathize with them herself, instead of merely sympathizing as a researcher.

Book 1 of “Harleen” looks at the full spectrum of humanity, from good intentions to hidden agendas. It’s an empathetic portrait of a young woman dealing with doubting colleagues, unexpected success, and people who want her to fail to prove their own point.

Get Your “Harleen” #1

Rating: 9.2/10

“Harleen” #1 is surreal, smart, and fun. It’s honest, heartbreaking, human, and most importantly, self-aware.

“Spider-Man” #1 Review ‘Bloodline’

Written by J.J. Abrams and Henry Abrams
Art by Sara Pichelli
Assisted Inks by Elisabetta D’Amico
Colored by Dave Stewart
Letters by VC’s Joe Caramagna

From the moment that Marvel teased its big Spider-Man project on Twitter, everyone started paying attention. Turns out that instead of a new Spider-Man movie, we’d be getting something pretty close to that: a Spider-Man comic written by one of the most prolific directors of action, science fiction, and drama films, J.J. Abrams. (Oh yeah, and his 21 year old son, Henry would be cowriting.)

Given his background, you’d think that Abrams would be perfect to write “Spider-Man” #1, given that the genre relies so heavily on the conventions of action, science fiction, and drama genres. You’d be correct.

“Spider-Man” #1 is a coming-of-age story about Peter Parker’s son, Ben — so puberty is bound to factor into that, complicating things even more. The first third of the ‘Bloodline’ story is a flashback, and the last two-thirds of the story are flash forwarded 12 years into the future, to the present day.

Because of this structure, a lot of the characterization in “Spider-Man” #1 happens off-panel — and that is a big part of this story’s mystery. The Parker family dynamics are laid clear across the page with scenes of tense or subtle dialogue, complemented by private character moments, like Ben discovering a box in the attic containing love letters between his parents and photos from his dad’s past.

The new villain, Cadaverous, is somewhat secondary to the story, but I have to care about the characters before I can understand him in contrast. The Abrams duo are introducing him and his plans very carefully in “Spider-Man” #1 ‘Bloodline.’ As they slowly reveal more about Peter’s past, and how Cadaverous factors into that, the art piques your curiosity even more. Every page featuring Cadaverous is dominated by his towering presence and creepy posture. Wherever Cadaverous goes, he is blanketed in an eerie red color palette. Every time he speaks in wobbly, handwritten letters, blanketed in gray balloons, you can hear his calculated depravity.

So even though Cadaverous is mostly a wild card at this point, the artists tell you what you need to know about him.

This creative team works hard to bring comics readership a cinematic story with emotional impact. “Spider-Man” #1 reads like a perfect storyboard. In the scene where we’re introduced to the main character, Pichelli uses overlapping panels to show him quickly getting ready in the morning before school. This reminded me of the fast-paced scene introducing Miles Morales and his family as he was getting ready for school in the movie Spider-Man: Into the Spider-Verse.

The attention to detail in “Spider-Man” #1 ‘Bloodline’ is remarkable. No space is wasted. Sound effects stretch across panels and are even positioned at the top and bottom of panels to add even more movement to the action. Word bubbles overlap when two characters are arguing in the car, adding to the sense of claustrophobia and how they’re talking over each other. The (many) tears in this book are rendered so beautifully that I wanted to cry!

The dialogue, cinematographic panel layouts, and distinct atmosphere created with the art, colors, and lettering make this comic a standout among this week’s releases.

With “Spider-Man” #1, J.J. Abrams and his son Henry write the most meticulously paced, emotional, and suspenseful Spider-Man comic I’ve read this year. With the help of Dave Stewart’s neat colors and Joe Caramanga’s innovative lettering, Sara Pichelli’s crisp art moves with such fluidity that this comic might as well be an animated film.

6 Comics to Pick up this Week (09/18/19)

FLASH FORWARD #1 (OF 6)

DC Comics
(Wr) Scott Lobdell (A) Brett Booth, Norm Rapmund (CA) Evan Shaner

Following the events of Heroes in Crisis, Wally West sets out for redemption after the multiverse was re-written without him in it. After the uproar of Wally fans responding to Heroes in Crisis, I’m curious how DC, with this mini-series, attempts to sway back into the good-graces of Wally’s most fervent fans.

INFERIOR FIVE #1 (OF 12)

DC Comics
(Wr) Keith Giffen, Jeff Lemire (A) Jeff Lemire & Various (CA) Keith Giffen, Michelle Delecki

After the “Invasion” that rocked the DC Universe, the citizens of Dangerfield, Arizona are affected by strange goings-on — but only five misfit kids seem to notice them. Can they uncover what’s happening before some sinister force collects them all? Stranger Things meets X-Files? Sign me up!

SPIDER-MAN #1 (OF 5) CHIP KIDD DIE CUT VAR

Marvel Comics
(Wr) J. J. Abrams, Henry Abrams (A) Sara Pichelli (CA) Chip Kidd

WHO IS CADAVEROUS?! WILL J.J. ABRAMS (and son, Henry) KNOCK SPIDEY OUT OF THE BALL-PARK?!

More importantly, ARE DIE CUT COVERS COMING BACK?!

I don’t know which I am more excited to find out. Jokes aside: I am very excited to pick up this issue. I think Spider-Man is in good hands with the incredible writing of JJ Abrams and the always stunning artwork of Sara Pichelli.

I also LOVE that it is a mini-series, which always feels re-assuring to me when considering to start a new series. Just enough commitment to not feel like I’m committing to (approximately) a million issues.

ABSOLUTE CARNAGE #3 (OF 5) AC

Marvel Comics
(Wr) Donny Cates (A/CA) Ryan Stegman

THE SUMMER OF SLAUGHTER CONTINUES!

HOLY SMOKES, this series is amazing. From the captivating story to the jaw-droppingly-gorgeous artwork, I am HOOKED! What is in store for the Venom/Spider-Man gang, and who will they recruit to help fight off the massacring masses following the orders of Carnage?

FOREVER MAPS #1

Scout Comics
(Wr) Michael Lagace (A/CA) Todor Hristov

I am always down to pick up a new Scout Comics first issue, and this story pulled me in like a fly to honey.

In 1794, John finds a map, follows it, and when he arrives at the end he finds another map, and another and another and SO ON! Decades later he realizes that as he follows these maps, he does not age — after about 100 years, he realizes that when he stops, time starts to catch back up with him.

John is torn between family and immortality: does he choose living forever? Or having a life worth living?

I can understand some of the not-so-nuanced symbolism to modern life in this story, but I have not yet had enough Red Bull to decipher it beyond that…Regardless, I am seriously intrigued.

YOU ARE OBSOLETE #1 CVR A CLARKE

AFTERSHOCK COMICS
(Wr) Mathew Klickstein (A) Evgeny Bornyakov (CA) Andy Clarke

After reading the description of this comic, my first thought was “Ew.” Right on time for spooky-season, this comic sounds like it will give you some serious chills, heebie-jeebies, and general discomfort (especially for those nearing or surpassed 40 years old).

On an isolated European island, a reporter discovers that children have taken control over the island and are killing off all adults by their 40th birthday. (Sounds kind of like Lord of the Flies, no?) She must discover what is behind these killings while staying on the good side of the children’s harsh leader. Got the creeps? Yeah, me too..

What is a Trade Dress, Store Exclusive, and Virgin Variant?

The comics community has so many subcultures. As the owner of Secret Society Comics and a collector, I’ve always been fascinated by the lingo we use. I also know that for people just getting into comics, it can be really confusing.

So that’s what this blog is for. It’s the first article in a series designed to educate the community about collecting, and other parts of the comics world.

We’ll discuss these Trade Dress, Store Exclusives, and Virgin Variants, and how they relate to comic book collecting.

What is a Trade Dress?

Trade Dress is a form of intellectual property.

I like to think of it as a brand logo, like the iconic Coca Cola design. Comic book titles each have developed a specific style that showcases the book. In that way, the graphic design of the Trade Dress conveys the tone, imagery, and general feel of the series.

Often you will even see original cover art with no Trade Dress, like the sketch by John Buscema.

The cover would then be drawn and inked and the logo would be cut out and pasted on to the artwork — that way they could keep the consistent looking title or Trade Dress. This Conan the Barbarian #171 is an example.

What is a Store Exclusive?

Comic book shops all order the same books from the publisher of their choice via Diamond comics. We often have the option to order a Cover A or a Cover B. Cover A is the regular cover that all comic book shops have access to. It often features the Trade Dress artwork that is attached to that comic book.

Some shops work out deals with a publisher, who will create an exclusive cover for the store. Often, the store gets to choose the artist for that particular cover. These are known as Store Exclusives or Exclusive Variant Covers.

Store Exclusive Variants are often only available from the store that has created the Exclusive. There are quite a few online comic stores that may band together to create an Exclusive variant, which explains why you sometimes see the same cover featured by different online retailers. Typically, however, Store Exclusive Variants are not sold through Diamond and are not available for every shop to order.

These Store Exclusive covers have lower print runs. Most stores will have different versions of the cover that may include the Trade Dress on the variant. This version is often the larger print run in the group.

What is a Virgin Variant?

Store Exclusive Variants are often accompanied by a Virgin Variant, which is the same cover without the trade dress.

Here is an example of a Store Exclusive Variant cover with two versions. One displays trade dress, while the other was printed without the trade dress. This second type is known as a virgin variant.

For example, these Web of Venom: Funeral Pyre variants above are advertised to have a print run of 1,000 copies featuring the Trade Dress (left), versus 600 copies for the Virgin Variant (right).

Summary

A variant describes any comic book cover that isn’t the main Cover A or Cover B.
Store Exclusives are unique covers made for a specific comic retailer.
- If these store exclusives have the trade dress, then they’re called Trade Dress Variants.
- If the comic shop sells the same store exclusive cover, without the trade dress logo, then it’s called a Virgin Variant.

Store Exclusives always have smaller print runs than the Cover A of the title, and are divided into different levels of rarity.

For example, Store Exclusives will be available in different versions featuring the same cover art — such as a black and white cover, or Sketch Cover, or even a negative cover all with different rarity attached to it. The rarity completely depends on how many copies of that version were printed.

The Venom books above have print runs of 3,500, 1,500, and 500 respectively.

Stay tuned for our next educational article: “What is an Incentive Cover/Allocated Variant?”

Stay tuned for our next educational article: “What is an Incentive Cover/Allocated Variant?”

Disclaimer

Though about the comics industry as a whole, this information is from one person’s point of view.
In other words, this isn’t hard fact. This is the opinion of one collector.
So, basically, this post doesn’t directly express the viewpoint of Secret Society…
It’s intended to help create an informed comic book community.

If you feel that information stated does not accurately describe the subject, please contact reece@secretsocietycomics.com with your thoughts using the form below.

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Thank you for your response. ✨

6 Comics to Pick up this Week (09/11/19)

GOTHAM CITY MONSTERS #1 (OF 6)

DC Comics
(Wr) Steve Orlando (A) Amancay Nahuelpan (CA) Philip Tan
I am absolutely GETTING IN THE SPOOKY SPIRIT and diving right into this comic on Wednesday!

Frankenstein has to take down his former mentor, Melmoth, so he heads to Gotham City in search of allies. He recruits Killer Croc, Lady Clayface, Orca, and vampire Andrew Bennett… but will these dreaded creatures be enough to save humanity before the entire cosmos collapses in on itself??

Zoinks! Gotta pick up this ghoulish issue to find out!

BATMAN #78 YOTV

DC Comics
(Wr) Tom King (A) Clay Mann (CA) Tony S. Daniel
Tom King has created an interlude to the final story arc of his long-running Batman series featuring our favorite feline badass and Batman’s ex(?)-fiance, Catwoman!

Selina knows how Bane is fueling his regime in “City of Bane,” and she’ll help Batman shut down the supply line — but first, she has to whip her battered Bat into shape.

I am going to keep all of my fingers and toes crossed that this interlude will lead to a happier (than Batman #50) ending between Catwoman and Batman (that I may or may not have held a bitter resentment about ever since that issue was released over a year ago). Don’t let me down Tom King!

KING THOR #1 (OF 4)

Marvel Comics
(Wr) Jason Aaron (A/CA) Esad Ribic
The epic conclusion to Jason Aaron and Esad Ribic’s INCREDIBLE Thor story.

Seven years ago, Jason and Esad introduced the Thor of the far future, All-Father of a broken realm and a dying universe, as he stood in battle against the Butcher of Gods, wielder of All-Black the Necrosword. Now that nefarious blade has returned, in the hands of Thor’s all-time greatest enemy — his brother, Loki — for one final, cataclysmic showdown.

Buckle up, folks! It’s going to be one hell of a final series.

DAREDEVIL #11

Marvel Comics
(Wr) Chip Zdarsky (A) Marco Checchetto (CA) Julian Totino Tedesco
New story arc!! I really enjoy Chip Zdarsky’s writing, and if you haven’t caught this series from the beginning, this new story arc “THROUGH HELL” would be a great place for new readers to dive in!

TREES THREE FATES #1 (OF 5)

Image Comics
(Wr) Warren Ellis (A/CA) Jason Howard
Continuing my interest in spooky things in this upcoming Halloween season (I tell myself, even though I love spooky and horror all year ’round), I will be picking up the first issue of this horror / mystery continuation of Trees, a series created by Ellis and Howard.

“Trees Three Fates” — In the remote Russian village of Toska, there’s a dead body by the leg of the Tree that landed eleven years ago. Police sergeant Klara Voranova, still haunted by that day, has no idea how this murder will change everything-nor what awaits her in the Tree’s shadow.

COFFIN BOUND #2 (MR)

Image Comics
(Wr) Dan Watters (A/CA) Dani
Holy smokes. I am honestly shocked that I am adding this comic to my “Books to Pick Up!” list this week.. The first issue… what to say, what to say… it reviewed VERY well by creators.

The description of the first issue was just RAVING reviews by creators about how amazing this comic was. My expectation was that it would exceed (or at least meet) the reviews from so many of my favorite writers.

It was a difficult read; the dialogue almost felt like I was reading lines from the Canterbury Tales. THAT BEING SAID, I loved the artwork and I loved the idea of the story and how shockingly breathtaking many of the scenes were.

Even though the dialogue was obscure, I am going to pick up the second issue to give it a fair shot and see where this story goes!

Review: Something is Killing the Children #1

Nine kids have died, and dozens are missing in Archer’s Peak, Wisconsin. With Something is Killing the Children #1, BOOM! Studios brings us the best horror comic I’ve read all year. In every page, the paranoia is palpable, and each character feels a sense of isolation and doubt.

James, the protagonist, finally made the kind of friends you’d have sleepovers with. On the night of one of those sleepovers, they all die in the woods — moments after he tells them a true (?) story about a monster that resembles the thing that killed them. When James describes the events of that night to the police, he reveals that the story he told his friends during Truth or Dare was made up.

He’s also lying to the cops, and says that he didn’t see anything that night. That he only heard the massacre. Writer James Tynion IV has given us an unreliable narrator to convey this horrific story, and I’m skeptical of everything he says — even though I empathize with him.

Part of the reason I have a complex relationship with this protagonist is because of Werther Dell’Edera’s humanizing art, and Miquel Muerto’s consistently immersive colors. The story is interspersed with extreme closeups that convey anguish, confusion, and sorrow. Distinct hatching adds weight to these facial expressions, and creates shadows that support the mood and atmosphere.

Together, these two artists have created a unique interior style that is unlike anything I’ve gazed upon in recent memory. Particularly, they use two consecutive double-page spreads to show every gory detail of what really happened that night in the woods. (I’ll save that experience for when you pick up the book, but here’s a similar spread below.)

Supporting the gestural brushstrokes and muted watercolors of blue, green, purple, and yellow are Andworld Design’s letters. In a scene where one of James’ classmates accuses him of murdering his friends because he’s gay and was experiencing unrequited love, James says “Shut up” in gray letters that are slightly smaller than the others on the page. Further down that page, he screams in frustration, “SHUT THE FUCK UP!” Without this contrast, that raw moment of would have lost its effect.

There was only one flaw I noticed in the whole pilot to this gripping series. Earlier in the book, we learn that James’ three dead friends are named Karl, Robbie, and Noah. At the end of the book, when we see the flashback of the massacre, James calls Robbie Tyler. I reread the issue three times to sort this, and still have no answers. I’m assuming it’s a mistake, but will confirm it as I continue to invest myself in this horror tale.

This isn’t just a horror story, though. It’s an analog for how school shootings have damaged our national conscience, how the news ineffectually covers the epidemic, and how police are ill-equipped to combat the problem.

Throughout the debut issue, Tynion’s dialogue resonates with a nation grappling with the reality that children are killing each other, with more and more frequency, more audacity. Here’s a quote from the comic that sums it up: “…the world makes a lot less sense than it used to. And every day that feeling gets a little worse.”

GOING TO THE CHAPEL Advance Review with Podcast and Preview

Just in time for #WeddingSeason, Action Lab Comics cordially invites us to Going to the Chapel.

The comic tells the story of Emily Anderson, a bride with cold feet whose wedding is hijacked by bank robbers, all wearing Elvis-themed masks and brandishing shotguns. Emily’s indecision about a lifetime of monogamy isn’t helping — and neither is her dysfunctional family.

David Pepose, the writer behind this twisted ceremony, says Going to the Chapel reads “like if Die Hard got hitched to Wedding Crashers, or if Tarantino had a baby with Arrested Development, and then those two bring that baby to a wedding. It’s tailor-made for fans of comics like Crowded, Assassin Nation, The Fix, or Sex Criminals.” So, yeah…buckle up.

Romantic comedy pioneer David Pepose is joined by Gavin Guidry on art, Liz Kramer on colors, and Ariana Maher plus Colin Bell on letters.

Review of GOING TO THE CHAPEL

The team behind Going to the Chapel delivers an air-tight story with funny dialogue, insightful commentary on relationships, and cinematographic art that adds emotion and depth to the storytelling.

David Pepose writes every character in a unique voice, which makes the story beats feel more authentic. Emily’s indecisiveness and nerves contrast her family’s assertive quirks and husband-to-be Jesse’s fundamental patience and goodness. In the scene where Emily is getting ready for the ceremony, we feel the distress percolating around her. Her father barks orders to caterers over the phone, while her grandmother advises getting a side piece because monogamy is “overrated.” All the while, her niece playing with fire in the background.

With the contrast between Emily’s family and Jesse (the poster boy for Mr. Right) Pepose explores how people seek out partnerships that feel different from what they know. He also implies that might not always be the best approach to a lifetime of love.

All of this characterization is enhanced by Gavin Guidry’s art. He excels at drawing emotive facial expressions (and eyebrows) that give the dialogue sound and feeling. His camera angles that frame these moments are worthy of praise. My favorite is on the first page, which includes a POV shot from one of the Bad Elvis gang’s binoculars.

One thing I’d like to see more of, however, is detailed backgrounds in close-up and extreme close-up camera angles. Even though the flat backgrounds create moments of stillness in an otherwise hectic plot, my eyes prefer to dance over details.

Liz Kramer adds depths to the lines with her stunning colors. Pinks and yellows dominate the pages, and create a romantic, sunset glow. Her use of light and shadow adds dimension to the page, especially when building textures like fabric and hair.

Ariana Maher and Colin Bell on letters make the longer word bubbles digestible, and are careful to differentiate sound-sources like the television and telephone from regular noise. Their sound effects are colorful and distinct, but fit seamlessly into the panel without disrupting the established color palette.

Rating: 9/10

Romantic Comedies and Comics

In the world of comics, familiar genres like action, noir, fantasy, Westerns, and horror have ruled for decades. But romantic comedies? I’m hard-pressed to come up with even one — that is, until I read Going to the Chapel.

David’s painfully aware of how romantic comedies are usually associated with film, and that’s precisely whey he’s introducing the genre to comics. Releasing this story in 2019 is a bold, calculated move, coming at a time when the #ComicsGate crowd is increasingly vocal against stories that don’t cater to the white, heterosexual, cisgender male demographic.

Hedging his bet that the comics community will embrace a new genre, David includes elements of more established tropes that a broad audience identifies with, like violent story beats, comedic dialogue, and Western themes. These traits come together to give Going to the Chapel a personality that just might establish Pepose as an auteur in the industry.

Interview with Writer David Pepose

David first reached out to me after I accidentally tagged him in a Newsarama review I was sharing from Secret Society Comics’ Twitter — which is @ssexclusives, for those of you who are making the regrettable/embarrassing mistake of not following us. He was courteous about the whole mishap, and saved face by saying he liked the reviews we post here on the site.

Since then, I’ve been following David’s successful career and five-time Ringo-nominated series, Spencer & Locke. I figured out that David really meant what he said when when he reached out to me about writing an advance review for Going to the Chapel.

Since I knew he was a classy gentleman and grassroots creator, I asked to interview him. We discussed not only his latest project, but also the comics industry at large.

David and I spoke about the idea behind Going to the Chapel, and what it’s bringing to the comics industry.

Preview Pages for GOING TO THE CHAPEL

Check out Action Lab’s pitch for Going to the Chapel here, or read on below.

“Say yes to distress in GOING TO THE CHAPEL #1, an action-packed romantic comedy from Ringo Award-nominated writer David Pepose (Spencer & Locke) and superstar artist Gavin Guidry (The Death Defying) at Action Lab: Danger Zone.

Emily Anderson’s big day was the wedding from hell — and that was before the bank robbers showed up. What do a conflicted bride, her dysfunctional family, a gang of Elvis-themed crooks, and one relentless sheriff have in common? They’re all about to discover love is the ultimate hostage situation. Fans of Crowded, Assassin Nation, The Fix, and Sex Criminals should say “I do” to GOING TO THE CHAPEL #1, available in comic shops and on digital devices September 4, 2019!”

$3.99 | 22 pgs. | Action Lab: Danger Zone | T+ | On sale SEPT. 4

Review – Batman/Superman #1: The Next Laugh

I usually don’t fall head over heels for stories built on the backs of multiverse concepts. And as far as falling head over heels for stories goes, forget about stories that try to milk sales from the sore teat of previously successful concepts — like the whole “Batman Who Laughs” thing.

And yet…here I am, really stoked on Batman/Superman #1. Yes, Superman’s and Batman’s rockin bods and thick necks might have something to do with the allure, but mainly it boils down to great art and great writing.

Joshua Williamson seems uniquely capable of getting inside Superman’s and Batman’s psyches, and David Marquez is easily one of my top four favorite pencilers (ever) in comics. (That list includes Lee Bermejo, Ransom Getty, and Ryan Stegman.)

To my fellow reviewers who feel that Alejandro Sanchez’s colors are “flat” or “dull” or some other negative adjective, to you I say, HOW DARE YOU. The use of light and shadow, the clarity of the hues, the ethereal ghosts in Crime Alley?! Lower your expectations, please, because this dude is a coloring god. (And since I’m name dropping artists not associated with the book, I’ll randomly say that John Rauch is also a coloring god.)

Superman’s opening line — once you get past the whole Jimmy Olsen Does It Again bit — tells you what to expect, straight up. (This was especially helpful for me, A Person Who Did Not Read Batman Who Laughs.)

“From the moment we met, it was clear that Batman and I didn’t see eye to eye. But over time we learned there are some things we always agree on…We would never give in to the devil on our shoulder and hurt our enemies the way they hurt us. If we act like them, we become them.”
Superman

Thinking about how heroes would make the best villains if they decided to become that harkens to the whole With Great Power Comes Great Responsibility Thing, but in a very moody way that is Very DC.

Here’s the nuts and bolts of the whole story: Batman Who Laughs escaped to Earth-0 and wants to use serum on infected batarangs to make DC’s roster of heroes villains. The details don’t really matter. That’s just a Plot Point, and I’m more concerned about Storytelling.

This Whole Situation makes Batman and Superman wonder if the other is infected. Watching Batman ask Superman all these hypothetical questions about what Superman would do if Batman Suddenly Went Bad was…really endearing, like you were watching an odd couple whose love has somehow survived decades and decades and decades. Batman, the cautious planner, Superman, the optimistic live in the moment kinda alien/guy.

All this philosophical musing about the merits of a hero really pops, thanks to colorist Alejandro Sanchez. That scene where the other Superman “dies,” surrounded by the pulpy corpses of his Justice League comrades, is horrifying! My favorite panel: an extreme closeup of Superman mid-“death.” Watery, red eyes. Blood pouring down his chiseled cheekbones. Sweaty hair and shiny lip. Pain. Perfection.

And without David Marquez, where would Sanchez’s colors even be? Showing off his impeccable knowledge of meaty man anatomy, he creates methodical shots that are worthy of a Best Cinematography Oscar. (Why don’t the Eisner’s have a Cinematography Award???) Even the small stuff shines, like the perfectly rendered hands, especially in that one panel of Superman flying to his “death.” The majestic swoops and sweeps of Batman and Superman’s capes, responding to wind and gravity. All that comes together in the two page fight scene against the drones, with the dynamic poses and laser eyes.

Aaaaaand then Shazam Who Laughs shows up? Okay, whatever.

Williamson makes this Year of the Villain cliffhanger resonate with a Batman quote that puts us right where we started. “If heroes ever started to act like our enemies, we’d be better villains than they ever were.”

This comic has tight storytelling, world-class art, and asks a troubling question about being human. Next issue, please.

5 Comics to Pick up this Week (08/21/19)

HEADLESS #1

Scout Comics
(Wr) Alexander Banchita (A) Robert Ahmad

This murder mystery promises to unveil quite a tangled web of horror and intrigue in this story of the Headless Horseman who is responsible for turning the women of Salem into witches and the Knights Templar that are set out to banish all magic from Salem.

PRETTY VIOLENT #1 CVR A HUNTER (MR)

Image Comics
(Wr) Derek Hunter, Jason Young (A/CA) Derek Hunter

Pretty Violent looks like a step-sister to Skottie Young’s I HATE FAIRYLAND. It’s a gore-filled laugh out loud story of Gamma Rae, who has always wanted to be a super-hero. The punchline? Her siblings are notorious hero-killing criminals! Sure, we all have our own version of family issues, but this may prove to be quite a pickle for Gamma.

ABSOLUTE CARNAGE VS DEADPOOL #1 (OF 3) AC

Marvel Comics
(Wr) Matthew Rosenberg (A) Marcelo Ferreira (CA) Tyler Kirkham

Deadpool finally decides to checks himself into the Ravencroft Institute to straighten out the ol’ noggin, just in time for another patient to check in as well, you guess it — CARNAGE. Something tells me that their stay at the Institute might not go quite as Deadpool planned..

GHOST-SPIDER #1

Marvel Comics
Seanan McGuire (A) Takeshi Miyazawa (CA) Jorge Molina

I am very vocal and unapologetic about not loving stories that involve multi-dimensional travel, BUT I am interested in this new series starring our fave Spider-Woman, Gwen Stacy aka Ghost-Spider…Let’s see if I can keep everything straight!

Earth-65 Gwen Stacy travels to Earth-616 to do some super-heroing and University!? While most college-goers may have struggled to balance homework / social life and a job, at least we were limited to one world. Gwen is thrown into a crash course of multiversity while she splits her time between Earth-65 and 616!

BATMAN #232 FACSIMILE EDITION

DC Comics
Dennis O’Neil (A) Neal Adams, Dick Giordano (CA) Neal Adams

I really love that DC is starting to reprint hard to find issues for us who don’t want to break the bank to read these much sought after comics!! This book features the first appearance of one of Batman’s biggest foes, Ra’s Al Ghul!

Midtown Comics ABSOLUTE CARNAGE Signing: Donny Cates and Ryan Stegman

Naturally, it was raining the day of the Cates-Stegman signing at Midtown Comics downtown. It was a few blocks from where the towers fell in 2001.

I claimed my spot in the line. Person number 145. It was 5:50pm. I’d been there since 5, and the signing (officially) went from 6-8pm. I wouldn’t leave until 10:37pm.

The line wrapped around an entire lower Manhattan block. (Cates took a video, and at the 1:07 mark, I’m screaming like he’s all 4 of the Beatles.)

Over 20,000 people have watched me make this stupid face.

The masses were told that we could get 3 signed copies of whatever Cates and Stegman worked on together. A lot of people brought Venom comics, but I was there getting all the main covers signed for Secret Society on my heroic quest to bring a taste of Manhattan to South Florida.

Sketches cost $50 (cash) to be paid up front to Stegman. Here were my ideas for the cover:

Donny and Carnage getting married
Carnage with a tattoo of Donny Cates’ face
Cates and Carnage on a(n emotional) roller coaster

I read CARNAGE: MIND BOMB the morning of the event since Donny Cates has cited it as an influence for his script for ABSOLUTE CARNAGE. I had a canned conversation starter that I was gonna unleash on him. Something like “Yo, MIND BOMB is messed up!!!” (It really is. You should read it.)

I was in line for 4 hours. During that time, I thought about a lot of things, like Carnal Knowledge would make a great name for the Steg-Man and his Amazing Friends podcast. I talked to some fans, like this really handsome guy with a Carnage tattoo on his forearm, who also happened to be drinking beer from a paper bag. I talked to some kids, who were mostly just hangry. We were all making history.

As night fell and I approached the front of the line, I was mere feet away from Donny’s Dark Queen/fiance/cofounder of Devil’s AdvoCates, Megan Hutchison. She was, of course, wearing all black and smoking and looking very cool. I also thought of what I’d say to her. When the time came, I said, “Killer job on the cover for this!” since she colored Donny’s inks.

After I said this to her, a group of 20 people (including me) were herded up the stairs to the shop. Donny and Ryan said they needed a 10 minute break. The suspense continued to build, and I was convinced they had carpal tunnel by now.

Good things come to those who wait. As I approached the signing table, my heart wasn’t beating faster than usual, which surprised me. Maybe it’s because I felt like I knew Donny and Ryan from their Twitter, where they’re effortlessly themselves.

The first thing I said to them? A lie. “So when I told Megan nice job on the cover art, she actually told me that Chip Zdarsky wrote and drew all of ABSOLUTE CARNAGE.” Cates said, “HOW DARE YOU” or something like that. Then I forced both of them to take a “silly and serious” photo with me.

I forced my non-comics-reading coworker to attend the signing with me so we could get more grails sent to the shop for y’all. When it was his turn, he made a comment that they must be tired, and they all joked about a certain way to get around that… (Only in New York.) The guys were entertained, so Ryan decided to give us a quick headshot sketch of Carnage — even though they cost everyone else $50, and we didn’t even ask.

After it was all said and done, I thought, “Midtown employees are American heroes. They’d been standing there for hours, sorting CGC paperwork, answering our repetitive questions. “

The whole experience reminded me of why I love comics. Creators really do engage with fans, and the community is SO diverse. Don’t let #ComicsGate tell you otherwise.

Comics are basically an intellectual property factory for the more “respected” mediums of TV and film, and I know that ABSOLUTE CARNAGE will reach a bigger audience (AKA China) in the coming years. I’m just happy to have been there since the beginning.