Batman: Gargoyle of Gotham is finally back after a one year hiatus. This new, highly anticipated issue doesn’t disappoint either; it was worth the wait. It comes to us from writer/artist Rafael Grampá, colorists Matheus Lopes and Valentina Napolitano, and letterer John Workman. They bring us a story that isn’t quite on par with the first two issues, but also give us art, colors, and letters that are the best of the series so far.
The issue begins with Gordon holding a mysterious figure at gunpoint. The figure explains that if Gordon takes the two of them to the police station, both will die. The story then cuts to Batman who has just now infiltrated a cult meeting. He fights off the members and escapes, but not without taking a few injuries. An underground group finds him to help, and he remembers his origins while unconscious.
Gordon apprehends the mysterious figure
WRITING
This issue chooses to focus less on Batman and more on Bruce Wayne. In the first two issues of the series, Bruce sort of fights to be anything but himself, preferring to be the man in the mask. In this chapter, Grampá challenges Bruce and forces him to operate as himself in a setting we don’t typically see him in. The overarching story of the series featuring the cult didn’t feel as strong in this issue. It felt like its portion was wrapped up a little quick to make way for other aspects of the story to tie it up well in the next issue. For example, this story’s take on The Joker is interesting, but felt like a lot of time was given to really set them up as a later addition to the story. It just felt somewhat out of place and didn’t flow well with the pacing in the rest of the issue.
That being said, Grampá does some exciting character work with Bruce here. He tells Bruce’s motivation and inspiration for becoming Batman, and explains why he decided to become the Gargoyle of Gotham. It’s a really refreshing and innovative take on the character that takes what we already know about him and uses that to give life to something new. Bruce is also put in some unlikely situations this issue. He’s alone and injured as Bruce Wayne, out on the street and asking for help. Grampá navigates that really well and shows us not only what Batman would do in a situation like this, but what his Batman would do.
Batman confronts the cult
ART
Grampá also does this issue’s art, which is where he really excels. This comic’s character design is beautiful. Every new character looks interesting with intricate designs that are sure to have you coming back to examine every detail. The masks the cultists wear are terrifying, and they really do look as though they’re without autonomy and live only to do their leader’s bidding. Batman’s suit is gorgeous. It’s sleek and menacing in a way that really makes him feel more myth than man. It’s the first time in a while where it really feels like anyone could be under the mask. Where Batman is this terrifying image of a character, Grampá’s Bruce doesn’t reflect that at all. When he’s Batman, Bruce dials the intensity up to 11. He’s almost like an exaggerated version of himself and that’s an incredible transformation to see.
This issue’s paneling is also stellar. Everything flows together really smoothly, and there’s great breaks to the story between certain panels. There’s this great section where people die in front of Bruce, and the panels of his enemy taunting him are between a split panel of his face. The left panel is his shock, and the right is his immediate anger after the fact as the villain enters his mind between those reactions. It’s just really clever work.
Batman is attacked by the leader
COLORS
The coloring in this issue was actually done by two creators. Lopes and Napolitano do some pretty solid work here, particularly in the dreamlike flashback sequence that Bruce has in the middle of the issue. Everything’s not quite black and white, but more like a muted gray. It is the past, but it’s not like he’s struggling to remember it. What happened is set in stone, and it’s what he remembers vividly. There’s also red sprinkled throughout the section, showing that violence comes through. He doesn’t see the violence as uniformed or necessary, but as a horrible thing that has no explanation, that can’t be confined to the rest of his memory. It’s a smart choice that really gives the entire issue more significance.
The cult leader sends someone to deal with Batman
LETTERS
The lettering here is so expressive. Workman really understands the stories and the characters, and displays that through these personalized sound effects that accompany each character. Bruce’s are a little more frantic this issue when he does things, but still controlled. The Little Joker’s are childlike and simple, which adds a sort of terror to the character and what the reader is imagining going through their head. The cult members have this sort of ghoulish and uncomfortable style to their letters and bubbles, but the sound effects from one of their assassins can come across as overwhelming yet precise later in the issue. It’s all just so careful and detailed.
CONCLUSION
Batman: Gargoyle of Gotham #3 is a strong issue that doesn’t necessarily reach the high of its predecessors, but is still an excellent entry in the stellar series. The attention to detail in this issue is incredible and the team behind it clearly spent the last year working incredibly hard to bring this to readers. It’s a worthy installment and is sure to renew interest in the series going forward before the final issue.
Well friends, I’ve been subjected to a terrifying inevitability: I turn 30 this month. As I mull over the existential dread of aging, I decided to have some fun talking about comics and how they’ve impacted my life. I looked over my extensive library, picked out the ones that mean the most to me, and had them battle it out in my head to compose my personal top 30 list of all-time favorites.
Please keep in mind that this is not an objective “greatest comics of all-time” list. These are my thirty personal favorites as of right now. This list could look completely different a year, a month, or even a week from now. There’s a range of comic stories here – some Big 2 superhero books, weird 80’s Vertigo stuff, and a slew of cool independent books. Several of the comic here were introduced to me via my time spent working with the awesome folks here at Monkeys Fighting Robots. Since I started reading comics as a teen in the early 2010’s, I’ve had a spectacular time finding out what about this medium makes it *click* so well for me, and how that is different for basically everyone who reads comics.
Without further ado, let’s get started…
Image via Fantagraphics
30. Monsters by Barry Windsor Smith
Barry Windsor Smith (Wolverine: Weapon X; Savage Sword of Conan) returned to the comics medium with one of the most harrowing & brilliant stories of the last decade. Smith spent almost 40-years of his career working on Monsters – which is based on a rejected script for a Hulk story he pitched to Marvel. For readers, the years of work were well worth the wait. Monsters is a brutal, devastatingly sad and masterfully constructed graphic novel. The tragedy of Bobby Bailey, from his life under his insane father to his mutation and destruction at the hands of the U.S. military-industrial complex, is one of the most compelling comic stories of its kind. I first read Monsters right as it released in 2021, and it has haunted me ever since.
Image via DC/Vertigo
29. Lucifer by Mike Carey, Peter Gross, & Dean Ormston
Neil Gaiman himself said that Mike Carey was possibly the only one capable of giving the Vertigo universe’s version of the Lightbringer to life in his own story. I suspect he may have been right. With the help of incredible visuals from Peter Gross and Dean Ormston, Carey & Co. make Lucifer a sprawling epic of mythic proportions – enough to rival Sandman itself. This was one of the comics that made me fall in love with this era of DC’s Vertigo imprint. Lucifer is wildly intelligent, insidiously clever, often hilarious, and has more references to myth and literature than you could ever hope to label with a stack of post-it notes. This devil is a very dear one to me.
Image via DC Comics
28. John Constantine: Hellblazer by Si Spurrier, Aaron Campbell, & Matias Bergara
I couldn’t imagine a better fit for Constantine in the modern era than Coda writer Si Spurrier. His dry wit, sardonic humor, and clearly stated political awareness leads him to scripting the best run on Hellblazer since Garth Ennis and Jamie Delano. Featuring the genius visual touches from Aaron Campbell and Matias Bergara (one of my favorite artists working today), Spurrier & Co.’s John Constantine: Hellblazer is one of DC’s best comics of the last decade, standing tall with the best in Vertigo’s legacy.
Image via Image Comics
27. Do A Powerbomb! by Daniel Warren Johnson
Daniel Warren Johnson has quickly risen to the top of my favorite creators in modern comics. Each and every one of his works is pure comics-magic, with nuclear-force action and tons of heart. Do A Powerbomb! may be his magnum opus. A story of grief, family, and wrestling inter-dimensional badasses, Powerbomb! is one of the most brilliantly “comic book-ass” creations in recent memory. I was *hollering* when I got the the last pages of the final match in this comic. DWJ is a damn genius.
Image via Vault Comics
26. These Savage Shores by Ram V & Sumit Kumar
Funny, I learned more about the British colonization of India from this comic series than I ever did in University classes that discussed the era. These Savage Shores was my introduction to Ram V, who now stands as one of the best talents in the industry today. One part history lesson, another part battle of mythology & culture, These Savage Shores is one of the sharpest and most original comics I’ve ever read. Sumit Kumar’s beautifully composed pages and panels also make this series one of the most stunning books of the last decade.
Image via IDW
25. Richard Stark’s Parker by Darwyn Cooke
Darwyn Cooke’s adaptation of Richard Stark’s (aka Donald Westlake’s) legendary series of crime novels is a masterstroke of comics genius. Cooke takes Stark’s cold, calculating prose and presents it in a visual medium in a manner that is subdued yet explosively exciting. It’s hard to talk about the genius of Cooke’s work here without writing an entire article, but trust me when I say it’s some of the finest work in all of comics. The stone-faced, crumpled-suit wearing professional criminal has gone on to be one of my favorite characters in fiction, thanks to Cooke’s adaptations of Westlake’s work.
Image via Marvel Comics
24. Immortal Hulk by Al Ewing & Joe Bennett
As you’re likely going to figure out while continuing down this list, I’m not a big Marvel guy. Now, take a staple Marvel character and give him a Vertigo-style cerebral horror story with an eldritch, almost supernatural mythology? Well, I’m in. Immortal Hulk may be Marvel’s best comic of *at least* the last decade. Wildly intelligent, unnerving, and stupendously unique, Immortal Hulk takes lessons from the likes of Alan Moore’s Swamp Thing to make a Hulk story that is absolutely unlike anything Marvel has done before. It’s one of the best mainstream comics of the 21st century.
Image via Image Comics
23. 20th Century Men by Deniz Camp & Stipan Morian
A mixture of Watchmen, Apocalypse Now, and BWS’s Monsters, Deniz Camp and Stipan Morian’s 20th Century Men is the best book out of Image in the last several years. An incisive, imaginative look at Western imperialism through an alternate history lens, it’s a story with lessons and observations that hit *especially* hard to anyone with empathy who is aware of world events. Camp’s intelligent yet poetic script is bolstered by Morian’s haunting visual work, making for one of the most beautifully brutal comics I’ve ever read.
Image via Image Comics
22. Criminal by Ed Brubaker & Sean Phillips
Undoubtedly the greatest crime comic ever printed (next to Cooke’s Parker, of course), Brubaker and Phillips’s now iconic series is a masterful take on the genre. Combining influences ranging from Golden Age pulp comics and Hollywood flicks, all the way to the films of Scorsese and Tarantino, Criminal feels like a defining statement on the world of organized crime. Brubaker’s focused, human storytelling and Phillips’s incredibly detailed visuals are what have made the pair arguably the best creative duo in modern comics. Criminal is one of the greatest crime stories of all time – in any medium.
Image via Marvel Comics
21. Wolverine: Weapon X by Barry Windsor Smith
The harrowing origin of everyone’s favorite clawed-Canadian as only the legendary Barry Windsor Smith could make it. Weapon X is a flawlessly constructed, awesomely brutal look telling of how Wolverine got his adamantium skeleton. To this day, Weapon X is heralded as one of the best stories in Marvel’s publishing history – and the definitive answer to why you don’t f*ck with Logan. You could teach a class on comics creation with this story alone.
Image via DC Comics
20. Watchmen by Alan Moore & Dave Gibbons
When I was in middle school, a friend lent me their trade paperback copy of Watchmen. Although much of the superhero and political commentary went over my head at the time, it was still the first time I realized comic books could be like…well, *that.* There’s not much I could add to the Watchmen discussion here. It’s a classic for a reason, and a comic that changed the face of the medium for all time – for better or worse.
Image via Image Comics
19. Murder Falcon by Daniel Warren Johnson
Everything I said about Do A Powerbomb! applies here, but Murder Falcon has one key advantage for me: heavy metal. DWJ’s love letter to the metal genre makes for one of the most riotous, explosive comic books of the 21st century. The emotional core of the story hits me especially hard these days after the loss of a dear friend a couple years ago. Murder Falcon is an absolute treasure of a comic.
Image via DC/Vertigo
18. Daytripper by Gabriel Ba & Fabio Moon
Another deeply emotional comic that hits harder every time I read it. The brothers Gabriel Ba and Fabio Moon’s creative opus follows a man as he lives and dies at a different age in every issue. It’s one of those stories that will affect you more the older you get. Daytripper is one of the most effective reminders to cherish the moments you have with the people around you.
Image via Viz Media/Shonen Jump
17. Chainsaw Man by Tatsuki Fujimoto
Possibly the most batsh*t insane and original comic of the decade so far, Chainsaw Man is a massive show of creative force by mangaka Tatsuki Fujimoto. Chainsaw combines classic manga like Devilman with an apparent love for cinema and some adherence to standard Shonen sensibilities, all while sprinkling in sharp political commentary. It’s a wonder that Chainsaw Man actually gets published in SJ magazine. There’s actually a running joke that Fujimoto has dirt on an SJ editor, hence why he’s allowed to do as he pleases in a comics magazine aimed towards teens. For those of you who say part 2 is “boring” or “too slow,” I’m telling you this: let the man cook.
Image via Boom! Studios
16. The Many Deaths of Laila Starr by Ram V & Filipe Andrade
Akin to Daytripper, albeit with more mythology and cultural examples mixed in, The Many Deaths of Laila Starr is a beautiful, heartfelt examination of mortality and the value of life. Ram V’s focus on humanity and lived experience in his stories comes through loud and clear as he details life in Mumbai, from the perspective of both Death and the story’s supporting cast. Andrade’s stunning, dreamlike visuals bring the experience to a heightened level, making Laila Starr a stunning and emotionally resonant comic. It’s possibly my most recommended comic of the last couple years.
Image via DC/Vertigo
15. Animal Man by Grant Morrison & Chas Truog
Where Watchmen showed me that comics could be complex, Morrison’s Animal Man showed me how to take the medium apart, look at all of its innards, and reassembled it before my eyes. What starts as a compelling series about a superhero with close ties to nature fighting animal cruelty turns into a wildly inventive meta-narrative about the creation of art. Animal Man was a sign of things to come for Morrison’s career, as so many of their creative signatures are first seen at American publishers in this series. There’s a reason this run is so highly regarded amongst both fans and creators alike.
Image via DC/Vertigo
14. Hellblazer by Garth Ennis & Various Artists
Most of the defining characteristics of our fried John Constantine come from Garth Ennis’s landmark run on the character. The 2nd writer to take on the solo series, Ennis picks up where Jamie Delano leaves off and adds his own brand of attitude and swagger. Less philosophical and more grounded, Ennis’s run excels as a piece of human storytelling as much as it does a supernatural horror and genuinely funny political satire. Hellblazer showcases Ennis’s wide range as a writer, and also stands as some of his best work with longtime collaborator Steve Dillon.
Image via DC Comics
13. Gotham Central by Ed Brubaker, Greg Rucka, & Michael Lark
The best police procedural in all of comics happens to take place in the medium’s most famous city. Gotham Central is a sharply written series that focuses on the humanity, warts and all, of the GCPD’s detectives as well as the weird crap they have to put up with in Batman’s city. Michael Lark’s visuals are still some of the best ever done in a crime comic, giving the series an atmosphere that mimics the classic Mazzucchelli Year One aesthetic while still creating something new. Gotham Central is a must-read for fans of DC or not, and it’s one of the publishers finest books they’ve ever printed.
Image via Image Comics
12. The Fade Out by Ed Brubaker & Sean Phillips
While Criminal gets the most praise out of Brubaker and Phillips’s work (deservedly so), The Fade Out took hold of me in a way even the duo’s most popular series couldn’t quite manage. Taking place in the Golden Age of Hollywood, The Fade Out is a fictionalized look at the corruption and moral bankruptcy of the classic filmmaking industry. Taut, suspenseful, and perfectly paced, The Fade Out is quite possibly the best comic of its kind – at least in my opinion.
Image via DC Comics
11. Batman: Year One by Frank Miller and David Mazzucchelli
Year One is, quite simply, *the* Batman story. Miller’s perfectly constructed mixture of crime noir and pulp cape comics, as well as his sense for what makes Batman work as a character, ends in one of the greatest mainstream comics ever printed. David Mazzucchelli’s art is an aesthetic that has been imitated by dozens of artists since (see Gotham Central above), and it’s some of the most iconic work in the medium. Year One is one of those books that just about everyone who is into comics has read, and one of the first recommendations given to those new to the medium.
Image via DC Comics
10. Swamp Thing by Alan Moore & Various Artists
Our first taste of Alan Moore’s talents in American comics also happens to be one of the best works in the medium. Weird, grotesque, and wildly intriguing, Moore’s Swamp Thing effectively set up everything the Vertigo imprint would be known for. The visual work from the likes of Stephen Bisette, John Totleben, and Rick Veitch still make for some of the most striking visuals ever used in a mainstream comic. Moore’s Saga of the Swamp Thing is a tentpole of the medium to this very day.
Image via DC/Vertigo
9. Doom Patrol by Grant Morrison & Richard Case
God I love this comic. The Painting that Ate Paris? Danny the Street? Negative Man? Flex Mentallo? Every bit of writing and visual work in this series means so much to me as a piece of art. Morrison’s fearlessly inventive yet well-structured style in Doom Patrol is a huge influence on how I perceive art and writing. Richard Case is one of the most underrated artists of the time period, and his work here still stands as some of my favorite visual work in comics. This run on Doom Patrol is a carnival of hyper-imaginative artistic wizardry, and something I have to recommend to people who want to read something different and truly special.
Image via DC/Vertigo
8. Preacher by Garth Ennis & Steve Dillon
As an American from the South who grew up on Westerns in a working class family, Preacher hits me like a train every time I read it. Absurd comedy and angels & demons main story aside, Ennis’s presentation of Custer’s family and the values that come with being a man, good and bad, are so genuinely written it’s easy to forget the writer is actually Irish and not from Amarillo. Preacher is one of the greatest comics around, and while it’s hard to recommend to everyone, those in the know just how damn special this series is.
Image via Marvel Comics
7. House of X/Powers of X by Jonathan Hickman & Pepe Larraz
One of the most jarring and deeply intriguing mainstream comics ever. House of X/Powers of X had me in equal parts confused, surprised, and absolutely hooked through my initial reading of the collected hardcover. Jonathan Hickman’s scripting here feels like the culmination of 40 years of Mutant rage – and the start of some grave new journey. The visual work from Larraz & Co. set the standard for X-Men books moving forward with stunning animation and detail. It’s a shame the Krakoa era never *quite* panned out as strongly as it should have, but that doesn’t keep a HoX/PoX from being one of the greatest comics Marvel has ever published.
Image via DC Comics
6. All-Star Superman by Grant Morrison & Frank Quietly
Grant Morrison said that Superman is humanity’s greatest creation – he’s the ideal being humanity should strive for, with endless compassion and empathy. All-Star Superman is their ultimate thesis statement supporting that quote. This series brings me to tears every time I read it, with Kal-El’s acts of kindness great and small in the face of his oncoming demise. The moment where Lex gets Superman’s powers for a moment and is overcome with emotion at how his Kryptonian rival sees the world is just, just so damn good, man. Frank Quietly’s version of Superman is still my favorite in the medium, with images such as the one above being my mental thumbnail for the Big Blue Boy Scout. If you read All-Star and still can’t understand why people love Superman, maybe comics just aren’t for you.
Image via DC Comics
5. Mister Miracle by Tom King & Mitch Gerads
DC’s best book of the last decade, and one of the most thoughtfully crafted comics of the modern era, Mister Miracle is a staggering achievement of storytelling. The story of Scott Free struggling to overcome the trauma of life on Apokalips, supported by his amazing-as-hell wife Barda, is a story I never thought I cared much to hear but am*so glad* I did. King and Gerads cemented themselves as one of the best creative pairs in contemporary comics with this 12-issue miniseries – which I myself was glued to as it came out in single issues. Regardless of how you feel about Tom King, Mister Miracle is a book I cannot recommend enough.
Image via Image Comics
4. East of West by Jonathan Hickman & Nick Dragotta
Jonathan Hickman’s magnum opus, and likely the greatest original comic of the 21st century (in my opinion), East of West is every bit as entertaining as it is intellectually invigorating. Hickman’s use of political conflict, sci-fi, fantasy, and philosophy all come together with a flawless ease that makes this fantastical post-American apocalypse an insane wonder to behold. Nick Dragotta’s art here alone is enough for him to be cemented as one of my favorite artists in the industry. Everyone who thinks Saga is the best Image book, I’m begging you to pick up East of West.
3. Berserk by Kentaro Miura
One of the most iconic manga ever created, and arguably the greatest piece of longform fantasy fiction of the last 30 years, Berserk is a masterwork on every level. The story of Guts, from his pained beginnings, the betrayals he suffers, and how he begins to find peace again, is a lesson in character writing. Kentaro Miura’s jaw-dropping visuals and grotesque monster designs have cemented the late legend as one of the greatest artists in the medium. Even with the creator passing before the story’s end, Berserk still stands as one of the greatest sagas in all of fiction.
Image via DC/Vertigo
2. The Sandman by Neil Gaiman & Various Artists
As an English major with a love for the classics & mythology, The Sandman has always felt like it was made especially for me. The beauty of Gaiman’s poetic, understated prose is absolutely captivating. The creativity involved with the creation of Sandman’s now-iconic lore, as well as the wide array of talented artists who bring it to life, is awe-inspiring to this very day. The Sound of Her Wings, Season of Mist, and Dream of A Thousand Cats are stories I bring up often as “perfect” comics stories. The Sandman is one of the reasons I love this medium as much as I do.
Not even the author’s gross, heartbreaking actions can kill that for me.
Image via Dark Horse Comics
1. Hellboy by Mike Mignola
In my mind, Mike Mignola’s Hellboy is the height of the medium is terms of how comics are constructed and used. Mignola’s mastery of sequential direction, timing, tension, and of course just how he’s developed his signature art style, make his long-running magnum opus a tentpole of the medium you could teach a class on. The fact that the story that develops and the mythology surrounding Hellboy and his allies in the B.P.R.D. is so well-constructed and entertaining lifts Hellboy to being one of the finest pieces of fiction of the last 50 years. What Mignola and his collaborators have created across this universe is a work of storytelling wonder, and the best rabbit hole I’ve ever jumped down.
SPECTACULAR SPIDER-MEN #11 hits your local comic book store on January 1st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: ELEMENTARY debuted last issue and continues on her hero journey alongside BOTH SPIDER-MEN! But that journey is going to be rocky with TWO ELECTROS and…is that a giant Lizard? Uh-oh.
The issue is by writer Greg Weisman and artists Andrés Genolet & Von Randal, with colors by Edgar Delgado, and letters by Joe Caramagna. The main cover is by Emilio Laiso and Delgado.
Check out our SPECTACULAR SPIDER-MEN #11 preview below:
Are you reading SPECTACULAR SPIDER-MEN? Sound off in the comments!
Today’s article is going to start with an anecdote. The anecdote includes a small boast, a lie constructed out of two truths, and a lead into the main article. The boast is there as a reminder to myself that I still have some fun within the sphere of comics. The lie is the amalgamation of two events that happened leading to the outcome in the anecdote. Although this makes it technically not a real event, it does simplify the actual events and make it easier, and quicker, to digest while containing the same basic information. And finally, the lead into the main article.
But why start with an anecdote? Well, it serves two purposes: firstly as an introduction to the topic about to be discussed. I’m not very good at “beginnings,” often having the ending worked out long before I start to write, but then stalling as I have trouble getting the first sentences out. And secondly, it’s a small reflection of the comics community as I experience it. One problem within any fandom is that everyone thinks that everyone else in the group experiences their interest in the same way. But they don’t. I have met academics studying comics who have never been in a comic book store, collectors who barely read any of the comics they buy, and creators who only create comics so that they can pay their bills. These are all very different to what most people think of as comic book fans. But I digress.
DC Compact Batman Titles Credit: DC
The Anecdote
Earlier in the year I was in the city of Leeds at the annual Comics Forum Conference where I was giving a talk on the use of disembodied figures within classic EC comics. While there, I took the opportunity to visit the Travelling Man Store, often seen as one of the best comic book shops in the country. The visit was prompted by a conversation with an academic who, it turned out, had never been to a specialized comic book shop before, despite writing a number of papers on graphic novels and superhero comics. His entire research had been based on the titles available in his university library and a few online orders. To me, this seemed unbelievable, that someone would dedicate so much of their time to a medium without engaging in one of the core aspects of the medium: the comic book shop. So, as I have said, we took the opportunity to go along to one of the comic shops close by.
While in the shop, I picked up a copy of Batman: The Court of Owls Saga, a reprint of the 2011 New 52 version of Batman written by Scott Snyder and drawn by Greg Capullo. I read it when it originally came out, but sold almost all of the issues a few years ago, only keeping two issues that have been signed by the cover artists. And I remembered virtually nothing about the story. As I was looking at it, my colleague asked me what it was and, while I was explaining, someone else in the shop decided to interject and give us his opinion. He felt that I shouldn’t buy the book I had in my hand, and instead buy a different version of it, in hardback, with a glossy cover, and a heap of back matter. According to this fellow, that was the only way to experience the comic, and not through the “rubbish” DC Compact that was in my hand, with its poor quality printing and shrunken page size.
I looked at the cheaply printed £8.99 book in my hand and the £80+ Absolute version that this interloper had indicated.
I then bought the DC Compact version.
As I did so, I turned to my colleague and explained “This is the best way to read these American comics. A true reflection of the medium as originally visualized back in the 1930s and 1940s. Cheap and disposable.”
Large Book: Madi (Excuse The Dust)
Can I Read That In The Bath?
There are certain comics that I love. Ones that I collect and keep, horde away in boxes, and place center stage on shelves. The Sandman, for example, was instrumental to my transition from reading children’s and superhero comics to reading material that had substance and consequence. As such, I am slowly building a collection of the original, single issue prints, picking them up wherever I see them. I have several trade paperbacks, which are the copies I mainly read. And I have the three-volume omnibus collection: a prestige format of heavy tomes that sit on my shelf and are occasionally disturbed to show to visitors.
But most of the comics I buy get read, chucked in a box, and eventually—depending on their re-readability—will be filed into my collection or given away. Do you know that terrible person who, when leaving the comic shop, rolls up their new comics and slips them into their back pocket with no regard for the integrity of the product they’ve just bought? That’s me. I once coated a table with cuttings from some old comics that I knew I would never read again. For me, the beauty of the comic medium is that it is disposable. You can flick through a comic, pass it onto a friend, or give it to a charity shop for someone else to buy. Unfortunately, the modern comic industry has embraced the collectability of comics, making everything a premium, a must-have. The industry is desperate for the consumers to believe that the only way to experience their favorite stories are through ever more elaborate re-issued editions in bigger and bigger formats.
I bought Madi: Once Upon A Time In The Future, written by Duncan Jones and Alex de Campi, through a Kickstarter campaign several years ago. It is a gorgeous oversized book worked on by a host of superb artists. I have read it once. Its size makes it difficult to read comfortably. It is too heavy and awkward to hold while having a bath. I haven’t lent it to anyone because I don’t want them to pull a muscle while carrying it home. All in all, it is a gorgeous bookend but a waste of the talent showcased within because it goes unread on the shelf.
Future DC Compact Title: Kingdom Come Credit: DC
Good Things, Small Packages
DC’s new compact range of comics is the antithesis of this. They break down two of the largest barriers that face people reading comics today: cost and accessibility. And, as such, it’s one of the best marketing ploys by any of the major comic publishers in years.
Returning to my anecdote, I can understand why some people might not appreciate the DC Compact comic, but I surmise that these people are hardened comic book aficionados. However, a large majority of us are just looking for something good to read on the train ride home. To quickly contrast the compact book to a single issue, I bought two single issue comics the other week, barely got change from my £10 note (I’m English, sorry), and had read both comics before I had finished eating my lunch. One of them is lingering around my bedroom, waiting to be added to my collection and the other has already been given away. But the experience was a disappointment; not because the comics weren’t good, but because I had paid a lot of money for very minimal entertainment. Obviously if the comics turned out to be mind blowing works of art, then the cost might have been worth it. But I am unlikely to reread either comic, especially as they both only contained part of a story and I am even less likely to get the other parts.
But, back in Leeds, I bought Batman: The Court of Owls Saga for £8.99. It contained the full story—eleven single issues plus some extras—and kept me reading for several hours over a number of evenings. It fit into my pocket while at the train station so I could get to it easily while hanging around for my train. I could hold it comfortably in one hand, reading while making a drink or sitting in the bath (I do a lot of my reading in the bath). I’m fairly knowledgeable about the main superheroes, but that didn’t matter, as not only did this book contain a full story, it was also easy to access for someone who might not have read many Batman comics. Only the most superficial knowledge of the character is needed to enjoy the book.
For me, this version of Batman: The Court of Owls embodies what comics should be. Not from a narrative or creative point of view, but from an affordable, accessible product point of view. I miss the days of being able to go into a shop, pick up a pile of comics for £1, or even 50p, each, and go home without worrying about whether or not it was worth it. These days I don’t buy so many comics because the price makes me ask myself, do I really want to spend £4.50 on it? How many more issues will I need to buy to complete the story? The DC Compact range takes some of that trepidation away. With a cover price of £8.99, you are getting a full story at a cost of less than £1 per comic. And, if it turns out you don’t like it, it’s so easy to pass on to someone else.
Imagine this scenario, trying to give away a single issue:
“Do you want this?”
“Is it any good?”
“It’s okay. It’s part one of six.”
“Then no.”
Now imagine the same scenario giving away a DC Compact:
“Do you want this?”
“Is it any good?”
“It’s okay. Good start with some excellent stuff in the middle. I wasn’t keen on the ending but you can read it in the bath.”
“Yeah, go on then”.
Future DC Compact Title Batwoman Credit: DC
More Tiny Titles
There are currently ten DC Compact books available, but the range will be expanding quite rapidly over the next few years, based on the announcements that have been made. The series is not focused on anything specific, but instead a range of different DC comics from their back catalog. There are true classics like Watchmen and All Star Superman, but there are also modern classics like American Vampire and Harley Quinn. This all-encompassing range is even more noticeable in the other titles announced, which include obvious collections such as Batman: The Long Halloween and V for Vendetta along with potential surprise inclusions such as Y: The Last Man and Kingdom Come.
I have added Batman: Hush to my collection, a story I’ve heard good things about and read the first few issues of many moons ago. I enjoyed getting the full story and, as a knock on effect, reading it has made me pick up more Batman comics. In fact, I have read more Batman related titles in the last few months than I have done over the last few years, and all because I was able to pick up a handy little book just at the time when I wanted something to read.
I always say I enjoy the X-Men movies more than the other Marvel superhero movies because watching them makes me want to read the comics. And something similar happened while reading Batman: The Court of Owls Saga. It reminded me that there are good, self-contained Batman stories out there and gave me the impulse to go and find them.
So, to summarize:
DC Compact books are easily accessible, complete stories that are affordable.
If you look at the comic industry model in North America during the 1940s and 1950s, this is exactly what comics were all about. They were cheap and disposable. Entertainment that captured the minds of the readers. DC Compacts work in the same way.
Plus, they make excellent gifts.
If you are a newbie in the comic book world, or you just want to read good comics without the pomp and ceremony that comes with collectibles and prestige formats, then you cannot go wrong with a DC Compact.
WEST COAST AVENGERS #2 hits your local comic book store on December 25th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: NEW MEMBER: FIRESTAR FLAMES OUT!
Firestar officially joins the West Coast Avengers! But the plan for her to mentor redeemed villains like Ultron and newcomer Blue Bolt collapses when it becomes clear she’s seeking redemption of her own. Her time undercover with ORCHIS left scars and made her a pariah. Can the West Coast Avengers stop her downward spiral?
The issue is by writer Gerry Duggan and artist Danny Kim, with colors by Arthur Hesli, and letters by Joe Caramagna. The main cover is by Ben Harvey.
Check out our WEST COAST AVENGERS #2 preview below:
Did you pick up the first issue of West Coast Avengers? Sound off in the comments!
What happens when the old gods die? The New Gods #1—from writer Ram V, artists Jorge Fornés and Evan Cagle, colorist Francesco Segala, and letterer Tom Napolitano—feels like something truly special. It feels like myth being written and told in front of our very eyes. It’s a tale of gods and mortals, where that line intersects, and what the consequences of that can be.
The story of the New Gods is a tragic one. Orion, son of Darkseid, was swapped with Mister Miracle, son of Highfather, at birth in order to prevent a war between New Genesis and Apokolips. Where Orion found purpose, Miracle found nothing but violence. Fast forward to now, and the two follow very different paths. Mister Miracle, also known as Scott Free, now has a family. He’s married to Big Barda and has a child named Liv. Orion, however, is the brute. He wages war against anything left from Apokolips, and that war has defined him.
The issue starts with a recap of Darkseid’s actions in the DC All-In Special and then pivots to an old god in space, drifting towards the Source Wall as it draws her in with a beam of light. Metron sees this, and his chair overloads, causing his mind to unravel. We’re then brought to New Genesis, where Highfather meet with Metron and then Lightray, finally calling to summon Orion.
Lightray greets Highfather
WRITING
The issue is paced beautifully; every scene just clicks into place. Everything is given the time it deserves—never too much or too little. Ram V excels with putting a scene together through dialogue and atmosphere in a way that few can replicate. Everything feels so fluid. Every word carries a weight to it that makes every sentence sound massive and powerful. These are gods, and their words carry a great importance and are not to be taken lightly. That makes it all the more powerful when Orion and Scott meet later in the issue, having clashing values over a task that Highfather has given to Orion.
V crafts a compelling narrative. He introduces key players in their natural habitats, but later diverts from that in order to give us a new interesting story with old characters as well as some new ones. Everyone gets spotlight, and every character feels like they have their own cosmically important role to play. Barda is hardly in the issue, but she’s set up in a remarkable way where you can tell she’ll be incredibly useful soon. V also does a fantastic job of displaying the psyche of each character, highlighting how none of them are without their own personal problems that they must rise up against. It makes them feel eerily human.
New Genesis and Highfather
ART
While Cagle is the main artist on the issue, Fornés does some inspiring work in the beginning. He draws Metron being overloaded at the beginning of the issue, as well as the dying old god on her way to the source wall. He makes you feel how powerful these beings are, and how they take up a massive amount of space in this universe. Everything could revolve around them, and Fornés does a great job of showcasing how their power is insurmountable and their roles are important.
Cagle draws the bulk of the issue, and he is an absolute powerhouse in his own right. New Genesis is a beautiful place that the artist crafts his own version of masterfully. He makes these characters feel larger than life, whether it be from their battles against alien hordes, or just the sheer fact that they’re conversing with each other with the cosmos in the background.
Cagle also does this fantastic thing when introducing Scott and Orion. When Orion is introduced, Cagle seems to have drawn his name into the background in these giant, hulking letters. When Scott arrives though, we see a circus act style font Mr. Miracle logo, and it’s really clever. Cagle does a good job of making the characters feel different. Scott is slim and agile in order to escape traps when necessary while Orion is massive and angry; so much is done for each character through body language alone.
COLORS
Segala colors one of the most beautiful issues of the entire year here. There’s one scene specifically where Highfather and Metron are discussing something with what looks to be all of space behind them. It’s a beautiful cosmos filled with purples and reds that’s stunning, even connecting to Metron’s black clothing in one panel. It signifies that he’s one with the universe, but his human looking face peering through his costume stops him from being complete. Lightray also looks fantastic here. He’s always been a showboat, but here his classic all-white outfit is accompanied by a glow that radiates off the costume. He wants attention and to be noticed, and Segala understands that perfectly.
The shading and lighting in this issue is also just jaw-dropping. When Orion battles Parademons and is filled with rage, it’s covered with red and oranges the entire time. He then gets a message from Highfather, turning the entire panel blue. When we see Orion’s face again, the red has subsided with the blue now covering half of him. His father and his duty call to him, and he has to understand that that is more important than his rage. It’s incredibly thematic and powerful.
Metron and Highfather speak
LETTERS
The letters in this one really help in highlighting the differences between each character and their worlds. Napolitano specifically does this through the letters whenever a location is changed. New Genesis gets this beautiful, refined font that reflects a kingdom. The planet Orion is found on has a messy, barbaric one. Scott is in Glendale, California, and that one tries to be about as basic as it can be, and it really fits. There are also a couple of narrative sentences in this issue that take place outside of the story. A character isn’t saying or thinking them, but they’re there to show what’s to come for these characters and this universe. They explain the death of an old god, and the birth of a new one. The words are some of the most important in the entire issue, and Napolitano delivers them with an incredibly strong font and size. Their weight is felt.
CONCLUSION
This is one of the best issues to have come out all year. It’s written, drawn, colored, and lettered beautifully and carefully. It insists that you read it over and over to find new things, but to also ask yourself questions of morality and whether what you’re doing is the right thing or not, even if you’re ordered to do it. The cast have all been living their lives normally, despite being these larger than life gods with responsibilities they have to attend to. We are fully immersed in their world. This spectacular team has made sure that these characters have returned in an impactful way that’s sure to shake the DC Universe in the months to come.
Michel Fiffe has been bringing readers intense superhero action for years with COPRA, his raw look at superpowered mercenaries, and the violent, body-count-filled missions they take on. Now Fiffe is getting ready to put the book and its characters in the grave! So read on as Fiffe gets into the nit and grit of creating what is sure to be a blood-soaked and explosive end to one of indie comics’ best series.
Monkeys Fighting Robots: Michel, Copra has been in your life a long time. You’ve been writing about these characters for many years, and we have Death of Copra! Can you give us a brief (non-spoiler) synopsis of what the setup is?
Michel Fiffe: There’s a rumor I heard that the majority of Monkeys Fighting Robots fans are hardcore slabbers. They’re just gonna throw my comic into a graded piece of plastic, they’re not even gonna read the damn comic. Is this true? Just in case that’s false, picture this: a diverse group of deadly weirdos who, after working together this long, have developed some nasty workplace friction. That includes competition and sex and grudges, retribution for past genocide and institutional collapse. From scrappy to co-opted, every member of COPRA will have their moment of reckoning.
MFR: Was there always a definitive number of issues or arcs you had in mind?
Fiffe: The previous arc, “The Ochizon Saga” [COPRA Round Six], had a few issues where the world was turned upside down. That was originally supposed to be like twelve issues or more. It was supposed to be my “Inferno” event, just a new demented status quo. I quickly lost interest when I started actually plotting the issues. I got impatient with that idea, it bothered me, it felt like padding. I would’ve made it fun, but it would’ve been a lot of work for empty calories. So I go to the point, wrapped up that huge story, and excitedly prepped for this final arc. In fact, I was supposed to introduce a few new elements during that unabridged version of the Ochizon Saga, but they were held back for this final arc. There’s been a lot of moving around, a lot of organic shuffling that simply made for a better story.
MFR: Did you always have the narrative ending clear in your head? Did all the characters have a ‘fate’ you were building to, or did things change or develop as you wrote them? I mean, a title like Death of Copra is pretty direct!
Fiffe: I’m beyond fortunate to have an ending for a project of this scope and to execute it on my terms. That doesn’t happen often in these circles. The book is either cancelled, or you run out of steam or you just stop and focus on the next opportunity. But yeah, I’ve had a clear idea as to how I wanted things to wrap up for a while now.
MFR: Did you approach writing Death of Copra any differently than previous arcs?
Fiffe: I just recently heard Gilbert Hernandez bemoan his approach on Poison River, saying he would make it much easier to follow. I took my cue from Poison River! It’s a layered, sprawling, ambitious masterpiece that I have always loved. I saw it as a sort of creative goal worth pursuing in the abstract. Same thing with the Legion’s “Five Years Later” story. Didn’t like it at first, it was too confusing and jumbled, but something about it made me want to crack the code. The more I would revisit it, the more I liked it. Now I unequivocally love it. It’s ironic that 5YL is an influence since clarity has been an ongoing concern for me, especially during this last stretch.
MFR: What’s the best thing you learned about publishing Copra so independently? What was the most rewarding? What was the hardest part?
Fiffe: Being in a band actually taught me the value of being independent. There was a moment when I had to make the choice between pursuing music or comics as a career. I thought I could do both! And I loved being in a band, I enjoyed the teamwork of it all. My self-taught chops are comparable across both mediums, so I thought I had a shot in equal measure. But the band imploded, everyone went their own way, and I hated that I couldn’t control that outcome. That made me double down on comics, a thing I could have all to my own. I could be in charge of going the distance. I embraced that attitude even more when I started self-publishing. Because here’s the thing, I tried doing everything by the book, but what I discovered was that I’m not good at waiting for permission. So that thing I wanted? I made it myself. I nurtured it, shaped it, and seeing it develop and build on itself has been one of life’s great pleasures. The most difficult part can be the isolation, though. Which, you know, that sounds like a feature to me! But the reality is that it can do more harm than good. It gives you all the space in the world to be hyper-critical. You get into your head a little too much, which can warp your work.
MFR: I feel like Copra changed a lot of what action and superhero narratives can do for readers in comics. But how did Copra change you as a creator?
Fiffe: That’s interesting, I never thought about it changing the reader’s point of view. I mean, I think my story is pretty direct. There are no jarring or fanciful tricks… it’s simply a lot. It’s a large cast and that might be difficult for some people to follow. I can’t fault them for losing track. However, I do go out of my way to reward attention, because I really love it when I experience that as a reader. So that’s shaped me as a creator to a certain degree, really focusing on what I like in a comics reading experience. But that’s tricky, it’s thin ice, because what I want out of comics might not be what the audience wants out of comics. And this isn’t about me not myself to fit a mold, it’s about being more than myself. It’s a strange dynamic that fascinates me. I respect populist sensibilities. It’s a constant challenge for me, it doesn’t come naturally. Pop isn’t some easy turn of a switch, it’s a skill, a talent. It’s a mystery to me. I don’t think Paul McCartney gets the credit he deserves.
MFR: What’s it like emotionally coming to an end with characters you not only wrote for many years but that you created as well?
Fiffe: We don’t talk about emotions in this family, Manny, c’mon, you know this!
MFR: Looking back, do you think you have a favorite Copra cast member? Was there one that was harder to say goodbye to than any others?
Fiffe: Saying goodbye to the first major fatality was the most difficult. Not to spoil the first arc, but once I crossed that line, I knew nobody was safe. That was a necessary precedent to set in this type of comic book story, and I’ve kept my word. I haven’t cheapened loss or grief.
MFR: What brought you to the decision to return to Image for Death of Copra?
Fiffe: Out of sight, out of mind. I wasn’t seeing COPRA in comic shops while traveling the country, simple as that. Look, don’t get me wrong, I’ve been lucky to have lasted this long with one story, and these last few years have been my most lucrative years as a self-publisher. But in the wider world of comics retail, let alone bookstores, my footprint was disappearing. So while the actual story of COPRA wasn’t gonna be compromised, I wanted to tackle things differently. I embraced the idea of certain things that I neglected before. You know, solicit it as a mini-series, have variant covers, have different artists DO those variant covers. Fun, harmless stuff that won’t affect the comic itself, but it might affect its reach, and thus its presence in the Direct Market. Now, as I laid out in my Creating COPRA DIY book, there aren’t many differences between self-publishing and Image Comics. You still have to produce the product yourself, but you better do it on time. The arena is bigger and it has its own rules, but you’re still in charge of promotion. So it’s risky no matter what you do. I would’ve regretted not doing it this way.
MFR: What can readers expect in the series?
Fiffe: Experience what comics of this stripe rarely get: an ending. Plus, I ink and letter and color by hand, therefore it’ll look like nothing else on the stands. Y’know, I just realized that the benefit of having collaborators is that you can all safely puff each other up on social media — “Oh, man, the artist who drew my script is a friggin’ genius, I can’t wait to show you all of the blah blah blah” — whereas single creators will at best sound like overconfident lunatic narcissists. I’m okay with that. Look, the writing in COPRA is top notch and the art is fantastic. Combined, they create a unique comics cocktail that cannot be replicated or topped. Buy a copy, and see for yourself!
MFR: What’s next for you? Is there something you want or can talk about?
Fiffe: Maybe start a funk metal Exposé cover band, I dunno. Any takers?
DEATH of COPRA is a four-issue mini-series coming out January 8th from Image Comics
ALLIGATOR LOKI HOLIDAY SPECIAL #1 hits your local comic book store on December 18th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: AN ALLIGATOR LOKI HOLIDAY SPECTACULAR!
The Alligator of Mischief is back to ruin – I mean, save! – the holidays! Join Alligator Loki and his many, many, many friends – from the X-Men to the Young Avengers to several symbiotes – as they romp across the Marvel Universe, sowing chaos and camaraderie in equal stride! Don’t miss a brand-new story starring Alligator Loki and the REAL meaning of the holiday season: frenzy-er, sorry, FAMILY!
This issue also collects issues #13-24 of the hit ALLIGATOR LOKI Infinity Comic for the first time in print!
The issue is by writer Alyssa Wong and artist Robert Quinn, with colors by Pete Pantazis. The main cover is by Quinn and Pantazis.
Check out our ALLIGATOR LOKI HOLIDAY SPECIAL #1 preview below:
Are you picking up Marvel’s ALLIGATOR LOKI HOLIDAY SPECIAL next week? Did you read the original Infinity Comic series? Sound off in the comments!
DEADPOOL #9 hits your local comic book store on December 18th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: MERCENARY OFFSPRING DEPLOYED ONLY (FOR) KILLING!
ELLIE has big shoes to fill as the New DEADPOOL! She’s making her name as a mercenary – but will the new ‘Pool fall at the tiny hands of M.O.D.O.K., the Mental Organism Designed Only for Killing?! A major turning point – don’t miss it!
The issue is by writers Cody Ziglar & Alexis Quasarano, and artist Andrea Di Vito, with colors by Guru-eFX, and letters by Joe Sabino. The main cover is by Taurin Clarke.
Check out our DEADPOOL #9 preview below:
Are you reading DEADPOOL? Sound off in the comments!
FREDDIE THE FIX #1 hits your local comic book store on December 18th, but thanks to Ninth Circle, Monkeys Fighting Robots has an exclusive twelve-page preview for you!
About the issue: A twisted horror tale from GARTH ENNIS (the legendary creator of The Boys and Preacher) and MIKE PERKINS (Bat-man: First Knight, Swamp Thing)! Hollywood After Dark—werewolves, vampires, zombies, aliens, bogeymen, predators, and…things. They all have their kinks, and they all get in deep shit. They all call Freddie…to fix it.
The horror-skewed intersection of The Boys and Ray Donovan. The debut offering from NINTH CIRCLE, the creator-owned, creator-driven, horror showcase of standalone bone-chilling tales of terror and mayhem!
The issue is by writer Garth Ennis and artist Mike Perkins, with colors by Andy Troy & Mike Spicer, and letters by Rob Steen. The main cover is by Perkins, and there will also be an incentive cover by Marcelo Frusins.
FREDDIE THE FIX is the debut title from Ninth Circle, the new publisher founded by Ennis, Ram V, Marguerite Bennett, Joe Pruett, and Adam Glass, among others. Ninth Circle is launching as an imprint of Image Comics.
“Taking inspiration from Dante, who created nine circles of Hell in Inferno,Ninth Circle is set to redefine genre storytelling by combining the visionary creativity and expertise of these incredibly talented storytellers. No capes, no tights, and no romance (unless, of course, that romance includes murder, blood, and mayhem).”
Check out our FREDDIE THE FIX #1 preview below:
Are you picking up FREDDIE THE FIX #1 from Ninth Circle next week? Sound off in the comments!
