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INTERVIEW: Comics Catch Up With Indie Creator Benjamin Marra

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Benjamin Marra is one of the most interesting artists working today. And although mainly self-published, Marra has done comics for both Vice (various strips) and Image (the excellent Jesusfreak which was co-created with writer Joe Casey).

Benjamin was cool enough to take some time to talk to us at Monkeys Fighting Robots about his career, his current comic What We Mean By Yetsreday (which he is posting daily on Instagram), his love of classic RPG art, where comics might be going in this post-pandemic world and a bunch more. So read on!


Monkeys Fighting Robots: First of all, thanks for taking the time to talk to us at Monkeys Fighting Robots. A bunch of us fans are excited!
Benjamin Marra: Cool, thanks very much for having me.

MFR: Personally, the first thing I ever got of yours was Lincoln Washington Free Man which was gifted to me by a coworker when I ran an indie bookstore years ago. I still have it and it’s one of my favorite single-issue comics I own.
BM: Awesome. Yeah, those single issues of my self-published comics are pretty hard to find now

Lincoln Washington Free Man. Copyright Benjamin Marra

MFR: For those not familiar with your work, give us a brief history of you as a cartoonist.
BM: I’ve been doing comics in earnest since 2007 when I published the first issue of NIGHT BUSINESS, my 80s-crime, 70s-Giallo homage. I self-published a bunch of other books experimenting with different approaches to cartooning. But I’ve been drawing since I can remember. I studied illustration at Syracuse University, then got my MFA in illustration at SVA. I do a lot of illustration work in addition to making comics.

Night Business #1 Copyright Benjamin Marra

MFR: Who or what would you say were your biggest comic book influences?
BM: It’s difficult to say because my influences are constantly changing. When I first started making comics Paul Gulacy, Eric J on REX MUNDI, and Marc Laming on AMERICAN CENTURY were huge influences. Gary Panter has been a constant influence though many times not directly. Recently, Ebizu Yoshikazu has been a big influence. I’ve been thinking about Tomi Ungerer a lot (though he’s not a comic book artist per se). Mike Judge has been a big influence. Gary Larsen. Charles Schulz. I like what Matthew Thurber has been doing a lot recently.

MFR: What other media do you draw inspiration from?
BM: Fine art and illustration both inform my comic process, as far as drawing goes. Genre prose fiction—science fiction, fantasy, crime—has a big influence. Genre film, obviously, is a huge inspiration. I’d say my sources of inspiration outside comics are bigger than the number of comics that inspire me

MFR: I’ve also read you’re also an avid RPG/Dungeons and Dragons fan (the art and the game). What about it inspired you and what artistic tools do you take from it?
BM: I love early TSR D&D artwork, as well as the game itself. For me, the artwork hits the perfect note of naive intention. The artwork is trying its best to be the most sophisticated art it can be. It misses the mark entirely. It has a DIY quality and emotional quality that resonates with me. Ultimately it’s work that’s made with a lot of love and care, and that really comes through. I also love the subject matter of fantasy art. The tools I take from it, I guess, literally, is that you can make cool black-and-white drawings with cheap pens and paper.

‘The Abyss’ Copyright Benjamin Marra

MFR: Do you have a personal favorite of your own work? One you think best represents you as an artist?
BM: Not really. I’m a pretty savage critic of my own work. It is what it is. I don’t really look back on it with much affection. I look forward to what I’m going to create next. I couldn’t pick one work to represent me, because I feel all of them fall short of what I can do. That kind of propels me forward to make the next thing, which I’m sure will also disappoint me as we

MFR: Okay, so I wanted to talk to you about What We Mean By Yesterday, your new comic you are putting out through Instagram daily. Can you tell our readers a bit about what the comic is about? The who and the what of the story. From what I understand a version of this appeared on Vice before.
BM: The comic is about characters in a town all linked by a high school. The first section of the story follows the afternoon and evening of one of the teachers in the school, Mr. Barnes. He has a lot of bad things happen to him and gets mistreated by people. I won’t know the true meaning of the story until it’s finished and it may never be finished.

Panel from ‘What We Mean By Yesterday’ Copyright Benjamin Marra

MFR: How did you come up with the idea to re-do via Instagram? Was it the idea that led to the format or the format that led to the idea?

BM: My friend Michael DeForge did a daily comic last year and I thought it worked really well. I did a couple of weekly comics for adultswim.com and my interest in comic strips returned. I hadn’t seriously looked at comic strips since I was a lot younger. Doing a daily strip is an interesting challenge. I wanted to see if I could do it for a year. I also wanted to do something personal but needed a framework or system to ensure I would do the work. The daily strip is not a huge amount of work per day, but if you do one a day for a year, it really adds up to a good volume of pages. I also wanted to work on something that would allow me to experiment with simpler, boiled-down, nothing-but-the-essentials, heta-uma style. I guess it was the format that led to the idea because I probably wouldn’t be doing the comic if it weren’t for Instagram.

MFR: What’s your process for What We Mean By Yesterday’ like?
BM: I work as fast as possible. I do the strips in batches of 14 to 20 in advance. My pencils are basically my writing. So I pencil out the pages, get into a flow, then I go back and ink everything, scan it in, and set it up to be posted. I have a big master outline I worked on for several weeks before I started. That’s kind of my guide for the story.

‘What We Mean By Yesterday’ Copyright Benjamin Marra

MFR: Do you plan on ever collecting this version outside of Instagram?
BM: Sure. If a publisher is willing to publish it. When it’s ready I’ll probably submit it to Fantagraphics. If they don’t want to do it, maybe another publisher will. And if no one, then I’ll probably self publish it somehow through a print-on-demand service.

MFR: You’ve also become a frequent part of the popular (and favorite around here at MFR) Cartoonist Kayfabe podcast. What led to that?
BM: I’ve known Jim and Ed (and Tom Scioli) since I started making comics. We’d hang and room together at comic conventions, like SPX and Heroes Con. So we’ve been friends a long time and bonded over comics and making comics. Our tastes are very much aligned. There are things I can talk about with them that I can’t talk about with anyone else.

Gangsta Rap Posse. Copyright Benjamin Marra

MFR: There also seems to be a small resurgence of people diving back into back issues, dollar bins and more indie and self-published work. As a member of that community why do you think it’s gaining steam again?
BM: It’s because mainstream comics are terrible. The Big Two publish nothing but dreck these days. It’s impossible to read any of that stuff. So for quality comic book entertainment fans are mining the past when comics were actually fun to read. All that stuff is very accessible and cheap. It’s no wonder they’d pay 50 cents for a comic that’s 100 times more entertaining than a new one on the racks that costs $5.99.

MFR: So just to talk about the elephant in the room real, how are you dealing with the current national crisis? 

BM: Like everyone else, hopefully. My wife and I are holed up in our apartment. We don’t go outside. We have our groceries delivered to us for the most part. We’re expecting a baby in the next couple of weeks so we are serious about not being exposed to the virus. It angers me when we must go outside (for trips to the hospital for prenatal appointments) and people don’t adhere to the social distancing guidelines. But like a lot of cartoonists, I’m built for this kind of life. I prefer to stay inside and work on my comics, drawings, and play RPGs

MFR: As a cartoonist, you must have some advice about staying at home so much? Care to share some?
BM: Have a routine. Routines and having a daily schedule are absolutely critical. Find projects to work on that are enjoyable. I’m not talking about home-improvement projects or things that feel like work. Write, draw, paint, read, do puzzles, play games. Do it enough that you develop a routine. Don’t just watch TV and search for more TV shows and movies to watch. You don’t have to be productive, just find something you can escape into.

MFR: Where do you see comics at the other end of all this?
BM: It’s tough to imagine the same amount of retail outlets surviving the pandemic and impending economic recession (or maybe depression). Only half of the comic shops in North America survived the boom and bust of the early 90s. That number will be whittled down even further. I wonder if DC Comics will continue to exist or if they’ll finally license out their properties to other publishing houses like Marvel or IDW. When the brick-and-mortar retail stores become irrelevant sites like Comixology may be the best option for new mainstream comics. The direct market will probably be most affected because it is completely dependent on the whims of Diamond Distribution, which has decided not to operate for who knows how long. I think independent publishers will, by and large, find a way to survive, because that’s what they’re built to do. Comic creators may turn to other channels to get their work to readers. There will probably be a jump in webcomics. Creators may turn to print-on-demand services or sites like Gumroad. Comics will continue to be made, but the non-traditional delivery systems, like digital, will flourish.

MFR: Are there any current comics or creators that excite you?
BM: Walter Scott, Karissa Sakmoto, Matthew Thurber, Leon Sadler, Michael DeForge, Michel Fiffe, Lale Westvind, Jon Chandler, Jillian Tamaki, Charles Forsman, Michael Comeau, Conor Willumsen to name a few.

MFR: Are you currently working on anything you want to mention?
BM: I have a few projects that are pending but can’t really talk about. Some RPG work that I’m looking forward to. And, of course, WHAT WE MEAN BY YESTERDAY.

MFR: And finally where is the best place for people to reach you and reach your work?
BM: Instagram is best: @benjamin_marra. Or my website works: benjaminmarra.com


 

All images courtesy of benjaminmarra.com

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WHAT IF Comic Books: Where Should You Start Reading?

First issue of What If Comic Books

The What If comic books by Marvel Comics offer a look into what could have happened in Marvel continuity if events had a different outcome. Ranging from vampires to murder to dystopian worlds, this series contains something for every reader. The first issue was published in 1977 and started a new series. That series lasted until 1984, but Marvel has continued to publish What If comic books since then, with the latest being released in 2018. To help readers unfamiliar with the series, here are some fantastic issues to help them get invested.

What If Spider-Man Had Rescued Gwen Stacy?

Gwen Stacy neck snapping

One of the most famous What If stories, this issue focuses on an alternate outcome of Spider-Man #121, where instead of Gwen Stacy’s neck-snapping after Spider-Man caught her with his webs, the web-slinger jumps and catches her in his arms before swinging to safety. This close call leads Peter to propose and reveal his identity to Gwen. The issue also features Harry Osborn learning the supervillain identity of his father, the Green Goblin, and a surprise interruption of Peter Parker and Gwen Stacy’s wedding.

What If? Wolverine: Enemy of the State

What If? Wolverine: Enemy of the State Cover

After Wolverine has his mind-controlled by the terrorist organization Hydra, this issue asks what would happen if Wolverine was never deprogrammed. The story features a team of Captain America, Magneto, Kitty Pryde, and the Invisible Woman going on a mission to take down Wolverine The book has stunning action scenes between each member of the team and Wolverine. The issue also includes a heart-breaking confrontation between Kitty Pryde and Wolverine that makes it a genuinely notable experience.

What If the Punisher’s Family Had Not Been Killed?

What If the Punisher's Family Hadn't Been Killed? Cover

Anyone familiar with the anti-hero Punisher knows that he was driven to become the Punisher after his family was savagely murdered by the mob, and this What If comic book asks the reader how Frank Castle’s life would have turned out if it had never happened. Frank Castle becomes a by-the-book police officer and encounters many crooked cops who he eventually must takedown in ways outside of the law.

What If Spider-Man Had Kept His Six Arms?

What If Spider-Man Had Kept His Six Arms?

In the Amazing Spider-Man #100-101, Peter Parker attempted to cure himself of his spider powers, but instead horrifically amplified them, leaving him with four extra arms. He eventually cures himself using blood from the vampire Morbius, but this issue of What If begins with Morbius being eaten by Great White Sharks, leaving the web-slinger in his transformed state. Spider-Man appeals to the Lizard, Professor X, and Reed Richards, but none can help him. Throughout the issue, there are beautifully drawn fights between Spider-Man and the Lizard, Doc Ock, several members of the X-Men, and the Thing. Spider-Man eventually becomes a spokesman for the physically challenged people of the world, leaving the story on a happy note.

What If? Civil War

What If? Civil War Cover

This issue tells two stories of how the 2006 Civil War event could have ended. One entitled “What If Captain America Led All The Heroes Against Registration?” and another “What If Iron Man Lost The Civil War.” Both offer drastically different outcomes to the Civil War, which is especially interesting to see given how impactful the Civil War was on the Marvel Universe. One outcome occurred solely because one character said a few sentences, which really highlights how strong the butterfly effect can be.

Any Issue

A beautiful part of What If comic books are how each issue remains separate from the next. This allows for a perfect chance for new readers to be introduced into the giant colorful world of Marvel before committing to continuity. While they are based upon events in Marvel continuity, knowledge of those events is by no means a prerequisite for picking up an issue. If you have an interest in comic books and want to get into Marvel, What If is a wonderful way to introduce yourself to the vibrant character and places of the Marvel Universe.


What is your favorite What If story? Leave your answer in the comments below!

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CEREBUS THE AARDVARK: The Narrative Reflection of Dave Sim

CEREBUS THE AARDVARK

Cerebus The Aardvark is a series with as divisive a reputation as its creator. Depending on the source, the series is one of the greatest comics of all time with how experimental it is; or it’s the series that ruins the lives of its characters and creators. But this article isn’t about Dave Sim’s fall by Author Tract, where writers imbue characters with their world views. It’s about how the series reflects parts of Sim’s life.

Sim’s Cerebus Syndrome

Cerebus began as a parody of Barbarian comics like Conan and Red Sonja. Like most parodies, it makes fun of the unusual tropes surrounding the setting. Skeletal warriors to an entire issue in dedication to the Aardvark peeing. Sim and his partner at the time Deni do whatever necessary for publishing. But they decide to self-publish out of necessity. Unfortunately, things don’t get any easier, and Sim hospitalizes himself after using LSD to get him to work better. It’s at this point both Sim and the series change attitudes.

Psychedelic Enlightenment?

Psychedelics have a reputation for improving or damaging people’s thinking processes. Writers like Alan Moore and Terence McKenna are known users of these mind-altering drugs. But for Sim, it’s difficult to see if this was good or bad. His recovery has him change Cerebus into an overall narrative. To Sim’s credit, this was years before Watchmen, which has a similar goal. But it’s also a time when Sim’s does whatever he can to get his name out.

The Legal Tug-Of-War

Sims mocking and exploiting Spawn

Most of these attempts come from Roach, a mentally ill man who forms dissociative identities based on popular superheroes. The Wolverine parody, in particular, was supposedly a means of advertisement. This also includes a crossover with Spawn that will never be reprinted due to Sim and Todd McFarlane clashing over copyright. Something that Sim previously criticized by helping create the Creator’s Bill of Rights. However, with how Sim uses the imagery of Spawn through an army of pastiches while presenting them as merchandise, it’s difficult to determine the difference between parody and mockery.

Cerebus and Sim

The rise of Cerebus
A higher rise before the fall.

Cerebus, in particular, is essentially Sim’s avatar, sharing a drive for success by any means. The Aardvark is a smart aleck who just wants money, power, and to drink all day. Seemingly in reaction to Sim’s need for success, Cerebus enters the storyline “High Society.” In that story, Cerebus with some help, secures some high political positions, including Prime Minister. Sim, at this time, gets his footing both in art and business with his then-wife Deni Loubert.

But while High Society and “Church & State” present some very high rises both in and out of the story, they also reflect the challenges Sim goes through. One of the reasons Aardvark-Vanaheim is so successful is because of the earliest trade paperbacks. These “phone books” were distributed directly through mail order, cutting out the publishing middlemen to make more money. This upset comic distributors, not unlike how Cerebus starts an unpopular war for his own benefit that ends in his exile. But both Sim and Cerebus are popular enough for others to follow their examples. Comic companies open the market for trades with distributors, creator-owned material becomes a practice, and Cerebus becomes a Pope.

Who’s The Mouthpiece?

Being on top of the world can get to people’s heads, Cerebus and Sim are no exceptions. When it comes to important women in their lives, they have a tendency to drive them away. Cerebus gets married three times but mistreats his first two wives with his influence as Pope. Sim divorced Loubert and drove some of his female staff away for going against former friends like Jeff Smith. It certainly doesn’t help that Sim has an anti-feminist mindset he instills into the series.

It might be because Sim set his goals too high; 300 issues is a lot, unlike the initial 156. Most of the third act composes of essays about his various opinions instead of comics. But the YouTube channel “Comic Tropes” hypothesize that this is from the initial LSD. Cerebus’ “ascension” certainly seems to imply that. Many who take psychedelics believe they enter a higher consciousness, even if most cases only report synesthesia. Yet during the Aardvark’s second ascension, he actually speaks with Sim where his creator talks him down. If Cerebus truly is Sim’s mouthpiece, does that mean that Sim is talking down to himself or scapegoating his creation for his own flaws?

The Highs and Lows of Cerebus

Nobody can ever really know what goes through the fundamentally flawed minds of others; just interpret it. Cerebus is a testament to how comic creators take chances both in artwork and business. Sim’s artwork evolves throughout a nearly 30-year run gaining more details and surrealism. It’s also a story of success against the odds of self-publishing. So much that creator-owned companies like TKO Studios use more refined methods of Sim’s marketing. However, it is difficult to separate the good from the bad when the source triggers ugly parts of people’s psyches.

But even then, Sim’s downward spiral isn’t anything new in comics. The above Alan Moore after Watchmen has a reputation for his very confusing rants about mainstream comics. His creator-owned comics like Promethea and Cinema Purgatorio are practically rants against what he hates. Even now, there are several creatives who are very difficult to tolerate because they rant about their beliefs so much. The vast majority of them are on the ComicsGate campaign.


What do you all think? Is Cerebus a complete reflection of Dave Sim as he dives into an abyss? Or is there more to it? Leave your thoughts in the comments.

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I’d Buy That For A Dollar: DETECTIVES INC. #1 (Eclipse Comics April 1985)

Welcome to ‘I’d Buy That For A Dollar’ a column where I will be exploring the weird and wonderful world of dollar bin diving. The only rule is each and every comic is purchased for one dollar (or less!).

I'd Buy That For A Dollar

This week’s comic is Eclipse Comics’ Detectives Inc. #1

Written by: Don McGregor
Art by: Marshall Rogers
Colors by: Tim Smith
Letters by: Tom Orzechowski

Detectives Inc. tells the story of Ted Denning and Bob Rainer, two low-level private investigators in seedy ’80s New York.  A friend of Denning’s ex-wife has had her lover killed by a hit and run driver. After the police seem unconcerned, she hires Detectives Inc.

Eclipse comics was one of the more prolific indie publishers in the 1980s. They published tons of titles and also were one of the first to re-print manga in the states (their early manga titles include Mai The Psychic Girl and The Legend of Kamui). But what they were really known for was more mature aimed books that ran the gamut from sci-fi to crime.

The creators behind Detectives Inc. are also prolific. Writer Don McGregor has a long history and has written and worked for nearly every publisher you can imagine. Artist Marshall Rogers was a legend too. He started as an architectural student (something that is evident in his meticulous rendering of buildings and area) and has drawn everything from Batman to Mister Miracle, to Marvel’s G.I. Joe. One of the most well known Marshall Roger’s stories is how he got tapped to re-draw G.I. Joe #61 after a young Todd McFarlane’s initial entirely penciled issue was rejected by Marvel.

Detectives Inc. is a gritty book and an excellent history of its creation is included in the back matter of this issue. This whole issue is great from start to finish. McGregor’s script is very hardboiled, with a lot of narration. His characters also have that great ‘buddy cop’ banter. And the art is, of course, fantastic, with added life brought in by colorist Tim Smith. Lettering legend Tom Orzechowski rounds out the creative crew. Anyway, let’s take a look at some pages!

Detectives Inc.
Here are the opening pages. Fantastic use of panels and layout. And that lettering rules!
Detectives Inc.
Another great use of layout and the atmosphere created by the coloring is awesome.
Detectives Inc.
Those green colored panels as a flashback device are sublime!
Detectives Inc.
The ‘movement’ on Rainer putting on his pants is a classic, yet subtle sequential art tool. Awesome! Also, pardon the photobomb by my thumb!

There you have it folks, just a glimpse into another dollar bin gem.

 


You can find great dollar bins at almost every local comic shop. So find a shop, ask a comic clerk what they can do for you during this time and get some dollar comics! Pick them up curbside and have them delivered if you must!

Got your own awesome dollar bin finds? Toss them at me! 
Send emails to manny@monkeysfightingrobots.com
Follow me on Instagram: _idbuythatforadollar_
Tweet at me: @MannyG1138

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OPED: FABLES or the 150 Issue How-To on Killing Your Darlings

Fables by Willingham and Buckingham

Thirteen years is a lot of years. One hundred and fifty issues is a lot of issues. Yet somehow, writer Bill Willingham and artist Mark Buckingham make their brilliant series Fables feel too short. By the time you’re turning the final page, possibly after several years of reading about these characters, you already miss the world you’ve inhabited. Willingham and Buckingham made Fables, with 150 issues and a 13-year long run, work by employing one simple concept: kill your darlings.

Writers from all over the world will tell you, one of the greatest tips for writing a good story: be ready to kill your darlings. That means, everything must be expendable in order to move the plot forward. Even the moments and characters that have become the most dear to you as a writer must be sacrificed if they are getting in the way of the narrative. So why did 150 issues work in Fables? Because Willingham and Buckingham never spun their wheels. They were always moving at a breakneck pace.

The Premise

But what is Fables? It’s a series, a long one as we’ve established, about all the storybook characters from famous myths. Everyone from Snow White to Prince Charming (who it turns out is the same guy in each story as he’s not very loyal). These characters fled their fantastical homeland because they were driven out by a mysterious adversary. They now live in New York City in a clandestine community protected by various spells.

Our main players in the story are Snow White and Bigby Wolf. Bigby, formerly the Big Bad Wolf but now in human form, is the sheriff of Fabletown. Snow White, never to be a damsel in distress again, is the mayor’s right-hand woman and the biggest badass in Fabletown borders. But Snow and Bigby remain the main characters for only so long. Willingham is constantly shaking up the status quo. All the most “uninteresting” characters get a shot in the spotlight, and many main characters are disposed of unceremoniously.

A janitor becomes a king, a flying-monkey-secretary becomes a warrior-conqueror, and the mysterious adversary is beaten and brought into the fold before the series is half over. Main characters die by the dozen. The setting of the entire series shifts continuously. From Fabletown to the Farm (where Fables who can’t pass as humans stay), to the Homeland. Ultimately, it is a series that is continually evolving. It treats nothing as holy. No one is untouchable.

Buckingham Borders
FABLES #144. Notice the sword and rose that frame the page. Buckingham frames nearly every page starting in issue 40.

The Art

But it’s not all gloom and doom. The characters of Fables quickly become family. Much of the consistency and familiarity of the series comes from series artist, Mark Buckingham. With few issues in the whole run that weren’t penciled by Buckingham, his style becomes familiar fast. He imbues every character with humanity. No one feels anonymous. After all, you can’t kill your darlings if they don’t feel darling to you.

Buckingham has the uncanny ability to turn three lines into a face full of emotion. His mix of realistic and minimalist styles gives the art, extreme range. At times Buckingham draws like Mike Mignola, with shadows obscuring faces and minimal details somehow coming together to create a brilliant whole. At other times he draws like Alex Ross, where everything seems so lifelike you wonder if you’re looking at a photograph or a drawing. But his transitions between these styles in Fables are seamless.

Buckingham also creates a border for each page. Roses in the margins of pages about Rose Red. Wolves in the margins of pages about Bigby. It’s amazing to become acquainted with his work. He has the power to make the tiniest things seem like a full picture, yet the testament to his love for this series is he often goes above and beyond. Wonderful details and beautiful garnishes are on every page.

13 years later it all comes to a close in their final 150-page issue.

Fables is a world to get lost in. With Willingham’s writing, you have real stakes and movement of plot. And with Buckingham’s art, you get all the right details to feel at home. With 150 issues, Willingham and Buckingham work in tandem. One pushes the plot forward constantly, never letting up on the gas. The other gives us the expressions and physical elements that make these characters feel like family. With the familiar always changing, they create a balanced magnum opus called Fables.

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BATMAN: THE KILLING JOKE Rises Above Its Troublesome Origin to Provide Inspiration

Batman: The Killing Joke remains after all these years what it has always been. Controversial. Somewhat problematic. And brilliant. Alan Moore’s disturbing tale of Gotham Police Commissioner Jim Gordon’s very bad day, as engineered by the Joker, continues to be the watermark by which the relationship of the Batman and the Joker is measured. In stark contrast is the beautiful art by Brian Bolland. Bolland’s pencils, mixed with John Higgins’ pop-art colors, produce an onslaught to the senses. It’s hard for one’s mind to accept the brutal story Moore tells with Bolland’s almost-cartoonishly clean lines.

The original theme of TKJ is mostly lost to a seminal moment in the DC Universe, which was an almost throwaway scene. And therein lies the controversy. We’ll touch on that in a second.

The Joker wanted to show Batman, via Gordon, that if anyone had a truly horrific day, their mind would simply break. The secondary story, supposedly the origin of the Joker, seems to bear this out. A failed stand-up comic, Joker looks to crime for a quick score in order to support his pregnant wife.

As he meets with the two men planning a robbery of the chemical plant where Joker used to work, two things happen in quick succession. The first is the introduction of the Red Hood costume he’ll wear as a distraction while the other two perform the heist. And the second is the arrival of the police, informing Joker his wife and unborn child were killed in a freak electrocution accident.

The rest is comic book lore. The trio arrives at the chemical plant and are immediately discovered. Batman is also on the scene, knocking Joker in a vat of chemicals. When he emerges, he’s white-skinned, green-haired, and insane. The Joker is born.

The scene I mentioned comes at the beginning of Joker’s experiment with Gordon. The Clown Prince of Crime shows up at the home of Gordon’s daughter, Barbara (secretly Batgirl). When she opens the door, he shoots her in the pelvis, shattering her spine. What follows is a scene of deviance no one saw coming in the DC Comics world of 1988. It’s still a hard read. Gordon is drug off by henchmen while Joker strips Barabara nude and begins taking very explicit photos of Jim’s gruesomely-injured daughter. The photos are later shown to Jim but fail to get the expected reaction. Batman arrives, rescues Jim, the Commissioner demanding the Dark Knight bring the Joker in by the book. If anything, Jim’s very bad day only made him a better cop.

(Still better than a copy of The Watchtower.)

The argument with this sequence of events is the practice of “fridging.” The concept was first voiced by writer Gail Simone after the body of Green Lantern’s girlfriend was found mutilated in her refrigerator in a 1994 storyline. Fridging portrays how a woman is introduced solely to move the male-dominated plot forward, not given respect as a character, sometimes not even given a name, and is considered to be a sexist and crude literary device and demeaning to women.

The Killing Joke was intended as a one-shot, non-canonical story. As such, Moore is accused of taking a fully-formed, deeply-rooted character in Barbara Gordon/Batgirl and fridging her, solely as a way to torture her father. Seemingly, there’s no thought of her future, or past for that matter. Critics accuse Moore and Bolland of being gratuitous in their depiction of Barbara’s shooting, using it solely as a vehicle to shock and titillate.

The other side of the argument is that the shooting may have ended Babara’s career as Batgirl, but it created Oracle. Gordon’s new persona is arguably a more important figure in Batman’s history, due to her role as the lead dispatcher/researcher for the Bat-Family and proof one doesn’t need to be able-bodied to make a difference. Barbara spent 20+ years in a wheelchair, and during that time, helped found the Birds of Prey, was Batman’s most-utilized source of assistance behind Alfred and continued to be a strong female role model, doing it without baring skin or using her fists.

Various pundits have pointed out; however, that wasn’t Moore’s intention. His alleged misogyny is right there for all to see, say some. He had no plans for Batgirl post-TKJ. Again, this was supposed to be a one-time story with no basis in the DC Universe. Some readers have also posited the Joker raped Barbara during this time; again, not what DC readers expected in the late 80s.

My interpretation of the story has always been this: sometimes, terrible things happen. The idea that the Joker, a deeply-disturbed sociopath, would commit such an unimaginable crime against the daughter of the police commissioner raised the stakes for the character. Now, nothing is off the table. We see the Joker as a being who should never be underestimated, neither for his capacity for evil, nor for his ability to carry it out.

The story itself isn’t original, not in the world we live in. Again, bad things happen all the time, but this time, it happened to a beloved character. And it was graphic and brutal and hard to read. But to me, that act not only gave us the type of Joker Denny O’Neil and Neal Adams hinted at in the 70s, unequaled in his desire to create chaos and torment Batman, but it gave us Oracle. Oracle, who may have lamented her lost legs and her lost identity as Batgirl, but never let it crush her spirit. She had the worst happen to her, and she rose above it.

She wasn’t a sidekick. She wasn’t some piece of fluff to ogle. She was an important character and one of the Bat-Fam’s top assets. Batgirl and Joker’s shared history provided some intense scenes during the New 52’s Death of the Family arc, where Barbara had to face Joker for the first time as Batgirl since the shooting. She rose above the terror and the psychological damage and did her part to defeat him. She faced her fear and won. That’s what inspirational characters do. They elevate beyond his or her limitations, beyond their tragic backstories, and in defiance of all the odds, they win.

Batman: The Killing Joke remains one of my favorite DC stories. It’s Moore at his best and most sinister. It’s Bolland providing beautiful, clean artwork for a script that was neither, making the contrast all the more blunt. Brutal things happen to good people. More often than not, those things leave a mark or outright destroy the person in question. Barbara Gordon rose above being used as a pawn for someone else’s very bad day and came out on top.

And isn’t that why we read comic books in the first place?

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Review: SCREAM Deconstructs Horror & Salutes Its Audience

During the ’90s, the big staples in horror at the time were struggling to release a good product, but then Scream came along and saved the genre. Ironically, the film would poke fun at and make mention of the three icons on multiple occasions. Of course, those three being Michael Myers, Jason Vorhees, and Freddy Kruger. When horror was at its lowest, Scream brought it back to life by being self-aware and not taking itself too seriously.  A film that not only knew its audience but wanted to subvert every expectation they had at the time.

Directed by the “Master of Horror” Wes Craven, the film was written by Kevin Williamson, who would go on to write future sequels. Scream stars Neve Campbell, Skeet Ulrich, David Arquette, Rose McGowan, Drew Barrymore, Matthew Lillard, Courteney Cox, Jamie Kennedy, and Roger L. Jackson. Set in Woodsboro, California, Scream follows Sidney Prescott (Campbell), a young teen who is still recovering from the year-old rape and murder of her mother. Her troubles are accelerated when a killer begins threatening her and her friends and claims to hold key information regarding the demise of her mother.

Ghostface in Wes Craven’s Scream

Now, if you were to just go off of that general synopsis to judge the movie then you’d be missing out on its magic. The film sounds like every other horror movie that has come out before it but it’s much more than that. Williamson’s script takes horror fans into a world where the characters are aware of slasher films and all of the cliche’s that come with them. These teens are not fully clueless, they understand that “Someone has taken their love of scary movies one step too far” as pointed out in the tagline. Williamson subverts your expectations from the start with one of the most iconic openings to any horror film. That scene alone was enough to understand Scream was set to pull the rug out from under viewers at any given moment.

Adding to that, since Scream has characters who are aware of movies like Halloween and Friday the 13th, it also offers some of the best dialogue amongst a group of teens who are essentially living out the genre they love so much. Sidney’s group of friends consists of her boyfriend Billy Loomis (Ulrich), Tatum Riley (McGowan), Stu Macher (Lillard), and Randy Meeks (Kennedy). Meeks is the audience’s mouthpiece, his informed stance on the inner working of horror films and his awareness that there appears to be “certain rules that one must abide by in order to successfully survive a horror film” are what made him one of the film’s most beloved characters. There’s even an entire scene of him explaining these rules amongst his peers as they watch Halloween at a house party.

Neve Campbell as Sidney Prescott in Scream

All of the characters offer something to like about them and it helps when most of them love horror movies. Sidney is a great protagonist, she isn’t as upbeat as her friends due to the death of her mom, but it’s safe to assume that she was just like them prior to that. Campbell’s portrayal of this innocent teen who is struggling to cope with the loss of her mom makes Sidney a great character to sympathize with and root for as she becomes the center of the killings. She is our final girl, and what the film does so well is it foreshadow’s her eventual outsmarting of the killer in the end. Strong female characters was another aspect that made Scream such a breath of fresh air. Sidney is in the same position as most heroine’s in horror for the majority of the runtime, but she uses her fear to fight back in the end and give the killer a taste of his own medicine.

Overall the cast is amazing, Cox, who was known for her role on Friends, gives a great performance as this seemingly rude, arrogant, entitled news reporter who will stop at nothing to prove that Sidney targeted an innocent man as the culprit responsible for killing her mother. Gale Weathers was a “tabloid twit” as Sidney put it and the two were at each other’s throats due to Gale covering her mother’s death. In the end, Gale is a hero and her thoughts regarding what really happened are found to be true. Kennedy’s performance as Randy gets praised still to this day, not because his acting was so great, but because of the fact that he does enough in the role for audiences to get behind a character that represents them. Randy is just as much a horror freak as half the people watching the film, which makes him easy to like and grow attached to.

Rose McGowan as Tatum Riley and David Arquette as Dewey Riley in Scream

Ulrich plays the dark and moody boyfriend of Sidney, he quickly becomes the suspect because of this darkness surrounding the character. They way Ulrich thrives in the role will keep audiences on their toes regarding Billy Loomis because he seems too in your face to be the killer, and the film makes it so obvious that he is being set up as the average red herring. McGowan stars as Tatum, the best friend of Sidney, and what’s great about this character is she is a clear mouthpiece for Sidney. When she has had enough and is too over it to stand up for herself, Tatum is right there to shut down anything threatening her best friend. Of course, Sidney finds her inner Tatum in the end when she is all alone in a final clash with the killer. Arquette plays Tatum’s brother, the incompetent but lovable cop, Dewey Riley. His performance is good for what it is, and he balances between can this guy be killed already and he is pretty cool.

Craven does what he does best and directs the film very well. He was the appropriate choice as he is known for his direction of Nightmare on Elm Street and The Hills Have Eyes. He understands and loves the genre, so no one was better to captain a film that deconstructs horror. Craven brings Williamson’s clever screenplay to life with ease as the terror and gore he is known for shines bright here. As with every great horror film, Scream features one of the best scores composed by Marco Beltrami. It’s so effective and memorable that Halloween H20: 20 Years Later borrowed bits of it two years later.

Courteney Cox as Gale Weathers, Jamie Kennedy as Randy Meeks, and Neve Campbell as Sidney Prescott in Scream

Scream is a clever shakeup of the genre that will even spark a few laughs in between the terror. The film is cherished amongst the horror community for popularizing the meta aspects of the film. Not only a ’90s treat that still holds up over two decades later, but also a near-perfect horror film.

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Exclusive Preview: THE SCENT OF MAY RAIN From Weekend Warrior Comics

scent of may rain exclusive preview

THE SCENT OF MAY RAIN is the latest release from Weekend Warrior Comics, and Monkeys Fighting Robots has an exclusive three-page preview for you.

About the book:
A Jewish golem woman created in 1920 spends 100 years on a journey to reveal her soul through her relationships with other women and theatre.

The 48-page comic is by writer Mark O. Stack, from a story by Stack and Rae Epsetin, and artist Kaylee Rowena. Cardinal Rae lettered the book. The character Pat Parker, War Nurse, was created by Jill Elgin.

You can purchase THE SCENT OF MAY RAIN right now at the Weekend Warrior Comics website. It’s available for pre-order in both digital and print.

SCENT OF MAY RAIN is a story about seeing the world with fresh eyes, without prejudice, and learning who you are.

MFR critic Gabriel Hernandez says of the book in his review:

“It’s a thought provoking piece of art that challenges the expectations of love, family, tradition, religion, and sexuality.”

Check out the SCENT OF MAY RAIN preview below:

scent of may rain exclusive preview

scent of may rain exclusive preview

scent of may rain exclusive preview


You can purchase your copy of THE SCENT OF MAY RAIN at www.weekendwarriorcomics.com and follow Mark O. Stack on Twitter @MarkOStack.

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The Everlasting Power of Tite Kubo’s BLEACH

bleach tite kubo

If you’re looking to get into manga but don’t know where to begin, you won’t find a much better starting point than Bleach, a highly addictive and insanely bingeable comic from mangaka Tite Kubo.

Originally published in Weekly Shōnen Jump, Bleach is the story of Ichigo Kurosaki, a high schooler with the rare ability to see spirits. He meets Rukia Kuchiki, a Soul Reaper whose job it is to help guide spirits to the afterlife and protect humans from evil spirits. Through a series of events, Ichigo becomes entwined in the world of the Soul Reapers and their enemies.

It’s an incredible tale with gorgeous art that will have you hooked from the first chapter, so let’s break down what exactly makes this tale of life and death such a powerhouse.

The Characters

In the beginning, Bleach scratches a lot of the same itches as Invincible or early Spider-Man stories: Ichigo is a high schooler with a strong moral code who is suddenly imbued with great power. The story is very character-driven. There’s drama and comedy in Ichigo’s day-to-day life that we can all relate to, with the awesome addition of late-night spirit fighting. It’s in these early chapters that we get to see who Ichigo is, and set down the building blocks of our relationship with him as readers. This is what sucks you in.

And then…something amazing happens.

The series explodes into a sprawling 74-volume epic with a MASSIVE cast of characters, each of whom stands out as unique and memorable. Seriously, as you meet all of the humans, and Soul Reapers, and villains, and every persona in between, you’ll think to yourself, “there’s no way I’ll be able to keep track of all these characters.” But you will. I promise that you will, because I myself have a sh*t memory, but I can stop reading Bleach for two months, read a bunch of other stuff in the interim, and then jump back into it without missing a beat.

Kubo writes his characters so well, and with such distinct voices, that your subconscious mind will absorb them all and store them with ease.

Sense of Growth & Progression

Bleach consists of four major story arcs over the course of its 74 tankōbon volumes. Each arc builds off the previous one, and as the story grows, so does the world within. It gives the overall tale a sense of momentum and growth. You always feel like you’re going forward while reading, always marching towards a destination. Sure, it’s an action comic, and some battles might go on for chapters (or volumes), but even they are building up to some specific endpoint.

Whereas some long-running series have lulls where it feels like they’re spinning their wheels in place, Bleach almost always has a sense of purpose to keep you reading.

But, while the story grows bigger and bigger, it still retains that personal, intimate connection with the characters thanks to those early chapters where things were a little more quiet. And in fact, the characters grow quite a bit with the story.

This is just as much a coming-of-age tale as it is an action story. Ichigo and his friends change greatly over the course of the series. We see them fail and make mistakes. We see them learn from those mistakes, and, in turn, we learn from them as well. Again, Kubo imbues Bleach with purpose and meaning, giving it weight and making it more than just a “demon beat ��em up” comic. It feels real; life continuously moves forward and changes, and so too does Bleach.

The Art

We can’t very well talk about a comic and not discuss the art, can we?

Bleach was only Kubo’s second ongoing series, the first being the short lived Zombiepowder. So when Bleach begins, the art, while good, is more raw and unpolished compared to what it becomes as the series progresses. We as the reader get to see Kubo’s style develop in real time. The action becomes more explosive; the characters become more crisp, and their expressions more nuanced.

It’s like a drug for art junkies who are obsessed with the cartooning process and seeing how styles change naturally over time.

And, this being an action comic, sometimes there will be pages and pages of little to no dialogue, leaving just the art to tell you what’s happening. To say the battles are “explosive” as previously stated is actually an understatement. The fight sequences are fast and fluid, which makes reading them a breeze, and when a “f*ck yea” moment hits, you’ll literally scream “F*CK YEA!!” out loud.

Plus, Kubo absolutely NAILS visual comedy. He’s up there with the likes of Steve Lieber, Max Sarin, or Ryan Browne in terms of being able to make you bust out laughing while reading. Which is a good lead-in to…

The Humor

Damn, Bleach is a funny comic.

Yes, there is insane over-the-top action that will blow your mind. Yes, the series ruminates on heavy subjects such as life and death, and the moral responsibility we owe others. But between all of that, there are tons of laugh-out-loud moments that I personally just don’t see as often in American comics.

There’s the visual comedy as mentioned, but the writing itself also never takes itself too seriously. Kubo maintains a constant sense of whimsy and levity throughout Bleach. The way characters bicker and argue adds a sense of reality to their relationship. And the banter during fight sequences rivals that of Peter Parker.

The humor balances out all the action and heavy themes, and that’s a big part of what makes this series so great and endlessly readable: it has a sense of perfect equilibrium.

It’s hard to not smile while you’re reading Bleach, for one reason or another.

The Message

Why do we love superhero comics? Why do the works of Stan Lee, Jack Kirby, Jerry Siegel, and Joe Shuster stand the test of time? There are many reasons, but one of the biggest is that they inspire readers. They show us characters at the peak of morality. They remind us to be and do good, or at least to try. Bleach does the same.

Now, Ichigo Kurosaki isn’t the same ideal specimen as Superman or Captain America. He’s more of a Peter Parker. Ichigo is an everyman. He’s flawed. Sometimes he’ll make the wrong decision thinking it’s the right decision. But at the end of the day, he wants to do good, and he puts forth the effort.

Kubo makes it very clear early on in the series that all Ichigo wants to do is help people, especially those who cannot help themselves.

And with Ichigo being more of an everyman, we as the reader can see ourselves more clearly in his shoes. We can see ourselves making the same choices, and hopefully, in a perfect world, when we stop reading, we go out into the real world and we try to help others when given the chance.

But again, Bleach is a series in equilibrium. So instead of just showing “good guys” going out and helping people, Kubo introduces plenty of characters who operate in the grey. There are characters who we would consider “antiheroes,” and those who outright resist the urge to do good.

These aren’t “bad guys,” and they aren’t bad characters. They’re great characters, some of the best in the series. They give a different perspective on the story, and in doing so, they provide another lesson to the reader: remember to look at things from different points of view.

Bleach shows that not everything in life is black and white. It reminds us to be a good person, yes, but also teaches us that we need to question things and understand other people’s point-of-view in order to be the best version of ourselves.

Surprises

Tite Kubo loves to pull the rug out from under his readers. Bleach is FULL of surprises for readers.

They all come out of nowhere. You’ll just be reading, chugging along in a good groove, and then BAM, out of nowhere you get slapped with a shocker. A dopey character will reveal him or herself to be a major badass, or the plot will zig when it looked like it was going to zag. It’s hard to discuss a series’ “surprise factor” without risking spoilers, but the point is that Bleach keeps its story fresh and interesting.

Reading these moments is like getting a glass of ice water thrown in your face. It wakes you up and reinvigorates your interest in the series just when you thought you had a handle on the story. It keeps you engaged, which is crucial when you’re talking about getting through 686 chapters of a story.

But here’s the thing. Here is what makes Kubo both a genius and a horrible tease of a man. He will surprise you with a twist, but then he’ll take it right back and hide it for a long, long time. Volumes will pass where the twist is not addressed. This is dramatic irony at its finest. The story beats on, and the characters will go along with their lives blissfully unaware of the bombshell that you – the reader – know is coming for them. You so wish that you can just scream through the page and let them know what’s coming. But you can’t. So you keep reading while a small thought continues to gnaw at the back of your brain, asking, “What about that one thing?”

And then…

Sweet Release

Ok, I didn’t mean to bury the lead, but this section right here is why I wanted to write about Bleach in the first place.

I’ve thrown a lot of praise at Bleach and Tite Kubo, but I’ve been very careful to avoid using the word “master” up to this point, and that’s because if there’s one place I want to use it, it’s right here.

Tite Kubo is a master of catharsis.

His storytelling in Bleach is all about building something. Building anticipation; building dread. This is particularly apparent during major battle sequences. Kubo will back his heroes into a corner and make it look like they have no way out. Now, comic readers are used to these scenarios. You think to yourself, “obviously the hero finds a way to get out of this.” But Kubo manages to dig his characters into holes so deep that you genuinely start to believe that they can’t get out of them. Instead of thinking, “how is Ichigo going to get out of this?” you begin to think, “oh man, maybe this story doesn’t go the way I thought it did.”

Kubo is able to build true, genuine dread in a way that readers just aren’t used to anymore in American superhero comics.

And then comes the payoff. The payoff isn’t always good, for the record. The good guys don’t always come out on top. But whichever way it goes, Kubo’s payoffs are almost always mind-blowing. They’re less a “wave of sweet release” and more of a volcanic eruption of awesome after the anticipation and dread built up inside you hits critical mass.

You would think after the third or fourth time something like this hits you, it would get repetitive and boring. But here’s the thing…it never does. Each time it happens, Kubo somehow manages to go bigger, raise the stakes higher, even when you thought they were maxed out the last time. This series exhilarates you and charges you up; you won’t want to stop reading.

Bleach is one of the all-time great reads for readers young and old. It’s rare to find a series that can balance huge action with personal intimacy so well. There’s a little bit of something for everyone, and – most importantly – it’s a fun read.


You can read the first three chapters of Bleach for free right now on the Shonen Jump app, or read all 686 chapters by signing up for just $1.99/month (You’ll also gain access to over 10,000 chapters of manga, including the full runs of Dragon Ball Z, My Hero Academia, and One-Punch Man. This is hands down the best deal in digital comics. #notsponsored).

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Longbox Legends: ASTONISHING X-MEN & Looking Back to Reach Forward

lThe story of the X-Men in comics is the medium’s equivalent of common biblical knowledge. Even casual non-comics fans are familiar with the trails of mutantkind and Charle Xavier’s team of naturally gifted heroes. From conflicts with Magneto’s Brotherhood of Mutants to the discovery of the Phoenix Force, and from Days of Future Past to the comic of Apocalypse, the X-Men’s history is considered some of the greatest work every put to the panelled page.

As it turns out,  Buffy the Vampire Slayer and  Firefly creator Joss Whedon is also a massive X-Men fan. So when he was offered the task of writing said X-Men – with near-complete creative freedom, mind – he happily obliged. Even better, he paired with visual tour de force and Planetary artist John Cassaday to bring his vision of the canonical comic team to life. The result is, well, *ahem* astonishing.

Writing & Plot

Taking place shortly after the events of Morrison’s New X-Men, with Magneto and Jean Grey dead and Charles Xavier in self-imposed exile, Scott Summers (aka Cyclops) becomes the new leader of the X-Men and headmaster of Xavier’s School. The team sees the return of old friends, with the likes of Kitty Pride (aka Shadowcat) and Peter Rasputin (aka Colossus) rejoining the ranks and teacher lineup along with Emma Frost, Beast, and Wolverine. The new class and celebrated returns marks a new start for both the mutant heroes and Xavier’s School for Gifted Youngsters. However, threats from beyond the stars and within the confines of their own home threaten the X-Men and their students at every turn. Alien warlords, vengeful A.I.’s, shady government groups and even treachery within the X-Men themselves make for a Marvel story that is an outstanding mix of modern themes and homage to decades past.

Joss Whedon‘s established style of writing has always been a simple but effective method for creating a compelling story. He sets the rules for a newly created world and investigates those rules through character action and interaction. In the case of  Astonishing X-Men, Whedon is entering a long-established world with a roster of beloved characters. He dances a difficult jig, having to both maintain the route Morrison set with the X-Men in his own run, while still letting his creativity and love for the classic material show through. So right off the bat he reintroduces longtime fan favorite Kity Pryde back into the mix, endearing his run to longtime fans as well as satisfying his own desires as a fan. Whedon’s character writing faced an intriguing challenge as well, having to maintain both long-established and newer character dynamics while still not running into series repetition. Fortunately, Morrison left him some interesting tools to play with for the future.

Whedon’s proven track record and playing out long-term plots with tight and believable character drama within works perfectly with  Astonishing X-Men. Emma Frost’s inclusion in Jean Grey and Professor X’s absences makes for several uneasy moments between Kitty Pryde and the former White Queen of the Hellfire Club. The troubled romance between Scott Summers and the former villain is a mix of stress-inducing and oddly sweet. Of course, the rest of the team’s dynamic is spot-on in terms of their classic repertoire while also elevated to contemporary dialogue. Whedon has a very screenplay friendly style of character presentation that also relies on visualization (more on that later) to represent all sides of his characters. The humor here is stellar and ranges from simple jokes to massive pieces of hilarious dramatic irony. While the students aren’t quite as large a focus as they were in the prior series, they are still given considerable importance in  Astonishing. A select few are given their own arcs – some inspiring, others tragic – and become instrumental in the X-Men’s success. Only one really builds a relationship with one of the teachers, however. This may be the one weaker aspect of the series, especially given how much time was spent developing the students as characters and the teachers as such in Morrison’s run. However, this is again made up for in just how much fun the series is to read.

Whedon takes a bold risk in  Astonishing X-Men by opting to create new villains instead of recycling old ones. The first arc, “Gifted,” introduces Ord of the Breakworld, as well as the narrative throughline culminates in the final issues. The stoic alien warrior’s motivations against mutantkind spark the creation of the now-famous “mutant cure.” This also runs the X-Men into the path of S.W.O.R.D. and their clandestine agendas involving alien activity. The other major enemy Whedon introduces comes as one of the more morally polarizing revelations in X-Men’s recent history: Danger. The mutant team’s longtime training room gains a malicious sentience, resulting in an arc that not only showcases one of the most, er, dangerous villains conceived in X-Men comics, but also brings up a fascinating conversation within X-Men lore. Where exactly does self-actualized artificial intelligence fit in among the species hierarchy among humans and mutantkind? Oddly enough, this is probably the weakest arc in the whole run. The pacing in this arc is muddled a bit by its exposition laden plot points. This being said, even “Danger” is still a wholly entertaining and unique chapter.

When Whedon does use preestablished villains in Astonishing X-Men, it’s more in the service of analyzing the core team instead of crafting an external threat. Without getting into spoilers for those who haven’t read this, the character of Emma Frost comes into frequent question. This applies both in terms of her place as a former villain turned X-Man, and how fans perceive her place here. The arc where enemies both classic and from Morrison’s run appear is used by Whedon to solidify her spot on the team. This is a peak example of respecting the direction Morrison started while also paying mind to the years of prior storytelling. The entire plot, for all of its twists and satisfying character deep dives, realigns itself on the character that becomes the sort of “heart” of the team and brings about one of the most gut-punching beautiful endings in mainstream comics. Let “Giant-Size Astonishing X-Men #1 reign as one of the greatest single issues in recent history.

Art Direction

Of course, none of this series would work if the visual direction didn’t match the cinematic action and character focus that Whedon’s scripts require. So it’s fortunate that an artist like John Cassaday, who brought his style specializing on cinematic action and character detail to bear on Warren Ellis’  Planetary,  was available for this endeavor. Cassaday’s work utilizes an almost digital style, creating a visual aesthetic that is indeed cinematic. This makes the comic easy to engage with in terms of character, as the character details for facial animations are entirely naturalistic. The art walks away from the standard superhero style that can sometimes come off as either “too cartoony” or “too slick” to be truly character driven. Cassaday is given a lot to work with from Whedon as well, since the writer scripts so many wordless panels that are driven solely by character expression or action. The X-Men have scarcely ever looked better, as their designs as both people and as heroes are slick and contemporary with a dash of classic superhero elements. Whedon’s decision to revert back to superhero costume designs is put into great effect thanks to Cassaday’s work.

While Cassaday’s lines of detail are the driver of character and action in  Astonishing X-Men, the sharp aesthetic is the result of colorist Laura Martin. Her work walks all manner of tones to while maintaining a slick refinement regardless of what’s happening on page. The lively blues and yellows of the team’s suits to the mottled green of alien skin tones all have texture to their design. The variance in shadow and lighting across both characters and a slew of environments both creates atmosphere and pulls the readers into a believably designed world. Colorists are often unsung heroes in the artistic world, and Martin’s work with Cassaday is proof of why they need recognition.

Joss Whedon and John Cassaday’s Astonishing X-Men is cemented as a must-read run among absolute classics. Whedon’s mixture of character analysis, witty humor and tightly knit plotting make for a gripping read from the first issue to the Giant-Size finale. John Cassaday and Laura Martin’s visual work creates a comic that is both cinematic in scope while taking advantage of the unique devices found in the comics medium. However, these accolades can be said about a fair number of great comic series, especially a few X-Men runs. What sets  Astonishing apart is the fact that it still sets forth in a new direction for the iconic characters. This direction continues the trajectory planted by Grant Morrison in  New X-Men while also choosing to realign itself closer to the tastes and decisions of X-Men fand and writers of old. All this and it still finds plenty of new things to say about these comic book icons and the torn anti-mutant world they live in.

 

 

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