A few weeks ago I complained about DC Comics’ most recent event, Convergence, feeling more like an overly manufactured corporate initiative than a story. If only I’d known what awaited me and my fellow DC readers in Convergence’s wake. As if in response to the sentiment I expressed DC upped their game with a particularly Dundee swagger to show me what an overly manufacturer corporate initiative really is. Using the looser continuity provided by the end of Convergence DC has turned out new status quos (dubbed “DC You”) for a lot of their big ticket characters: Green Lantern has gone from space cop to space outlaw, Superman finds himself a fugitive after the revelation of his secret identity to the world and in Gotham an all new Batman is running around in an all new Batsuit. Narratively, exciting things are going on at DC and the publisher is using that excitement, and the probable sales bump it will likely generate, to sell half page ads on story pages in all of their books. Ads are a part of corporate owned comic books. It was something I had to get used to when I made the transition from reading collected trades to single issues. Usually they’re on their own dedicated pages, separate from the substance of the comic – you know, the story you pay for. DC is now changing that dynamic and truncating two pages of story in each of their books to put maybe the most obnoxious ad I’ve ever seen along the bottom half of the page. DC’s new ad policy, which they’ve thus far declined to comment on the planned longevity of, is embarrassingly intrusive, crossing a line I didn’t even know I had to worry about being crossed and actively infringing on their own product with a tacky commercial. It’s a loathsome move, and it’s got me irked something fierce for a number of reasons, the least of which being that it feels like a slap in the face to fans and readers. Comic book publishers are businesses. They have to make money. I get that. But the reality of that business is there is no money to be made from anyone without the basic passion readers have for superheroes and their ilk. DC’s move to more intrusive advertising not only feels like blatant exploitation of that passion, it feels like the publisher is flat out ignoring it, taking for granted the people that keep them in business in favor of the advertisers that line their pockets. To make matters worse the debacle has come to feel like something of a hostage situation. The obvious recourse to such an obnoxious move on DC’s part would be not to buy their books, and yet not buying DC’s books doesn’t only punish the publisher, it punishes the writers and artists we love as well as new talent just getting their foot in the door with DC’s new line of books. Scott Snyder and Greg Capullo’s Batman is my favorite comic book and while I love Batman the love I have for the book is due entirely to the creative team behind it, a team I take pride in supporting. So what is my recourse when their book is marred by half page ads? Sure, I can and do continue to support Snyder through his creator owned series Wytches, but Capullo is only working on one book. DC’s Batman. I’ve watched Greg Capullo sit at a convention table and shake hands and sign books for hours on end, taking time to chat and take pictures with every person in line. I’ve followed his drawing process on Twitter. I truly and sincerely appreciate not only his work, but his work ethic. That’s the relationship and the appreciation that DC has taken hostage. And if I’m this conflicted over buying a book made by creators I know and love why would I ever try out a new book by a new creative team and risk getting invested in another story DC is just going to use to take advantage of me? Midnighter seems cool. A Martian Manhunter solo book is something I’ve wanted for a while. But at this point why bother adding another book to my pull list that I know is just going to infuriate me when I inevitably turn to the offending pages? Beyond all that let’s not forget the detestable impracticality of the whole situation. Two half page ads? Cutting two story pages in half only to be reassembled as one full story page in the collected trade? Here’s a novel idea: one page with two half page ads, the story I care about stays intact and we all go about our day and pretend big comic book publishers don’t have business practices that make GameStop look like a mom and pop hardware store. DC can probably charge more for a half page ad on a story page, but is the revenue really worth the fan outrage? I love Greg Capullo’s art and I love Batman but if I’m going to be made to feel like a chump every time I pick up an issue then I’ll find another way to support the creators I love.
How many books? Too many books. A full fourteen books. A baker’s dozen, and then a whole nother. So I hope you’re ready for rambling. Also, personal accomplishment and a new logo (that looks less than stellar embedded in WordPress).
This week: Amazing Spider-Man: Learning to Crawl, Black Widow, Cyclops, Detective Comics, Futures End, Green Arrow, Green Lantern, Iron Fist: The Living Weapon, Miles Morales: Ultimate Spider-Man, Moon Knight, Original Sin, She-Hulk, Swamp Thing, The Wake
Too many books!
Are you ready to to ramble!? Because I’m sure I only spend 25% of this comic book podcast actually talking about comic books. Whoops. You’re welcome.
This week: Action Comics, Aquaman and the Others, Black Widow, Detective Comics, Green Arrow, Green Lantern, Inhuman, Moon Knight, She-Hulk, Swamp Thing
For the last several weeks Kevin Smith’s Fat Man on Batman podcast has featured a three-part interview with veteran comic book artist Neal Adams, perhaps best known for his time on Batman, Green Lantern/Green Arrow and Superman vs. Muhammad Ali. The interview is truly fascinating, and worth a listen even for those who aren’t fans of comic books or Batman.
But me? I’m a young buck. I started reading comics with the New 52 and Marvel Now. How relevant can a guy who’s been drawing comics for forty something years be to my refined, modern comic book sensibilities?
The most. The most relevant.
In episode 53 of Fat Man on batman Adams discusses his creation of John Stewart, the third Green Lantern of Earth and a black American. Of the previous Green Lanterns, Hal Jordan and Guy Gardner, Adams noted how skeptical he had been that twice an Oan power ring found its way to Earth and twice it decided that the being most capable of overcoming great fear on the entire planet was a cocky white guy.
Adams was met with apprehension in 1971, when he created John Stewart, but he fought and now Stewart is still ring-slinging 43 years later. But while that apprehension may have died down a degree in the past decades, it clearly still exists to some extent.
Superman is only black when he’s from Earth 23. Spider-Man is only black in the Ultimate universe. And we clearly aren’t getting a black Lex Luthor.
But those are established characters with established identities. Arguments can certainly be made for their racial homogenization. Well founded, worthwhile arguments. Really, really enlightened arguments. You know, like all the detractors that spoke up when Donald Glover was a rumored contender for Spider-Man.
After all, that kind of thing never works. Superman’s always been white and Nick Fury’s always been black.
But established characters aside, it’s near impossible for a new character to break into comics. Superman and Batman are both 75 years old now. They’re known entities. You can pick up any piece of material about the Man of Steel of the Dark Knight and have a pretty solid understanding of what’s going down. How does a new character compete with that? Particularly one that doesn’t align with the white male aesthetic the comic book industry continues to perpetuate?
The answer is the pretty much don’t. The ongoing Static Shock series was one of the first cancellations in the New 52. Cyborg is the only member of the primary Justice League without a solo series. Simon Baz, the Muslim-American Green Lantern introduced by Geoff Johns, who is badass as hell, has all but disappeared. Never mind the fact that more than half the women in comics have costumes that could be repurposed by a stripper with zero effort or alteration needed.
There’s an inherent whiteness and an inherent adolescence and an inherent masculinity to mainstream comics that Neal Adams’ John Stewart story highlights.
They’re inherencies that had me very worried for the All-New Marvel Now series Ms. Marvel, which debuted last week.
Ms. Marvel, a.k.a. Kamala Khan, is a 16-year old girl, a practicing Muslim and the daughter or Pakistani immigrants. You know, like Peter Parker or Clark Kent.
Much has been made of the new Ms. Marvel’s ethnic and religious identity to include no small amount of press. Shortly before the books release several Marvel writers took to Twitter defending the book from detractors whose primary complaint seemed to be “I am not a girl, I am not a Muslim, why would I read a comic about someone who is nothing like me?”
Leaving aside the fact that the run-of-the-mill comic book reader is nothing like any superhero because, you know, super powers and the fact that claiming to have nothing in common with anyone who lives in the same time and place as you is willfully obtuse, I offer my counterargument:
Why wouldn’t you read a book about someone entirely different from you?
The power of literature is its ability to expose us to new ideas and perspectives. I will never be a Nazi experiment fusing a man, a dolphin and a Great White shark. But when I read Peter Benchley’s White Shark, I get some insight into what that romp might be like. The same could be said for Ms. Marvel, which in its first issue alone lent me perspective not only on the tightrope act of balancing cultural identities, but also on just straight up being a 16-year old girl.
There’s a scene in Ms. Marvel #1 in which Kamala’s father refuses to allow her to go to a party, stating that it’s not her he doesn’t trust but the world around her. I’ve expressed that exact sentiment before, but Ms. Marvel made me eat my own words, putting me on the receiving end. I gained perspective. What I don’t trust is my problem, not the problem of those around me.
One issue in and I’ve gained some perspective. But hey, that’s literature.
Needless to say, had Ms. Marvel not been a well written book all of this would be moot. Praising a subpar product because it features a member of a minority group feels like some sort of perverse, PC tokenism. But the writing (G. Willow Wilson) and art (Sara Pichelli) in Ms. Marvel #1 are on point. Tying the book into the Inhumanity event was perfect and Kamala’s choice in transformation, upon discovering she is a shape-shifter, is a smart, scathing indictment of comic book and geek culture.
It’s good stuff.
And despite the aforementioned defensive tweets that would imply otherwise, I couldn’t actually find any Ms. Marvel haters on the internet. Even when I Googled “Ms. Marvel haters.” Which leads me to believe that the problem with diversity in comics has nothing to do with comic book readers, but the comic book publishers. Perhaps terrified of any loss in sales that could come with any change in the tried-and-true superhero tropes of old it’s the comic book publishers who’ve kept instances of diversity few and far between.
Neal Adams’ story of the creation of John Stewart ends with his recounting a generation of fans offering a resounding “who?” upon learning the Green Lantern live-action movie would feature the origin of Hal Jordan, rather than the most prominent Green Lantern of my childhood, John Stewart.
DC may have expressed apprehension at the prospect of a black Green Lantern (not to be confused with a green Black Lantern) but the fans didn’t. Forty three years later the comic book industry is clearly still apprehensive about men who aren’t white and women who wear clothing, but as the fans have proven with John Stewart before and Kamala Khan now, they are not.
I couldn’t get Ms. Marvel at my regular comic shop. It sold out the afternoon it hit shelves. When I finally did find it in a different store I managed to grab the last issue available. The book is already scheduled for a second printing and hit #1 on Marvel’s digital sales charts.
With success like that coupled with the fact that Ms. Marvel #1 is a legitimately good comic book, it’s only a matter of time before the comic book industry figures out what Neal Adams and the rest of us have known all along: if three Green Lantern rings come to Earth, they are not going to land on three white male fingers.
For more Pony Tricks coverage of Ms. Marvel #1, check out Episode 11 of the Pony Tricks Comic Cast.
For more on gender diversity in entertainment:
I’ve mentioned it before but I’ll mention it once more, with feeling. I go to a comic book store every week because of Geoff Johns’ Green Lantern. I’d read trade paperbacks in the past, but once I reached the end of New 52 Green Lantern Vol. 1, after reading from Green Lantern Rebirth on in about two months, I couldn’t stop to wait for another trade to be released months down the line.
That’s how they get you, I guess.
Over the course of a state-trekking week I acquired every issue of New 52 Green Lantern that was out at the time: #’s 0-12 and annual #1. I also decided “why stop there?” After all, in the New 52 there were three other Green Lantern series.
The thing with collections is, once you’re 53 pieces in you either acknowledge that you’ve gotten a little carried away (i.e. admit defeat) or you commit.
I stuck with the auxiliary Green Lantern books through issue #26 in December 2013. Hell, I even followed the fourth Green Lantern spin-off, Larfleeze, since its debut several months ago.
There were some good times along the way; the trial of John Stewart was a thriller that felt like something out of an intergalactic episode of 24, New Guardians #23 was one of my favorite issues of 2013, Relic and the entire Lights Out event were badass, and sometimes there were neat drawings in Red Lanterns.
But, while I still eagerly await each month’s issue of Green Lantern, even after Johns’ departure, I’ve never felt quite the same sense of anticipation for the other four Lantern books.
So with the end of 2013 I made a resolution. No, not the 2014 Channing Tatum Initiative. Another resolution. I quit Green Lantern Corps, New Guardians, Red Lanterns and Larfleeze.
Green Lantern Corps #27 came out last week, and I didn’t miss it. I picked it up in the store and stared at the cover. We exchanged quick glances and nervous smiles. And then I put it down and walked away.
Brand loyalty is a myth. If nothing else, it’s a bedazzled float thrown atop the rickety old car that drives it – the commercial guilt trip.
Month after month I’d halfheartedly pick up Corps and Guardians and Reds from my box and month after month I’d think “I should stop reading this.” But then I’d tell myself “but these are part of a crossover event.” I’d tell myself “Green Lantern is why I started reading comics.” I’d tell myself “I’ve already followed these books this far.”
None of them were good reasons. They were selling points. And bad ones at that.
Month after month I was doing DC Comics job for them.
Rather than getting the spin-off Green Lantern books because they hooked me in and held my attention every month, DC Comics was getting my money because month after month I was pushing books I didn’t love on myself out of some perverse sense of commercial gratitude.
If you learn one thing from my break-up with these books, let it be this – you never have and never will owe anything to any brand for any reason. Whether it’s a comic book or a car company, when you affix your personal loyalty to a brand you’re attaching emotional tethers to a relationship that will always be a quantifiable commodity to the other party.
At the advice of a friend my comic book readership has recently taken a turn away from characters and publishers towards creators. If I like a writer I’ll give their books a shot. It’s been a much more intellectually lucrative pursuit.
But at the end of the day you don’t owe them either. I’ve recently fallen into Charles Soule’s excellent work on Swamp Thing. And I’m loving his Superman Wonder Woman series as well. That doesn’t mean I owe it to him to pick up Red Lanterns again, even if I do appreciate Soule’s impressive and prolific output.
The point it, the only reason you should be following a comic book is because you like it. And as soon as you stop liking it the book, its characters, its writers and its publisher have no right to your loyalty.
I don’t know if there’s a power ring in the emotional spectrum for fiscal responsibility and soap box consumerism, but if there is Green Lantern Corps, New Guardians, Red Lanterns and Larfleeze have taught me to wield it.
1. Do you owe entertainment and entertainers anything beyond the price you pay for the products they release?
2. Do entertainers owe you anything for your fandom?
3. Where’s Ryan Reynolds?
The Pony Tricks Comic Cast is on iTunes! You’re welcome! And, this is the second episode in one week! In fact its the second episode in two days! I give and I give and I give. Join me on my continued adventures in the literature of comics.
This week: Action Comics, Forever Evil: Arkham War, Green Arrow, Green Lantern, Swamp Thing and The Walking Dead
2013 was the first full calendar year I spent actively pursuing comic books on a weekly basis. Prior to this year I had a pretty decent stack of paperbacks and collected volumes, but it wasn’t until the end of 2012 that Geoff Johns’ Green Lantern finally got me to go into a comic book store on new comic book day and grab an individual comic book.
In the year since I’ve read a lot of comics. Some of them left me wondering how I’d been tricked into wasting three dollars on the pages of drivel in my hands, while others made me wonder why more people weren’t talking about what I’d just read.
Below are my thoughts on some of the latter. Books that I couldn’t stop thinking about with moments and characters that stuck with me long after I’d read them. There were some amazing books that came out this year that got every bit of praise and admiration they deserved. But there were also some brilliant stories, even ones by some pretty prominent writers, that seemed to fly right under the radar. I may only be a pedestrian comic book reader and my picks may not be deep cuts, but I want to talk about them.
These (six) be they.
Green Arrow #23.1: Count Vertigo #1
by Jeff Lemire and Andrea Sorrentino
September 4, 2013
Remember Villains’ Month? Back in September instead of running their regularly scheduled programming DC Comics released 52 #1 issues staring 52 different villains to tie into their new event, Forever Evil. In retrospect it turns out that the real villain of Villains’ Month was DC Comics, who tricked readers into picking up a boatload of comic books with 3D covers that were pretty much all drivel.
But not every Villains’ Month issue was a waste. Greg Pak and Charles Soule in particular did excellent work in their respective Zod and Arcane issues and a hand full of other books didn’t induce eye rolls, most notably Count Vertigo.
Not only did this issue manage to keep the momentum of its parent series, Green Arrow, going while so many other Villains’ Month issues obnoxiously hit the pause button on their far-superior parent books, Count Vertigo also delivered great art and a creepy exploration of a lesser known DC Villain, Warren Zytle, who understandably decides to go by Count Vertigo instead.
There’s nothing in Count Vertigo’s origins that you haven’t seen before; an heir to the throne of a country you’ve never heard of reduced to poverty in the wake of rebellion, a poor parent selling their child into research, a man turned into a weapon only to rebel against his creators, you know this story already.
But the character at the center of it all is so off-putting that it elevates the book above Count Vertigo’s by the numbers origins. Count Vertigo is angry, very, very angry, and Count Vertigo #1 is the story of what an angry person does when they have the means to do anything.
Not only did this issue elevate the lackluster Villains’ Month initiative it was a part of, it significantly upped the ante when Green Arrow finally confronted Count Vertigo in the issues after it. It’s a nice little self-contained, dark and creep story about a C-List villain who simultaneously looks like a dork and a badass. And Andrea Sorrentino’s art alone makes it well worth the read.
Fantastic Four #5AU
by Matt Fraction, André Araujo and Jose Villarubia
I didn’t read Age of Ultron. I don’t know, it had a cool cover I guess, but I didn’t hear great things about it. I didn’t read Marvel’s next event, Infinity, either. I mean, I checked out the first issue but it didn’t hook me. Some heroes are on Earth and some other heroes are in space and then something else happens? I don’t know. It’s got Black Bolt in it, so maybe I’ll check it out in paperback. I was going to read Inhumanity, or Inhumans, or whatever Marvel’s newest event is supposed to be, but with the recent announcement that Matt Fraction has been pulled from the title, I’m not as inclined to read it as I was.
Long story short I’m not really an event guy. But the Fantastic Four tie-in to Age of Ultron was easily one of the most memorable books I read all year.
Fantastic Four #5AU loosely ties into the group’s journey through time and space in that when it begins they’re traveling through time and space, but its repercussions on Fraction’s Fantastic Four series are minimal and, considering I enjoyed the story without having read a page of Age of Ultron, the issue is something of a stand-alone.
The title of the issue says it all: The Death of the Family Richards During the Bloody Age of Ultron, or, “Everything’s Going to be Okay.” (Hey, what do you know? Matt Fraction writes titles like that too.)
There are two threads through #5AU, the Fantastic Four returning to an Ultron-ravaged Earth and meeting their demise at the hands of a million, billion Ultron drones and Reed Richard and Sue Storm’s children waking up on the Four’s space ship and being confronted by the group’s holographic will.
Reed Richard’s saying goodbye to his children is a moment that transcends the Age of Ultron event, the Fantastic Four series and the comic book medium as a whole. They’re words that have stuck with me long after first reading them, words I can recite and images I can imagine as clear as day.
You may have read Matt Fractions straight up phenomenal Hawkeye, but if you haven’t read Fantastic Four #5AU you’re missing out on one of the writer’s greatest works. This issue hit my where I live. It’s a great story and you should read it.
Wonder Woman #22
by Brian Azzarello and Cliff Chiang
Wonder Woman #23 was amazing. I was an exciting culmination of the issues before it that packed a ton of big character moments and plot development. It got a slew of perfect scores from across the internet and it had a really, really badass cover.
But damned if I’m not a sucker for setup.
Wonder Woman #22 finds Diana and her rag tag family band transported to New Genesis, home of the New Gods, by Orion in an attempt to save them from the wrath of the First Born back in London.
The issues before #22 had done a brilliant job of melding superheroism in the modern world with Olympian Gods and Greek mythology, but #22 kicked if up another notch by throwing an already intriguing mix into the backdrop of Jack Kirby science fiction.
And yet, despite how much of a mouthful worth of exposition setting the scene for #22 is, the issue essentially boils down to a study in family, be it Wonder Woman and the newly inherited kin she’s loosely cobbled together into a family unit under her protection, Orion and his dick dad who maybe, just maybe, isn’t totally a dick, or the First Born and his army of hyena people.
Seriously, this issue is all over the place. But under the guidance of Azzarello and Chiang, who has become the valiant steed amongst DC’s stable of artists, even a story that swerves through robot-scooters and hyena monsters within the course of 22 pages never falls apart.
Azzarello keeps Wonder Woman grounded despite the book’s far reach into fantasy. There may be hyena people, but there’s also an intimate exchange between Diana and Orion where she tells him not to try to be perfect, but to try to be better. And there may be a robot scooter, but I remember it best in regards to Orion’s triumphant return to the family band.
Wonder Woman #23 gave readers the inevitable all-out brawl that had been building up for nearly a year, and it did not disappoint. But the immediate set up to that epic confrontation in Wonder Woman #22 was anything but inevitable and equally unforgettable.
Green Lantern: New Guardians #23
by Justin Jordan, Brad Walker and Andrew Hennessy
Green Lantern #20 was the undeniable Green Lantern highlight of 2013. How could it not be? It was the last issue of Geoff Johns’ ten year run with the character he completely redefined. And it was great. But I already wrote about that.
What I haven’t written about, and what you might have missed this year, is Green Lantern: New Guardians #23. Unlike some of the aforementioned issues #23 isn’t self-contained. It relies on at least a casual knowledge of Geoff Johns’ Green Lantern for its emotional impact and it serves as something of a preface for the Lights Out storyline it leads into.
But everything before it and after it aside, New Guardians #23 is a story about hope shining brightest in the face of utter hopelessness. New Guardians #23 sees new villain Relic assault the home planet of the Blue Lanterns, wielders of the blue light of hope. Without getting into specifics, it’s a pretty huge downer at face value.
The Blue Lanterns have never been badasses. They don’t wield fear or rage, they don’t use light to create constructs of race cars and sharks and cannons, they’re just really, really optimistic. New Guardians #23 showcases just how badass optimism can be and its final pages are simultaneously the bleakest of bleak affairs and a swirling spiritual triumph.
New Guardians #23 is a testament to the strength of the entire Green Lantern franchise.
by Mark Waid, Chris Samnee and Javier Rodriguez
Waid and Samnee’s Daredevil is near-universally hailed as one of the best superhero comics on stands today. I was a little bit late to the party. Month after month I’d read the book’s praises, but it wasn’t until Daredevil #30, a team up with the Silver Surfer that I rightfully surmised might be a standalone outing, that I finally got on board. And man am I glad I did.
Daredevil #30 sees Matt Murdock teaming up with the Silver Surfer to take down an alien named Ru’ach, a being who, as the Surfer explains, is a “sentient lie” that exists “on the edge of perception.” It’s an out there premise that reads more like a comic from your parents’ day than something that came out amongst the gritty, apocalyptic books on shelves in 2013. And that’s because it isn’t gritty or apocalyptic.
Daredevil #30 is just fun. Daredevil and the Silver Surfer are both cool characters. One looks like the devil and the other one was a cosmic surf board. What’s not to love? Waid and Samnee understand this and exploit it. Rather than wasting time delving deep into the Silver Surfer’s secret pain, Daredevil #30 instead offers vibrant two-page spreads of Daredevil hitching a ride on the Surfer’s board, weaving through buildings in New York City.
Daredevil is a book that fully utilizes the complete emotional spectrum. Not too long before Daredevil #30 things got dark. Really dark. And not too long after Matt Murdock found himself teaming up with Halloween monsters to face a group of white supremacists.
This Daredevil run is nowhere near monotonous and can wield heartbreak and pure joy with equal amounts of competence. But where there are plenty of well-written books that came out in 2013 that can leave you down in the dumps, few if any can reach the level of plain old fun Daredevil #30 soars at.
Batman Incorporated #13
by Grant Morrison and Chris Burnham
Batman Incorporated #13 might be the greatest single issue of a Batman book I’ve ever read.
Scott Snyder and Greg Capullo have been consistently turning out top notch material in the primary Batman series since the New 52 launched in 2011 and they sure as yell didn’t stop in 2013. Death of the Family concluded in February with Batman #17, an understated and phenomenal conclusion to a grand Bat-family event, and Snyder and Capullo set about the herculean task of redefining Batman’s origins with the start of Zero Year in Batman #21. But somehow it seems like the conclusion to Grant Morrison’s Batman story, one that started in 2006 and brought together elements from the hero’s entire 70 plus year history into one vast, epic, operatic Batman opus, got lost in the shuffle this year.
The Batman canon is aged and cumbersome, so much so that it makes more sense for each individual fan to construct their own rudimentary history of the character. These histories are often bookended by Frank Miller, whose seminal works Year One and The Dark Knight Returns have come to define the beginning and the end of Batman. Somewhere in between Batman meets a young boy and takes him under his week. Sometime later a Robin dies. Maybe somewhere in your own history of Batman he has his back broken, or fights a werewolf, or travels through time.
When Grant Morrison ended his time with the Dark Knight in Batman Incorporated #13 he had made such a unique and thoughtful interpretation of the character that the events of his run have been etched permanently into my own history of Batman.
And yet you don’t need to know any of that to enjoy Batman Incorporated #13. You don’t need to have read any of the rest of Morrison’s years-long story. You probably don’t even need to have read a comic book. But if you have any appreciation for Batman then Grant Morrison’s passion for the character and the icon alike will shine through.
Batman Incorporated #13 is a 22-page master class in a character that has been around for nearly 75 years.
2014 looks like it’s going to be a pretty cool year for comics. DC is still in the midst of both Forever Evil, an event comic that is actually worth reading, and Zero Year, the aforementioned retelling of Batman’s Origins and Marvel is set to publish some exciting new books like Silver Surfer and She-Hulk.
The nature of a medium like comics isn’t very conducive to memory. There are dozens of new books every week and so spending any amount of time with just one can be hard. But in the weeks and months and years to follow I know that I’ll still find time to revisit the books on this list because even thrown in amongst various events and variant covers and tie-ins they managed to shine bright on their own merits and ingrain themselves in my memory.
Now that you’ve read about my favorite books of the year, why not spend the year listening to me babble about my favorite books of the week. Every week. Check out the Pony Tricks Comic Cast for a weekly literary deconstruction of last week’s comic books.
1. Do superhero books still represent the best comics have to offer? Do they represent the worst comics have to offer?
2. Did I miss a great issue you think was overlooked this year?
3. Did you no that if you like comic books you’re a huge nerd?
For more on my favorite entertainment in 2013: