Elizabeth Sandifer

Demonic #1

Perfectly serviceable cop-horror story, and competently executed, but painfully by the numbers. The main character sells his soul to demons, which is a perfectly good hook, but it’s all executed so quickly that there’s no room to make him interesting before that, and Sebela is stuck establishing him entirely in terms of cliches. The big turning point when a demon shows up to offer him a deal on page thirteen should probably have been the cliffhanger. Still, if demons and cops is a genre setup you like, this’ll probably satisfy.

The Ultimates #10

As with the last issue, a bit of a mess between the brilliant art of Kenneth Rocafort and the bland and lumpy faces of the guest artist who does half the work on this issue. And it’s a bit of a mess with Civil War II. But Ms. America kicks ass and takes names, Black Panther gets a genuinely hilarious moment, and Al Ewing remains entertaining. Still, this is not a great stretch of this book, I fear.

Deathstroke Rebirth #1

Came out last week, and paid for by a reader. Nice to see that Priest’s still got it after frankly too many years out of the game due to his (entirely reasonable) desire to be offered something other than books about black people. His inclination towards non-chronological storytelling doesn’t quite do him any favors here, though, and the occasional muddy plotting his work can suffer from is alas in full swing. Still, this is smart and well-characterized, and probably the best book of DC Rebirth so far. I’ll probably check out another issue or two. 

The Black Monday Murders #1

Also from last week, and not at all sure how I missed it. It’s a Hickman #1, so massively long on promise, absolutely pregnant with insinuation and ideas, and clearly with the potential to be one of the most briliant things ever. One expects, being a Hickman series, that it will instead either go completely off the rails or simply stop coming out entirely after three issues, but this left my brain absolutely fizzing after reading it, and I intend to enjoy the hell out of the ride while it’s still quasi-functional. 

The Wicked + The Divine #22

Well I think we all expected the end of Rising Action to be mind-blowing, but it also turns out to be heart-stopping and gut-wrenching. And the other panels are brilliant too. I’m starting to regret the enthusiasm I showed for the early issues, because I’m not sure I left room for my critical assessment of this comic to grow and emcompass the range of what it can and does do. Fun game: immediately after reading the final panel of this issue, go back and look at Laura’s first appearance in #1. Then try to wrap your head around the fact that we’re only at about the halfway point of the series, and there’s presumably just as much character development to go. Meanwhile, the next arc looks set to tackle big ideas I’m massively invested in.…

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Jane’s taking the week off in a push to get Last War in Albion Book One finally out the door, but I realize that I never actually got around to announcing the latest addition to our podcast stable, Pex Lives Xtreme, Kevin’s new sports podcast. Yes, we apparently do sports writing now too. Sports, sex, and Doctor Who. Why do you visit other websites again?

Anyway, the first episode’s here.…

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Avatarex #1

Released last week, but I missed it, so here we are. There’s a fundamental perversity to Grant Morrison’s Graphic India work – a company focused on breaking comics out in India whose marketing talks about how “India is home to some of the most creative talent in the world” and then proceeds to hire people like Stan Lee and Grant Morrison to do their comics. And one gets the distinct sense they’re paying out the nose for it too. Morrison has never seemed particularly connected to Hindu mythology – he did one three-issue Vertigo series that tried to be Kirbyesque Hindu mythology and was deeply forgettable, and he talks about it whenever he’s doing press for Graphic India, but this feels like a phoned in version of stuff Morrison has done before, and miles from any sort of organic attempt at Indian comics. 

Black Panther #5

A stronger-than-usual issue of this, I suspect elevated by the fact that Chris Sprouse is a better artist than Brian Stelfreeze, but also by the fact that Coates keeps a better focus on the story, can be bothered with repeating exposition, and has a clear sense of what this specific issue is doing, as opposed to just focusing on his arc in general. Which means that the bits he’s always done well – the broad thematics and the monologues about kings and power – actually have a solid platform upon which to rest and can shine. Hopefully this book has turned a corner. 

Animosity #1

Another one from last week, grabbed becaue I’ve been meaning to try some of Marguerite Bennett’s indie stuff. Good and unsettling stuff – I really enjoy the wide variety of different perspectives that occur when animals attain sentience, and the core one of “dog loves its human girl” is at once sweet and mildly terrifying in the larger context of an animal world that has (understandably) decided that it’s going to try to kill humanity. This ends up being a “set up the premise” issue rather than a “show what the book will be doing” one, but it’s a damn good hook, and I’ll be following this with interest.

Darth Vader #24

Gillen, having flirted with it before, dives with glee at the third rail of Star Wars and sets about on an issue heavily reconciling the original and prequel trilogies, then offers a mammoth cliffhanger to kick us into the finale (albeit one where it’s hard not to think “oh, Aphra, I see why that looked good on paper, but…”). It’s an issue that it’s just terribly easy to respect the ambition of – more than anything since the “I have a son” scene it offers something that feels substantive and fills a real gap in the story. 

Providence #10

Loads of stuff one could fairly have assumed wouldn’t happen until issue #12 instead explodes in ways that make it hard to imagine what Moore is going to do for two more issues. Personally, I have a hard time not being excited about it being totally unclear what Moore is going to do for two issues. …

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I’m not going to get into the habit of using my Monday slot for podcasts, but this one’s a big enough deal that I felt like it justified it. I say down with David J Haskins of Bauhaus and Love and Rockets to, in classic Eruditorum Press fashion, talk about absolutely none of that in favor of talking about his magical practice and work with Alan Moore, including V for Vendetta, “March of the Sinister Ducks,” The Moon and Serpent Grand Egyptian Theatre of Marvels, and The Birth Caul. It’s a fun time. You should listen to it here.…

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As always, from worst to best of what I bought.

Trees #14

This series has always only barely worked in single issue format, so, shocker of shockers, an eight month delay before the final issue of the arc did not do it any favors. Apparently there’s a third arc planned, which at this point I assume we’ll see shortly after Doktor Sleepless wraps up. I’m sure it’ll read brilliantly in trade, although I suspect I’ll have to reread the first trade to have any appreciation for who the characters who drop in for the finale are. Which is fine, because it’s Ellis and going to be brilliant, but fucking hell this comic is just a terrible fucking idea in issue form.

Klaus #7

There’s a four-issue cut of Klaus that would straightforwardly be among Morrison’s greatest post-Final Crisis works. The fact that this flabby seven issue miniseries is still a strong contender is a depressing commentary on his late career, but let’s not use up all our Last War in Albion snark in comics reviews. (Almost done with Chapter 6, btw.) The final issue of this is actually pretty solid, and if one were to go about politely informing Grant Morrison that he needs an editor this is probably the issue you’d cut the least. If nothing else I appreciated the underplaying of the “Santa Claus cannot die” moment.

Cinema Purgatorio #4

A middling run out for the title comic, a stretch of Modded that has too much to do for it to waste time being clever about it, and typically filler installments of A More Perfect Union and The Vast leave Code Pru as the belle of the ball this month. It’s particularly good this time around, though, and so the whole package balances out nicely, though if I’m being honest $5.99 is probably a bit much for it most months, and especially this month. Not that I’m remotely tempted to even blink at that, but hey.

Normal Part Four

This wraps with a gloriously bleak ending, but also ends up being a bit disjointed, with no shortage of things that were just sort of thrown in because Ellis wanted to riff on them as opposed to because they contributed to the story. The use of a riff on Curtis Yarvin as the cliffhanger for part two grates particularly in this regard, though there’s obviously an element of personal bias there. Still, the ending is heartbreaking and beautiful, the book’s main premise is a hoot, and its main sci-fi idea is a solid bit of plausible horror-technology. Very worth checking this out, either in its “four parts for $1.99 each” digital edition or in the paperback omnibus due in November.

James Bond #8

Yeah, I didn’t expect this to hit the top either, but man, Ellis is absolutely killing with his second arc on this, finding delightful twists on James Bond classics This time it’s “Bond seduces the woman he rescues,” a trope in dire need of being made brilliant by Warren Ellis.…

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Man, that looks almost as much fun as this blog series has been.

State of Play

The choir goes off. The board is laid out thusly:

Lions of King’s Landing: Tyrion Lannister, Naime Lannister, Cersei Lannister, Tywin Lannister
Dragons of Meereen: Daenerys Targaryen
Direwolves of the Wall: Jon Snow, Bran Stark
Ships of the Wall: Davos Seaworth
Burning Hearts of the Wall: Stannis Baratheon, Melisandre
Archers of the Wall: Samwell Tarly
The Direwolf, Arya Stark
The Dogs, Sandor Clegane
Paws of the Wall: Tormund Giantsbane
The Shield, Brienne of Tarth
Spiders of King’s Landing: Varys
Flowers of King’s Landing: Shae

Winterfell is abandoned and in ruins, Moat Cailin and Braavos are empty.

The episode is in seven parts. The first runs eleven minutes and is set just at the Wall. The opening image is of Jon’s hair as he walks out of the gate.

The second runs seven minutes and is set in King’s Landing. The transition is by hard cut, from Jon Snow to an infected wound.

The third runs seven minutes and is set in Meereen. The transition is by hard cut, from Jaime and Cersei on the white table to Daenerys.

The fourth runs thirteen minutes and is in two sections; it is set at the Wall. The first section is five minutes long; the transition is by family, from Daenerys to Aemon Targaryen and Jon Snow. The second section is eight minutes long; the transition is by family, from Jon Snow to Bran Stark. It features the death of Jojen Reed, stabbed and then set on fire.

The fifth part runs twelve minutes and is set in the Vale. The transition is by family, from Bran to Arya Stark. It doesn’t feature the death of Sandor Clegane, but it sure looks like it does.

The sixth runs nine minutes minutes and is set in King’s Landing. The transition is by dialogue, from Sandor begging Arya to kill him to Tyrion saying more or less the same thing. It features the deaths of Shae and Tywin, both killed by Tyrion.

The last runs three minutes and is set in the Vale. The transition is by musical cue, with a choral version of the theme song continuing over both scenes, and by image, with both scenes featuring people sailing for Essos. The final image is of Arya landing on a ladder and doing just that.

Analysis

And so we come to the end of this Brief Treatise; I don’t reckon there’s much to be gained writing second essays about Seasons Five and Six, and anyway, this has been a hilarious flop of an essay series that vividly illustrates the maxim that there’s room for two books on any given subject, the first one and the best. It also serves to highlight the problems with using my general critical approach on an in-progress text. A game is, on a very fundamental level, defined by its end state; the ethical and thematic implications of events are ultimately shaped by how the narrative ends in ways that makes analyzing them difficult at best.…

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Oof. Rough week. From worst to best of it.

Mechanism #1

Another dud for my “Image #1s” policy. The most immediately obvious problem is an art style that seems to be traced from 3D rendering software, giving all the characters a frustrating woodenness. Two big sci-fi concepts in “a world that’s been invaded by lizard people” and “a world with intelligent robots” are both undersold. The only female character gets fridged. The premise isn’t clear by the end. Generally a trainwreck.

Batgirl #1

An undercooked “the hero tours Asia” concept that’s high on western stereotypes, and that sets up “next month a new location” instead of trying to build on any of the ideas it sets up. Of course the Burnside supporting cast is immediately jettisoned in favor of a bespoke childhood friend of Barbara’s. And you’ve got to raise an eyebrow at the choice of the artist of the Batgirl “Joker variat” cover for the book – not that I particularly blame him for taking a commission DC never should have given, but man, exact wrong book to put him on. Generally speaking this isn’t particularly grating in its badness, but it’s not interesting enough to hook me on a second issue.

Wonder Woman #3

The new take on the Wonder Woman/Cheetah relationship is decently interesting, but this storyline is still longer on mood than event in a way that isn’t giving me much to sink my teeth into and invest in. It’s fine – perfectly competent Wonder Woman. But it feels directionless – after four issues of Rucka on the character, I don’t have a feel for what his take is and it doesn’t feel like anything has happened. Which feels like wasted momentum. Think I may be done with this.

Spider Gwen #10

An utterly unremarkable issue of this often frustrating book. Actually, I kind of like the alternate universe take on Kraven, and there’s a lovely May Parker moment, so as lackluster issues of it go this is better than most, but again, I’m looking at a week of nine comics the bulk of which I was underwhelmed by, and a book that has two mediocre issues for every good one is another obvious candidate to be done with.

Black Panther #4

Individual moments of this – particularly any scenes with T’Challa’s mother – are subtle, intelligent stuff of the sort one wants from this book. But the overall structure is still a mess. I couldn’t actually tell you what happened over the first arc of this book, or who most of the supporting cast is. I don’t think that’s specifically Coates’s fault or Stelfreeze’s so much as a combination, but this just doesn’t have the basic tightness that monthly serialization needs to succeed. I’ll stick with it, but more out of hope than judgment.

The New Avengers #14

In most regards an unremarkable fight book, but man, there’s a really solid demonstration of the difference between a skilled comics writer and an unskilled one here. Any character who’s introduced gets a big moment to either shine or demonstrate what their deal is.…

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At last, Jon Snow’s four-season long constipation lets up.

State of Play

The choir goes off. The board is laid out thusly.

Direwolves of the Wall: Jon Snow
Archers of the Wall: Samwell Tarly
Flowers of the Wall: Gilly
Bows of the Wall: Ygritte
Paws of the Wall: Tormund Giantsbane

King’s Landing, Moat Cailin, Winterfell, Braavos, and Meereen are abandoned.

The episode is in one part running forty-seven minutes and set at the Wall; it is divided into sections. The first section is four minutes long; the opening image is of torches atop the wall. The second section is two minutes long; the transition is by image, from an owl to the warg controlling it. The third is fifteen minutes long; the transition is by image, from the fires at Tormund and Ygritte’s camp to the candle by which Samwell is reading. The fourth is two minutes long; the transition is by hard cut, from Jon to Ygritte. The fifth is four minutes long; the transition is by hard cut, from a random guy dying to a giant on a mammoth. The fifth is one minute long; the transition is by hard cut, from Janos Slynt and Gilly staring at each other to Sam and Pyp running through the courtyard. It features the death of Pyp, shot through the neck by Ygritte. The sixth is two minutes long; the transition is by hard cut, from Sam cradling Pip’s corpse to the Wildlings charging the Wall. The seventh is three minutes long; the transition is by hard cut, from Dolorous Edd to Ser Allister fighting in the courtyard. The eighth is three minutes long; the transition is by hard cut, from the bow that Olly finds to the giant trying to break through the gate. The ninth is five minutes long; the transition is by hard cut, from Grenn to Jon and Sam riding down to the courtyard. It features the death of the Magnar of Thenn, hit in the head with an axe by Jon Snow, and Ygritte, shot through the heart by Olly. The eighth is one minute long; the transition is by hard cut, from Jon cradling Ygritte’s body to Wildlings climbing the Wall. The ninth is one minute long; the transition is by hard cut, from Edd on the Wall to Jon walking through the courtyard. The last is four minutes long The transition is by hard cut, from Jon walking away from Tormund to Gilly. The final image is of Jon walking out the gate, with ambiguity as to whether he’s landed on a snake or a ladder.

Analysis

In a very odd way, form follows function: “The Watchers on the Wall” is incredibly brave and incredibly stupid all at once. The plan is straightforward: hire Neil Marshall, director of “Blackwater,” to do another single-location battle episode as the ninth episode showpiece. But this is in no way an automatic recipe for success. “Blackwater” is a heavy-hitter of an episode that’s easy to straight-facedly call the show’s greatest triumph, but much of why it worked was that it was unprecedented.…

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From worst to best, with things I didn’t buy marked with a *. If you want me to review something that’s not on my “next week” list, you can either send me a copy or Paypal me/send me a Comixology gift card for the cover price with a note as to what you want me to read. That’s snowspinner; a gmail account.

The Hunt #1

I’m trying all new Image #1s, just because it seems like where things I’m going to be interested in comics-wise are going on. This… is not a recommendation for that plan. A muddled book of the sort that one usually associates with Vertigo after the period where they were meaningfully creator-owned and were thus no longer the first choice of actually good creators. Generic horror tropes, muddy storytelling, and, for good measure, utterly irritating “let’s try to capture an Irish accent” dialogue. A complete mess of a book. The art is pretty, but this is pretty classic “artist decides that he should write his own material when that’s not where his strengths are” comics. Which makes it oddly appropriate for an Image book, if not quite in the right decade.

Spider-Woman #9*

The stuff about Wendigos is smart and funny, and Hopeless’s “Spider-Woman as mom” characterization is as delightful as it was in Spider-Women. Pity Civil War II comes crashing through the door halfway through to be stupid all over the place. I’d probably enjoy an extended run of this where Hopeless was doing his own stories, and may well check it out again if such a thing ever exists, but man, Civil War II is a fucking disaster.

Kim and Kim #1*

Much to love about the aesthetic here; queer punk space bounty hunters yes. But it doesn’t quite click together – it’s very “standard tropes made more diverse,” which is good and valuable, but my interest in standard tropes is a bit low. It fails at one of those crucial first issue tasks of making me care about the characters and concepts. Very pretty, though, and if you want a by-the-numbers queer punk space bounty hunters comic, this is absolutely the one for you.

The Ultimates #9

Some good bits here and there, but even Ewing is having trouble rescuing one of the biggest problems with Civil War II, at least based on its tie-ins, which is that Captain Marvel’s role in it seems to be to just act like a completely unreasonable jerk at all times. Her side is self-evidently the wrong one, and everyone writing the books recognizes that. Her big interaction with Adam in this issue is just awful, hinging on her being horrible to him with no justification whatsoever. Add to that a super rough stitch job between two artists of very different styles and skill levels and you have a weak filler issue. Alas.

Chew #56

Only four more issues of this! Woo! Obviously from it’s ranking it’s not that bad, but man, I am 100% just slogging through to the end of this out of some horrible sunk costs fallacy and not actually caring.…

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