Jessica Jones Season One

There's a world of difference between making things dark and gritty for the sake of it and exploring actual human darkness and complexity. Too often, what happens is that the whole "comics aren't for kids anymore" thing winds up just adding surface grit. They turn down the colors, add a bunch of violence and say "bam! this is now realistic!" but it's not, Zack Snyder, it's not! But when it's done correctly, we get Jessica Jones, which is probably the only time I've ever seen the real implications of superhero shit handled seriously in live action. 

When this show was announced, I was excited because I really loved the comic, Alias, by Brian Michael Bendis and Michael Gaydos. Bendis can be a bit much, but this is probably his masterpiece. It's a corner of the Marvel Universe that he pretty much created. He originally wanted the character to be ex Spider-Woman Jessica Drew, but I think it's better that failed superhero turned private eye Jessica Jones is a character he created for this and nobody really remembers her attempt at costumed heroics. The comic, like the show, winds up exploring the dark toll of her powers as well as what happens when one is mentally raped for years, pulling no punches whatsoever. So of all the Marvel shows coming to Netflix it was the one I was most excited for, but I didn't think they'd get it this right.

For starters, Krysten Ritter just is Jessica. I'm not sure I've ever seen better casting for a comic based thing. The angst just radiates off her but you also see a flicker of hope in there somewhere in her eyes or the way she walks. This is a woman who wants to believe in something: she wants to believe that she can atone, that humanity is worth her sense of guilt and responsibility.  She's that damn good. The show is that damn good. 

The whole atmosphere of the show just feels real. There are moments where they are out in the crowded streets of New York where I was struck by how "unproduced" it all felt. It seemed as thought they just went out and shot on the street, as is, which I'm sure they didn't, but they certainly pulled it off. There was just something about the way these characters, particularly Jessica, walk and generally inhabit the city, that felt very much alive in a way I haven't seen since maybe Taxi Driver or other 70s productions. I don't know. It's probably best not to even analyze it too much. As expected, I enjoyed this a whole lot more than the adequate Daredevil series. Still, I'm looking forward to more of this side of Marvel's universe on Netflix.  And more Jessica Jones, specifically.

Comics of the Week - Spiders and Vampires

I recently caught up with American Vampire and I highly recommend it. At the time the series started, I didn't know who Scott Snyder was and since I'm not a big fan of vampires, I didn't really care. Sure, I heard nothing but great things about it and meant to get to it. Now that I have, I understand that this is epic storytelling and actually is a fresh take on vampires. Survival of the Fittest is a mini-series that follows two of the many interconnected characters from the regular series on a mission involving Nazis and an ancient race of vampires. While you don't need to have read the regular series to appreciate this mini, the full impact of the story, I think, would be missed without the build up and background of the regular series. Still, this final issue of the mini was action packed in a way that makes the phrase action packed seem inadequate. Sean Murphy's art jumps off the page and yet maintains a creepy mood throughout. Meanwhile, Snyder is at his best writing these characters and unfolding these intricate plots. And behind it all, there's heart. It's clear he's going somewhere epic here and I'm glad to be along for the ride. Do yourself a favor and start from the beginning. You will not be disappointed.

Miles Morales is destined to be the Spider-Man I read for years to come. Three issues in and he's still not in costume. Instead, Bendis is taking his time with this, showing us a character. Showing being the key word. By his actions, relationships and interactions I feel like I am truly getting to know this kid, Miles. I understand him and I can see where his motivations will lead, I think. I could still be surprised because there's room for that. The story is managing to do all this character work while still being dynamic, in large part, thanks to the amazing art of Sara Pichelli. It's not just about big action, either, her faces and body language are so expressive you forget it's a drawing. I particularly like that, at least for the moment, Miles has no intention of using his powers. The weight of this is not something a kid like him would take lightly and although he has a taste of being a hero in this issue, he realizes it's not as glamorous as it seems. This is not going to be Peter Parker cracking jokes as he fights the Green Goblin. But it also won't be a gloomy kid doing what he thinks needs to be done. The fun will still be there, I just think it's going to be different. I'm in.

Comics of the Week - More #1's

This was a HUGE week. It felt like a stronger week than last one, with no real losers. What we do have is more and more variety. This is a great time for comics. I can't stress enough how there really is something for everybody coming out. That's what comics are supposed to be. Not everyone will like every book, but every book should appeal to someone. Hopefully this is only the beginning.

This is one I was worried about when the reboot was announced. The relationship between Damian and Dick Grayson in the past couple of years was a huge part of what made the Batman books so much fun, particularly this title. Having Damian team up with his father, in Batman and Robin #1, while possibly interesting, seemed wrong to me at first. I'm not sure yet whether this works in the long run, but in this issue Tomasi gives us a fresh take on the Batman and Robin relationship. Yes, past Robins were Bruce's adopted sons, but this is different. Damian actually calls him father. Ironically, though, they don't know each other at all at this point, really. Damian is still a know it all little prick here, which is critical to making the character work. Bruce seems much softer and the point of this story seems to be that he's redefining himself, by letting go of the past.. I'm not entirely on board with that, yet, as I don't know where it's going, but I'm willing to ride it out for a little longer to see.  The main thing about this book is that it retained the fun of the last couple of years.

For some reason, I only read a couple of issues, here and there, of Rucka and J.H. Williams III's acclaimed run on Detective Comics featuring Batwoman. The few issues I read were beautiful, but I think I lost the thread of the story and never went back. I plan on correcting that soon. Meanwhile, Batwoman #1 is fantastic. Art like this is beyond special. Here, J.H. Williams is also co-writing with W. Hayden Blackman, and if there's a weakness it's a couple of lines in badly translated Spanish in one scene that really took me out of the story. Other than that, this issue was right on. The action scenes are fluid and the layouts are phenomenal. The art is telling the story here the way you dream a comic book should. There are several artists getting writing duties in the new DCU, but I am going to go on a limb and say J.H. Williams is the best suited for this transition. It's clear, even from a quick glance at his layouts, that he is not thinking in single panels. His pages flow and move and even in the quiet moments, he is conveying emotions and moods like few artists do. As for the story itself, it's classic Batman with a couple of twists. Batwoman is a character I'm not that familiar with, but I'm looking forward to changing that in the coming months.

I am not a fan of Fantasy and I've never really liked Etrigan as a character. I was not going to get Demon Knights #1 and only picked it up because my buddy at the shop said he didn't normally like the Demon either but this book was fun. He was right on. This was a ton of fun, and thinking about it now, 2 days after reading it, I'm finding I like it even more. I think what helps it is that it's not mired in stereotypical Fantasy tropes. It really feels like a modern story, except for the setting. Also, the Demon is not speaking olde English or rhyming, so it's not overly silly. We have a love triangle with a twist, a team of misfits coming together, an exploding baby, dragons, wizards, swords, etc. You know, fun. With a capital F. There really isn't much more to say except pick this up. It takes place in the Dark Ages and while it will likely tie in to last week's Stormwatch (also written by Paul Cornell) and the upcoming Justice League Dark, one thing about the new DC so far is that it seems you can read a book without worrying too much about following continuity in other books. Hopefully, this stays true.

Frankenstein Agent of S.H.A.D.E. #1 is a wild one. You have Frankenstein, who was apparently on Mars before this issue begins, working with Father Time, who is now in the body of a sassy little girl and teamed up with a host of creature commandos, including his estranged wife, to fight monsters. Oh, and their base is a miniaturized city, created by Ray Palmer, floating in a tiny globe. It's been described as being similar to Hellboy, which I can see. But I think there's also a bit of Fantastic Four and Shield thrown in, as well. You have science and occult coming together with a certain wacky fun that somehow all blends together in a delicious smoothie of awesome. Having read Lemire's indie work in Essex County and Sweet Tooth, I have to say I didn't see this level of fun and humor coming. His range has left me more impressed with his work. While reading this, I was blown away by how sucked in I was. This was my favorite book this week and I can't wait to read more.

The thing about Resurrection Man #1 that really made it stand out is that it just sort of started, without a lot of explanation, and yet it still worked. I came into this knowing the concept, but not the character. Basically, Mitch Shelly dies and comes back to life with a new random power, repeatedly. Right off, the premise had me hooked, which is why I picked it up. Overall, I think Abnett and Lanning did a great job of making this fun and interesting and mysterious. But then at the end, there were a series of phone conversations that sort of stopped this from being great and only made it good. All the exposition that was unnecessary and avoided at the beginning of the issue came at the end, in a repetitive and clunky way that stuck out like sore, cliched thumb. Still, I'm going to give this series a shot based on the rest of this issue.

And then there's Ultimate Spider-Man #1. For some reason, I've never read a Spider-Man story that really grabbed me. I've never had much interest in the character, though in theory, he's exactly what I like. I recently read Spider-Man Blue, by Loeb and Sales and the whole time I was a little bored. I just couldn't really relate to the characters, for some reason. So, along comes Miles Morales and it's ironic that at the ripe age of 38, I may have found a Spider-Man I can actually read and enjoy. Interestingly enough, he's not Spider-Man in this issue. It's just the beginning. But what we do see is a boy with a family and real world problems. We get characters with depth and situations that ring true. I have to say, this is the best Bendis I've read since Alias. I actually forgot it was written by him until now. He really did focus on story and character here, rather than dialogue. If he continues to do that, I'm in. I can't wait to see how Sara Pichelli draws Miles in costume, in action.

Indie Comics - Voodoo Junkie Hitwoman

If I say I believe in helping the comics industry, and particularly, new creators, I should do something to prove it. Well, technically, I hadn't actually said I believed in that, but I do. So, in the interest of helping promote new talent and creators, here is my first indie review.

Cabra Cini: Voodoo Junkie Hitwoman, created by Sam Johnson with art by Bruno Letizia, is the story of Cabra Cini, ex-hooker and junkie and now a voodoo addicted detective of fortune (AKA Hitwoman). The one story available at the moment is in Visionary Comics' Digital Visions #4, which you can get for free, that's right, free, at several places, such as right here: Digital Visions #4.

Anyway, it's pretty cool. Right off you get a good sense of the character and her past. As a short introduction to the character, in an anthology, I think it accomplishes the set up in a quick way without overwhelming the reader with too much exposition. However, I am interested in seeing this develop in a full issue format, where more time can be taken to form ideas, once the general premise has been established. The noirish style of the story, with the narration by Cabra, is supported by the dark tones of the art. The heavy shadows and lines work well with the deep tones to paint a world that is pulpy and foreboding.

We jump in with Cabra on a case, looking for Tom Spelling who killed his girlfriend. I know I said she was a detective earlier, which I stand by, but she isn't looking for Tom because someone is sad he's missing. She's been hired to take him out. It's part Alias (Bendis), part Dr. Strange and part something else. Something grittier and darker that I'm looking forward to reading more to find.

Manga for the Comics Guy - Gantz Vol. 2

Gantz Volume 2 picks up exactly where Volume 1 ended, which is to say, in the middle of an exploding body. Again we get the various angles of the moment, evoking slow motion in a way that I don't think I've ever seen in a comic book. The attention to the small details is what sells these lingering shots. It may be that I'm more into the story, but I really feel like the art is much better in the second volume than in the first. There were several panels I just stared at for a while.

It all starts coming together, particularly for Kei Kurono, who chose to wear the special suit provided in the room. It turns out the suit gives him super-human abilities. In the process, we learn more about his past as an adventurous and daring kid. A past he seemed to have moved away from, but quickly recalls in the middle of his hero moment. While the first volume gave us lots of atmosphere, this volume also adds action to the mix.

Also in this volume, we get some more indication of what's going on. After what is basically a bloodbath, there are only 5 survivors: Kei Kurono, Masaru Kato, Joichiro Nishi, Kei Kishimoto and the dog. We also learn that this is some sort of a game, and that Nishi has been at it for some time. And that while they can return home after each round, life is not the same.

I'm still struck by the dialogue being kind of clunky. This is obviously due to the translations and cultural differences that don't come through very well. But as a result, I can't really see comparing this to Western comics in any fair way. American comics would just come off as better written, dialogue-wise, by default. But if we look at the writing just from the point of view of plotting and getting points across, it's pretty even. The pacing is different, with the Manga relying more on the relationship between images, I think. The reason the drawn out scenes of people just standing and not saying anything work is because they come after panels of intense action that is equally extended. I think modern American comics tend to fall back on dialogue or one big image to convey these things. Obviously, there are exceptions. However, I feel characters tend to be more real (within the context of the story) in American comics, perhaps because of the more extensive use of dialogue. Of course, these opinions will likely evolve as I delve deeper into manga, but we'll see. The point is, the arguments about one being superior to the other are silly. The fact is, they are basically the same thing and have influenced each other too much to be considered separate.

Powers by Brian Michael Bendis and Michael Avon Oeming

Today is new comics day. Out this week, Walking Dead #82, by Robert Kirkman and Charlie Adlard. Here we have a book that uses dialogue effectively, but also uses long drawn action/inaction and crafts a very real, very cinematic world where the characters drill into your subconscious. You should be reading this book.