As I said, I had read some issues of the series before. Looking at the cover gallery on comics.org, I see that I had previously bought #1, #8, #13, #0 and #51 new off of the rack. And I picked up some issues from various discounted back-issue bins, usually because I liked the covers so much (#22, #26, #31, #54, #56). And this year I bought electronic copies of #54 and #62, in order to revisit the origins of Mister Terrific Michael Holt, who a lot of people were meeting for the first time this summer, thanks to the new Superman movie.
Still, knowing that Mandrake is a great artist whose spooky, ink-heavy style is absolutely perfect for The Spectre character, or that Ostrander could turn out strong individual scripts, didn't prepare me for the scope and sweep of the story when it's read in order, chapter by chapter, all in a single sitting (or two or three or maybe even four sittings; this collection was 800 pages).
A unlikely fusion of the horror, crime and superhero genres, the book reads at once like a Vertigo mature readers book that imbues a long-lived lesser DC property with more sophisticated, literary stories for adults while also keeping a foot firmly planted in the DCU setting (Superman and Batman will guest-star, for example, and the book participated in the various crossover events, like the post-Zero Hour zero month, Underworld Unleashed and Final Night, though those latter crossovers come later than the comics collected herein).
Full of difficult moral and ethical dilemmas and various debates on such broad, abstract subjects as justice, vengeance, guilt, sin, faith, grief, crime and atonement, this Spectre collection can be heavy stuff, but it is always related to the core concept of the character—an all-powerful spirit tasked with avenging the murdered dead by heaven.
It also deals quite a bit with the cosmology of mythology of the DC Universe, an almost unique setting whose Heaven, Hell, afterlife and the beings that populate such places have been gradually built up over the course of, by the 1990s, some 50 years of stories by dozens of creators. (I say "almost unique" because the Marvel Universe is similar in its gradual construction over time by many hands.)
And the visuals are uniformly spectacular, given the title character's limitless powers and previously established habit of transforming his body and/or his victims to deliver ironic punishments.
The book collects the first half of Ostrander and Mandrake's Spectre series, which means 32 individual comic books, the first 31 issues of the series and August of 1994's #0 issue, which fell between issue's #22 and #23. Remarkably, Mandrake pencils and inks almost all of them himself, and he also provides seven of the covers which, more often than not, are provided by a who's who of artists (Among those collected here are covers from Simon Bisley, Dan Brereton, Glenn Fabry, Michael Wm. Kaluta, Alex Ross, Charles Vess and Matt Wagner and others...Joe DeVito's is a particular favorite of mine, for the obvious reason).
There are a handful of fill-in artists, though, the most noteworthy being pencil artist Jim Aparo, an artist who has drawn plenty of Spectre comics before, who is here being inked by none other than Kelley Jones. It's an incredible pairing that really needs to be seen to be believed, and a perfect treat for Batman fans who may, like me, find themselves lingering over each panel and parsing which artist drew which line (I thought this pairing of artists with incredibly disparate styles similar to the comics in which Bill Sienkiewicz inked Aparo that same decade, examples of which Mike Sterling posted on his blog a while back).
Justice League: The Atom Project (DC Comics) I went back and forth with myself a bit over whether or not I should even write about this book, given just how bad it is. At this point in my life (and in my comics-writing-about "career"), I'd really prefer to focus on good comics, suggesting things I think readers might enjoy, rather than on bad comics, and warning potential readers away from them.
And I would certainly warn you against reading this; it is easily the worst comic book I've read in recent memory. Not just poorly conceived or somewhat problematic in its plotting, not simply lacking here or there. Rather, I found every single page hard to force myself through, and the overall package careless in its production.
At various points I found myself marveling that a professional editor approved of the work that was turned in, and that any publisher would go ahead and publish it, let alone DC Comics, one of the two biggest names in superhero comics and one of the biggest forces in the North American comic book direct market.
This is mostly the fault of the art, and perhaps I shouldn't have bothered reading it at all given what I saw on the cover, or during a quick flip-through, as it certainly didn't look good (You may note that Captain Atom is off-model on the cover that DC chose to use for the trade paperback collection; the artist or colorist forgot to include his gloves and boots).
But I thought Justice League Unlimited Vol. 1 was if not really a great comic, a well-made one with an interesting premise, and so I was interested in seeing how its spin-offs might use that premise to tell different stories.
Mike Perkins is responsible for the art on the book. Chances are you have encountered the British artist's work before, as he's been professionally making comics for over 30 years now, for 2000 AD, Caliber, CrossGen, Marvel and DC. Reviewing his bibliography, I imagine he's now best known for his work on Captain America, as he was drawing portions of Ed Brubaker's seminal run (along with artist Steve Epting).
I've read some of his past work, but I don't recall it being...like this. In The Atom Project, Perkins doesn't merely rely on photo reference for his art, but he seems to incorporate it into his art, ala Greg Land. So, every single panel appears to be a photograph imported into a computer program and manipulated, with, say, superhero costumes drawn over the source images. The backgrounds—settings, cars, rubble, even background figures—don't seem so much manipulated as simply dropped in, a form of visual "sampling", I guess.
The result is a comic book that looks like a rather rushed, extremely careless photo-collage, rather than something a human being might have drawn with their hands.
Had Perkins been exacting in his reference/source material, then I think his work here—colored by Adriano Lucas—might have worked better, but there's no consistency in the imagery at all. The main character, The Atom Ray Palmer, might look like Matthew Smith's Doctor Who in one panel and like Hugh Grant on the next page. I swear I saw Bill Pullman in The Atom's costume at one point. Basically, as photorealistic as the art might be, it's completely fluid. Ray Palmer is a white guy with brown hair; every other characteristic about his face differs panel to panel (The same goes for the other major character, The Atom Ryan Choi, who usually looks like a younger Asian man with black hair...but his face changes panel to panel too).
Now, the pages are broken into panels and one can read those panels and the dialogue balloons and narration boxes as sequential art is usually read, but the individual pictures in those panels? They're just barely sequential, and if it weren't for the colorist and the fact that superheroes wear such distinct costumes, it would be impossible one wouldn't be able to read it in the way one normally does comics art at all.
The script is written by Ryan Parrott and John Ridley, and the book's premise is rather odd. This seems to be a six-issue miniseries specifically commissioned to resolve a dangling plotline from Mark Waid's earlier Absolute Power event series—specifically, that when the superheroes got their stolen super-powers back, the proper powers didn't always end up with the proper person—but then, that plot point was sort of tacked on to Absolute Power's ending, as if Waid had written it just to set up a follow-up like this one (That is, the plot point wasn't left dangling, but a dangling plot point was grafted on).
It is, as we have previously seen in the pages of Justice League Unlimited, up to The Atom Ray Palmer and his one-time successor-turned-colleague The Atom Ryan Choi, a pair of super-scientists, to solve the problem and make sure that the right people end up with the right powers.
In this series, it doesn't go at all as smoothly as it did in JLU, though. In the second issue of that series, we see The Atoms restore Atom-Smasher Albert Rothstein's lost powers to him in the space of a few panels, and though he complains about the process being excruciating, it seems to work. But in The Atom Project, Al in being kept in a cell on the Watchtower by The Atoms, and he's seriously deformed, his size-changing abilities resulting in a hideously over-grown right arm and an Elephant Man-like head.
Parrott and Ridley divide the story into two timelines and jump back and forth between the two throughout. One is set in the present, wherein The Atoms are hunting Captain Atom, as is the U.S. Air Force and, eventually, a third party. In the other timeline, set in past, we see what led to the conflict between the heroes.
The split timeline isn't necessary, of course, but it does allow for the sort of in media res opening that comic books have long been fond of, and it help keeps one interested, perhaps even invested, in the first half or so of the story.
The book opens with a conversation between two unseen characters, their dialogue appearing in two sets of narration boxes, one red and one blue, as they comment on the action, which involves Nathaniel Adam on the run from the military, eventually being confronted by Palmer, who floats down from the sky somehow, as if he could maybe fly now...?
One might assume that the two speakers are Palmer and Choi, given what we know about The Atom Project from JLU, what we see on the cover of the trade, and the fact that both characters used to wear red-and-blue costumes. But it is not them. The actual identity of the speakers won't be revealed until issue #5; during the first 100 or so pages, the mysterious voiceovers will come and go and are often accompanied by the presence of a weird-looking, sometimes green-ish fly.
Here is what is happening. Captain Atom never regained his powers back at the end of Absolute Power and has turned to The Atoms on the Watchtower for help (The Watchtower is here eerily dark and devoid of other heroes. While scenes set there in JLU and Titans showed backgrounds full of cameoing DC heroes going about their business, here the only hero we see aside from Captain Atom and The Atoms is Dr. Light. Ray talks to an off-panel Red Tornado at various points and, in the very last issue, The Question and Mister Terrific put in appearances, but throughout a majority of the series, it's just Atom, The Atoms and their human lab rats).
Meanwhile, The Atoms have been tracking down various civilians who have gained stray super-powers, apparently as a result of the events of Absolute Power, although the exact mechanics of all this aren't really clear (Palmer and Choi refer to "meta-energy" a few times, and even though we know the origins of the powers of every hero in the DCU is more or less unique, here they are treated as if they are all, at their root, the same thing. That's fine; a degree of hand-waving is likely necessary. I mean, the way Amanda Waller stole all the powers in the first place was via Amazo technology, so we're talking about Silver Age comic book science from 1960 here).
I suppose I should here note that neither Atom much looks like they originally did upon their comic book introductions, nor like they have traditionally been drawn. Gone is the dynamite red and blue costume that Gil Kane designed for Palmer, and the pretty-much-the-same version of it that Choi wore.
Now Ray wears a black version of that costume with red boots and gloves, and a white layer over his torso. He's also got shoulder pads for some reason. It's not as good as his original costume but, as Dan Mora drew it in the pages of JLU, it didn't look that bad...I mean, it wasn't as bad as The Flash's new costume, at least.
Choi, meanwhile, wears a costume that seems to be inspired by the goofy armor-like one the CW gave Brandon Routh in the "Arrowverse" TV shows, complete with shoulder pads, a helmet and visor. It's mostly blue and black.
These costumes are not Perkins' fault, at least, not as far as I know; the characters showed up dressed like that in the Mora-drawn JLU first.
The Atoms perform painful experiments on Captain Atom, trying to restore his powers, while presiding over cells full of maybe a dozen or so other civilians who have gained unwanted powers, civilians they hope to remove the powers from. Oh, and poor, deformed Atom-Smasher.
Eventually, they track down Cap's missing powers, restore them, and then Captain Atom develops or discovers a new ability, I guess. Somehow, he is able to "take" powers from others the way that an Amazo robot can and add it to his own power set. Later we will see that he is then able to gift copies of those superpowers to others.
And so, Captain Atom becomes something of a superpower battery/superhero factory, able to grant powers to others at command.
And General Wade Eiling, who is apparently no longer in a shaven Shaggy Man body and is back to being an Air Force general does so command (I suppose one benefit of DC doing something like a half-dozen continuity reboots in a decade or so means that nobody knows what actually "happened" before, and so writers are free to ignore any developments they like when using many characters). He tells Cap to bestow super-powers to various Airmen serving under Eiling, which he does, since he feels compelled to follow orders (I guess Captain Atom is still an active miliary man? The writers nod in the direction of this weirdness by having Captain Atom tell Choi, "My status has always been a bit...fuzzy.")
Obviously feeling conflicted about cranking out super-soldiers for Eiling, Captain Atom goes on the run...and The Atoms team-up with the U.S. military to capture him, so that he can keep making them super-soldiers. This, needless to say, seems a little...fraught, and the sort of thing one might imagine someone else in the Justice League might have something to say about (Again, though, I don't know if we're meant to remember Eiling's actions from, say, Grant Morrison and company's JLA run. But still! One might think Superman, Batman or Wonder Woman would maybe want to have a meeting about giving the U.S. a bunch of super-soldiers).
Eventually, Eiling calls in Major Force and, to complicate things further, two hooded, cloaked figures from the "super-terrorist" organization Inferno, which was introduced in JLU, also show up to take Captain Atom for their own purposes.
Great lengths are taken to keep these hooded figures' identities hidden for a bit, to the point of being a little silly. The one with pink hands wearing a yellow ring on his finger, for example? He doesn't use his normal powers, which would reveal his identity; instead, the pair seem to use high-tech forcefields and weaponry, even when they're trying to kill their foes.
Okay, I am now going to spoil the identity of Inferno, which was previously revealed on the last page of the Justice League Unlimited Vol. 1: Into the Inferno trade (and thus I think I spoiled it previously on here), so stop reading if you haven't yet read that book and want to be surprised.
Inferno is actually just The Legion of Doom...but! In a twist, they are a Legion of Doom from the past, specifically from when Waid's Batman/Superman: World's Finest series is set (So, the pre-Crisis 1980s, our time). (They also, incidentally, include a new villainess I didn't recognize. Her name is used once, and when I looked her up later, I learned she is apparently a new character.)
The time travel doesn't really come up here, though. The two cloaked figures, and the two voices that we heard talking about Captain Atom in the very first scene of the series? They were Lex Luthor and Sinestro.
With help from Choi, Captain Atom battles his way out of The Legion's clutches (and then the villains and their headquarters relocate, as detailing the real fight with them is actually taking place in the pages of JLU, I'm not entirely sure why they are in this series at all) and Palmer belatedly decides to stand up to Eiling regarding the manufacturing of super-soldiers.
Fortuitously, in the closing pages everyone learns that Captain Atom's newfound ability to grant others super-powers is actually temporary—that is, the powers he gives others soon fade away—resolving the book's core conflict just as suddenly and randomly as it began.
(I should perhaps note that over at Atomic Junk Shop, Greg Burgas said of this book that "It's fine" and "mildly entertaining, but that's it," and that "Perkins does nice work on the art," so perhaps your mileage may vary on how readable the art actually is? Maybe my revulsion to is a Caleb problem more than a Mike Perkins problem?)
Justice League Unlimited/World's Finest: We Are Yesterday (DC) I've been reading Mark Waid and company's Batman/Superman: World's Finest collections by borrowing them from the library. But I bought the first volume of Waid's Justice League Unlimited...and was planning on buying that series in trade going forward. But the second and next JLU trade is actually a crossover with World's Finest, which meant I had to decide whether to borrow it, as I do with World's Finest, or buy it, as I had with Justice League Unlimited.
As I am always leaning towards not spending money rather than spending it, I opted to borrow this, so I guess I'm done buying JLU in trade already...? You just lost a trade sale, DC!
As to why these two books are crossing over at all, other than the fact that Waid writes both of 'em, I'm not entirely sure. Given that they are set in two different time periods, with World's Finest seemingly set somewhere in the early 1980s/late Bronze Age and JLU set in the present, it's not a terribly natural crossover, and thus necessitates a time travel element.
Now the mysterious "super-terrorist" organization Inferno, which vexed the new iteration of Justice League throughout the first volume of JLU (and part of the Justice League: The Atom Project miniseries), were revealed at the end of that volume to be a Gorilla Grodd-led iteration of The Legion of Doom. As we learn, though, this Legion isn't a modern one, but one from the past.
Why? I don't know. It's possible Waid went that route because it makes the involvement of the heroes of World's Finest, past versions of Superman, Batman and Robin Dick Grayson, relevant, and that choice was therefore made specifically to allow for this crossover.
The in-story reason, though, is articulated by the present-day Grodd in this trade as he considers a plan to take on the new army of superheroes that make up the League:
Alas, those who once formed our "Legion of Doom"--Luthor, Joker, Manta, others--are equally useless to me.
Some have reformed. Some have degraded. Still others are now too psychotic to be allies.
I'd need evil in its prime.
This will lead to a plan that he forms in the first JLU issue included, and the second chapter of this trade.
But first, the past! In this first chapter, set in the time of World's Finest, Waid and artist Clayton Henry has the title team, Flash Barry Allen and a ring-less Hal Jordan (There's a funny moment in which Bruce Wayne learns that Hal doesn't wear his power ring when piloting) thwart an attempt by Grodd to take over Gorilla City. It has nothing to do with "We Are Yesterday" really, but serves as a decent prologue, and one that introduces Grodd and his basic deal to anyone who might be unfamiliar.
In the Travis Moore-drawn present of the second chapter, at which point Waid is joined by co-writer Christopher Cantwell for the rest of the proceedings, Grodd comes into possession of some of Martian Manhunter's free-floating mental powers, boosting his own (This follows a weird plot point in Waid's own Absolute Power, wherein superpowers stolen by Amazon robots are lost or swapped). This gives the super-gorilla a little rainbow-colored, butterfly-shaped crystalline-looking tiara for some reason.
He then manipulates young Leaguer Airwave into thinking the League is bad, spying on them for him and, ultimately, allowing him to travel back in time to the pages of World's Finest to gather the Legion from that time and bring them back to the present, where, armed with "time guns", they will storm the Watchtower satellite in pursuit of a power source introduced in All In, one capable of transforming Gorilla Grodd into the Gorilla God.
No, seriously, he says that:
Then we get an issue of Dan McDaid drawing Grodd's recruitment of the past Legion and their attempts to siphon energy from various time travel devices, leading them to battle with World's Finest's Superman, Batman, Robin, Green Lantern Hal Jordan, The Flash, The Atom and Plastic Man.
(I suppose we should here pause to consider this Legion. It's...not one that I am sure actually ever existed back then but do correct me if I'm wrong. It's basically that from the Challenge of the Super Friends cartoon, the "Banded together from remote galaxies are thirteen of the most sinister villains of all time" Legion, minus Brainiac, Giganta, The Riddler, Solomon Grundy and Toyman, and with The Joker and a new, original character added. I'm not 100% on why the line-up is smaller than that of the cartoon that inspired the team, but perhaps the cartoon line-up was just too many characters to juggle? Which is ironic, given how many characters are on this version of the League, I guess).
At one point, the World's Finest of World's Finest get flip-flopped in time with their modern-day selves, so that the younger versions of the heroes stumble into the present-day DCU (and fight similarly time-travelling villains), the older versions get lost in the timestream and, at the climax, Airwave uses his powers to summon an army of heroes from various timelines to fight the Legion in the defeated League's stead.
And here we get the likes of '90s Aquaman, Batman Beyond's Batman, The Terrifics, New 52 Harley Quinn, "Zero Year" Batman and "Year One" Barry Allen, among others. And then the League returns. And there's a big, huge fight with tons of characters, all drawn, in this final issue/chapter, by Dan Mora.
In the end, the heroes win and the villains lose, as one might assume, but there seem to be some interesting repercussions, as Superman tells the time-lost heroes like Jonah Hex, Ultra the Multi-Alien and company that they seem to be stuck in the present and, on the last page, two cosmic beings discuss how time in "this universe" is coming to an end.
Perhaps that was the reason for including time-travelling villains from the past rather than the modern villains, then, to add to the screwing-around-with-time element enough to signal a major crisis...?
In addition to Waid's titles, some of this will surely come into play in the upcoming event series DC KO, as the copy of the trade I have sitting in front of me right now, unlike the image above taken from Amazon, has the words "The Road To DC KO" on the cover near Luthor's fingertips.
While both World's Finest and Justice League Unlimited might seem like toybox comics, allowing Waid to play with characters from two distinct eras of DC Comics publishing history, this particular crossover storyline multiplies that element by a factor of ten, so that, by the end, there's an avalanche of DC IP on the page.
It's a pretty chaotic story arc, and I confess I have already lost track of some of the players, but it's a fun kind of chaotic, and there are few creators better suited to playing with DC toys like this than Waid and, in the last chapter anyway, Mora.
Let This One Be a Devil (Dark Horse Books) I have read a lot of the prolific writer James Tynion IV's DC super-comics work, which I always found to be good-enough if unremarkable. Because of that, I never felt moved to check out any of his other creator-owned work, but I have been excited about his recent works on the outré like 2023's Blue Book (about the 1961 Betty and Barney Hill UFO abduction saga), 2025's True Weird anthology (some stories of which were back-ups from Blue Book), and now Let This One Be a Devil, which, if you know much of anything about the Jersey Devil, is obviously about one of America's most famous monsters.
As a long-time comics reader who is also interested in cryptozoology and monster folklore, a series about the Jersey Devil is one of those occasional works that I feel was made just for me. Quite coincidentally, I had just finished James McCloy and Ray Miller Jr's The Jersey Devil (Blue River Press, 2016), a slim volume recounting much of the lore of the monster, last week, so when Let This One Be a Devil showed up at the library, I was pretty primed for it.
For this book, which was originally a four-issue miniseries, Tynion is working with co-writer Steve Foxe and artist Piotr Kowalski. I'm not familiar with the previous work of either, but Kowalski is certainly a revelation. His style is highly realistic; his panels filled with lots of ink in the form of delicate linework. It's quite well-suited to the book, most of which takes place in 1909, the year of the biggest flap of Devil sightings, although there are plenty of flashbacks (and one flash-forward).
Interestingly, Let This One... is both an original drama involving The Jersey Devil and an overview of the phenomena, a blend of fact, fact-with-a-question-mark and fiction. The book therefore tells a story of the Jersey Devil as well as the story of the Jersey Devil, the two narratives briefly intersecting in a ten-panel climax that reads as somewhat mystical and somewhat metafictional.
As for the original story, bespectacled, highly educated young man Henry Naughton has moved back home to a farmhouse on the edge of New Jersey's Pine Barrens, intent on helping his recently widowed mother. His hard-working 15-year-old brother, who is taking his father's place at the factory, is resentful of Henry. This dynamic is highlighted when the farm gets an unusual visitor one night: A winged, goat-headed creature raiding their chicken coop.
This is the "main" Jersey Devil of the book. Kowalski's design for it is fairly far removed from most newspaper reports of the creature from the early 20th century, but it still incorporates elements of some sightings, so this devil is at least a plausible source for many of them. It's also quite a deal scarier (If, perhaps, not as scary as the carnivorous goat monster that artist Max Fiumara drew on the cover above).
Essentially humanoid in shape, Kowalski's Devil has the head of a goat with long, curling horns, hooved legs, a large pair of bat-like wings and a long, rat-like tail. He will draw many other Devils throughout the book, as whenever Henry hears a story of the Devil, Kowalski will draw that story's version of the Devil in the panel illustrating the story, so we also see Devils that look a little like large owl with horns and red eyes, or a dragon, or a smaller, less menacing winged goat man.
In town, Henry finds a newsboy hawking papers with a story of the devil (leading to a flashback of its 18th century birth, which is of course where the title comes from) and consults an amateur historian, who, hearing about the "hoofprints in the snow", has laid out a bunch of Jersey Devil material on a desk, just waiting for someone to ask him about them.
This leads to a section on the Leeds family, the controversial almanacs of Daniel Leeds and Benjamin Franklin's weird feud with Titan Leeds, and some of the most famous historical Devil sightings, like that of Joseph Bonaparte (brother of Napoleon).
It's a tightly written eight pages or so but seems to cover the bases fairly well. Reading this bit, I was curious if Tynion and Foxe had read Brian Regal and Frank J. Esposito's The Secret History of The Jersey Devil: How Quakers, Hucksters, and Benjamin Franklin Created a Monster (John Hopkins University Press; 2019), as that book spends quite a bit of time on 18th century politics and almanacs, and the association of the Leeds family name with devils. (If you want to read more about the Jersey Devil, by the way, this is the first book I would recommend; it's about as thorough and definitive a work on the subject as one can imagine).
Later, we will check in on a dime museum in Philadelphia, where unscrupulous men are exhibiting the Jersey Devil...which is really a rented kangaroo, wearing something of a devil costume and kept in a dark enough cage that a gullible visitor might mistake it for something fantastic (Here Kowalski does a fine job of showing us the creature as visitors might have seen it, in a shape not unlike the "real" Devil that Henry saw at the chicken coop, and then revealing it for what it is).
As the book reaches its climax, young Roy and his friends take up rifles to hunt the Devil at night, against the advice of a man we see telling a crowd not to, as they are more likely to shoot one another in the dark than to bag a monster, and Henry rushes out in an attempt to save his brother.
This leads to that climax I referred to earlier, and a woods that is at once full of devils, and also completely free of devils...and then a little coda, wherein we return to the/a story of the Devil, a story that lives on as a story, regardless of what the Naughton boys (or anyone else) might actually think.
I liked this book a lot, and I hope Tynion continues to make comics on Fortean subjects and with such interesting creators. Especially comics about cryptids, although there is probably no monster as woven into American history and the American psyche than the Jersey Devil, not even Bigfoot, really.
REVIEWED:
Angelica and The Bear Prince (RH Graphic) In his afterword, cartoonist Trung Le Nguyen explains that he wanted his follow-up to his (masterful) The Magic Fish (which I reviewed here) to be less personal and less emotionally heavy, given that he now knew he would have to be talking about his work, like, constantly.
That likely explains why much of Nguyen's second book, despite still having a teenage child of immigrants for a protagonist and still having fairy tale inspiration, feels so much lighter and fluffier, and even has at least one dumb coincidence (There's a point where the characters are distressed by a particular turn of events, despite the fact that we have already been introduced to a particular character whose hobby is fixing the exact sort of problem before them, which I realized immediately, but it takes them some time to remember, apparently).
In fact, aspects of the book reminded me a bit of a Hallmark holiday romance, only with a teenage couple at the center of the narrative (Perhaps it's more typical of YA romance, although I wouldn't know, as I've never read any prose YA romance). Still, as Nguyen himself admits, he failed at the vapidity he was striving for, and the book ends up tackling some tougher subjects, particularly grief and mourning.
It's also noteworthy for its representation, I think, with an Asian lead, a popular best friend who is of a bigger build than such characters usually are and, I think, a trans character in a major role...although that character is presented in such a they-just-so-happen-to-be-trans way that there's only a single line that makes me think they are supposed to be (the character mentions choosing their name), so do correct me if I'm wrong.
Anyway, it's a very good comic, and, like all of Nguyen's work I've seen so far (he's also done some superhero stuff for the Big Two between books), it's gorgeously drawn. More here.
Go-Man: Champion of Earth (Union Square Kids) Cartoonist Hamish Steele's new graphic novel series is a mélange of various bits of Japanese pop culture: Ultraman, giant monster movies like Godzilla and Gamera, Super Sentai, giant robot anime, there's even a bit of Astro Boy and Sailor Moon, the last as a magical girl cartoon that exists within the world of Go-Man. Despite the many and varied influences, Steele blends them all well, presenting a perfectly cohesive and original whole. I liked it a lot and I look forward to the second volume. More here.
English (US) · 