42.13: Chew (Volume 6): Space Cakes, by John Layman (author) and Rob Guillory (artist) (2012 trade paperback, issues 26-30)

For sheer entertainment and crazy, intelligent fun, this comic is unmatchable. I've laid out the premise in earlier reviews (Volume 3 and 4/5, and I'll simply say that this volume--focusing on Tony's sister Toni--is more of the same quality. Without giving more away, I will say that this story arc concludes in a pretty grisly and sad way, but it doesn't make me want to stop reading, Instead, I look forward to seeing how Layman and Guillory spin off from here into a new landscape both serious and comical.

41.13: Locke and Key (Volume 5): Clockworks, by Joe Hill (author) and Gabriel Rodriguez (artist) (2012 Trade hardcover, issues 1-6)

This is one of the most unsettling comics I read. The Walking Dead has zombies and The House of Mystery has surreal and dangerous characters, but the seemingly normal backdrop on which the magical premise of this series--a Keyhouse, with keys that unlock magical powers only for for children--is set, can prove both comforting and disturbing. Volume 5 takes readers further into the world accessible through the keys, as the Locke children confront their nemesis by venturing into the past with the Timeshift Key. This key allows them to see the history of the keys, including the role they played in their  father (deceased) and uncle's lives. Since all memory of such magic is erased once children leave the house and enter adulthood, these stories have been lost between generations, and Tyler and Kinsey's knowledge of their past use may offer the best hope for their own futures, and that of their little brother Bode.

When I picked up this trade, the clerk at the comic shop said something about the end of the series. I truly hope he was mistaken--or that we have at least one more story arc to come--as it's hard to imagine this world concluding at this point of the narrative. Stay tuned... 

27:13: To the Power Against, by Carrie Smith and Stephanie Lantry (2012 trade paperback)

Catalina Jones--a probabilistic risk assessor--finds herself in improbable situations after an unlikely accident involving a microwavable burrito and a graviton missile. To combat the chaos she creates everywhere she goes, she develops an intervention system using complex mathematic equations. It's a great indie comic, where the female protagonist depends on brains rather than beauty, with amusing plot twists, fun science, and threatening men in black suits thrown in.

26:13: Jennifer Blood: A Woman's Work is Never Done (issues 1-6), by Gart Ennis (2012 Trade paperback)

A satirical, violent comic about a woman who is a wholesome suburban housewife by day and a sexy assassin avenging her parents by night--after drugging her husband and children and getting them in bed. Ennis's dark humor and some good artwork, shared by three artists across 6 issues, pull it off in a way that few could. I'll be curious to see what happens with the art in future volumes, hoping they will settle on a consistent look.

20-22.13: We Find Ourselves, A Larger World, and Something to Fear (Walking Dead Volumes 15-17), by Robert Kirkman, Charlie Adlard, and Cliff Rathburn (v 15 and 16 ComiXology digital versions; v 17 2012 trade paperback)

Many folks are familiar with The Walking Dead television show that debuted on AMC in the fall of 2010 with a short 6-episode season that has been renewed for two longer seasons since then. A portion of those viewers may know that the show is actually based on this graphic novel series, but I'm guessing that even fewer of those people have actually read the comics. I'm on the other end of the spectrum: a long-time reader of the comics that has not yet watched the TV show. It's in my sights, and I've recently set our DVR to record episodes that play, but I am still resistant of watching the TV show. Like most book-to-movie leaps, it has the danger of being disappointing: characters who aren't the way I imagined, changed plot lines, and too much focus on different elements. 

And, quite frankly, I'm pretty happy with the way The Walking Dead comic series has developed. Sure, a lot of folks may dismiss it as just another of many things written about zombies, but it might be worth pointing out that the book really isn't about zombies: it's about humans managing to live in a world where zombies exist, and that's not a very easy thing to do. As a  result, the characters developed in this series are interesting, resourceful, violent, and loving. Sure, I can get all metaphorical about the idea that all of us face zombies of some sort at some point of our life--and many are unfortunate enough to face off against monstrous things for long periods of time. But, you, my readers, are intelligent humans and know this already. 

By this point in time, the series is well underway, and volume 17 passes the magical 100-issue mark. I have reviews of a couple earlier trades posted here and here, but I was already on to volume 13 by the time I started this blog. You're simply going to have to trust me on the fact that this series is worth the time and effort involved. Plus, you won't have to wait between issues and trades if you do start now: you have an entire 102 issues to enjoy. Unless you're afraid, of course.

18-19.13: Endangered Species and Unnatural Habitats (Sweet Tooth, Volumes 4 and 5), by Jeff Lemire (2012 trade paperbacks)

A little over a year ago, I wrote a relatively sheepish review of the previous two volumes of this comic, confessing that I was a bit embarrassed that it was in my repertoire. However, after catching up on the two most recent trades, I have a hard time understanding my own feelings at the time. This is, in truth, a beautifully conceived story, with a diverse array of well-developed characters and remarkable art. The themes of human endurance, childhood resilience, and reinventing oneself are thoughtfully explored. So what if there are hybrid animal-human children? They simply represent the parts of all of us that we hide from others.

Gus and his hybrid cohort don't have that luxury of hiding what is different about then, but as the series continues, it becomes apparent that that might be preferable. After all, it makes it pretty clear from the start just what kind of folks Gus and his friends--human and hybrid--are dealing with when they encounter new people. In Volume 4, the group of five human adults and three hybrid kids heads north to Alaska, rumored to be the origin of the sickness that is killing all humans and creating hybrid children. Along the way, they encounter potential allies and are tempted to give up their quest. In volume 5, Lemire explores the early history of the sickness and more recent history of several of the characters, furthering our connection to the plot and its people. Like most comics both written and drawn by the same person, there is a unity and continuity here that is hard to match in collaborative projects. The premise seems far-reaching and has lots of room to grow, and I, for one, will follow it until the end.      

16-17.13: Free States Rising and The Five Nations of New York (Volumes 11 and 12 of DMZ), by Brian Wood and Riccardo Burchielli (2012 trade paperbacks)

Before reading this review, take a minute to read my review of the previous two trades, available at this link. As I explain there, this comic is one I really love, even though a war comic--depicting a second American Civil War taking place in the years after 9/11--doesn't really seem to be my cup of tea. However, Wood's excellent storytelling and Burchielli's gritty and intense artwork create a compelling and thought-provoking alternate reality, in a genre appropriately labeled "poli-fi" by the author of volume 12's introduction.

Volume 11 opens with Wood taking us back to the events that led up to the civil war, filling in some details I had always wondered about. Journalist Matty Roth is reunited with some old friends in the second half of the trade, and rumors of peace and a truce are flourishing. In Volume 12, Matty actively works to see those rumors come to fruition, tying together many storylines we've encountered throughout the 72-issue run. Sadly enough, volume 12 also marks the conclusion of this series. It's always disappointing to see the end of a good comic, but I also appreciate authors who have a sense of story and know when theirs has run its course. I'll be watching out for Wood's next project, and I look forward to dinging out what unexpected places he draws me into next.

13-15.13: Leviathan, On to Genesis, and Tommy Taylor and the War of Words (The Unwritten Volumes 4, 5, and 6), by Mike Carey, Peter Gross, and Vince Locke (2011, 2012, and 2012 trade paperbacks)

Vertigo is one of my favorite comic publishers, so I often check out their booth at Comic Con or scan the spines of trades at comic book stores in search of their logo. They generally publish smart comics with excellent stories and art work, and The Unwritten is a good example of what I can expect from their label. I started reading this series early in its inception, but I fell a bit behind after volume three. It was nice to have the time to get caught up again by immersing myself in trades four through six over the winter break.

I've written reviews of trades two (click here for link) and three (here) in earlier years: my review of trade two is pretty brief, but trade three does a pretty good job filling in the premise, so it's worth reading before continuing. As the saga continues, Tom Taylor and his friends Lizzie and Ricki continue their quest to escape the Cabal--an organization set on controlling and gaining power from the written word--and understand the ways in which Tom is able to tap into that power to enter and create stories himself. Volume four brings an interesting cross-section of stories featuring whales, providing the opportunity for Ahab, Job, Sinbad, and others to meet an interact. Volume five delves into the golden age of comic books to answers to Tom's past--making use of several pulp genres to tell individual tales in single issues. And, in volume six, Tom uncovers enough of his past to take the fight directly to the cabal. What he'll do with what he learns remains to be seen.

All in all, The Unwritten is a great comic for lovers of story and myth and believers in the power of words. If you haven't yet started the series, I highly encourage you to do so. 

9-12.13: Welcome to Lovecraft, Head Games, Crown of Shadows, and Keys to the Kingdom (Locke & Key Volumes 1-4), by Joe Hill and Gabriel Rodriguez (2008, 2009, 2010, and 2011 trade hardcovers)

I picked up the first trade of Locke & Key at one of the first two Comic Cons I attended. Like a lot of my early comics, I started it because my sister Sarah recommended it. I remember finding the series interesting, and I read the first two volumes relatively quickly, but as I picked up more and more comics of my own, this one got side tracked a bit. However, at Comic Con 2012 I encountered Joe Hill, author of the series, when I attended a panel he sat on with Margaret Atwood (my favorite author of all time). I found him funny and interesting, so I decided to attend the panel he and Gabriel Rodroguez were holding and reacquaint myself with Locke and Key. Seeing the dynamic relationship and enthusiasm the pair had for the series--as well as how much the attendees admired the series--resparked my interest in reading it. Just after Christmas, I received a big box of comics I had ordered from Amazon, and volumes 3 and 4 were among them. Since it has been some time since I read the first two volumes, I decided to begin anew and read the series from the beginning.

Locke & Key is a horror comic that tells the story of a family beset by tragedy, beginning with the death of the male head of household. The first volume of the comic sets the premise, wherein a mother and her three children move to the east coast to live in a huge old house, full of mysteries. The mysteries relate to a collection of keys hidden throughout the house that open doors in unexpected ways. For instance, the first key young Bode finds and uses opens the Ghost Door: pass through it, and your ghost leaves your body and can travel unseen just about anywhere; return through the door and into your body. Each volume of the series focuses on a different key, woven within an overall story of magic, horror, violence, intrigue, and everyday life. The tale is extremely well told, and the premise that adults are unable to see and/or accept as real any of the magic created by the keys raises questions about imagination, age, and the line between real and imagined. Rodrigiez's art is beautifully detailed, providing a believable setting for improbable events. I'm happy I reconnected with Locke and Key, and I recommend it to mystery and horror enthusiasts.

8.13: Mouse Guard: Winter 1152, by David Petersen (2009 hardcover)

My sister Sarah introduced me to Mouse Guard at the 2008 Comic Con, when she insisted we visit David Petersen in Artist Alley. I'm happy for her commitment as well, since the Mouse Guard series is one of the most charming and beautifully illustrated comics that I read. We've stopped to see David at every Con we have attended, and he's a nice guy with wonderful stories and products; you can often see me sporting a Mouse Guard t-shirt in my leisure time, and there is a board game for those who might be interested.

Petersen is both author and artist of Mouse Guard, and this goes a long way toward explaining the tightly-interwoven plot and complimentary artwork. Additional strengths are the regular use of songs, legends, and literature created for the mouse world, giving it a rich history and cultural depth. Of all the comic series I read, it's also the only one I would recommend as being suitable for all ages: young kids will love the detailed mouse, weasel, rabbit, bat, and bird characters that populate this world; older readers will further enjoy the tales of struggle and heroicism that the Mouse Guard--a middle-ages-style military force that keeps its citizens safe from external predators and internal intrigue--documents within these seasonal collections. There are two larger collections (Autumn and Winter), as well as two shorter collections of spin-off story lines; all will charm and entertain you.  

5 and 6.13: Conception and Desolation (House of Mysteries, Volume 7/issues 31-35 and Volume 8/issues 38-42), by Matthew Sturges, Luca Rossi, and Werther Dell'Edra/Jose Marzan, Jr. (2011/2012 trade paperbacks)

Every time I pick up a new trade of this series, I consider going back to the beginning to read it again--perhaps a bit more carefully. It's complex plot and large cast of characters make it challenging to keep track of of what's happening. When getting screenshots of the cover photos from Amazon to make this entry, I found that my feelings are not unique. Customer reviewer Garietta Falls said, "I really liked this series in the beginning, but I am beginning to wonder what the point is. The story, concerning Fig usually, makes large jumps that are hard to follow." In Volume 7, the story quite literally jumps, as the house lifts off its foundation, leaving everyone but Fig and Cain behind. This provides the opportunity--or, as it so often turns out in House of Mystery, the challenge--of following multiple plot lines within what would more usually be a single story arc. In this case, we alternate between Fig and Cain's struggle through a series of increasingly smaller houses that reveal parts of her earlier life; the choices the characters left behind make in order to occupy their time and continue their lives; the efforts of her (estranged, and possibly dead) brother, father, and grandfather to find (and maybe kill?) their sister/daughter/granddaughter; and the origins of the still bizarre and increasingly confusing, creepy couple called the Conception. It's become equal parts confusing and compelling. Another Amazon customer reviewer, Jason Upton, explained, "The story started strong and now feels like there's no plan. It jumps around without following the stories teased out. I'm hoping the next one is better or I'll have to move on." I'm right there with him.
 

In fact, I'm just starting Volume 8 now, so you'll have to wait a short time to see what I conclude!

Update: It looks like Garietta, John, and I were not alone in our struggles to stay engaged in an increasingly pointless plot. Volume 8 of House of Mystery starts out with a typed summary of all seven previous trade collections, hitting on the main points that create a consistent storyline--but leaving a heck of a lot out. When it gets boiled down this way, it easier to see what the underlying premise is. However, it would have been much simpler to keep that idea at the forefront all along rather than cluttering it up with extraneous side plots. As it turns out, I need not worry about whether or not to continue with the series, as Volume 8 appears to be the end. And, while I can't say that it was tied up nice and neatly, at least there was an effort to conclude in come way that made sense of the whole thing. Overall, I wouldn't recommend this series unless you are a diehard horror comic fan, and even then I'd say you may want to stop after trade 3 or 4--when the ideas are still fresh and interesting but haven;t yet become a tangled mess.

3 and 4.13: Flambe and Major League (Chew, Volumes 4 and 5, issues 16-20 and 21-25), by John Layman and Rob Guillory (2011 trade paperbacks)

Without question, this is the funniest comic series that I read. (If you are unfamiliar with it, you can check out the backstory--as well as an explanation of my start as a comic reader--in my review of the third voume of the series at this link.) After my sister Sarah and I laughed our way through a Chew panel featuring Layman and Guillory at the 2013 Comic Con in San Diego, it's clear to see why the absurd plot of this comic works so well: these two guys love what they do and they have fun doing it. While the two did not know each other before the collaboration and conduct their work through text and email for the most part, when chatting and answering questions at the Con, they cracked jokes, finished each others sentences, and let their imaginations run. In addition to a fun session, it was an excellent example of a creative partnership that really works.

In Volume 4 of Chew, Tony and John continue to work cases but are increasingly frustrated that resources are diverted from the FDA to other agencies investigating the flaming letters in the earth's atmosphere. Regardless, they continue to track down poultry abusers everywhere, enduring the dangers of high-school food fights, botched USDA raids (whose agents are comprosed almost 100% of huge-breasted women), and NASA researchers. The fact that the terrorosts dress like mimes and the world is saved by a kick-ass secret-weapon names Poyo are just a few of the hilarities of this volume.

In Volume 5, Tony's boss at the FDA achieves his long-time goal and has Tony transfered out of the agency. As a kilt-wearing traffic cop, Tony may lack prestige, but he impresses his boss and co-workers by solving a robbery case. The glory doesn't last long, though, before he is kidnapped and forced to help his girlfriend's ex achieve his long-time quest of documenting the secret sex lives of baseball stars. Along the way, Tony's daughter Olive is recruited to use her cibopathic powers and John plies his charms with his new (grey-haired and wrinkly but still hugely-endowed) boss at the USDA to get a surprising new partner.

Chew's a fun romp, and one that will be enjoyed by those who both love food and have a strong stomach. Bon appetite! 

2.13: Saga Volume 1 issues 1-6), by Brian K. Vaughan and Fiona Staples (2012 paperback trade)

Brian K. Vaughan is one of my favorite comic authors, perhaps because I encountered his work toward the beginning of my comic-reading career. Two Vaughan series in particular--Y: The Last Man, which follows the life of Yorrick Brown, last man alive after a virus targeting only males attacks the earth; and Runaways, charting the adventures of a group of teens who turn into superheroes after learning that their parents are super villains--top my list of comic favorites. Both series, as well as his Ex Machina series (review here) following Mitchell Hundred, architect-turned-superhero-turned-NYC-mayor by way of a freak accident giving him the ability to talk to machines which he uses to prevent the second twin tower from collapsing on 9/11, have concluded. So, when I learned that Vaughan had another series in progress, I knew I had to add it to my ever-growing list of comics to follow.

Not content to chart the lives of unusual humans in unlikely circumstances, in Saga Vaughan enters another world--or worlds, as the case may be--and introduces the plight of characters of a non-human nature. A never-ending inter-galactic war is taking place, in which beings from two worlds have taken their battle across the galaxy to involve other beings in the fight. In the middle of it are Marko and Alana, lovers from either side of the lines who have taken flight to give birth to Hazel, who has her mother's wings and her father's horns. Lest the precedent be set for cross-species love, the aristocratic caste from Landfall (who sport TV monitors as heads) send an envoy to the destroy the young couple; Freelancers have also been called to assassinate the couple--by none other than Marko's own people, in punishment for his betrayal of their kind.

So, Hazel and her folks clearly have the deck stacked against them from the start. It makes for a fast-paced race across space and time, with a whole cast of incredibly-imaginative species introduced. The first story arc does a good job introducing readers to this new world--enough so that I look forward to future releases with great anticipation.

Note: When adding labels to my post, I realized that Staples is the artist for another comic that I enjoyed. Entitled the Mystery Society (and reviewed here), it had only a 5-issue run. Here's hoping this collaboration lasts longer!

1 and 7.13: American Vampire, Volume 3 (issues 12-18) and Volume 4 (issues 19-27), by Scott Snyder, Rafael Albuquerque, and Sean Murphy/Jordi Bernet (2012 hardcover trades)

These are the third and fourth trades in the American Vampire comic series, so it's a good idea to check out my reviews of the first two volumes at this link if you're interested in the saga's background. (Reviews will be in reverse order, so start at the bottom of the page for the earliest.) Asa I explained earlier, I originally picked up the first trade because Stephen King was involved, but the series continued on (improved) without him in the second volume and continues to build strength in these collections. One other thing I really like about the series is that each trade consists of 7-9 single issues--often comprising two story arcs--which makes the investment in the hardcover releases less daunting. 

Volume 3 begins with a single issue starring Skinner Sweet, the first vampire of the American species, who settles some scores in the old west. From there, we move forward in time to World War II, first with a story arc entitled "Ghost War" starring Pearl (Skinner's first offspring), her husband Henry Preston (of the non-vampiric persuasion), and Skinner Sweet. In this tale, the Japanese are breeding a line of vampires to take on the Allied forces, and Henry and Sweet (posing as a human soldier) are dropped onto the breeding island with a special force to battle the evil military scientists. Of course, as these things go, even if this wasn't Japan, it would be an island, wouldn't it? Where would evil scientists be without islands?  

The second story arc in Volume 3, entitled "Survival of the Fittest," involves the same war and the Axis/vampire alliances, but this time a couple years earlier--and behind the German lines. I mean, if the Japanese are breeding vampires, we must assume that the Nazis have even more diabolical plans. In this case, two agents working for the Vassals of the Morning Star--a secret agency seeking to eliminate vampires--head to Berlin under the premise of supporting the research of Dr. Pavel, rumored to be developing a cure for vampirism. Their cover is easily blown, and the two enter into a fight for their lives--and likely the lies of all of humanity.

Volume 4 includes stories told in three distinct American time periods: the mid to late 19th century, when pre-vampiric Skinner Sweet was a boy; the late 18th century when the west was being explored; and the 1950s, with new music and big cars. Throughout the book, we're introduced to both a Native American and African American vampire, learn Sweet's origins, and meet a rebel-without-a-cause vampire hunter. One of the things I love about this series is the recursive storylines which move forward and back in time to fill in pieces of the stories that have not yet been told. Albuquerque's artwork is amazing as well, creating distinct settings and scenes across the time periods that assist the reader in making shifts in time. This is both a beautiful comic with a complex plot, and one I highly recommend.

45.12: Wide Awake (Fairest Volume 1, issues 1-7), by Bill Willingham and Phil Jimenez (2012 trade paperback)

In 2012, the comic series Fables (reviewed here and here) did a 6-issue story arc featuring Cinderella (review here). Likely based on its popularity, and (I'd hazard) the increasing number of female comics readers, the women of Fables are going it alone. Well, mostly alone.

The first story arc of Fairest features Briar Rose, with male hero Ali Baba, a bottle imp, the Snow Queen, and a cool collection of powerful women deities. The initial premise was actually established in issue 107 of the Fables series (in trade 16), but you don't need to read it to make sense of the story. After all, most of us know Briar Rose and her story from tales of childhood. If not, here's you chance to catch up now and get in on the ground floor of what promises to be a great new series. 

42-43.12: Super Team (Fables Volume 16, issues 100-107) and Inherit the Wind (Fables Volume 17, issues 108-113), by Bill Willingham, Mark Buckingham, Steve Leialoha, and others (2011 and 2012 trade paperbacks)

These are numbers 16 and 17 in the Fables series, so we're far into the plot by this point. I've provided an overview of the premise in my review of trades 14 and 15, so I'd recommend you check it out first (at this link) to get an overview of the series.

Trade sixteen details the efforts of the Fables living in Haven, a temporary escape from enemy Mister Dark, to develop a super team of fighters to battle against evil. Led by the powerful witch Ozma, with advice about Super Hero mythology from Pinocchio, the team begins training for the confrontation, only to have the need cut short by a sacrifice from unexpected corners.The bonus issue in the collection sets up the premise for the first story arc in the new Fairest series--which will focus on the female fables--with the story of Briar Rose. I've recently finished that first trade, so I'll post my review soon.

Trade seventeen focuses on the children of Bigby Wolf and Snow White--the grandchildren of the North Wind. To continue the family tradition of guarding the north, one of the children must be identified as successor, so a series of trials are held to determine which of the young cubs (actually flying children) will prevail. The bonus issue following this story arc involved Beauty, of Beauty and the Beast fame, so I'm guessing that trade two of Fairest will pick the story up as well.

Of all the comics still in process, the Fables series if my favorite, and it's a great one to start off with if you are considering an investigation of modern adult comics.

5 and 6.12: The Fulminate Blade and The End (Jack of Fables Volumes 8 and 9), by Willinham, Sturges, Akins, Fern/Braun, Pepoy (2011 trade paperbacks, issues 41-45 and 46-50)

 It's the end of the road for our hero Jack of Fables, the charming bad-boy featured in a 50 issue spin off of Bill Willingham's fantastic Fables series. I did a relatively lengthy write up for a combined posting of trades 5-7, so you can check out some of the back story there to learn what it's all about.

The raucous tales of Jack--and his son Jack Frost--gallop over these final pages, complete with favorite characters and a few new ones as well. Fare thee well, Jack. See you between the pages of your many fairytales.

101-2.11: Sweet Tooth, Volume 2 "In Captivity" and Volume 3 "Animal Armies," by Jeff Lemire (trade paperbacks, issues 6-11 and 12-17, 2010/11)

 The other day when we were talking about the "value" of different leisure activities--watching TV, reading, playing Xbox, crafts, etc.--my husband Eddie made a disparaging comment about Sweet Tooth. I was a bit offended at first and asked him what he knew about it. He said he had picked up and flipped through one of my trades when it was sitting on the coffee table at my sister's house. It isn't real literature, he suggested, and I suppose he is right to some extent. It's not the type of thing I would likely read in public--unless that public involved a high number of comic readers--so even I must confess to a degree of speculation. The cover pictures themselves likely lead some of you to raise an eyebrow. A boy with antlers? A girl with a pig snout? Yet, here I am writing about the series on my blog, so I'm not THAT embarrassed.

While I wouldn't be willing to take a side defending Sweet Tooth as a great work of literature, it has some significant merits that put it solidly in the literature realm. The plot is interesting and engaging, the characters are complex, and it addresses societal issues in the guise of metaphor. You see, it's not just that these kids have animal features: some folks don't believe they exist; others know and fear them; and still others--the minority--know and love them. It's mainly the parents of the hybrids that fall into the later category, as the women gave birth to these humans with animal characteristics after a plague struck the U.S.--killing the majority of people and sending things into complete disarray in a short period of time. Unfortunately, that same plague usually kills the parents before too long, leaving the kids alone and defenseless against those fighting for survival. From the very start, the antlered Sweet Tooth--so called for his love of candy--is a sympathetic and endearing character; perhaps it's some built-in Bambi reaction, but I want him to make it. It's an up and down struggle, of course, in the world drawn in these books, and I'm sure the battle will continue throughout the series. Along the way, the premise allows for an exploration of bigotry and fear, what it means to be human, and good versus evil (and shades in between). And, Lemire's story and art are both strong enough for me to continue that exploration--despite a shade of embarrassment.

100.11: Term Limits, Ex Machina Volume 10, by Brian K. Vaughan (writer), Tony Harris (artist), and JD Mettier (colors) (2011 trade paperback, issues 45-50, 2009/10)

Two of my favorite comics are Runaways and Y: The Last Man by Brian Vaughan. Actually, I should say were my favorites, as both series were concluded some time ago. Once in a while another writer/artist combo will pick up the Runaways and complete a new story arc, but they are never as good as Vaughan's originals. So, the best I can do to follow Vaughan's current work is Ex Machina. And that's pretty darn good in itself. 

It looks like I haven't reviewed Ex Machina yet on this blog--I'm a bit behind in my comic reading and just catching up--so I'll fill you in on the premise. Mitchell Hundred is an engineer/architect who comes in contact with an otherworldly item in the water, which leaves him with the ability to talk to machines and command them to do his bidding. With the assistance of two friends, he becomes a local NYC hero, rescuing babies and the like. The police consider him a vigilante and try to track him down, but after September 11, 2001, when he uses his abilities to stop the collision and collapse of the second Twin Tower, he becomes a community sensation. Having been raised by an activist mother, he decides to turn his new acclaim to public service and politics, turning celebrity into a position as NYC Mayor. In this position he fights the forces of evil--both political and supernatural--that threaten his people.

In trade 10, NYC Mayor Mitchell Hundred continues to fight the good fight against forces threatening his city--and now the world. In this story arc, a reporter becomes infected with an ability akin to Hundred's, with an evil twist: she can speak to humans and command them to do her bidding. Add the fact that she is acting on behalf of horrible monsters in another dimension who are seeking a gateway to ours, and it's a job for the super mayor. The volume ends with both relief and darkness, and readers are left to consider whether the system is leading Hundred down a path of corruption. And, I suppose it's fitting that Vaughan leaves us there, since issue 50 concludes the series. For first-time readers, that can be a good thing, as you won't have to wait for future issues to come out.

The plot is a bit absurd, but superhero comics require enemies, and they are harder to come by these days. Besides, it's the issues and discussion around the main plot that make this series interesting. Hundred's political rise from nobody to mayor of NYC, and his rumored candidacy for US office, are what make this comic worth reading. Hundred has made his reputation as an Independent, making decisions based on what he sees as best for the people of NYC instead of a specific political agenda. While he backed gay marriage, he rejects the morning-after pill, and he's hard to pin down on most hot-button topics. Additionally, the series is purposely self-conscious, throwing out one-liners about comics all the time. It makes for an interesting blend of politics, current events, and super heroism that's hard to resist.

99.11: Dead Man's Knock, The Unwritten Volume 3, by Mike Carey & Peter Gross (script, story, art), Ryan Kelly (finishes) (2011 trade paperback, issues 13-18)

This is the first blog entry I'm writing on my iPad, using an app called Blogger+. My new plan is to write and upload text whenever/wherever I finish a book (hotel, bed, a coffee shop) and then add the finishing touches (pictures, links, and proofreading) when I am at a desktop computer. Hopefully this will eliminate my habit of allowing finished books to pile up in a to-be-blogged pile, which results in multiple entries posted all at once with long periods between them. And now, on to the real business of this entry:

Like many of the comics I follow, The Unwritten was recommended by my sister Sarah. Since Sarah is a librarian and knows me better than anyone else, her recommendations are a custom fit, so it's no surprise that I enjoy this comic. All comics take some time to develop, though, and it's in this third story arc that I am beginning to feel a real appreciation for The Unwritten. 

The authors of this series are committed to the idea that stories have power--quite literally and magically. The comic's unwilling hero Tommy/Tom Taylor struggles with the legacy his author father left him--first as model for his father's popular boy-wizard book character and now, as an adult, as role model to people around the world (imagine Harry Potter on an even bigger scale), who have a hard time separating real-world Tom from fictional Tommy. Even more importantly, though, Tom faces a struggle against a mysterious Cabal that seeks to undo or influence stories in order to control events in the world. While the premise of words having power is interesting in itself, it's the weaving of literature--classic and popular--throughout that make this series particularly compelling. In a single issue within this trade, there are references to Dickens, The Lord of the Rings, Shakespeare's Henry the Fourth, Fielding, Malory, and the tale of Merlin--heavily dosed with J.K. Rowling, with a mention of the Big Brother and Britain's got talent reality shows thrown in for good measure. In a further creative twist, one issue is printed as a pick-a-story book, in which the reader chooses between options at regular intervals to move between 60 half-page story fragments. Overall, this comic is a true reading pleasure for book and word enthusiasts.