Weekly Round-Up: Comics Released 3/12/15

round up

Look, there are a lot of comics out there. Too many. We can never hope to have in-depth conversations about all of them. But, we sure can round up some of the more noteworthy titles we didn’t get around to from the week. Today, Spencer and Drew discuss Amazing Spider-Man Special 1, Amazing Spider-Man 16, Spider-Gwen 2, Captain Marvel 13, Ms. Marvel 13, All-New X-Men 37, Thor 6, Deadpool 43, New Avengers 31, Guardians Team-Up 2, Southern Cross 1, Bill and Ted’s Most Triumphant Return 1, and Batman Eternal 49.


Spencer: The Inhumans are all over the place lately. With their upcoming movie of course Marvel wants to promote them, and what better way to do so than to team them up with established, popular heroes? That seems to be the strategy behind The Amazing Spider-Man Special 1, a story that finds the Inhumans crossing over with Peter Parker’s Spider-Man, the quintessential Marvel team-up character.

Much of the issue’s focus falls on Peter as he meets the new Inhumans and assists them against a mysterious threat. Spider-Man is an excellent viewpoint character since he’s just as unfamiliar with the Inhumans as many of the issues’ readers must be, and his questions are likely the readers’ as well. With this tight a focus on Peter, its fortunate that writer Jeff Loveness has such a fun handle on the character; Loveness’ Peter is a joke machine, covering everything from puns to Marvel in-jokes with equal aplomb.

Good advice

In fact, this issue is so jam-packed with Peter’s quips and jokes that we can completely understand the older Inhumans’ annoyance with him, but it makes for a breezy, fun story, and that’s enough to bring me back to see how the tale unfolds — plus, I want to see how Sam’s Captain America fits into all of this.

Between the Inhumans and the events of “Spider-Verse,” Peter’s been wrapped up in a lot of larger-than-life stuff lately, and with that in mind, Dan Slott and Christos Gage attempt to bring him back to basics in The Amazing Spider-Man 16. With animal themed villains and secret identity hijinks galore, this is Peter Parker at his most fundamental, but what I find interesting is how determined Peter seems to change his status-quo. It’s refreshing to see Peter take charge of his life, and the corporate espionage elements of this story provide Slott with plenty of opportunities to do what he does best (deal with an expansive cast of supporting characters and develop plots seeded ages ago). There’s a few cheesy lines of dialogue, especially in the Black Cat back-up, and much of the issue is set-up, but I’m interested in seeing how the elements being set-up play out.

Speaking of “expansive supporting casts,” Gwen Stacy’s Spider-Woman has a surprisingly diverse spread of supporting characters for only being on her second issue, and they all play an essential role in Spider-Gwen 2. There’s an intricate web connecting all these characters, but what’s most important is how far removed Gwen is from that web. She’s isolated herself to the point where she hallucinates Spider-Ham just to have someone to talk to, and that isolation isn’t doing her any good as a crime-fighter.


All of Gwen’s opponents have people supporting them, be they henchmen, lawyers, or other police officers, so it’s only fair that she does too. Reaching out to her father is an important first step, but with all the pressure he’s facing, I’m worried he may not be enough help on his own. What’s a Spider-Gwen to do, Drew?

Drew: I have to admit that I think her father might actually be enough, but I’m also struck by just how many people Gwen has pulling for her. Sure, MJ is still sore about Gwen’s departure from the band, but both Glory and Randy clearly have her best interests at heart. As nice as it is to know she has some safety net (you know, besides improvised web wings), her villains really steal the show. The Vulture gets his comeuppance from Matt Murdock on behalf of Kingpin, who wants Spider-Gwen all to himself. Meanwhile, Detective Frank Castle is veering ever closer to his 616 tendencies, making me question who Gwen is better off running into first.

Captain Marvel 13 is the conclusion of Carol’s adventure into the Endless Envelope, but it’s also the end of her partnership with Tic, who ends the issue with her own ship and a newfound purpose in life. Getting Tic home safe was the primary objective of Carol’s trip into space, but writers Kelly Sue DeConnick and Warren Ellis use this issue to make a strong case here for Carol’s secondary objective of self-discovery. This issue once again pares the cast down to Carol and Harrison, demonstrating just how strong this series can be without its extended cast. That’s an effective antidote to the homesickness I was starting to feel after Carol’s short jaunt back to Earth. It’s not clear whether this shot in the arm will survive the Black Vortex crossover issue next month, but I have my fingers crossed that drumming up some identity issues will help Carol (and DeConnick) figure out where they want to go next.

Meanwhile, Ms. Marvel 13 finds Kamala’s cast expanding. The introduction of more Inhuman characters is interesting, but I’m much more intrigued at the introduction of a possible love interest for Kamala, which already seems to be causing friction with her conservative family. It’s also poised to goose Bruno’s crush on Kamala, which continues to be one of my favorite relationships of this series. This is a remarkably charming issue — aided in no small part by Takeshi Miazawa’s fill-in work on art — and I can’t wait to see where things go from here.

Spencer: Me either Drew, though I do fear that things may be headed in a direction that won’t be so great for our beloved Kamala Kahn. For all its charm, there’s a vague ominous undertone to this issue, which is most evident in Ms. Marvel’s unsettling defeat of Kaboom. She’s facing the realities of what being a superhero sometimes means, and that isn’t always pretty. The same can be said of love; Kamran is perfect for Kamala — so perfect that it seems suspicious (he’s practically her male doppleganger!) — so when he revealed himself to be Inhuman I couldn’t help but to think about Medusa’s worries earlier in the issue:


Maybe the less than benign Inhumans Medusa is referring to will just turn out to be Kaboom and her friends, but still, Kamran worries me. This could very well be setting Kamala up for a disastrous first love, which is almost a little cliche except for the fact that this is Ms. Marvel, a book through which writer G. Willow Wilson always manages to turn even the most common of teenage tropes into fascinating stories. No matter where this story heads next, I know it will be no exception.

All-New X-Men 37 is rather charming in its own right, and it gets a lot of mileage out of finding a new angle on a familiar concept — in this case, the animosity between Jean Grey and Emma Frost, which is slowly melting away into a working relationship. Paring down the cast to these two characters (plus a fun Magik cameo) and keeping the story one-and-done helps avoid a lot of the traps Brian Michael Bendis’ books can sometimes fall into (major decompression, too many characters, etc.), and Mike Del Mundo’s work is always a joy. His art brings a slightly different tone to All-New X-Men, perfectly capturing the grimy grittiness of Madripoor and the weight of the fight between Jean and the Blob.

Falling Blob

We had to endure a lot of delays to get to this issue, but I’d say the wait was well worth it.

Likewise, Thor 6 keeps us waiting most of the issue for the title character to make an appearance (which I’m a bit disappointed by), but when she does finally show up, it’s with all the majesty, grandeur, and dynamic detail we’ve come to expect from Russell Dauterman and Matthew Wilson.


They’re so good it’s not even funny — the Rainbow Bridge twisting to Heimdall’s command is yet another phenomenal moment, but truthfully, there’s simply too many packed into this issue for me to give them all the attention they deserve. Story-wise, writer Jason Aaron puts Odinson into the reader’s shoes as he tries to piece together just who this new Thor is. I can tell Aaron’s enjoying having Odinson address and debunk many of his readers’ most common theories, and I’m pretty jazzed that all clues seem to be pointing towards my number one choice, Roz Solomon, but it’s how easily we can all come to that conclusion that makes me think Roz might just be a red herring, even if she’s the only candidate who fits the profile at the moment. Drew, what do you think; do you feel any closer to discovering Thor’s identity? What do you make of Malekith and Agger’s new pact?

Drew: Oh man, that pact is so deliciously evil, it’s hard to believe it follows so closely on the heels of almost making Agger a sympathetic character. Ultimately, he’s as monstrous as ever — and their plan to conquer and strip every realm for parts sure is monstrous — but giving him a backstory manages to humanize him just enough to make his moustache-twirling even more horrible. For me, Agger’s story overshadowed everyone else’s, from Odinson’s reunion with Jane Foster to Thor’s cliffhanger encounter with the Destroyer, but it was more than strong enough to carry this issue. I certainly look forward to pulling the focus back to Thor next month, but this was a very worthy intermission.

Speaking of Roxxon, Deadpool 43 finds Wade escaping their clutches, only to bring the fight back to their front door. Wade has been a little listless in recent months, but this issue gives him a newfound purpose, not to mention a common enemy with his wife. Of course, any plot details take a backseat to the scene where Deadpool chews off his own arm in order to escape his bonds. It’s maybe even more graphic and gross than we’ve come to expect of this series, but artist Salva Espin manages to get some laughs out of Wade running around with his chewed-off arm strapped to his hip. That’s key, because this issue is otherwise pretty light on gags — Wade in general just has less dialogue than the typical issue. Tying this little mercenary adventure back to Wade’s homelife is an unexpected, but very welcome twist, giving this series the direction it’s lacked ever since Axis.

New Avengers 31 follows Doctor Strange and his Black Priests as they storm the Library of Worlds, hoping to find Rabum Alal and put an end to the incursions. It’s a strangely slow, serene infiltration story, aided in no small part by the utterly silent battle at the center of the issue. A wordless room is such a clever defense against those who use words as a weapon (and a great exaggeration of what we expect at a library), and is exactly the kind of thing I look for in a Hickman story. Well, that and master-plotting, which this issue also has in spades. By the issue’s end, we’ve learned the identity of Rabum Alal AND seen our multiversal Avengers getting some face time with the Beyonders, all of which seems poised to propel us into Secret Wars, even if we don’t fully know what any of this means just yet.

Spencer: We don’t know what any of it means at all, Drew, but I’m sure having fun speculating. I am so glad I was able to reach the reveal of Rabum Alal unspoiled, and I want to offer that same opportunity to our readers, so, if you haven’t read New Avengers 31 yet, SPOILERS LIE AHEAD.

Anyway, Doctor Doom, right?! He seems to be preparing to fight the Beyonders, so does that mean he’s trying to stop the incursions? Or is Doom as Rabum Alal indeed responsible for them, as Black Swan always claimed? If so, we’ve got some sort of fixed time-loop on our hands, as Doom was drawn into this story long after Rabum Alal and the incursions were introduced. It’s more questions piled atop more questions, as Hickman is oft known to do, but the catalyst behind them is so fascinating that I can’t even get frustrated. Time runs out in two months, and we’ve still got a lot of ground to cover — should be exhilarating.

So while New Avengers is still introducing new questions even this late into its run, Guardians Team-Up 2 is already bringing its first arc cleanly to a close. The Avengers do even less this issue than they did in the first, and I’m getting the impression that Marvel is less concerned about truly honoring the “team-up” conceit as they are just having a second Guardians book on the stands. That’s not necessarily a bad thing, as having this book around finally gives Brian Michael Bendis the chance to give Gamora the spotlight; here he focuses on her hyper-competent, unstoppable nature and the way the Guardians have become the loving family she never had with Thanos, and really, that’s all I ever asked for from a Gamora story. In many ways the rest of the cast barely matters, but Bendis still has fun with them, and even seems to be poking fun at how large and unwieldy his cast has become.

Forgot he was on the team

I like it when writers have the confidence to point out some of their own faults. Bendis knows exactly what he wants to do with Guardians Team-Up and has made it very clear to the readers what the title’s going to look like. If you want an extra dose of Bendis’ Guardians every month, this is the place to look; if that’s not your thing though, well, you can’t say you weren’t warned.

As a contrast to the world of the Guardians of the Galaxy, Becky Cloonan and Andy Belander’s Southern Cross 1 takes a more grounded approach to science fiction; even its most advanced technology looks dirty and old, allowing for Cloonan and Belander to create a setting that’s familiar despite the fact that it’s a space shuttle headed for the moon Titan. Aboard that ship is the prickly Alex Braithe, who’s traveling to Titan to investigate her sister’s untimely death under some sketchy circumstances. Braithe is characterized as being a bit testy and anti-social, but it’s hard to blame her for wanting to be alone when trapped on a ship like the Southern Cross. Cloonan and Belander use its cramped quarters to ramp up the tension and keep all the characters on edge — dark secrets are already starting to reveal themselves, and with the cast stuck on that ship together for another five days, I can’t imagine they’re going to be received happily.

Drew: It’s quite the feat that all of these mysteries are so intriguing, long before we even reach the scene of the crime that’s driving the action. I call it a “crime,” but Cloonan gives us no real information about Alex’s sister’s death, other than to suggest that Alex suspects something. You can bet that something has to do with the Zemi corporation, which runs the drilling operations on Titan, as well as the titular ship. I don’t suspect Alex will find much in the way of answers before the Southern Cross reaches Titan, but I’m sure I’ll be enthralled, anyway.

Bill and Ted’s Most Triumphant Return 1 has every reason to be uncomfortable, arriving 14 years after the last installment, and featuring two stories that essentially contradict one another, but, much like the movies, the charm of the franchise (and the talent working on it) more than makes up for any shortcomings in the actual conception. Brian Lynch and Jerry Gaylord’s carries the torch of continuity a bit harder, exploring what happens after the talent show that Bogus Journey was so focused on (and seems to parallel Excellent Adventure, only sending the dudes into the future to solve their problems), but my heart belongs to Ryan North and Ian McGinty’s backup, which hilariously asks how Bill S. Preston, Esquire, and Ted “Theodore” Logan would react if their “good robot usses” were infected with malware via a Nigerian prince email scheme sent from Chuck De Nolmos in the future. It’s an appropriately absurd — if unlikely — situation for Bill and Ted, and I can’t wait to see more like it.

If the previous installment of Batman Eternal found our heroes at their lowest point, issue 49 finds them rallying in true fist-pumping style. Stephanie escaping her father’s helicopter and the Pennyworths tag-teaming Hush are great moments, but none are as viscerally satisfying as Jim Gordon’s Rorschach moment at Blackgate, as he turns the table on Penguin. A hero coolly gaining the upper hand over a diminutive baddie (and his goons) is a clear enough homage, but Kyle Higgins (credited on the script for this issue) takes it a step further, paying tribute to one of Rorschach’s most memorable lines.

Jim Gorschach
It’s not clear what all these parallels might mean (other than to cue us in to the rapidly approaching conclusion of this series), but it certainly injects a different flavor into an otherwise action-heavy issue. Fernando Blanco manages that action with aplomb, propelling this series into a final few issues that promises to be somehow even bigger than what we’ve already seen. I can’t wait.


The conversation doesn’t stop there, because you certainly read something that we didn’t. What do you wanna talk about from this week?

24 comments on “Weekly Round-Up: Comics Released 3/12/15

    • Mogo, good lookin’ out. I can’t speak for Drew or Patrick, but I’ve definitely been following the story. I don’t know if I have anything to say that hasn’t already been said better on other sites, but I’ll still run it past the other editors and see if it’s something we’re interested in doing.

      In the meantime, I think my POV can be summed up pretty simply:
      I think the cover was in poor taste and I think pulling it was the right decision, I hold no ill will towards Albequerque or anyone else involved in the cover, and I think that the threats of violence towards the creators (or anyone involved in this on either side, honestly) are inexcusable and, frankly, pretty fucking monstrous.

    • Honestly, I’m not sure why everyone is making a big deal about this. There are lots of reasons why a cover/comic might not make it to print, and because I’m never a part of that conversation, I straight-up don’t have an opinion on what is a valid one. This decision happened to play out in public, but I don’t think it’s really any different in my mind than one that was pulled before being released to the public. Like, if Albuquerque thought better of his idea before submitting it, or even before drawing it, this would be the non-issue of non-issues.

      • I’m with Drew on this one. Patrick Zircher is on a pretty good kick on twitter right now railing against the whole concept of trigger warnings and being offended. A set of his tweets that really spoke to me was:

        “I don’t know about you but just about the last thing I’d want to be known as is a crusader AGAINST expression.

        The far left and the far right are having the same effect on content.

        There are now ‘trigger warnings’, people restricting how to approach one another online. Self-imposed limitations on experiences & content.”

        I’m totally into this. Art can offend – that’s okay. Hell, maybe it’s even supposed to. But if someone decides not to offend that should be an equally shrug-worthy story. The only part of this that irks me is the public outcry and the reactions thereto. But at that point, we’re so far away from talking about comics, this site is hardly the place to discuss it.

        • There are some people who take the idea of trigger warnings so far as to make the entire concept look bad, but as a whole, I’m for them, at least in certain circumstances. When used properly they aren’t really meant to help squeamish people avoid something or to spoil plot points, but to help people with PTSD or panic attacks or even epilepsy avoid moments that could trigger their conditions, and I think that’s worth considering.

        • Totally: I think it would be as irresponsible to not warn someone with PTSD that a movie is going to feature explosions (or whatever other triggers) as it would to not warn someone with epilepsy that it will feature flashing lights.

      • Oh wow, I didn’t realize all these replies were here. I think pretty much all my thoughts on it are covered by the Patches (Ehlers, Zircher) and Drew. I kind of distill it to the idea that if someone finds the content of the cover offensive then surely what they really find offensive is the content of Killing Joke (which is even more disturbing and less girl-power, but still considered classic and doesn’t seem to be at the heart of the debate itself.) Beyond that, if the issue is that the tone of the variant cover clashes with the content/tone of the current run on the title, then this is par for the course with variant covers. It seems entirely understandable to me that an artist commissioned to create a Batgirl cover that celebrates Joker’s anniversary then they’d be referencing Killing Joker… their most famous interaction, and one of the most famous moments in all of DC comics. I don’t mean to tell anyone that they shouldn’t be offended by the content, that is absolutely their right. But they should try and understand that a variant is not representative of a book’s content and, if anything, more costly and difficult to obtain. They’d have to be going out of their way to get it.

        • I totally agree, but in this case, it’s kind of a moot point: Albuquerque asked for the cover to be pulled. He decided he didn’t want to offend in this particular instance, which is entirely within his rights.

        • Yeah, exactly. I have no opinion on DC either publishing or not publishing the cover from a business standpoint as I never had any intention to purchase it, and didn’t particularly care the cover in general. I was just commenting overall on the backlash. I think it’s kind of sad that as soon as DC decides to cater to a more diverse group of fans, and generally be more considerate about depictions of non-white-cis-male characters in their universe, the first thing that their new fans do is cause the company huge and worldwide negative media attention. I can understand their complaint that referencing Killing Joker so immediately into the transition might be starting off on the right foot with the book’s current fanbase, but growing pains are still better than lack of growth, and the general backlash is reminiscent of #GamerGate when I don’t think the source offense was remotely equivalent.

        • I should also clarify that I was equating #ChangeTheCover to the rightful backlash AGAINST #GamerGate, not to the ridiculous movement itself.

        • I still don’t get it. Why was this cover bad? (Other than being creepy) And since the artist decided he didn’t want to use it, why does anyone care?

          Just the weirdest non-story to me.


        • Some people felt the cover victimized Babs, which goes pretty strongly against the grain of the tone of the series, and might make other sexual abuse/assault victims uncomfortable. Albuquerque found those complaints valid, and asked that the cover not be published. I guess people are upset because they think a minority of fans was able to bully DC into pulling content (which is decidedly not what happened). Folks are trying to turn this into a first amendment issue (which again, it isn’t), choosing to ignore that DCs entire editorial policy is and always has been based around whatever it is they think will sell comics. Basically: it is a non-story, but the internet (and especially comic fan wing of it) loves to feel victimized.

        • I think it has to do more with concerns that Batgirl’s radical shift in tone, which drew a radically different fanbase, seems to be heading in the direction of Killing Joke no longer allowed as canon. That seems to be the general insinuation, if accurately reflecting its content wouldn’t be allowed on a modern Batgirl variant themed around Joker.

        • Or — and I’m just spit-balling here — they’re taking umbrage at the assertion of its importance to who she is now. That attack can still be cannon and not necessarily define who she is as a person, in which case dredging it up might be more than a little insensitive.

          (I’ll admit that I haven’t seen this topic addressed from either side — it’s mostly been “this cover offends me” on one side and “first they came for our covers!” alarmism on the other. I think both groups would do well to remember that they don’t have any special claim of ownership over this character.)

        • I absolutely agree that the attack itself or the moment in comics canon doesn’t define Batgirl or Barbara as a character, but it almost inarguably defines her relationship with the Joker. We both agree it’s entirely up to DC what they think might sell comics or help/hurt their brand (which, given the negative media attention, I believe they’ve made the right maneuver), but given the context of a variant cover that is published in acknowledgement of Joker’s creation anniversary and themed towards Batgirl, I think that a Killing Joke homage is an appropriate and maybe even obvious choice. I’m left wondering how we got to this point in the national debate, with the story appearing on CNN, in The Guardian, and being discussed worldwide. My only concern is that the content of Killing Joke is being deemed in appropriate. If it’s me, and the choice is to either canonize material by Cameron Stewart or by Alan Moore, because they’re incompatible and can’t both exist within canon (I think they can, but the cover argument insinuates they can’t), then I’m keeping Alan Moore on the basis that it frequently appears on 10 Best Comic Books Of All Time lists and has a legacy as a cornerstone of artistry within the comics medium. Others, I’m sure, would take the opposite argument. I don’t think there has to be any argument at all. I think both can be considered canon, and both can be allowed depiction within DC publications. I just don’t see it as being much different than making an Aquaman Free Willy variant while the interior team is doing everything they can to make Aquaman not seem lame. The difference must be gender politics regarding with Killing Joke is, in itself, appropriate.

        • I will say that I haven’t seen any of the other Joker covers, so I don’t know how other artists are handling it, but there are plenty of ways to create a cover that features Batgirl and the Joker and references the Killing Joke while still respecting the title’s current tone and direction and without victimizing Barbara all over again. I’m really fond of this take on the cover a fan artist over on Tumblr created:


          This cover is a direct homage to the cover of the Killing Joke and still features the Joker and Batgirl, but it better fits Batgirl’s current direction. I’m not going to argue about one cover being “better” than the other (and to be honest, divorced from all context I actually think Albequerque’s cover is very good and chilling; its biggest problem is being inappropriate for this book at the moment), but something more along the lines of this fan cover would fit all the requirements without being as blatantly tone-deaf.

          (Actually, can I mention that a whole month of Joker covers makes me a little uncomfortable to begin with? That doesn’t mean it shouldn’t be done, and there’s nothing wrong with celebrating the anniversary of a very popular fictional character, and one that I myself enjoy very much I might add. But the Joker’s such a vile character that it feels icky to me devoting a whole month of covers to celebrating and glorifying him. There’s a fine line between enjoying a fictional villain but understanding how screwed up they are to straight-up glorifying him, and I’m afraid DC’s crossing it here. But that’s just my own take. I couldn’t fault anyone who enjoys or buys the covers, but they’re something I’ll be avoiding).

        • HOW DARE YOU suggest that Free Willy is lame!

          Seriously, though, I totally get where you’re coming from, Mogo. I guess I just don’t personally see downplaying certain aspects of continuity as a move towards erasing those aspects. I mean, if you want to market basically any of the Bat-family books to kids, you’re going to have outright ignore tons of great stories. That doesn’t invalidate them, or even mean that they can’t add to your experience of reading the new stuff, it just means they’re not going to put it front and center for the time being. Right now, Batgirl seems to be courting an audience that is particularly sensitive to this kind of thing, which I think is a totally valid reason to back-burner The Killing Joke — that’s not to say that it’s not a great story, or even that it’s not still cannon, just that it might not be appropriate for the audience.

        • Thanks, Drew, that’s the most reasonable argument I’ve heard against the choice in cover: That this particular Batgirl has an all ages approach, so you wouldn’t touch on material that wouldn’t have been appropriate in, say, Batman: The Animated Series. I have my own reasons that I don’t care for the cover. I essentially dislike that she’s depicted crying and defeated. I think my personal Batgirl is stronger and angrier than that. I don’t find it offensive, though; I just find it to be the basic kind of mischaracterization that plagues half their line.

  1. Uhh, what? I have no idea what you are talking about.

    I read a lot, but also went to Indianapolis Comic Con. Bought a beat up Amazing Spider-Man #3. I now have 3,4,10 and am getting closer and closer to a full run. Still love the Secret Wars lead in Avengers stuff, was surprisingly pleased by the Spider-Man special (and have recently read most of the Inhuman run, which is actually pretty good in spite of me feeling like Marvel/Disney is shoving the Inhumans down my throat), and freaking loved that Panel of Thor that you displayed above.

    Comics are fun. By the way, it came out a week ago, but I read Big Man Plans #1. It’s offensive and inappropriate and probably not fit for public consumption, but I really liked it. It’s a sad story about a sad person that really had no recourse other than to be a violent monster, but I enjoyed the crap out of it.

    Speaking of vile violence, I’m reading The Boys, also. Sick, but really good. Basically shows why humanity hates and fears mutants and what they do when those X-Fucks get out of control (although it’s more about when the Justice League is out of control). Ennis at his best and his worst, which makes it his best.

    Comics are fun. That’s really what this past week reminded me. This is meant to be fun. So what the hell is going on about some cover?

    • I think it’s important to remember that comics can be fun, and certainly the superhero genre is largely intended to be fun, but there’s nothing fun inherent to the medium. For instance, the Ennis series I’m reading is War Stories, and it’s more often then not sober and heartbreaking. I really think his true genius shines in his war comics; the most human and educational books he’ll ever write.

      • Glad you posted this. I’ve been tempted to look at Ennis’ War Stories but haven’t seen anything about them and am (as always) looking to pare down rather than expand the pull list… but I think a lot of Ennis work should be supported, even though I dislike some of it.

        • Same here with the constant paring, but I can’t recommend his mature readers war titles highly enough. In particular the series of War Story one-shots from Vertigo, both volumes of Battlefields, and the current War Stories series at Avatar are all incredible.

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