Comic Reviews

BEST OF 2014 – Comics

December 30, 2014 by Nick Bryan

Originally, this summary of 2014’s comics-reading was going to share space with the books, but those damn prose-hives ended up taking up so much space that I let them have the entire post. So now, that means I could either not list my favourite comics of 2014 or give them an entire post to themselves.

I think it’s obvious which way I was going to go. If you want to know what I was reading a year ago, here’s the post for that. Now, onwards back into the comics of 2014, a year where my comic book consumption came dangerously close to being defined by a single app…

Unlimited Power!

My 30th birthday was in late March, and my main presents were a tablet and a Marvel Unlimited subscription. Marvel Unlimited, in case you missed it (as it isn’t that well promoted), is a Netflix-esque service providing infinite on-demand access to a huge range of Marvel comic books for a regular subscription fee. It’s updated every Monday with another week of books, so you do effectively get the entire line, albeit six months behind the new stuff.

It’s a great deal, especially at the current price, even if the app has some teething moments at times. I’m on iOS, so don’t know how good the Android version is. Works especially well if you, like me, are interested in a wide variety of Marvel series and more or less switched to collected editions a while back, so don’t mind being six months off the pace.

However, with this much stuff available, it is possible to get Marvel-fatigued. You read Unlimited for hours, because it’s there, and you start to wonder if there’s a world outside Spider-Hulk-X-Iron-Man. I didn’t even realise it was possible to forget Batman nowadays, but at times, I came close.

Anyway. Most of the comics I read during my inaugural nine months on Unlimited ended up being X-Men series. I’ve always stopped myself fully buying into the mutants until now – there are just so many of them and money is not abundant. Still, with a never-ending subscription, why not?

So I caught up on a few core series, using the Schism storyline as an entry point, and it was there that I discovered Jason Aaron and various artists’ Wolverine & The X-Men. Now, everyone, this comic is amazing. Fun, breezy tone, bright, clear, charming art, a light touch and an amazing ability to make you laugh, cry and even feel genuine hope. A reader who takes their mutants Deadly Seriously might find the silliness a turn-off, but as a newcomer who hasn’t read X-Men regularly since Grant Morrison left, this was absolutely the charm offensive they needed to get me back on-board.

(If you want dead serious mutants, I’m most of the way through Rick Remender’s Uncanny X-Force just now, and it’s a proper-hardcore-action-movie series. Personally, I prefer a bit more charm, but I can’t say this particular book doesn’t pull off the stern style.)

The current runs on All-New X-Men and Uncanny X-Men, by Brian Michael Bendis, are also doing good stuff. I read a lot of the Bendis Avengers run, and it too-often felt like the Avengers weren’t soapy enough for him, a whole book revolving around superhero action didn’t play to his strengths. Well, the X-Men are plenty soapy, he’s been teamed up with some excellent artists (Stuart Immonen rarely does wrong), and the result is two smooth, solid series. Not as good as his still-ongoing brilliant run on Ultimate Spider-Man, but few things are.

I also just now read the entire of Peter David’s 2000s run on X-Factor, up to the end of the Madrox series a year or two back. This was absolutely what I want from an X-Men comic (and serialised fiction in general): balancing a huge cast of clearly defined characters, giving everyone their moment without sacrificing plot movement. Suffered sometimes from inconsistent art and the occasional supernatural storylines didn’t really grab me, but still good.

Lastly in our Unlimited-X-Men section, I read X-Men: Legacy, the recent reboot by Si Spurrier, Tan Eng Huat and other artists. Starring lesser-known mutant Legion (ostracised son of Professor Xavier), Legacy takes an indepth look at both the X-Men premise (from the main character’s slightly bitter POV) and Legion’s own towering cosmic powers, combined with serious mental health issues. It’s a very odd series, I imagine it won’t be for everyone, but Spurrier, Huat and co did something really unique here, very strange, compelling and ultimately lovely. Worth a look.

Gillen Division

After that epic X-section, I hope you see what I mean about kinda being overwhelmed by Marvel comics. Marvel Unlimited – it’s a thrill, but perhaps ultimately a danger.

However, I did read some other publishers’ output this year. Most recently, I powered through all issues to date of Uber, the WW2 superpowers epic by Kieron Gillen, Caanan White and others.It would’ve been easy to collapse into sensationalism, but there’s clearly research and thought at work here, as well as ruthlessness. Gillen cleverly keeps much of the real-life horrors off-screen, reserving the nastiness for when his “tank-men” get busy.

White and the other artists are more than capable of realising both emotion during the conversations and gore when it oozes through. Highly recommended as long as you have the necessary strong stomach.

Also written by Gillen, I read Young Avengers and The Wicked & The Divine, his latest collaborations with Phonogram artist Jamie McKelvie. Both of them have been highly acclaimed from various quarters, but I must admit, Uber spoke to me a little more. Still, the craft experiments at work throughout these two series are fascinating – Gillen and McKelvie have worked together long enough to start playing around within their stories, and Young Avengers in particular features plenty of fun-gimmicks-are-fun moments that mesh beautifully with the teen aesthetic.

The Wicked & The Divine (which, disappointingly, they refuse to shorten as TWATD) perhaps speaks to a more passionate fannish persuasion than I possess – as this essay may reveal, I probably engage with creative works in a more ponderous fashion. Still, the straight-up cliffhangers, plot twists and fights are smoothly executed. TWATD may be the closest we’ve yet seen to Gillen/McKelvie doing a “mainstream” urban fantasy, albeit one tailored heavily to their interests. It has the cold open, the reveals, the shocks, and they make it all look effortless.

I’ve now written a fuckton of words and all I’ve covered are the X-Men and the work of one writer. Bloody hell. This is what happens when I hardly write any reviews all year, it just splurges.

Batman & Other Animal(man)s

Since I did a whole bit on Marvel earlier, let’s talk about DC. I re-read the Garth Ennis run on Hellblazer recently, but since I wrote a separate post on that earlier in the month, I won’t repeat myself here. It’s good, though.

Finally read the first two acts of the Grant Morrison run on Batman/Batman & Robin/Final Crisis, after a pleasingly-timed Comixology sale let me grab the whole thing. Like most Morrison comics, I finish a huge segment, stop and think “Okay, I may need to go back and read that again.” Still, this first read got me into the plot, and even with all the big stuff going on, Morrison always tells a good story with plenty of cool Batman moments to keep me invested. Looking forward to Batman Incorporated in 2015.

Also in the Morrison/DC segment, I finally read his Animal Man run, and it was great. Threaded the needle beautifully between straight superheroics and building the inevitable meta-strange breakdown at the end. Like all the best Morrison work, the series never lost its grip on human feelings throughout all that, complemented with great storytelling by Chas Troug and other artists.

We may finally be coming into the closing straight of this year’s best comics – the problem is, I almost exclusively read stuff I’ve seen emphatically recommended, so it’s all good and not much can be excluded from these lists. Here are some final bullet points:

Caught up on Chew the other morning, and bloody hell, that’s one hell of a ramp-up to the last few storylines of the series. Still great execution by Layman/Guillory, and unlike many five-year comic runs, hasn’t lost momentum.
Ms Marvel is just as likable and fun as everyone says, and it’s brilliant to have Adrian Alphona back doing regular comic art again.
From a similar generation: Loki: Agent Of Asgard is intruiging and readable, especially worth checking out if you badly miss Gillen’s Journey Into Mystery.
Trees by Warren Ellis and Jason Howard is a slow burn but hard to look away from. Between this and the fun storytelling experiments in his Moon Knight issues with Declan Shalvey, this has been a great year for Ellis, and his mostly-weekly email newsletter Orbital Operations is a good read as well.

Okay. Phew. I think I’m done with comics for 2014 at last, hopefully you found something interesting in that piece and if not, well, I still enjoyed writing it, so never mind

Coming soon: the season finale of the 2014 round-up posts… the Top Ten TV.

Hellblazer by Garth Ennis – Classic Constantine Contemplations

December 9, 2014 by Nick Bryan

Inspired by the launch of that Constantine TV show, Comixology recently held a generous sale on Hellblazer, the original for-mature-readers John Constantine series. I took this opportunity to finally read in order the entire Garth Ennis-written run on that title, the work that broke Ennis into American comics and first teamed him with Steve Dillon, with whom he’d later create Preacher.

For the uninitiated – Hellblazer is a horror comic about John Constantine, trenchcoated modern-day wizard antihero, confronting supernatural/magical unpleasatness in a modern setting. He was created during Alan Moore’s Swamp Thing stories, before spinning off into own series after fans enjoyed his manipulative schemes and wry British comments.

Hellblazer distinguished itself from other urban fantasy via particular emphasis on straight-up awful horrific moments and a tendency to reference real modern-day British issues rather than just the affairs of its own fictional universe, all of which made it a massive cult hit.

Long time ago, when we were young…

Now – I’ve only read Ennis’ run in segmented chunks before, mostly due to DC/Vertigo’s until-recently-quite-shitty approach to reprinting Hellblazer. The original issues came way before every single comic book got a collected edition as a matter of course, but thanks to Ennis/Dillon’s later success, there was a half-arsed attempt to collect this early collaboration. Sadly, these had no helpful volume numbering and an annoying habit of skipping non-Dillon issues.

I, meanwhile, was a teenager in a suburban-Essex library where neither Google nor Wikipedia had emerged yet. Not a chance in hell(blazer). But DC have, at last, started collecting early Hellblazer in easy-to-follow numbered volumes. On the down side, they’ve cancelled the monthly comic and relaunched it as the no-longer-so-horrific all-ages Constantine series, but… y’know, it’s something.

Stories within stories

John Constantine is sad, he is so very sad

Not getting into big spoilers, the ongoing storylines of Garth Ennis’ Hellblazer hinge on two points:

In the first (very well-regarded and good) storyline Dangerous Habits, John discovers he’s dying of lung cancer from his years of smoking. Escaping that certain death requires such a big, risky deal, he ends up dealing with the repurcussions for the rest of the run, right up to the climax.
Constantine finds himself in an unusually healthy and normal relationship with Kit, a dead friend’s ex, to whom he makes a lot of promises about not fucking it up by getting in deep with magic. These prove difficult to keep, especially with the aftermath of that first point hanging over him.

As is the joy of monthly comics, there are a lot of diversions into horror vignettes along the way. Still, the Ennis run broadly reads as one big novel covering those two interweaving stories. Scattered references to past Hellblazer storylines, but you can basically read it as a complete unit in itself. It’s fine. God knows I only knew the bare-bones basics when I started, and I’ve still not read that much other Hellblazer now.

The Litany

I first kinda-sorta read chunks of this run in my late teens, and re-reading it now, a lot of it came lumbering out of my past recollections. I didn’t realise to what extent I’d half-absorbed it, nor how much I’d failed to understand some of the broader themes – especially the many references to political and social issues of the time.

I’ll be the first to admit, I’m still not shit-hot on the tensions of 80s-90s Britain, but the ideas about race and class in these Hellblazer issues shot straight over never-left-suburbia teenage Nick’s head. Good to see all this time reading liberal Twitter has changed something in me.

It’s interesting reading this as an early Garth Ennis work, spotting some of the tools he’d later become extremely known for – pontifications on self-destruction and the effects of extreme actions; the enduring nature of male friendship; crowbarring a war story into an unrelated plot; creating strong and likable relationships, then putting them under extreme pressure.

It also features a predilection towards demons delivering rather long, ponderous and flowery monologues, a tendency Ennis thankfully dialled down in later works – Preacher, in particular, featured a lot of heavenly beings, but less of their unvarnished soliloquies.

Also, it’s so easy to think of Hellblazer as a forerunner to other tortured urban fantasy antiheroes, you forget how much more genuine horror there was, how many times Constantine was faced with magic not just as a vague swirly force, but a really on-the-nose, awful esclation of something wrong with the real world. There’s not as much extrapolating through metaphor, far less excuse to think, actually, this isn’t really happening. Because a lot of it clearly is, and that’s when this book really works. The visceral stuff.

Ennis was, I gather, pretty young when he wrote this, and he’s definitely youthfully angry about some stuff. Another character type Ennis always writes well, and often applies to the many forces that displease him: idiots bringing about their own doom.

I’m a sucker for Dillon’s art after growing up on Preacher, and he’s great for this kind of stuff, creating a grounded real world around Constantine – a plausibility that only makes it more brutal when fucking horrible magic hits home. William Simpson, the other main artist involved, is excellent too – his work carries a washed-out, ghostly feel, bringing out the End-Of-The-Line-Mate sense permeating Dangerous Habits.

Don’t get me wrong, this isn’t all a grim journey into the heart of darkness – yes, things inevitably get bad before the big showdown, but before that, in order to make us care about JC and chums, there’s a lot of real human warmth in there. Yet another Ennis trick – writing dialogue that actually feels like human conversation rather than… well, like dialogue. Look, here’s John talking to a rabbit.

Whereas today, on the other hand…

The weirdest part about reading this book again, to be honest, is realising how much it’s influenced me. Much like when I revisited Quantum & Woody a while back, this is a series that got to me young, even if always as a supplement to Preacher, and a lot of the lingering regret and tone of world-weariness does come up in my work. I look at John Hobson (of Hobson & Choi fame) after this re-read and think, actually, there’s a bit of the Ennis Constantine in there. Only without the magic, obviously.

I’m also following the Constantine TV show, and I think one reason old-school Constantine fans aren’t all taking to it is a lack of the two points I mentioned that distinguish Hellblazer from standard urban fantasy: genuine horror and real world relevance. But on its own merits, it’s a reasonably entertaining pulpy supernatural antihero show, helped along by Matt Ryan being quite good as John himself (even if other characters can be a bit flat).

That, in summation, is every thought I had after re-reading the Garth Ennis Hellblazer run. Hope you enjoyed the piece. Do check out the comics in question if they sound appealing – they genuinely are quite good. The Ennis stuff is Hellblazer #41-83 plus a few specials, or volume 5-8 of the recent collected editions (only the last six issues of book 5 are by Ennis).

And if the comparisons with Constantine make you want to buy the first book in my Hobson & Choi series, I won’t discourage you from doing that either.Now, I might even try reading some other Hellblazer some time.

Black Panther by Christopher Priest – A Homage

April 24, 2014 by Nick Bryan

I recently subscribed to Marvel Unlimited, a Netflix-esque system that gives me all-I-can-eat Marvel comics for a fairly low price. Not bang-up-to-date ones, but I’ve not read half the comics I wanted to over the last decade due to financial concerns, so I can keep trawling for a while.

However, as well as striking out for new material, I’ve also re-read some old favourites, and I’d like to talk about one of those now: Black Panther by Christopher Priest and various artists, a series that ran from 1998 to 2003. The Black Panther character has existed since 1966, King of a fictional African nation called Wakanda, and mostly associated with standing in the backdrop of Avengers groupshots in the later decades of the twentieth century.

Attentive readers may note Priest also wrote Quantum & Woody, a series even closer to my heart than Black Panther. I started reading Panther due to following Priest over from Q&W, barely knowing who the character was, and Priest made me love it in approximately one issue. If you want a gushing tribute to Q&W, here’s one I wrote in September 2012.

But anyway. Black Panther. What was that about?

“The bathroom had no door. I still had no pants.” – Everett K. Ross wins my heart in one page.

As you may have guessed from both the name and his status as King of an African nation, the Black Panther (aka T’Challa) lives outside the standard white American superhero demographic. And yes, particularly in the old days, black superheroes did have a bad habit of having the word Black in their alias.

Characters outside the standard demo didn’t tend to hit mega-sales in the pre-2010s US mainstream Marvel/DC comic market, but Priest found ways to embrace that. First up, he introduced Everett K. Ross, T’Challa’s new state department liaison and self-proclaimed King of Useless White Boys. With Ross serving as narrator, comic relief, audience POV character and exposition monkey, Priest took a different tack with the title character.

He made Black Panther effortless, dangerous and scary, and T’Challa a ruthless, brilliant schemer with the world’s finest poker face, an enigma one step withdrawn from the reader thanks to the Ross-focused storytelling. He also dug into the real implications (or as real as you can get in a fictional superhero universe) of the politically active King of a nation choosing to wear tights and play superhero, and the international politics of the Marvel Universe. All while Everett K. Ross flippantly monologued about the oddness of superheroes and explained T’Challa’s labyrinthine plots to us.

And seriously, labyrinthine is not hyperbole. I was in my mid-to-late teens when this comic came out, and re-reading it at the ancient age of thirty, I now realise how little of it I understood, especially in the latter, really confusing storylines. The out-of-sequence storytelling in the opening two or three years didn’t help matters, nor did reading it in twenty-two page monthly chunks.

Ironically, comics have milked death beyond death

All those things probably contributed to the constantly middling sales on Black Panther, but reading back now, I’m glad Priest stuck to his guns, as it’s great. A uniquely idiosyncratic, smart take on a genre that really has been milked to death and back again. People talk about adult comics as the ones with tits and blood, but this is adult in the sense that it can be denser than a lot of political thrillers. In many ways ahead of its time, considering how much reading comics in collected edition format has exploded in the 2000s, not to mention recent industry moves to diversify a little from the white male superhero demo.

I’ve focused on the writing as that’s my area of interest, but I would be a prick not to mention the artwork – especially the gorgeous painted art by Mark Texeira and Joe Jusko in early issues and the reliably beautiful, clear, emotive work by Sal Velluto after that.

Sadly, Priest’s Black Panther had the poor fortune to be published just before collected editions of everything became standard practice, so it’s not available through many venues – except the afore-mentioned Marvel Unlimited, which has it free and easy, but for some reason it’s not on Comixology yet. Well, they have one issue, but it’s a midstoryline episode published because it crosses over with Deadpool, and would be utterly incomprehensible to a new reader.

Indeed, the series as a whole is quite dense on Marvel Universe guest stars at times. Still, considering we now live in a world where everyone in the geekosphere knows roughly who the Avengers are, it’s worth a go if you can find it and fancy a good, different superhero read.

Post-Panther Notation

Black Panther (Kasper Cole version) by Dan Fraga

The above is talking about the bulk of the Black Panther series by Priest, specifically issues #1-49. After that, other things happened…

With #50, the series underwent radical retooling – Priest stayed on as writer, but New York cop Kasper Cole took over as Black Panther after finding a costume abandoned in an alleyway. Cole’s adventures never hit the dizzy joyous heights of the best Priest/T’Challa/Ross stories, but they’re good, engaging super-crime stuff.
Alas, the Kasper Cole revamp was not enough to get sales up, and the book ended with #62. Which is about fifty more issues than a low-selling book gets nowadays.
Proving that point, Priest and artist Joe Bennett launched an ensemble book called The Crew partly spinning out of Black Panther, featuring Kasper Cole teaming up with a few other characters. It lasted seven issues, and that’s a shame, as it was excellent. Also available on Marvel Unlimited, happily.
Priest himself hasn’t done much in comics since the early 2000s, but seems to be dipping his toe back into the water at the moment, with an upcoming Quantum & Woody sequel mini-series and a short story in a recent Deadpool anthology issue. My fingers are predictably crossed that this leads to more – and not necessarily on existing superhero characters, I’d be just as up for a new property for a smaller company.
If you want more in-depth (and at times brutally honest) essays on Panther from the author himself, there’s a few on his website.

More blognotes may follow if I want to spotlight anything good on Marvel Unlimited. Or I might just plough through endless old Avengers and X-Men issues rather than taking the time to write about them. Let’s wait and see!

Best of 2013 – Books and Comics Edition

December 23, 2013 by Nick Bryan

I’m off home for Christmas tomorrow, I should be packing a bag, so it seemed an ideal time to type up the second installment of my 2013 cultural intake summary! This time: Books and Comics!

If you want to see my movies, music and podcasts of choice, that was last week. TV to follow next, once I’ve formed an opinion on the Doctor Who Christmas special.

But first, it’s time for stories told in page format. From a wide perspective, the big development this year was my moving entirely digital in both these areas. I can comfortably read digital comics on my widescreen monitor (though if anyone wants to buy me a tablet for Christmas, don’t let me stop you), and started properly using my Kindle all the time. It’s great, my room is much less drowning in paper. But what was I reading, exactly?

Books

A Dance With Dragons - George R.R. Martin

My biggest single reading project this year: consuming most of the A Song of Ice and Fire series by George R.R. Martin – the books being adapted as Game of Thrones on the telly. I finished the second book just after Christmas last year, and am coming to the end of the most recent volume now.

I’m not a huge epic fantasy person, but I have enough sci-fi/fantasy tolerance to deal with the tropes and detailed worldbuilding moments, and the the real hook of these books is the characterisation, the way everyone has a motivation and an angle. If you enjoy the sprawling scope of the TV show and want more, then believe it or not, there’s loads more characters in the books. Now, I can join in waiting for Martin to write the next one, which sounds like a damn good party.

Going way back in the past to established literary classic territory, I also read The Wasp Factory by Iain Banks, which was short but perfectly formed, a nice balance between black humour and the genuinely disturbing. Also The Book Thief by Markus Zusak, which is every bit the tearjerker you’ve heard. The trailer for the film still makes it look awful though.

Consumed A Serpent Uncoiled by Simon Spurrier and London Falling by Paul Cornell, both by comic authors whose work I’ve enjoyed, both great stuff with unique voices on the crime genre. London Falling has a sequel coming and has recently been optioned for TV, all good news.

Also: The Casual Vacancy by J.K. Rowling, ultimately rewarding but very slow to get going. The Blade Itself by Joe Abercrombie was an excellent action-heavy introduction to a fantasy universe and I’ll be continuing the trilogy very soon. Blackbirds by Chuck Wendig married a cool concept onto a memorable character with style.

That’ll probably do – and yes, I’m aware none of those books came out in 2013. If you want a complete list of my reading, complete with star ratings, I keep my Goodreads profile fairly up to date.

Comics

2013 saw me re-enter reading comics in the biggest way for a while. The biggest reason for this is probably the rise of digital, finally bringing new comics down to a price I was actually willing to pay. I was also put on to a few interesting new books – the best of these was probably Lazarus by Greg Rucka and Michael Lark, about a seemingly unkillable warrior in a future universe of warring families, struggling with herself both inside and out.

Just as reliably good was the longer running Chew by John Layman and Rob Guillory, in which a detective investigates messed up crime and food-based superpowers. I finally caught up with that book this year, and although I’ve now fallen behind again, it remains a fun, surprising and blackly hilarious bundle of joy.

I also read the first volume of Jonathan Hickman and Nick Pitarra’s The Manhattan Projects – more overtly sci-fi than I often go, but a lot of ideas and clever plots being thrown around and I imagine I could get a lot of re-reads out of that. Imagine an aggressively adult Doctor Who.

I read a few bits by Kieron Gillen this year too – his Journey Into Mystery for Marvel and Phonogram for Image with Jamie McKelvie. JiM probably spoke more to me personally, but the craft on display in Phonogram is undeniable. Next stop: Young Avengers.

It never feels like I’m properly reading comics unless I’ve got something by Garth Ennis on the go, and currently it’s Hitman, his 90s series for DC about a superpowered contract killer in the superhero universe of Superman and Batman. Once again, a brilliantly executed black comedy with a real human heart. I always like those.

Superhero-wise, I’ve mostly been reading random snippits from Comixology sales, but Superior Spider-Man has been consistently great and I’ve also just checked out All-New X-Men and the current Wonder Woman, both of which make old icons seem impressively new and interesting.

Lastly, and as a reward for anyone who read this far, one of my favourite comics of the year is available free online (and in print, if you like paper books) – Crossed: Wish You Were Here is a free weekly webcomic which makes a zombie-esque Apocalypse seem tense, human and horrific in a way I’d almost forgotten they could. Written by the earlier-mentioned Simon Spurrier, it’s really good. His X-Men: Legacy run is worth a look too, and the firmly surreal mini-series Numbercruncher.

That blog post was way longer than I intended, but the list still seems frustratingly incomplete. Dammit. Still, I must pack those Christmas presents now. Take it easy, blog-readers. I might manage some kind of Christmas broadcast on here before the big day, but if not, hope it’s great.

Ex Machina by Brian K. Vaughan/Tony Harris – Review

May 1, 2013 by Nick Bryan

Ex Machina by Brian K. Vaughan and Tony Harris

Ex Machina is a comic book about a superhero. Well, a past-tense superhero – comic fan and civil engineer Mitchell Hundred gained the power to control machines, and embarked on a brief superhero career as The Great Machine, before jacking it in and running for Mayor of New York, believing he could do more good that way.

The series itself, by Brian K. Vaughan and Tony Harris, starts off with Hundred sitting alone in the dark offering to tell the story of his four years in office, with one warning: “It may look like a comic book, but it’s really a tragedy.”

Well, he wasn’t lying.

The Tragic Machine

Not that I’ll be spoiling the ending, but I’m just saying: it lives up to the tease. Oh, and if you can read the whole series without looking at spoilers, it’s definitely worth doing.

The comic began in 2004, and ran through for fifty issues to a pre-planned conclusion – I read the first few collected editions around the time they came out, then slacked off comics for a while. After Vaughan recently returned to prominence with Saga, a new sci-fi series drawn by Fiona Staples, I decided to finish it off.

The execution of Ex Machina is aptly mechanical – Vaughan’s work always brings the feel of having real thought behind it, from detailed character backgrounds to universe-building, as well as the clear research that’s gone into the political scenarios. (So much research that the characters can’t stop spilling factoids.)

But honestly, it’s the tragic spiral of Mitchell Hundred that’s both most compelling and most difficult to read. As witnessed by the recent success of Breaking Bad, everyone loves a good epic tragedy – watching a character you both love and hate plunge down a horrible rabbithole of their own making is hard to look away from.

Heavy Engineering

Ex Machina might not be entirely perfect – meanders a bit in the middle, slight habit of forgetting supporting cast members until they suddenly become important, – but particularly when read quickly as a whole story, rather than small chunks, these things don’t register as much.

The art is a big part of the success as well; Harris’s photo-realistic style makes it easy to take Mitchell Hundred’s human struggles seriously, even though he has multiple flashbacks to dressing in a silly costume. Said style can vary a lot, sometimes between issues, but it’s never less than lovely

.In short, if you enjoy the big-name mature reader comic sagas like Preacher or Transmetropolitan, I think Ex Machina has earned its place on that list. Maybe it’s not taken as seriously due to the superhero elements, I don’t know, but it’s a great, thoughtful comic. Now, I really need to check out Saga.

My Influences – Quantum & Woody by Christopher Priest & Mark Bright

September 4, 2012 by Nick Bryan

I imagine few have heard of Quantum & Woody, a comic book published in the 1990s (not a time known for great comics, I grant you) by Acclaim Comics. Q&W was pretty obscure even when coming out, and so it remains. It barely even exists on UK Amazon.

Nonetheless, that damn comic has been a huge influence on my stuff, in terms of both character and story structure. (In terms of actual prose, yes, I had to read some books.) So I’m going to talk about it a little.

Brief intro to concept (Quancept?)

Eric Henderson and Woodrew Van Chelton were childhood friends who drifted apart. They’re reunited when their fathers, who were working on a Mysterious Comic Book Science project together, die suddenly. Eric is now a serious man with a serious life, whereas Woody is a slacker whose band is going nowhere, but they try to investigate nonetheless, squabbling all the way. Inevitably, they are caught in a Mysterious Comic Book Science accident.

Thereafter, they have to meet up and touch wristbands every 24 hours, otherwise they both die, but in return, they get superpowers. Eric fancies himself as a proper superhero, and has the money to go through with it. Stuck near Eric thanks to the wristband dependency, Woody joins in to annoy him.

Buddy Superhero Goat Toilet Action

If this sounds like a mismatched buddy cop movie, only with superheroes… well, you’re not wrong. But it’s also a surprisingly subtle story about a long-standing friendship, the misdirected resentment between the two of them, along with the genuine affection beneath it. Oh, and the humour is mostly funny, in a broad sitcom kinda way.

The storyline where they switch bodies and have to face the prospect of peeing using each other’s genitalia is a watershed moment. It helps that Mark Bright, like all great comic artists, can do emotion and comic timing as well as people punching each other.

In retrospect, this series influenced me more than I even knew. My stories love thick-and-thin friendships, straight man/funny guy duos, out of sequence storytelling (seriously, “linear plot” is a dirty word in Q&W, especially early on), inane farm animal mascots (they had a goat, see image) and wry smartarse humour. Especially wry smartarse toilet humour.

Alas, the comic has been so lost in time that the odds of you reading it are quite small. If you know me in real life and are intrigued, I can dig out the four collected editions reprinting issues #1-16. For anyone else trying to track it down (good luck!) – get #1-16 and you’ll have a beginning, middle and end. Subsequent issues are also good, but the series was cancelled mid-storyline with #21, so you may experience frustration.

Speaking of Frustration

Writer Christopher Priest talks a little about Quantum & Woody here. He’s a very talented guy who’s worked on other good comics too (although Q&W will always be first in my heart), so it’s sad that he isn’t active in the field nowadays. A new company, Valiant, took possession of all character rights after Acclaim went bust, so maybe they could relaunch Q&W – if Priest is there, so am I. If he isn’t, I kinda feel the point is gone. And if they can get Bright back on art, even better.

This is the problem with following US comics not published by the big two, Marvel and DC. Even when they have superheroic elements in them. It’s a constant struggle for survival and they keep disappearing. But Quantum & Woody, even if it never returns or gets reprinted again, was a clever, warm, funny work, and I thought it deserved a note here. It was one of the first things I really took on board, and yes, I may view it with somewhat rosetinted glasses, but it’s still worthy of at least a look. Did anyone else read this? Just me?