Nick Bryan

comics

Nick returns from the digital wilderness to find… – Hobson & Choi update! Sandman! Spectre! Comics on eBay! OTHER!

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As threatened in my last blog post with that podcast appended, it’s been a very quiet month in Content terms, as I have been moving house from Walthamstow to Lewisham, into a charming fourth floor flat where myself and my self-publishing empire will hopefully be very happy together.

As traditionally happens whenever anyone moves house in the modern world, this was accompanied by an annoying gap in internet access. We only got online yesterday, and I must admit, I’d forgotten how amazing the world wide web can be.

So, here are a few things I have seen, experienced and planned during my month away. Some have already been mentioned on Twitter, but most I couldn’t be bothered to tweet because my only Twitter access was my four-year old phone and loading the app is a chore.

H&C3 – Read aloud in only 1.5 days! Record!

H&C3 is coming! Time to read H&C2!

Hobson & Choi III continues to crawl its way towards the outside world, like a mole with motivation issues. I’ve got a draft I’m happy with, it’s just going through final proofreading. Meanwhile, I’ve booked a slot with the always-excellent Design For Writers to work their cover-makin’ magic once more.

Projected release date: probably October. Plenty more to come on that in the next couple of months.

Pale Riders of the Post-Marvel Apocalypse

Huge blood-bloated Spectre. Now that’s horror.

I haven’t read any Marvel superhero comics for a month, which is new. I basically rely on Marvel Unlimited for them, and that, unfortunately, relies on the internet. So for whatever reason, I’ve opted to fill my comics reading time mostly with pale-faced DC characters, specifically:

  • The Sandman! Yes, the Neil Gaiman-written many-artist-drawn legend of the medium. I last read it as a teenager and a lot of it went over my head. Reading it again now and it’s very whimsical, magical stuff, the sort of thing Gaiman’s long done best. I’m about 40 issues in. Great comic. Be sorry when it’s over. Might go and read that Lucifer spin-off series by Mike Carey/Peter Gross that everyone talks about.
  • The Spectre! The incarnate wrath of God, wearing a Grim Reaper cloak and green swimming trunks. Specifically, the 90s run by John Ostrander and Tom Mandrake. I don’t know exactly why this sprang to mind as a thing to read, but it’s a strange comic. Zips between horror (Tom Mandrake does a good extreme grotesque image, see nearby example), magic-bolts-zappy mystic superhero action and sudden diversions into genuine questions of theology. Interesting counterpoint to the metaphorical approach of Sandman, in that it’s like being smashed in the theological brain with a brick. In tiny green pants.
  • Not a DC comic but they do have quite pale faces – Transformers! I bought a huge chunk of the two current ongoings – Robots In Disguise and More Than Meets The Eye – in a Humble Bundle at the recommendation of writer friend Chris Brosnahan, not to mention I’d seen rave reviews for More Than Meets The Eye online. Aaand… it’s a very odd read for me as I’m not a Transformers person at all. I vaguely knew Optimus Prime was the main goodie.
    All of which leaves me enjoying the vibe – MTMTE in particular is a really well-paced, exciting, funny comic – but kinda struggling to get into the mythology. My specific problem: they all look so similar. I kept expecting to develop the ability to tell them apart, but with a few glaring exceptions, I am struggling. I don’t think the art is bad – in fact, it’s very clean and attractive – but I still keep needing reminders in the dialogue to tell me which one this is. Still, I’ll persist. Once I’ve caught up on the last month of Marvel Unlimited updates.

Ultimate Spider-Man lives, physical comics die

Nick Bryan once touched these comics!

The news about the upcoming Marvel relaunch came out, and to no-one’s surprise, my eulogy for Ultimate Spider-Man did turn out to be pre-emptive – Miles Morales lives on in the regular Marvel universe, in a new book simply called Spider-Man. I’ll still miss the series taking place in the Ultimate universe though. Elsewhere in the Marvel relaunch, there’s disappointingly few interesting new books that aren’t just continuations of existing ones. Well, except Warren Ellis doing a Karnak series, that sounds amazingly weird.

And while I’m talking comics – you can now buy some late-90s/early 2000s Daredevil and Captain America comics from me on eBay if you want. Mostly these are pretty good stuff, but I really have lost interest in the single-issue physical comic as a thing to store or read. I’ve held on to the teenage collection for a while in case my interest regrew, but no sign yet. And yes, I’m choosing those starting prices pretty optimistically. I’ll relist them cheaper if they don’t sell.

Literary Fiction and Other Plantlife (featuring Scarlett Thomas)

So new, the receipt is still tucked inside.

Went to see Scarlett Thomas read from and speak about her new book The Seed Collectors at the always-excellent Big Green Bookshop. She spoke very entertainingly about her process, the struggles of both writing and teaching and why likable characters are over-rated. (She is very right, they are.)

Thomas has always been one of my favourite novelists who isn’t generally seen as genre, even though there is some pretty extreme weirdness in many of her books. The Seed Collectors plays down the odd concepts a bit, but the fragmented structure, witty narration and, yes, the fact almost everyone is a fun bastard very much appeals to me. Enjoying it a lot, only 70 pages to go.

Nine Worlds, one request for presents

Next weekend, I am at the Nine Worlds convention. If you think that’s likely to be the topic of an upcoming blog post on this website, you’d be correct. I had a great time last year, and hopefully this will be a worthy sequel. The books and creative writing events in particular look great. May even try and take more than one photo this time.

No sign of any friends holding weddings on any of the days yet, so I shall be ambling around the entire event. I should have a few copies of The Girl Who Tweeted Wolf on me, which I could be persuaded to offload at a reduced price, or in exchange for… I don’t know, booze or comics or your own book or something. Make me an offer. Or if there’s a take-one-leave-one bookswap table again, go and see if I’ve left one there.

NO VERONICA MARS PARAGRAPH FOR YOU

Yeah, that’s it. Was gonna do a chunk on the fact I’ve finally finished Veronica Mars season 1 thanks to having no streaming TV to distract me, but that would push this post to a ludicrous length. Will probably get its own post in the coming month.

For now, though, I’m off to watch backlogged Last Week Tonight episodes on my new Now TV subscription on my newly working internet. Farewell!

I finally read Age of Apocalypse – Was it like a smaller Secret Wars?

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Just recently, I crossed another item off my list of stories to read on Marvel Unlimited – I rattled through the X-Men: Age of Apocalypse mini-epic. I don’t know what spurred me to go for that precise one, but after the fact, it seems topical – after all, Marvel are about to pull an Age of Apocalypse on their entire universe with the mega-massive Secret Wars event.

That’s before we get to next year’s X-Men: Apocalypse movie, which probably won’t adapt this storyline but might, and recent DC event Convergence, also an AoA-style move, albeit shorter.

So it seemed a good time to talk about it, maybe discuss how these new events are using (or abusing) the legacy of Age of Apocalypse. Spoilers follow for twenty-year-old X-Men comics!

The Age of A-WHAT-alypse?

Style icons of the Age of Apocalypse

It turns out, Xavier was crucial to everything and the causation ripples from his non-existance caused the Marvel Universe to whip from a standard modern-day setting to a hellish dystopia ruled by longstanding Survival Of The Fittest X-Tyrant Apocalypse.

I’m going to try and keep the outline brief: Age of Apocalypse began after someone went back in time and killed X-Men mentor, inspiration and Patrick Stewart lookalike Charles Xavier, long before he became a living legend.

In real-world publishing terms, this meant the seven or eight monthly X-Men comics were replaced for four months with retitled series following the AoA equivalent of their regular characters. So Wolverine became Weapon X, Generation X became Generation Next, X Factor became Factor X, Excaliber became X-Calibre (???), and, best of all, X-Force became Gambit and the X-Ternals. Because they’re external to the mainstream, or something?

Some characters investigated signs that all wasn’t right with this reality, others fought in escalating conflicts that threatened to destroy the world before the first lot could save it. And that, basically, is the premise of Age of Apocalypse.

The Knightfall of Jack Batlin

More like DARKDevil!!11!*

This is far from the only superhero comics story in the nineties where a popular property was replaced with a different (often DARKER) version. There was Batman: Knightfall, the Death of Superman, Spider-Man’s Clone Saga, new Green Lantern Kyle Rayner and, of course, the time Daredevil faked his own death, wore black armour and started calling himself Jack Batlin.

Not got time to discuss all those in depth, but the point is: many of these stories are not well-remembered. Age of Apocalypse, however, gets quite a good rap. Like: people talk about it as if it’s good and worth reading, rather than a “guilty pleasure” or a fascinating study of nineties excess.

So, what did I think when experiencing these comics?

Honestly, if I take one thing away from Age of Apocalypse, it’s a certain respect for the editorial planning and world-building. The comics consistently take place within the same world, there’s a steady rumbling story through everything despite the dozen or so writers and artists involved. There aren’t that many moments of memorable writing voice – even an early-in-career Warren Ellis on X-Calibre doesn’t impose his style on the finished product much – but everyone is clearly on the same page.

It has a lot of momentum, the characters are consistent, it’s paced at just the right length to get everything in, do its thing and end the story with a bang. The art is always strong, clear and getting the desired effect, finding time for memorable showings from Joe Madueira, Steve Skroce, Adam & Andy Kubert and Chris Bachalo, among others.

Obviously, I wasn’t involved in running the Age of Apocalypse story, for all I know it was utter bloody chaos behind the scenes. But if I had to compare it to other nineties comics events, I would say this is the USP: it feels like a story at its natural length with a pre-planned beginning and middle, then an end which brings back the status quo without feeling like a depressing reset.

Infinite Leather Jackets and the Apocalypse

90s Cyclops is 90s

Of course, I can’t pretend that Age of Apocalypse is some formal comics masterwork on a par with Watchmen. It is an event story from the nineties and comes with all the try-hard “kewl” moments you’d expect, along with over-muscled men, over-endowed women, awful haircuts, too many guns, too many pockets and infinite leather jackets. If you’ve tried nineties comics before and found all the above too much to deal with, I can’t say Age of Apocalypse will necessarily change your mind.

As a pre-2000s comic, there’s also a narration-heavy, tell-don’t-show approach to storytelling that seems clunky compared to the streamlined dialogue-driven cinematic stylings of nowadays. With a whole universe to introduce, it can’t avoid a huge amount of info-dumping in captions, not to mention characters turning up and delivering huge monologues which just happen to explain their entire motivation and history in a single text-filled page.

Of course, even if it doesn’t read silky-smoothly, it’s possible this TAKE THIS EXPOSITION AND EAT IT! approach is one reason Age of Apocalypse works. Fully dramatising all of this background material could take twice as long, and even if it would be functionally better, stretching out the story would damage momentum. Let’s face it, fun though this alternate reality replacement game is, we all know the status is gonna quo in the end. Better focus on the key moments.

Secret Wars – Secret Marvel Unlimited promotional tool?

The Many Thors of Secret Wars

Which brings us on to the happening-right-now Secret Wars, in which a Massive Cosmic Event destroys the Marvel Comics universe and all its alternates, leaving only a patchwork reality made of bits from all of them. It’s very AoA in many ways, and not just because one of the themed regions on the new “Battleworld” is Age of Apocalypse-based. In fact, this is a bit like a theme park isn’t it?

But the main thrust is that the whole of the Marvel line of comics is on hold, bar a few exceptions, leaving only comics set on the various new worlds. Some of them are ‘continuations’, others are ‘preparing to die’ stories set back in the pre-destruction universe, others just writers having fun in the weird new setting without much concern for what it all means. Those might be the ones I’m most excited by, although as a Marvel Unlimited subscriber, I get to read any I fancy without needing to make “purchasing” decision.

Which, actually, might be the best way of experiencing the event.

I don’t know whether Secret Wars will work or not – I can see how it might be annoying to followers of ongoing series which are now being heavily disrupted due to a story which doesn’t relate to them. Age of Apocalypse, at least, was shorter, more self-contained and confined to a smaller group of books which were heavily interrelated anyway, so tight continuity wasn’t a hard pill to swallow. Will Secret Wars lack the tight focus and plotting that made Age of Apocalypse work? I’ll find out in about a year when the whole thing is on Unlimited.

But even if it turns out comics companies learnt the wrong lessons from Age of Apocalypse about what they need to do to sell, the original remains a fun read. A testament to how obvious gimmickery and a bombastic nineties aesthetic don’t have to be bad if there’s a compelling story in there. Worth a look.

FOOTNOTE *: Yes, I’m aware Darkdevil is an actual character from the alternate-future MC2 continuity. He’s the son of a Spider-Man clone possessed by the spirits of both Matt Murdock (aka Daredevil) and the demon Zarathos. In many ways, this innocuous pun was a homage to him.

Ultimate Spider-Man – A Potentially Pre-Emptive Eulogy

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Last week, the Ultimate Spider-Man comic seemed to come to an end. It’s hard to be certain, as Marvel Comics are being very cagey about the future of their publishing line, but based on some heartfelt words from series writer Brian Michael Bendis on his Tumblr, it looks like we’ve reached the end of that book in its current form.

The character may carry on, but sounds like either he’ll no longer be written by Bendis or the set-up will be radically changed. Either way, I was inspired to produce some words, as this was a comic that meant a lot to me over the years.

Peter The Animal-Themed Villain Slayer?

The Ultimate line from Marvel began in the early 2000s (originally under the title Ground Zero Comics, thankfully changed before 9/11), re-imagining their main characters as debuting in the present day, rather than the mid-20th century. It revised origins, streamlined continuity, tweaked premises to suit modern audiences, and was wildly successful for a while. Many Ultimate changes were adapted into the recent mega-hit Marvel movies.

However, eventually, the Ultimate line grew its own complex continuity, the regular Marvel line offered a more competitive alternative and many of the books struggled. The big exception: Ultimate Spider-Man, initially by indie crime comics writer Brian Michael Bendis and experienced superhero artist Mark Bagley.

It’s just not a great haircut.

At the heart of Ultimate Spidey, and perhaps the reason it lasted such a long time when the others lost their way, was the idea of Spider-Man as a teenage character. Peter Parker re-envisaged as a modern angry, moping nerd, cursed with a terrible floppy haircut and left forever young like Bart Simpson.

If this series had a firm influence outside old Spider-Man comics, it was teen adventure dramas like Buffy The Vampire Slayer, as Spider-Man struggled with his moral obligations, supervillain battles and web of complex teenage feelings. He swung neatly from soap to action to genuinely funny comedy sequences. There was Gwen and Mary Jane, Norman and Harry Osborn, a terrifying Doctor Octopus and even a non-alien Venom. Good times.

I Was A Late-Teen Spider-Fan

I was a late-teenage Spider-Man fan while this started coming out, so I suppose there’s an obvious appeal there. But as someone who loved the sci-fi/soap opera/jokes combo of Spider-Man more than any other superhero, I thought this really captured the spirit of the character for me, distilling it into a pure form without many distractions. After all, Spidey is the forerunner of all teen relatable superheroes, and it was weird that there hadn’t really been many comics where he lived in that genre – sneaking out of school to fight the Rhino and trying to make it back in time for his date.

I also felt the length of the run did a lot for it. Obviously, not every comic book run should go on forever. Still, the feeling of a world developing, characters coming and going, all with Bendis as a unifying creative voice even after the original artist left, gave the series a feeling of authorial ownership and consistency you don’t get from many superhero comics.

I don’t want to ignore the artists – Mark Bagley cemented himself as not just a definitive Spidey artist here, but one who can convey lengthy conversations just as well as superhero action.

The subsequent artists – primarily Stuart Immonen, David Lafuente, Sara Pichelli and David Marquez – were all top-notch too, continuing in the tradition of exciting, dynamic art that flowed through the action. They made the superhero action look like it had real weight rather than abstract gesturing, while still selling all the emotional beats.

And I haven’t even talked yet about the other major thing Ultimate Peter Parker got that the regular one probably never will: an ending.

Even-Ultimater Spider-Man

Lovely Miles Morales costume.

I cried when Ultimate Peter Parker died, I’m not ashamed to admit it. Series original artist Mark Bagley came back to draw that last storyline and gave him exactly the sacrifice you’d want. Seriously, if you’d been reading all along, it was a brutal, sad pay-off. Even though he might now be back from the dead, it doesn’t deaden the impact of that issue for me.

Plus it meant Ultimate Spider-Man could innovate yet again by giving us the all-new version: Miles Morales. An young biracial teenager inspired by Peter Parker’s death and just happening to acquire similar-but-not-identical spidery powers, Miles donned a redesigned Spider-Man costume and picked up where Parker left off.

Paving the way for many more diverse superhero replacements in recent years, Miles kept up the bold Spidey tradition of likability and humour in the face of horrible suffering. With Bendis still on-board as writer, he’s kept the tone consistent, continuing the Ultimate Spidey tradition of making old tropes seem new and exciting. The inspired part, I think, was yanking away the Parker-era safety net of recognising characters/stories from the original universe, but keeping the tone intact.

Sales of the Ultimate initiative trailed off in recent years, and we’ve finally reached the point of winding it down. Bendis and Bagley are re-teaming for a finale story called Ultimate End, which should be heartwrenching. Still, they’ve all but confirmed that Miles Morales will stay around in some form – based on some news stories, he may even join the Avengers.

Nonetheless, part of me feels an overhanging sadness. As I’ve mentioned, the glorious tapestry of the Ultimate Spider-Man universe is a big selling point. Bendis built a world populated by likable and memorable characters, all the better to make us suffer when he starts swinging the hammer into them.

If we lose that, even if Miles Morales himself survives, I will feel something has been lost. What about his friendship with Ganke, dammit?

Yes, the character and what he represents are important, but the Ultimate Spider-Man series, supporting cast and style meant something to me too, and if this is the end, I’m sorry to see them go. But I got to read over 200 issues of this thing I like, with pretty much uniformly great art, so I suppose my suffering isn’t quite the worst in the world.

Thirty-One Year Check-Up – Comics, Hobson & Choi III, Life

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Today is my thirty-first birthday, and after making a giant messy fuss of my thirtieth, I feel like this might end up being a quiet one. Still, it’s been a while since I blogged about what I’m up to in a broader sense, so I figured this was as good a time as any for a check-in.

So, where is the third Hobson & Choi book at? What else am I working on? How am I feeling, y’know, deep down? Some of those questions answered in the following words.

Comics Of Future Now

The biggest new news, as posted on social media yesterday, is that I received a print copy of my first published comics work: a story in The Gathering: Noir from the good folk at GrayHaven Comics. You can see my hand modelling the comics in the nearby picture, and I can confirm it is a lovely, well put-together object with attractive cover art. For more details on this comic and a single solitary panel of art preview from my actual story, see this post from last month.

In previously unspoken news, I also have another short comic story approved and assigned to an artist with an entirely different indie set-up. More details on that when it happens, although we’re probably talking 2016.

Would be nice to advance the comics thing further, but currently all my spare creative-project funds are going into H&C books. If the comics internet has taught me one thing, it’s that asking artists to work for free is not a good look. Speaking of Hobson & Choi…

H&C3 – No wolves, no recruitment agencies

The third Hobson & Choi book, Trapped In The Bargain Basement, is currently being read out loud by me, sitting alone in my house. As discussed in this old post, that’s a dull process but always ends up being worthwhile. I’ve cut 3000 words of needless burble this time, and not even finished yet.

It should be off to an editor in the next two or three weeks, and hopefully out to you, the reading audience, in the latter half of this year. I’m hoping late summer/early autumn, but should probably be a little vague, for reasons I’ll get onto in a minute.

If you want to make me feel good on my birthday, feel free hit the Hobson & Choi homepage and buy one of the books (the first one is very cheap on digital). If you’ve already purchased and read, you can leave a review on Amazon/Goodreads/your own site or tell your friends/social media followers/blog readers/whoever about H&C. All pretty crucial to the whole authoring game.If you’ve already done all that: thanks, I love you, you’re fine.

Thirty-One Life

Alright, I’ll talk a bit about the birthday as well. My feelings about life and the passing of time haven’t changed much since last year’s 30th-marking blog post, to be honest. All is alright. In addition to the self-publishing, I have my urban fantasy novel finally out with agents and we’ll see how that goes.

(I considered blogging about that as it happens, but I’ve yet to come up with amazing new perspectives as I haven’t done much beyond send a few emails. So I figured I’d just not bang on about it, lest I sound like I’m complaining about “literary gatekeepers” or whatever the angry people say.)

It looks like I might be moving back south of the river some time this year. I like Walthamstow a lot, but there’s something weirdly homely about the Peckham/New Cross/Brixton region. And yes, the inevitable disruption involved in moving house is why I’m hedging my predictions for H&C3 release dates.

That’s probably enough from me to keep you going into April. Now, I’m off to hack out another quick chapter on my tentative sci-fi project that probably won’t see the light of day until 2016. Work doesn’t stop for a mere 31st birthday.

Comic story by me now buyable! “The Case Study” in The Gathering Noir!

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So busy talking about the oft-mentioned Hobson & Choi books around here, I kinda missed the fact that my first comics work came out! This is a four-page story called The Case Study in The Gathering: Noir anthology from Grayhaven Comics. I’m moving noir desperation away from the mafia and on to a whole new group of men in suits – corporate executives.

If you want a print copy, they can be ordered directly from the Grayhaven website – no news on a digital edition yet, but I’ll let you know if it happens.

I’ve seen the four pages and am pretty thrilled with how it came out. For a first attempt at actual fully-realised comic scripting, I seem to have put across my thoughts fairly well.

Of course, comics are a collaborative medium, so other people played a major role in that success – primarily excellent artist Patrick “Podge” Daly, who did a great job of interpreting the script into a proper comic, and Marc Lombardi who edited the whole anthology, lettered my individual story and generally made the whole process flow nicely. Thanks, guys. If/when I do comics again, I’d be delighted to see either of you involved.

I’ll add a single-panel sample of Podge’s art below, just because I think it deserves to be seen – if you like it, do pick up a copy.

BEST OF 2014 – Comics

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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.