Wednesday, October 17, 2012
Comic shop comics: October 17
These ghosts are drawn to resemble people-sized bowling pins, with black dots for eyes and no other features. They're form of haunting consists mostly of milling around, being annoying and saying "Boo."
That story is followed by another story in which Popeye gets in trouble with the law because he's mysteriously punching everyone he sees in the face.
The stories are by Bud Sagendorf, and thus aren't the top-shelf Popeye comics—that is, they're not E.C. Segar's—but they are comics from the shelf right below the top shelf.
That is, Waid managed a neat surprise, and he did so by putting a surprise in a place one wouldn't expect to see a surprise...which I'm afraid I've kind of shorn the edges from simply by acknowledging its existence.
But you've already read Daredevil #19, right? I mean, you're presumably reading this column because you like super-comics, and, after a rocky patch or two with the changing artists before Chris Samnee became the regular, monthly artist, Daredevil is one of the very best super-comics being published today.
This issue is kinda sorta a guided tour of Hawkeye's quiver full of trick arrows (Hey, which archer started using trick arrows first, Green Arrow or Hawkeye...? Just wondering which publisher ripped off which), as Clint Barton leaves the house to buy tape in order to help Kate Bishop properly label all of his trick arrows, and ends up getting involved in a big car chase and battle with those guys from the first issue who say "bro" a lot. Before using any of these arrows, Aja always inserts a close-up, diagram-like drawing of the various arrows' tips.
It's pretty damn close to being a perfect comic book, if you don't mind a bit of superficiality in your comic book reading (That is, Hawkeye is a comic book about nothing more than being an awesome comic book; the incredible talent, skill and craft that went into its creation apparently being the point of the endeavor, while the content is otherwise simply bad action movie plot devices).
I think the last panel on the second-to-last page should have been the last panel on the last page, but then, I don't write comics for a living, and Fraction's ending probably was stronger, although I think it would have been funnier without the last page.
Oh well. Remember what I said about Daredevil being one of the very best super-comics...? Well, here's another one.
I don't know; I'm having trouble articulating exactly what it is that I don't like about this comic book series, but I don't really like it. Certainly not as much as I expected too.
Great cover, though!
As for Saucer Country, what's getting really, really weird about this comic is the deja vu I have while reading it. Like the anecdote on page 17? I've read that anecdote repeatedly, although now I'm not sure where (Pretty sure Annie Jacobsen's mostly-sober Area 51, written about at length in this postand/or Jerome Clark's UFO Encyclopedia). Is it cool for writer Paul Cornell to take an anecdote straight from UFO folklore (UFOlkore?) like that and insert it into his fictional comic book? It doesn't really upset me, but it does make me feel weird...I mean, right after the character cites that anecdote as an experience of his own, he alludes to disinformation campaigns.
I don't know; a fictive comic book series weaving readymade fictions, facts, fictions-presented-as-facts and facts-hidden-as-fictions into its narrative...? Sometimes this comic makes me a little dizzy.
I'm reading it serially, but if DC ever collects it into a very thoroughly annotated edition, I'm probably gonna be all over that.
A 12-issue story arc just ended, and this issue seems to be a transitionary one, carrying the dangling plot threads from that storyline into the next arc, while introducing new characters and plot threads.
It's fine. That Damn Arrow sure screws with what otherwise would have been a pretty fine cover, though...