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Thursday, September 2, 2010
2004 Top 10
Rich's year ender has arrived.
I was planning to lead off this Top 10/Year in Review column with a rant about George W. Bush and how his re-election can and will very likely lead to even worse times ahead for America and the world. Truth is, though, there's really not much more I can add to the things I've already said over the past three years, both in this column and my previous one. Not at this stage, anyway. I'm sure that'll change before long. I mean, let's go down the list, shall we? He led us into an undeclared war under dubious pretenses against an enemy whom he tried to get us to believe was to blame for September 11. He sent American troops into battle with inadequate protection. His administration, with the help of the media, has done a poor job of acknowledging the rising death toll in Iraq, not only of American soldiers, but Iraqi civilians as well. His administration has spearheaded legislation- the Patriot Act- that curtails the Bill of Rights in numerous ways and has inspired ordinary people to spy on each other. He is responsible for cultivating a political and social environment where dissent is equated with treason. He imprisons suspected terrorists- American citizens!- and denies them the right to counsel, among other things. He has opposed gay marriage and encouraged legislation against it- legislation that has now been passed in individual states. He continues to introduce tax breaks for the upper class which widen the gap between rich and poor. He's not terribly concerned about the environment. He continues to blur the lines between church and state. And he still hasn't caught Osama bin Laden. It's scary, it really is, to think that people either can't see this or choose not to. I can understand wanting to feel secure; to be willing to do whatever it takes to prevent 9/11 from happening again. But is that need worth sacrificing our civil liberties? Is it worth watching our brothers and sisters, our sons and daughters, die overseas in a highly questionable conflict? Is it worth adopting a "my country right or wrong" mentality that alienates those who might have been willing to help us? I cannot see how it can be worth it or how it ever could be. This is why I say to you, my friends: keep asking questions. Maintain an open mind. I'm no flag-waver, but I believe America has seen worse times than this and a change for the better is still possible, however slim it may be. Still, it's gonna require a renewed effort, and I know how that must sound after seeing Bush win the election. But it sure as hell beats the alternative. (I mean, have you seen the exchange rate for Canada?) Hmm. I guess I made a rant after all. How about that. * * * Who benefits? Who benefits from what has to be one of the most creatively bankrupt years in recent comics history from Marvel and DC? Who benefits from publishing stories in which characters that for years, represented humanity's highest ideals and greatest aspirations, have their integrity compromised, their values put into question, and their credibility shot to hell? Who benefits from stories that nearly drown in misery and despair and offer little in the way of wonder and imagination? Who benefits from, to appropriate the title of a JLA arc this year, the pain of the gods? Surely not the long-time fans, who deserve better than to see their favorite heroes written out of character in stories where the only motives given for seeing heroes go bad is that they went crazy. Surely not the female fans, who got to witness no less than four women characters – Sue Dibny, Jean Loring, Gwen Stacy and the Scarlet Witch – suffer through some of the worst, needless plot contrivances in recent memory. (I'll leave it for others to decide whether charges of misogyny apply.) Surely not neophyte or casual comics fans, for whom corporate superhero titles have become more Byzantine and self-referential and inaccessible than ever before. Surely not the truly inspired creators within the system- people like David Hine, Dan Slott, Greg Pak & Charlie Adlard, Steve Gerber & Brian Hurtt, Jimmy Palmiotti & Justin Gray, Kelley Puckett- who refuse to settle for the same old thing, but must struggle to make their voices be heard. And surely not the smaller publishers, who continue to get crowded out of the marketplace to the point where they either must appeal to the fans for financial help, as was the case with Alternative Comics this year, or go out of business altogether, as was the case with Highwater Books, and most spectacularly, CrossGen. Everything that can be said about CrossGen has been said, but I want to take this moment to re-emphasize one final thing. Whatever you may have thought about their books, and in spite of the mismanagement that led to their eventual downfall, for a very brief time they were the model of how a comics publisher should be run. They showed respect for the creators, fans, and retailers, they gave back to the industry in the form of a number of charitable causes, they strove to reach non-comics fans all over the world, they placed an emphasis on education through their books, and they made a genuine effort at instituting lasting change. The good they did accomplish must not be completely overshadowed by the bad. Though they fell far short of their long-term goals, it would behoove new publishers (of which there will be quite a few in 2005) to learn from CrossGen's mistakes if they hope to succeed. I was extremely fortunate this year to have been able to attend all four of the major small press conventions in America- what I refer to as the Small Press Grand Slam: APE, SPACE, MoCCA, and SPX. And the one common denominator all four shows have is diversity- of product, of creators, of fans. That's what's going to keep the industry alive as long as there are creators to make the books and fans to buy and read them. I have plans of my own to contribute to that spirit of diversity, which I'll reveal very soon, but seeing such a bounty makes me once again plead to Fandom Assembled: there's no reason for you to settle for mediocrity in the comics you read. If you can honestly say you liked Identity Crisis and "Avengers Disassembled," well, good for you, but if you didn't, and if you swear off Marvel and/or DC forever (like I saw so many people claim to do this year), and if you don't open yourself up to other books out there- because from the looks of it, those so-called events will lead to even bigger and more bloated so-called events next year- you’re doing yourself a disservice. Because in such a case, there's only one group of people who benefits- and it sure as hell isn't you. * * * Okay, so before we get started, let me establish the ground rules: the following list is based on new comics material released during the calendar year of 2004 that I personally have read. Please note this distinction: I do not claim these books to be the best in the industry this year, just the best ones I read. I do not read every new title that comes out and I do not try to. There will always be books that, for whatever reason, either flew under my radar or I just never got around to reading. I welcome any and all debate over my list. Last year (in my former column, "Cheap Seats") the top spot went to Yossel: April 19, 1943 from iBooks by Joe Kubert, a tale inspired by the Warsaw ghetto uprising of 1943, during the Nazis' reign of terror throughout Europe. The title character is a young artist, a member of the resistance movement, who spies on the Nazis by drawing for their entertainment. He used to draw for his own amusement, and he dreams of being able to live a better life through his art, but before long the only thing he can hope for is survival. Kubert worked in pencil sketches only, as if recreating Yossel's sketchbook, and there are no traditional panel layouts, but there’s more vitality, energy and pure craft in these pages than in most finished comics art. Yossel's story is one of bravery in the face of overwhelming odds- one you're not likely to ever forget. It's available from iBooks. Books of note that missed the final cut make the Honorable Mention list (in alphabetical order): -Abadazad (CrossGen). Only three issues saw the light of day, but boy, were they something special. Hopefully this book will get new life in 2005 under Disney. -Ex Machina (DC/Wildstorm Signature). A canny mixture of superheroes and politics. Brian K. Vaughn strikes gold yet again. Will he do the same with Runaways Volume 2? -Hello (no imprint name). Xeric Grant winner Fay Ryu turns out the most eclectic mini-comic of the year– a dialogue-free graphic novel the size of the palm of your hand. Keep an eye on this one, folks– you'll be hearing her name again. -How Loathsome (NBM). This frank look at San Francisco's sexual underground is a rare gem. -Owly (Top Shelf). An endearing and lovable new character that’s great for kids of all ages. -Punisher (Marvel/Max). Garth Ennis' serious take on Frank Castle is every bit as outrageous as his comedic take- only better. -Scandalous (Oni). Communist witch hunts in 1950's Hollywood seem particularly relevant today, and J. Torres and Scott Chantler pull no punches with this bold graphic novel. -Supreme Power (Marvel/Max). J. Michael Stracyznski's take on Marvel’s JLA is great stuff. -Suspended in Language (GT Labs). Jim Ottaviani's bio of quantum physician Niels Bohr is a challenge to read, but worth the effort. -We3 (DC/Vertigo). Cyborg animals hunted by the government? Only Grant Morrison could pull it off this well. And with Seven Soldiers on the horizon, 2005 looks to be his year. And now, the Chicks & Romance Top 10 for 2004: 10. Street Angel (Slave Labor). Among the most common complaints about DC and Marvel's big events this year- Identity Crisis and "Avengers Disassembled," respectively- is that they sucked the fun and enjoyment out of what has traditionally been escapist fantasy. You will not find supervillains raping the wives of superheroes in Street Angel. Nor will you find superheroes standing around impotently while friends and loved ones die or go nuts. What you will find in this wonderfully absurdist potpourri is mad scientists. Pirates. Astronauts. An adolescent kid with the meanest skateboard moves you've ever seen. And lots and lots of ninjas. Jim Rugg and Brian Maruca are not trying to reinvent the wheel with Street Angel, nor are they out to redefine it for a New Generation. They're just out to have a good time with it, and anyone who wants to is invited to join the party. And the very notion that something so simple as this should come as such a breath of fresh air this year speaks volumes about where we are right now as an industry. Street Angel doesn't pretend to be anything more than what it is- a damn cool book. Nuff said. 9. Flight (Image). Years from now, Erik Larsen discovering the young men and women of the anthology Flight at this year’s Alternative Press Expo will be remembered as one of those too-good-to-be-true moments where the right person was in the right place at the right time and everything fell into place as simply as you please. Flight might've achieved a measure of success had the creators self-published it, as was their original intent. The Image 'I,' however, raised their profile, and as a result, more people were able to see firsthand the talent on display in this volume of flight-themed stories. I admit to having my doubts about Larsen's ability to run Image at first, but no more- not after seeing him take a chance on a bunch of unknowns and watching it pay off. Perhaps not all of the creators here will go on to be stars, but I have no doubt that some will- and they'll look back at this book and that moment in San Francisco and will have no other choice but to call it fate. 8. Superman: Secret Identity (DC). A number of artists had breakthrough years at the Big Two this year- Rags Morales, David Finch, Ethan van Sciver, John Cassaday. For my money, though, one name has gone criminally overlooked, and that's Stuart Immonen, who illustrated and colored this remarkable mini-series about a "real world" Superman. His layouts are simple and direct; his pencil work lush and extremely naturalistic. He sculpts light and shadow with not only the pencils, but the colors, in a style reminiscent of fine art. His single- and double-page landscape and cityscape shots invite you to reflect on the beauty of the world this story inhabits, and they evoke a certain level of intimacy at the same time. He's even able to switch to a Silver Age and an animated look for the splash pages beginning each chapter that fooled me completely into thinking they were real. Writer Kurt Busiek has once again hit one way out of the ballpark on Superman: Secret Identity, and Immonen's mind-blowing work makes me hope he gets more stories in this vein that will let him showcase his skills. 7. Hard Time (DC/Focus). It had all the ingredients of a hit series. A respected, iconoclastic veteran writer paired with a younger, on-the-rise artist. A unique premise: a teenaged metahuman with powers not even he is fully aware of, sentenced to a lifetime of incarceration after making a huge mistake. A large ensemble cast of characters, both inside and outside the prison setting, with plenty of potential for multiple subplots. A mystery at the heart of it all: what is the true nature of the kid's powers and what does it mean for him? Those who followed Steve Gerber and Brian Hurtt's supernatural suspense series were treated to one of the most intricate and intriguing stories this year- but they numbered in the relatively few. Gerber has confirmed that DC will give Hard Time a second chance, divorced from the failed Focus imprint that it belonged to, which is good news. Titles like this are few and far between in the corporate ranks and deserve every opportunity to expand their audience. 6. Artesia (Archaia Studios). How can it be that one individual can do as much as Mark Smylie does on Artesia? A man who wears many hats, Smylie is this book's writer, penciller, inker, painter, letterer, and publisher, yet even that doesn't begin to describe the amount of work he does in bringing this medieval fantasy tale of a warrior priestess to life. He is also costume designer, weapons maker, lyricist and poet, cultural historian, military strategist, theologian, architect and cartologist, all in the service of fleshing out this fictional world. This year he even came out with a role-playing game to accompany the comic. If this added up to a straightforward, yet still entertaining, tale, that would be plenty, but that's still not all. The way he approaches themes such as religion, sexuality, and the use and abuse of power, elevates this into a true work of art, in the same tradition as Cerebus, Elfquest, A Distant Soil and Finder. In a better world, a book like this would be an international bestseller and Smylie would be on talk shows with it. There's no way I can do Artesia justice- you have to read it for yourself to believe it. 5. Neotopia (Antarctic). There was a definitive scene in Rod Espinosa's fantasy war saga this year that spoke volumes. In Nalyn's quest to recruit allies for her war against Krossos, she encounters a ruler who secretly shows Nalyn her cache of weapons of mass destruction. Initially in the series, Nalyn had an aversion to technology, since its abuse was what nearly led to Neotopia's downfall long ago. She eventually recognized the need for it and has come to respect it. Here, though, she's presented with the means to end the war quickly and easily. She would be completely justified in doing so, given the amount of death and destruction the Krossian armada has inflicted to this point. In the end, though, she declines to use the bombs. Too many times in this world, whether we are religious fanatics with a grudge, or world leaders with an agenda, or what have you, we fail to consider the consequences of an act. To have the strength of character to resist the might-makes-right mentality and choose to preserve life instead, as Nalyn does, is a rare thing, and though the road is a harder one to travel, the benefits are worth the effort. The lesson learned: simply because a thing can be done, does not always mean it should be. One can only hope it's a lesson that will be remembered soon. 4. DC: The New Frontier (DC). What is it about a Darwyn Cooke comic that makes it so wonderful? Is it the elegant, yet potent, gracefulness of his drawings? Is it their timelessness? Is it the dynamic compositions within easy-to-follow panel layouts? Is it the excitement of the stories themselves- the emphasis on high adventure, on challenges both physical and mental to overcome? Is it the respect for a character's history and knowing which traits define them best? Or is it the mere joy that comes from seeing a true craftsman do his thing? All these elements were on display in this extraordinary mini-series that bridges the gap between the Golden and Silver Ages of the DC superhero universe. New Frontier is a paean to not only these characters, but to the creative minds behind them who can never get enough credit. For anyone who grew up reading their exploits, this book is a reaffirmation of what made this era of comics history so enduring, even today. 3. Birth of a Nation (Crown). The truth behind the 2000 election snafu in Florida may become as elusive as that of the Kennedy assassination. What is indisputable, however, is that the process by which a number of votes in mostly African-American communities became disqualified left many blacks, both in Florida and nationwide, with feelings of betrayal and abandonment by a system which some believe was rigged. Would those feelings be enough for a community to turn its back on its own government? This is the scenario explored in this funny and poignant graphic novel, in which the locale is shifted to East St. Louis, Missouri, one of the poorest cities in America and almost exclusively black. Aaron McGruder, Reginald Hudlin, and Kyle Baker explore the political, economic, social, and cultural angles behind a modern-day civil war drawn along racial lines, done with a great deal of understanding about the issues that divide not only America in general, but black America in specific. The story's strong, satirical wit contributes mightily to its success, and makes hot-button topics like racial identity, black militarism, and black conservatism more palatable. The art presents blacks of all shades, hairstyles, and body types, something rarely seen in most comics today, and makes this story that much easier to believe in. Birth of a Nation is a ballsy indictment of a government, and an administration, that failed its people during a crucial turning point in its history, while serving as a reminder of the principles that America was founded on. And besides, who wouldn't want to live in a country where the national anthem is sung to the theme from Good Times? 2. Everyman: Be The People (FWD Books). In the aftermath of the results of this year's presidential election, one could be given reason to question whether either the Democratic or the Republican parties serve the needs of the American citizenry, or merely their own. Independent third parties have tried for generations, in vain, to break through the monopoly of the Big Two. In the first in a series of graphic novels called Everyman by Dan & Steven Goldman and Joe Bucco, a third party, unencumbered by the usual political agendas and whose unconventional campaigning tactics strike at the heart of people's concerns, not only catch on but pose a threat to the incumbent administration. Part of the creators' goals for this story is to restore the idea that the people have the power to bring about change, and that it's not too late to make America the country it’s supposed to be but seldom is. It's an inspired message, and an infectious one, and although it may seem a little pie-in-the-sky now that Bush has won the election, it's still one that people need to hear. The solid writing, combined with the beautiful artwork, help sell the idea. The low price (six dollars) ensures that many will be able to read it. And the promise of more in this series provides the opportunity to expand on it. Intelligently written and masterfully illustrated, Everyman: Be The People is the beginning of what could be one of the most important comics of the decade. 1. It's a Bird... (DC/Vertigo). The legacy Christopher Reeve left behind in the wake of his sudden and tragic death this year extended far beyond his role as our generation's cinematic Superman. In his quest to regain the ability to walk, not only did he continue to be a public figure, acting and even directing movies, he became a champion for the cause of stem cell research, a controversial topic that he never shied away from. Whether or not you believe that living embryos are at risk, medical experts agree that research in this field can lead to major breakthroughs in curing diseases- such as Huntington's chorea, the neurological disorder that lies at the heart of It's a Bird..., the intensely emotional drama that deconstructs the world's greatest superhero like never before. My father has been a quadriplegic for the past decade and a half. While he's still very much the same man I've known all my life, at the same time he's not, and though I've been able to make the adjustment, a part of me still rails at the injustice and senselessness of his situation. This is why I rarely, if ever, talk about it- talking about it makes it realer than I want it to be. This is the quandary Steve, the comic book writer character in the graphic novel, goes through as he grapples with the specter of Huntington's, the hereditary disease that claimed his grandmother and his aunt, and which he fears will one day come for him as well. At the same time, he is assigned to write the Superman book, but is unable to find an easy entry point to the superhero, and part of the reason why goes back to his earliest memories of Huntington's and the guilt and shame he and his family have carried around as a result. Superman, like the disease, is presented as an insurmountable obstacle that defies conventional logic, an aberration that is difficult to articulate about and shouldn't exist. Steven Seagle wrote this story based on events in his own life, using fourth-wall-breaking narrative, flashbacks, and vignettes written as essays, stories, even poetry. Teddy Kristiansen illustrated it in a wide variety of abstract styles, in different media, to reflect Steve's multiple interpretations of Superman and how the character is defined. The result is a reading experience like no other, one that makes the best use of the medium to convey the type of story the creators had in mind. Reeve's portrayal as the Man of Steel has influenced many creators who have told Superman's stories, from John Byrne to Dan Jurgens to Jeph Loeb & Tim Sale to Jim Lee, but perhaps it may not be more keenly felt than in It's a Bird..., in which a man, and a family, must learn to face the reality of a debilitating medical condition. A job that takes as much courage as that which Reeve showed, and shared with others. A job... for Superman. * * * That's it for me on 2004. It's been a very eventful year for me personally, and before I take off I've gotta give thanks to those who helped make it memorable for me that I never mentioned enough, either here or in "Cheap Seats." First, all praise and blessings are due to my friends and colleagues here at CWN, especially Ed Cunard, who has been a major supporter of me and my work for the past two-plus years, and without whom I wouldn't be here. I won't mention everyone who helped contribute to my columns, but I will give shout-outs to some folks who helped make some of my columns possible and who were part of my comics life in some way this year: Richard Gomez, Crystal Madrilejos, Bob Corby, Larry Blake for changing his mind and agreeing to be on my SPACE panel after all, Jane "She’s got the Yes Pants on" Irwin, Madison Clell (without whom I might be stuck in San Francisco), Keith Knight, Gina Kamentsky, Phillip Clark & Jamie Rodriguez, Brandon Hanvey, Scott Roberts, Denise Sudell (a Queen among women), Omar Bilal, Rachel Kadushin, Ken Gale & Mercy van Vlack, Reid Cooper, Dan & Steven Goldman, and Captain Jim and all the regulars at the late CrossGen forum at Comic Book Resources. Finally, a 21-gun salute goes out to Brent Erwin and all my old colleagues at SmallPressComics.com, where I spent three and a half years going from being a self-publishing hack to... well, something resembling a comics journalist, if nothing else. SPC was where I was allowed to hone my writing craft, quite literally learning on the fly, going by instinct most of the time and not always getting it right, and Brent was the one who gave me the opportunity and the means to do so. For that, I will forever be in his debt. Thanks, Big Red. "Chicks & Romance" will return January 5. Until then, have the happiest of holidays and a safe new year.
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April 22, 2008:
February 4, 2008:
November 20, 2006:
A Comic-Con without the Captain
