Review: Batman #2

Batman #1 was the sort of comic that made me feel lucky to be a Batman fan. Batman's been the star of so many terrific stories, and great stories continue to be told with the character month after month. He's been written by some of the best writers ever to work in the business, like Grant Morrison and Alan Moore, and is currently being written by Scott Snyder, a fantastic new writer who I'm expecting will be considered a great in the years to come. So for me, whether or not Batman #2 would be good wasn't a question. It was naturally going to be awesome. The only question was how awesome it would be.

Now that I've had a chance to enjoy the comic, I can report that the answer is "pretty darn awesome". This was hands down my favorite comic of the week, and features an action scene that I'm mentally filing away in my "why I love Batman" folder. The comic was wonderfully paced and built on the many mysteries introduced in the first issue. I read solicits, so I have some idea of where things are going next, but I imagine Snyder will still find many ways to intrigue me along the way. I'm very interested in the court of owls, but I'm even more intrigued by Lincoln March. I found the story he told Bruce to be genuinely touching, and I'm interested to see if he's sincere, or if he has a deeper connection to Gotham's dark history. The assassin's line about killing Waynes is one that should have the internet buzzing for a while.

The story and action are both terrific, but I'd  be remiss if I didn't talk about the book's characters. I love Gordon's portrayal here. I'm unclear as to how much of Gordon's willful ignorance about the identity of Batman has carried through here, but the relationship between him and Batman is great regardless. It was great seeing them perform the autopsy together. It's impressive to see how creepy Snyder manages to make Dick Grayson appear here. This is the character I think of as being the most emotionally stable member of the family, and Snyder obviously has a good handle on him. Most of the lines could be written off as red herrings, but I think there's something more going on here, and I can't wait to see what it is.

But Gotham remains the most significant supporting character in this tale. Bruce has come a long way, but I can still believe that he thinks of the city he protects as one of his closest friends. Bruce has spent much of his life afraid to trust anyone, but as vile as Gotham can be, the city is something he feels he truly understands. He knows its strengths, knows how the city can help him. He knows what to expect from Gotham, and what he can do about it. Seeing that trust waiver will be fascinating, and makes me all the more excited to learn about Gotham's deepest and most well hidden secrets.

 Greg Capullo's work on this comic continues to stun me. His visual storytelling during the book's chase scene was pitch perfect, and I often felt like I could hear what was happening thanks to his dynamic art. There's a huge variety in facial expressions, even when it comes to random bad guys, and it does worlds for giving every character their own unique personality. Being able to do something like this is crucial in any Gotham based book, where half the major characters are sporting black hair and blue eyes. We see more of the great backgrounds and architecture we were treated to in issue #1, and his rendering of Gotham's guardians made a certain scene in the book feel that much more badass.

If you're a fan of Batman, then this is a comic you should be reading. It's a great showcase for all the major Batman characters, and it's just a great comic in general. It has wonderful art, compelling writing, and to me, is miles better than any other Batbook DC is publishing right now. While I get the definite sense that Snyder is building a bigger story arc here, both of the book's issues have really felt like they told their own complete story. The endings give you plenty to look forward to while you wait for the next month's issues, but the story you do get still feels satisfying and whole. Batman continues to be one of DC's best comics, and with talent lik

By Marceline with No comments

10 Reasons You Should Read Severed

One of my favorite comics right now is Image's 7 issue limited series Severed. It's a horror story set in 1916 that the writers describe as a "historical fairy tale". I'm a huge fan of horror comics in general, but there's something about this one that makes it stand out. So why should you give this book a chance? Here are 10 reasons why:


10. The art is gorgeous. 

Attila Futaki is fairly new to comics, but he's a great visual storyteller. His beautifully rendered art is realistic, but has a sort of softness to it, like you're looking at a world where nothing can ever go wrong. His work makes the comics most intense moments that much more horrifying, and helps build a sense of dread when it looks like the worst might happen. Imagine if Andrew Wyeth or Norman Rockwell illustrated a horror story. That's what Futaki's work is like here.

9. It'll keep you up at night.

There are tense, creepy moments scattered throughout every issue of Severed, but the real horror doesn't kick in until you try to go to sleep. Severed is the kind of scary that sneaks up on you, that rattles around in your brain until you can't bear to close your eyes. I suspect that Severed's biggest scares are yet to come, but even now, it's a great book to read if you're looking to pull an all-nighter.

8. If you read it now, you can escape spoilers.

While Severed's first three issues have been plenty eventful, the biggest mysteries of the series have yet to be revealed. Who or what is the Salesman? What happened to Jack Gannon? How did that letter wind up in the hands of someone else, and what was it about it that left him so frightened? If you read through the series now, you can avoid having those mysteries ruined for you and enjoy being in suspense from issue to issue.

7. Every issue is accessible.

If for some reason, you can only get a hold of issue 2 or 3 of Severed, you can dive right in. Each issue is a standalone chapter that makes for a solid entry point to the series. Better yet, the issues begin with a simple and clear recap that tell you everything you'd need to know. While I definitely recommend reading every bit of  Severed you can get your hands on, being easy to get into is always a good thing.

6. It's co-written by Scott Snyder.

Detective Comics. Iron Man: Noir. American Vampire. Swamp Thing. Batman. Scott Snyder's given readers plenty of reasons to trust that he'll give them a good comic. Knowing that he's at Severed's helm means lets you enjoy the book's mysteries without worrying that they won't be satisfactorily delivered on. Following creators is one of the best ways to ensure you enjoy your comics, and Snyder is definitely a creator worth following.

5. It's unpredictable.

One of the biggest failings of horror stories is that they're easy to predict. It's hard to truly be scared by something when you know it's coming. This isn't the case for Severed. We know almost nothing about the Salesman, which makes you feel like the story could go in any direction at any time. There were moments in the book's third issue during which I tried to reassure myself, but it never worked, because I felt like I was reading a book in which anything could happen. Its uncertain nature makes Severed a great read and an especially great horror tale.

4. It's a day and date digital title.

If you like reading your comics digitally, then you'll be pleased to know that you can download from both Comixology and Graphic.ly on the day of its release. I can vouch that the page look great on the screen, and that the story works well with Comixology's guided view feature. Right now, there's no digital price drop from month to month, but Image's day and date digital venture is still new, and it's very likely we'll see something like that in the future.

3. It's easy to get attached to the characters.

With the exception of the story's more villainous characters, everyone in the story has been likable and felt fairly realistic. It's because Jack's mistakes and naivety are so believable that the knowledge that something horrible is going to happen to him feels so heartbreaking. He and Sam have such a natural chemistry together, and I've already concocted some theories that will allow their friendship to survive this. Caring about the characters makes the tense moments of the series absolutely brutal, and makes the months between issues feel very long.

2. It's a great snapshot of history.

Reading through Severed, it's very clear that the creative team has done their research. From the painstaking detail of Jack's 1950's home to the way they use the depressing realities of the time period to the story's advantage, there are plenty of elements to appreciate outside the comic's main story. People don't write about the 1910's much in general, and the only comics I can think of set during this time are fairly fantastic in nature. It's really cool to see a comic dive so deeply into a period setting.

1. It's a great comic book.

If you've read this far, it should be clear that my opinion of Severed is fairly high. I love superhero comics, but mostly, I love comics as a storytelling medium, and Severed is the perfect example of serialized storytelling done right. Whether you're looking for a good horror story, a comic with interesting characters, or a book with beautiful art, Severed is a comic worth checking out. The first 3 issues are available online or at your local comic shop, and I really hope you give them a shot.

By Marceline with No comments

Scott Snyder Talks Batman, His Writing Process, and More.

Earlier this evening, Batman and Swamp thing scribe Scott Snyder offered to answer the craft and writing questions of his Twitter followers. He gives some great and encouraging advice here, and I recommend any aspiring comic writers give it a read. Since going back and reading old Twitter posts isn't easy, I figured I'd compile it here so that as many people as possible could enjoy it.

Okay - so if the question is: how much of a story do you need to know before hand - my answer is this: Everyone has their own process, and the important thing is to write enough - frequently enough - that you come to understand yours. For example, I have a friend who CANNOT write a story if he knows the ending. It's just too boring for him. And he's one of my favorite writers out there. For me, though, I need to know a few important aspects of a story in order to begin. 1st, above all, I need to know what it's about for me, personally.

Like on TEC, that was about the idea that Gotham challenges its heroes by generating villains and challenges that soeak to their worst fears about themselves. For Dick, that meant the city was constantly trying to prove to him that his compassion and his empathy - his lack the pathological drive that Bruce has - constituted am insurmountable flaw in him. Once I know that - the core idea and engine of the story - what it's about for me, personally, and it always has to be about something I find troubling and exciting to me, personally, I have my compass. Then I try to figure out the best way to start - how to create an opener that hints at that idea and everything to come. Then I try to figure out an ending that embodies what I really think about that idea. And once I know those things - the core idea, the beginning and the end, I'm ready to start and I like to leave the middle somewhat open to exploration and personal freedom and surprise.

For me, so long as I know what the story is about though - and that that idea is in every issue in some for or another, building steam - I'm okay with leaving wiggle room for plot. Again though - that's MY process - yours might be different. The key is to write every day, or as much as possible, so you can figure yours out with confidence. Like playing a sport - you practice enough, you learn your strengths and weaknesses.

Another good question - how often do you write? I write every work day of the week for the better part of the day. Sometimes that includes editing or lettering, but mostly, it's writing writing. And I'll say this: the best advice I can give to aspiring writers comes down to two suggestions:

1. Write the story that you, personally, would like to pick up and read more than ANY other at that moment.

Meaning, write the BATMAN story that speaks to everything you love about Batman. Not what you think is the darkest or most twisted or high-concept or anything. Not the best, Not the smartest. Not anything except the one that would be your personal favorite, corny as that sounds. It's the golden rule of the class I teach - I don't care what the story is you;re writing - funny dark, political - so long as it;s your favorite right now.

2. The thing that stops most people from becoming writers, in my opinion, is the dear of writing- sorry - fear of writing something shitty. Meaning, they wait til they're inspired and only then do they write, on rare occasion. If you do that, you'll never ever finish anything. You have to be able to sit down every fay and write like a job. Even when you know - you KNOW! - what you write will be shitty. I promise that is true. Lots of people have great ideas, and I don't think it's even THAT hard to learn how to write well enough to do this professionally for most people in the world. For example, if i wanted to be a lawyer, and i was determined enough, i could probably be one, despite the fact that i have very little fucking aptitude for it at all. But if I was a pitbull about it, I could likely do it to competency and have a career and that would make me happy, if it was my dream to be a lawyer. In my opinion - and maybe I'm totally wrong - it's the same with writing.

Some people have a natural aptitude for it (I likely was NOT one of those people) and it's easy for them, and they can be great, the greatest.... Other people don't have an aptitude for it, but if they try hard enough, they can learn it to competency and have a great life doing what they love, even if they're not the greatest or whatever. But I promise, as a teacher, I've seen people with tons of natural talent fade away and never write anything b/c they wrote sporadically and people with (what I thought was) very little natural talent write great books for having taken years to work on those books while working crap jobs to give them time to write - I could tell you stories, believe me - so what it boils down to at the end of the day for me, is this: You have to love your stories in your head enough to be happy if they never make it big, but you're able to just write them for a tiny audience. And you have to work on them like they are your real job, even if you have a real job :) Ok, I'll shut up!

On getting companies to look at your work and how he broke into comics:

You have to just get your stuff out there however possible - meaning, do your own comic and sell it through your lcs on commission, literally do whatever you can to put your story on the shelves somewhere - no matter how small, b&w, xeroxed. Get the thing into the world b/c comic companies are looking for good people all the time. Here's how they found me.

I wrote a short story -prose - for an anthology in which lit. writers made up original superheroes called Who Can Save Us Now. I wrote one about a teenager in the 1940's who's exposed to the explosions in the Bikini Atoll tests and comes back with these strange dark abilities. And two comic editors -one from Marvel - and one from DC - came to the reading/launch for the book and asked me if I was a real comic fan and I had comics in my bag that night. I told them I was a lifelong comic fan and how until college I'd wanted to be a comic artist and the Marvel editor, the great Jeanine Schaeffer invited me to pitch for some one shots, and I pitched my head off and got a Human Torch one-shot. That led to pitching for IRON MAN: NOIR and that led to pitching to Vertigo. But each stage was a LOT of going back to the drawing board. Anyway, my point id this: they found me from a short story - a prose short story, not even a comic. So put your comic out there - they're looking for good writing.

But again, I came to comics with a strong sense of what I like to write about from prose (I went to grad school for writing and wrote a book of stories called Voodoo Heart) and I think that's part of it, too - you have to come to it with something you love writing about. Be it your political issues, your personal issues or interests... You have to have a voice by the time you start at a big company b/c there's a lot of pressure when you're using iconic characters, you know?

If you're interested in hearing more of what Scott Snyder has to say, follow @Ssnyder1835 on Twitter.

By Marceline with 3 comments

Review: Batman #1

Batman is one of the few comic book heroes with an overabundance of excellent stories. Even before Frank Miller revitalized the character in the late 80's, writers like Denny O'Neil and Gerry Conway were consistently turning out strong tales that deepened the mythology of the character. What makes Batman especially rare is that Bruce isn't the only Gothamite with a rich history. The Batman supporting cast, from the various Robins to Jim Gordon and Leslie Thompkins, have all had tremendous development, and the members of Batman's rogues gallery each have a few great adventures to their name. In the very best Batman stories, Gotham feels as much like a living, breathing character as it does a city, and that feeling is front and center in Scott Snyder's Batman #1.

Batman #1 opens on simple descriptions of what Gotham is to its residents. To some, Gotham is a terrifying, hopeless place best reflected in its villains, while others still have hope for their city, and see it mirrored in both those who wear the Bat, and the more ordinary but still remarkable heroes of the GCPD. This contrast is displayed throughout the issue, from Bruce Wayne's renewed optimism for Gotham to the ways the same city can leave someone feeling helpless and betrayed. The strength of writer Scott Snyder's prose really shines through here, and adds some depth to an already substantial story.

But as a lifelong Batman fan, what really makes this story special is how much it embraces what came before. There are elements from Snyder's Detective Comics run, such as James Gordon Jr. and the E.M.P. mask, but we also see glimpses of Professor Pyg, Flamingo, and Bruce's whole family of Batboys, each of them decked out in a tuxedo. Rather than present this in a way that makes new readers feel lost or older readers feel bored, Snyder provides readers with the necessary information in a natural way that plays off the book's mild sci-fi elements while drawing the reader directly into the story. I was really touched to see it right out there in print that Bruce trusts Alfred more than anyone in the world, and I loved the very in character crack that Damian was able to make at Tim's expense.

And it's not just the characters themselves, but their growth that seems to be carried through here. We haven't reverted to the closed off Bruce of old, we're seeing a Bruce that acknowledges his demons but is still determined to look forward. The character feels reinvigorated, and a little less burdened. Batman's not always known for his sense of humor (he should be, he can be hilarious), but we get to see a little bit of his lighter, more playful side here. His fake cough to activate his lipreading technology was a great moment, and it's fun in a way that Bruce is rarely allowed to be. Jim Gordon does appear to be smoking again, but there are signs that characters are moving forward as well. We even see Tim adjusting the collar of Damian's tux, a pretty impressive feat for two characters who've come to blows so frequently.

I've been screaming from the rooftops for years for more real, actual, honest to god mysteries in my comic books, and it looks like we may get one here. There was some nice foreshadowing in the comic's earlier scenes that makes me think this may be the rare breed of mystery that the reader has a fair chance of solving. I'm looking forward to putting on my detective hat and taking a crack at the case. I'm intrigued that aspects of this issue seem to tie directly into the events of Nightwing #1. Kyle Higgins and Scott Snyder did a great job working together on Gates of Gotham, so I have faith that any crossovers between the two comics will play out well. I think the world of the Batbooks is at its best when their universe really feels like a shared one.

Greg Capullo is best known for his work on Spawn, but I have a feeling that'll change soon. His work on this comic is absolutely stunning, on so many levels. There's a cartoonish element to his style, but his facial expressions are so detailed and vibrant that they add life to every seen. The intricate backgrounds are impressive on their own, but when you take into consideration that this is a monthly book, you really can appreciate just how talented Capullo is. I come from an architectural background, so I really enjoy how beautifully designed Gotham's buildings are. Some panels make me think Capullo took inspiration from the art deco and neogothic buildings of Detroit- a city which parallels Gotham in several ways.

As much as I like to talk about architecture, this is a Batman comic, and stunningly rendered buildings won't mean much if the action scenes aren't up to par. Thankfully, Capullo delivers there as well, with lively, kinetic scenes that feel animated and fun. There's been some controversy over his redesigns of the Gotham crew, and there are some looks that fans will find offputting, but keep in mind these changes aren't permanent. These are sort of "prison looks" for the characters, a way of expressing their identities when their costumes have been taken from them. I'm not the biggest fan of the mohawked Riddler, but I absolutely love Professor Pyg's makeshift mask and nametag. And more importantly than anything else, Capullo draws one hell of a Batman .

As good as Capullo's work here is, it's only elevated by colorist Fco Plasencia. He does a great job of injecting atmosphere into every seen, using a different color palette for each of the various sides we see of Gotham. The muted look of many of the book's earlier scenes really separate them from the bright, colorful world of Bruce Wayne the socialite. Plasencia's been doing some very strong work for Image for a few years now, and DC was smart to spot that and snatch him up.

New readers, if you want to get into Batman, this is your book. It's well-written, wonderfully drawn, accessible, and full of the sort of tidbits that'll leave a curious reader searching for more. And old readers? Don't miss this. Scott Snyder is clearly as big a fan of Batman as you or I, and he intends to put his love of the character to good use. I actually think he's pulled off the rare feat of appealing to both the readers who loved Grant Morrison's work on Batman and those who loathed it. I don't really give ratings, but this is a 5 star, A+, 10/10 of a comic, and I recommend it to absolutely everyone. Gotham is lucky to have Scott Snyder.

By Marceline with No comments

Review: Swamp Thing #1

Some horror tales open with a big bang, giving you an ample taste or the horrors yet to come. Others open innocently, letting you build up a slow sense of dread as you wait for everything to come crashing down. The first issue of Swamp Thing does a little bit of both, taking you from a simple childhood story into a nightmarish world in a single page. As you transition from Yanick Paquette's beautifully drawn Metropolis architecture to a gruesome collection of dead animals, you can almost hear the flowers Scott Snyder describes as screaming.

The entire issue seems to flash back and forth like this, going from snapshots of what seems like a normal world to something much more sinister. It's an incredibly effective way of keeping the reader on age, and it made some of the comics bigger scares all the more terrifying. The art goes from ordinary page layouts to off-kilter compositions, panels separated by jagged black lines. Even the colors seem to transition from light and sunny to something darker.

Scattered throughout the issue are surprisingly frightening facts about plant life. They help to sell Alec Holland as a botanist and to show us that the world we'll be dealing with is darker than we might have expected. It reminded me a little of the 1954 horror film them, which pits the human race against incredibly vicious giant ants. If the plants of the world are so violent towards each other, what will they do to us?

Superman's presence in the issue was a distraction from my growing sense of unease. This scene was a little exposition heavy, but it made clear that what came before was by no means forgotten, and Snyder writes a great Superman. Yanick Paquette does a better job than even Jim Lee with the new costume, and I'd suggest sticking him on Justice League if it wouldn't mean losing him on this book.

And while things may seem a little less scary when Superman's around, the issue plunges back into horror territory and into one of the most terrifying scenes I've seen in a comic since Alan Moore's original Swamp Thing run. I don't want to spoil the moment for anyone who has yet to read the issue, but the scene felt so real that I could actually hear what was happening, and I can't get those awful sounds out of my head.

Having the book focus on Alec Holland the man rather than Swamp Thing himself was a wise choice. Much of Swamp Thing has focused on the character being a plant who remembers being a man, and this issue turns that concept on its head, framing Alec as a man who remembers being a plant. This was a great comic taken alone, but the potential for future stories is even greater, and I hope Snyder and Paquette get to keep telling them for a long time.

I'd recommend this book to anyone who's up for reading a genuinely creepy comic. Reading Action Comics filled me with joy, but this issue got under my skin, and left me thinking about it as I tried to fall asleep. From the stunning artwork to Snyder's masterful prose, DC has set the bar high for all horror comics with this one.

By Marceline with 3 comments