MONDOmagazine

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

L is for Loki
Written by Robert Rodi
Art by Esad Ribic
Marvel, 2007

Loki is a fabulous trade paperback that collects a largely unknown four-issue miniseries of the same name. Set outside Thor continuity, or possibly in a near future, this TPB features a wickedly good story and lushly painted art, which combine for a fantastic read. The premise is simple: Asgard has fallen, Thor is defeated, and Loki is the victor. The story is told from Loki’s perspective, as he goes about settling old scores and tormenting his captives. What makes this story unique, apart from its grand artistic style, is that we finally understand Loki’s side of the age old conflict between him and Thor. The TPB doesn’t paint Loki as a hero, or even as a particularly sympathetic character, but instead the reader comes to understand that there are two sides to every tale — and this is Loki’s.

While I am sure someone will roll their eyes at my ignorance, Robert Rodi and Esad Ribic are largely unknown to me. After a little digging, I realized that I have seen and enjoyed Ribic’s art before — he has worked on Wolverine, and Silver Surfer: Requiem. His painted style is immediately recognizable. It is his artistic touch that makes you forget that you are reading a comic, and instead feel as though you are witnessing an ancient epic playing out before your eyes. Pages seem like stretched canvases, and every panel can be enjoyed as a piece of art wholly separate from the story. This is not to say that the writing is slack. Robert Rodi has done work for DC, Vertigo, and Marvel, and while I have only a passing familiarity with some of his past material, this TPB reads — the dialogue, the plot twists, the characters — every bit as epically as the art on the page.  Rodi doesn’t make Loki the misunderstood hero, or even a villain trying to do good for once, but rather tells Loki’s tale, and lets you the reader judge how he has been treated by Thor and his fellows. You come to realize that while Loki is wholeheartedly a villain, Thor, Sif, and Balder are not the heroes and paragons of virtue that they are often depicted as — everyone has their flaws, including those we normally think of as the good guys.  It is not a long TPB, and the pacing is excellent, making for a relatively quick but very enjoyable read.

Lack of exposure and in-continuity impact has hurt this book, and it is a hidden gem in the comic store.  For those who get tired of trying to fit all of the continuity pieces together, this TPB makes for an excellent break from Marvel’s normal line-up.  Still, the characters are instantly identifiable as Marvel’s Loki and Thor, making it easy to get into.  Combining the pacing and fun of a comic book, with the epic nature of Norse mythology, you can’t go wrong if you read Loki.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

K is for Kingdom Come.
Written by Mark Waid
Art by Alex Ross
DC Comics, 1997

Arguably one of the best comic stories ever, this trade collects the hard-to-find, four issue miniseries of the same name that was published back in 1996. For many, Kingdom Come introduced them to Alex Ross’ spectacular artwork. Actually, it was this book, and one other, that drew me back into comics. If you are looking for a book to restore your faith and wonder in comics, this is it. Combining a dramatic story, superb dialogue, and dazzling art, it’s no surprise that Kingdom Come is constantly in print and has an “Absolute Hardcover Edition,” which, besides having original-size artwork, contains fantastic character sketches from Alex Ross amongst its many extras. The trade will also soon be released as a new TPB edition, with a brand new cover (even better than the original) by Alex Ross, and some hush-hush extras. Though I hate to admit it, I will probably pick it up for the new cover alone.

Before I go into further detail about the plot and art of Kingdom Come, I want to highlight one of the book’s main strengths. When I originally read comics, I was a Marvel fan and, apart from enjoying Batman, never had much time for the DC Universe. Reading this book, after a long time away from comics, I was reminded of what good storytelling can do for characters that too often seem to be trapped by their own continuity.

Set in the future of the DC Universe, Kingdom Come unfolds through the eyes of Norman McCay, a preacher who is losing his faith in the world around him. The heroes of our era have died or retired, and a new breed of hero has risen to take their place. More concerned with battling villains than protecting innocents or upholding the law, they are feared by a public who has seen these beings casually wield immense power. As Superman is pulled out of his self-imposed retirement, factions draw together, each seeking to mold the future of the world. Superman sets about creating a new team that will police the errant heroes, forcing them to either uphold his values or be imprisoned such that they can no longer endanger innocent lives. Set against him is Batman, a man who is shattered from his former battles and yet has an undiminished mind and sense of strategy. Batman creates his own organization, which will not stand for Superman’s imposed order. Finally, slithering in the shadows, are the villains of old, who seek to turn the situation to their advantage. As all the factions battle against one another, Norman McCay’s visions of an apocalyptic battle become more frequent, and he fears that no one will have the strength and determination to prevent the world from being consumed by nuclear fire. To say anymore would ruin the story, but the climatic ending delivers on the powerful rise in action.

As I have already said, the plot and dialogue for this story are amazing, only topped by Alex Ross’ incredible art. Famous for his “human” hero style of art, Ross redesigned many of the heroes’ familiar costumes, and half the fun of reading the collection is figuring out what has become of “our” heroes, and what they, or their descendants, look and act like now. Ross’ art brings a sense of realism and humanity to a story that might otherwise seem too over-the-top and grandiose. The extras found in the Absolute Hardcover are so enjoyable because you can witness Alex’s early designs and inspirations for these characters, along with a guide to who is who. Absolutely the best story that money can buy, this book is relatively cheap in the regular format TPB. Even those who don’t normally enjoy DC or Alex Ross have raved to me about this book after I have recommended it. Groundbreaking when it came out, it is a classic now and a total must read.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

The Justice League stands on an invisible hill for this group portrait. Not pictured, most of the League.

J is for Justice, Vol. 1
Written by Jim Krueger and Alex Ross
Art by Doug Braithwaite and Alex Ross
DC Comics, 2006

Alex Ross doesn’t disappoint as he re-imagines the Justice League of America in this twelve-part series, now collected in three hardcovers. Considering that most of his career has been re-imagining the Justice League, he has to be good at it now.

Set in an unfixed present, this team features all of the legendary members of the JLA, along with their supporting casts, and a bushel full of villains. In Justice, the villains of the world are experiencing prophetic, apocalyptic nightmares and begin to realize that the heroes will be responsible for this foreseen future. Banding together, they seek to do the one thing that all the superheroes have never accomplished — changing the world for the better. Using their various talents and powers, the villains of the DC universe end poverty, hunger, disease, and disabilities. This is but the start of their schemes though, and as the villains become heroes to the world’s populace, they plot to defeat the Justice League. The first book builds towards the heroes’ darkest hour, while the following two volumes reveal the extent of the villains’ machinations, and the dangers that the Justice League will have to overcome to save both their allies and themselves.

This trade effortlessly blends stunning illustrations and stirring dialogue, creating the desperate feeling that builds throughout the first volume. It pushes the Justice League into their best role — defenders of Earth — as they are forced to fight for all our survival. Yet, from the beginning, there is the threat that our heroes will be responsible for the world’s inevitable destruction.

Another poignant element to the story is the villains’ promise that they can do what no hero has tried before: truly offer us a chance at a better life. Their argument is that, while the heroes of the Justice League have saved the planet many times over, they always leave the status quo unchanged. Superman could easily end hunger, or Batman solve the problem of rampant poverty in the world, but neither do —they merely rescue us from the latest crisis, and then leave us to our difficulty-fraught lives. Instead, the villains offer to really shape the world for the better — and they immediately do so. With the world’s populace turning against the Justice League, the heroes become vulnerable to team-up attacks from their foes. Starting with the disappearance of Aquaman, the JLA begins to fall to their enemies, and the first volume ends with Superman calling out for help, as he is overpowered by a hit squad of villains.

The power and fun of this story isn’t about knowing whether or not the Justice League will overcome their enemy’s plans, but rather it is in the details of how they get there and what they will have to sacrifice along the way. This is an amazing story that doesn’t require the reader to be up-to-date with the latest meta-plot twists going on in the DC Universe. Instead, it offers a fantastic take on all the classic heroes and villains that we have enjoyed over the years.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades— at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

I is for Infinite Crisis
Written by Geoff Johns
Art by Phil Jimenez, George Perez, Jerry Ordway, and Ivan Reis
DC, 2005/06

The big event for DC this summer is Final Crisis, which wraps up the storyline started in Infinite Crisis and can trace its roots to Crisis on Infinite Earths from the 80s. Infinite Crisis consists of a seven-part series, which, in turn, launched the weekly 52 series and the recently-completed Countdown to Infinite Crisis. To understand this TPB, we need to look back to Crisis on Infinite Earths, DC’s attempt in 1985 to improve their universe’s continuity.

Early in the Silver Age, DC introduced the idea that there were separate earths or realities for each of their major teams, the Justice Society and Justice League of America. The number of these worlds increased as more companies were bought out by DC and their characters incorporated into DC’s mythos. There was a complex numbering system used to delineate each reality, and the characters started to jump between worlds, teaming up with their alternate earth counterparts. As readership fell in the 80s, DC sought to resolve the problems of continuity and character relationships with a massive crossover event that would hopefully draw in new readers and satisfy long-term fan concerns. So, during the course of Crisis on Infinite Earths, the different realities were destroyed and merged to create a single Earth where the main heroes existed together with a shared history. Most of the company’s main titles were rebooted, and for many of us this was the DC universe with which we grew up. However, small problems still existed, and, over the course of two decades, more have emerged.

Enter Infinite Crisis.

Infinite Crisis, which followed the same format as Crisis on Infinite Earths, had events which played out through all of DC’s titles. Through it, DC sought to meaningfully rewrite Crisis on Infinite Earths, rather than changing it into a simple retcon (retroactive continuity). The series has since become a classic and set into motion a larger story that will see its third act played out in Final Crisis.

Before Infinite Crisis, DC published Identity Crisis, a smaller and arguably better-written series that fractured relationships between the heroes of DC and began stories that would lead into this collection. In a previous review, I discussed Marvel’s House of M and why I didn’t like the crossover/mega-event; the movement from Identity Crisis to Infinite Crisis is how a cross-title, reality-shattering and continuity-altering storyline should be done. After the events in Identity Crisis, which I also recommend you pick up, there came The OMAC Project, Rann-Thanagar War, Day of Vengeance, and Villains United. Each one explored a certain aspect of the DC universe and neatly expanded on some of its subplots; however, they are often less explored. All of these storylines set the tone and structure for the “world” as the Infinite Crisis began with the return of Earth-2 Superman and Earth-Prime Superboy.

Confused?

These were characters who had acted valiantly to save the universe during the Crisis on Infinite Earths, and who then headed off to their reward, a peaceful, heaven-like limbo. Apparently though, they had been watching the DC universe and had grown dissatisfied with the moral ambiguity and fractured relationships of our heroes. Their end goal was to shape a new, perfect earth where the horrors inflicted on and caused by our heroes had never happened. This plan required the reemergence of the multiple earths, and soon our heroes were fighting a war on many fronts, as set up by the mini-series leading into this mega-event. Again, heroes fell, loose ends were tied up, and at the end of the story there was one world with a slightly altered history. In sum, a retcon was created without just saying, “It’s all different now.” This is where weekly series such as 52 and Countdown come into the picture, and while I cannot go into them in great detail, it is suffice to say that all is not what it seems at the end of Infinite Crisis.

Infinite Crisis is a fantastic read that can be read apart from all the crossover titles that it impacted. If you are trying to follow DC’s big event this summer, it is required reading. The story contains most of the major characters from DC, and a few of the characters who died during the story remain dead today! The writing and art are superb and remarkably consistent considering the number of contributing illustrators. Much of what has happened in the DC universe in the last two years stems from this storyline. Though a little dense and confusing at times, it is a fun read that contains real and lasting changes both to the characters and to the world that they inhabit.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel – are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

H is for House of M
Written by Brian Michael Bendis
Art by Olivier Coipel
Marvel, 2005

Normally I write about trade paperbacks that I think are good – something worth reading.  Not today.  If you are interested in checking out a title that starts with H, may I recommend Hellboy Vol. 1, or Hulk: Planet Hulk.  So, why am I writing about House of M?  There are two reasons.  First, I am critical of a lot that is published, and don’t want to appear to rubberstamp every new arrival in comic shops. And second, House of M ties in with a lot of what is happening at Marvel right now.  So, maybe I can save you a few dollars by outlining what is important about this limited series, and you can read something better.  For all of House of M’s drawbacks, it did set up — albeit poorly — a number of the major plot points and character changes that have been playing out in the Marvel Universe over the last few years.  Before I discuss the trade in any greater detail, I want to mention an important part of any storytelling medium, using another recent change at Marvel to illustrate this point.  While the end goal, or ending, is extremely important when one is writing a comic (and this applies to any storytelling vehicle), the means or method, or plot, that the story has is very, very important.  

The entire story reads as (a) a change for the sake of change, “let’s have everyone living alternate lives, and the reader can be shocked and amazed at how differently the Marvel Universe could have been,” and then (b) once you reach the end, it seems the entire story has been written so that there will be fewer mutants in the Marvel Universe.  Now, in my opinion, the Marvel Universe was suffering from a staggering number of mutants, where nearly ever new hero or villain could trace their powers back to a Mutant gene.  So, I can see the value of this change, as this event nicely restored a level of order to the “world” and allowed other super-teams to take a little more of the spotlight. 

A number of writers have handled the ramifications of this story very well, but the method of leading the reader to this point, to the end of House of M, was very poorly done. And done, unfortunately, by an amazing writer for whom I normally have nothing but the highest praise.

Part of the problem with House of M is that a lot of the scenes are lackluster, and often repetitive.  I read this story when it was first published, but over the years its rougher spots had smoothed out in my memory.  As I plodded through the book on this read I couldn’t believe how weak it was. There are a number of plot holes. Like the introduction of a plot moving device/character, Layla (was she really created by Wanda?); and what is with her power — a la Emma Frost’s explanations: “you are a conundrum…” and “you are a psychic and you aren’t…”?  Brutal.  Also offputting are all of the scenes with the characters remembering who they truly are, and their unsettled reactions and exclamations of disbelief.  Finally, the constant references to “hanging in there…”, and ‘handling this…” just get rather dull after the third and fourth time. 

Moreover, Cyclops’ speech that the main characters should no longer follow their moral principles about killing and instead do everything possible to win, is completely unbelievable — especially since these ideals are what define him as a hero, and are a large part of what he has spent his life trying to uphold.  The point of being a hero, and having a moral code, is that you don’t throw away your beliefs when things are at their worst and most desperate.  The majority of the series drags, bogged down by scenes that I have just described, and there is little to elevate the story above its flaws.

That being said, the art is fantastic and the ramifications of House of M are still being felt in the Marvel Universe in positive ways.  Ms Marvel’s return to the spotlight as a more active hero stems from this story, as does the “rebirth” of the presumed-dead Hawkeye. Finally, this trade sets up the recent — and excellent — Messiah Complex that crossed over between the X-titles (and has also just been released as a hardcover trade).

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

G is for Grimm Fairy Tales Vol. 1
Written by Joe Tyler & Ralph Tedesco
Art by Various
Zenescope, 2006

All the reviews I have done so far have been about comic trades from major publishers, dealing with traditional heroes or fan favourites, so I think its time to talk about something a little different. Not Exterminators different, but rather a comic that is more of an indulgence than a classic that will stand the test of time. Now, I’ll be upfront about this – Grimm Fairy Tales is cheesecake art, maybe even bad girl art – and either you enjoy the occasional dose of this, or you don’t. If not, read no further, but check back in a few weeks for when I return to more regular fare. Or will I? Hack/Slash anyone?

Grimm Fairy Tales is a fun, easy to pick up, cheesecake comic, which is worth checking out. Unfortunately, the early issues are becoming quite hard to find, and rather pricey, and that’s where this trade comes in. Collecting the first six issues, it has been followed by a second trade. Judging from the number of ‘spin-off’ titles – Return to Wonderland, The Piper – the Grimm Fairy Tales concept has fans other than just me, and part of this is due to the fact that there is more to the comic than the hot women in torn clothing facing down certain death. Grimm Fairy Tales draws upon the wealth of our culture’s fairy tales (duh!) and folk lore and builds upon this. Each issue has modern characters facing a dilemma that is portrayed by fairy tale characters as the protagonist reads a book provided by a mysterious (and rather attractive) dark-haired woman. I’ll explain.

The first six stories are based on the following tales – Red Riding Hood, Cinderella, Hansel and Gretel, Rumplestiltskin, Sleeping Beauty and the Robber Bridegroom. Each issue starts with someone, often a beautiful woman, facing a moral or social dilemma. In the case of Hansel and Gretel, it is a teenage girl who is having trouble living with her parents. So, she runs away – joined by her brother – and while hitching a ride with a mysterious dark haired woman is offered a book which contains the tale of…Hansel and Gretel. By the end of the story the girl realizes the dangers lurking in the world, concedes that maybe her parents aren’t so bad and decides to return home.

This type of format is followed in almost all the issues, though recently the comic has broken from this system as it delves into the back story of who the mysterious dark-haired woman is and the conflicts that she faces. Still, every issue ties a particular fairy tale into the story and I personally enjoy seeing how they twist a particular tale to bring out the danger and cheesecake (read sexy women scantly-clad) aspect. Before you condemn the writers or this fledgling comic company for exploiting our childhood stories, I would like to mention that most of these tales were originally quite sexualized and violent. When this comic was first published, I happened to be taking a “Fairy Tales and Folk Lore” English class at university and this is why I picked up the first issue. We were just covering many of these stories, and my Prof was trying to impress on us that the original tales were meant to scare children and titillate adults. The versions that most of us were brought up on were “Disnifications”, and have strayed pretty far from the originals – Red Riding Hood contained overt sexual references, along with Cinderella, and Sleeping Beauty. Some original versions of Red Riding Hood even contained a lycanthrope (werewolf) in place of a regular wolf, and this is utilized in the Grimm Fairy Tales comic. While I’m not claiming that the Grimm Fairy Tales comic is an accurate depiction of these stories – and my Prof wasn’t too impressed when I showed her the first issue – the comic run is a return to the moralistic, violent, and sexual content that these tales were first meant to convey.

While I thoroughly enjoy this comic, I must make one criticism. The interior art for this series has been inconsistent at times, as different artists have penciled and inked various issues. The covers are often done by the fantastic Al Rio or Talent Caldwell, but the interior art never matches this quality and sometimes even becomes quite bad – at least by my tastes. That being said, the latest issues have been much better and more consistent about the quality of art; matched by the larger developing story line that arcs between the issues. As I stated above, this comic will never be a timeless classic, but it is a lot of fun and another novel approach (remember Fables from last review?) to redefining stories that we thought we had left behind in our childhood. I heartily recommend it, but this is not the comic that will convince the skeptic in your life that there is more to the genre than violence and scantily-clad women.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

F is for Fables: The Mean Seasons (Volume 5)
Written by Bill Willingham
Art by Mark Buckingham and Tony Akins
Vertigo Comics, 2005

Fables is one of Vertigo’s best titles and is both a fun read as well as a complex, multi-layered read. There are nine trade paperbacks currently published, with the tenth arriving early in the summer (as well as a collection of short stories that was reviewed on this site here). While I normally review the first volume of a comic run, I thought I would jump into the middle of the story for this series, so as to give a better picture of what Fables is about, and just how rewarding a read it is. That, and while the first couple collections are immensely entertaining Fables goes from really good to absolutely fantastic around the fourth and fifth volume and it just keeps getting better.

Why? Because each arch keeps drawing upon its background to create a deep and fascinating tapestry that propels the overall plot along. Also, unlike many traditional comic stories, where the status quo is often maintained to the point that the characters barely age even though decades have past for us the readers, Fables continually risks itself by redefining its characters. One really has a sense that these people are real — experiencing, growing and changing as time passes.

So what is Fables about?

Imagine that all the characters that we know from our fairy tales and folklore are real. They live in our world, but hide themselves from us, instead existing in their little corner of New York City. These fairy tale and folklore characters used to reside in a series of “kingdoms” beyond our world, loosely created and defined by our stories and beliefs of who they are — Snow White had a wicked step-mother who sent her to die; the Big Bad Wolf hunted both Little Red Riding Hood and tried to eat the Tree Pigs. Then they were driven from their realms by a malevolent force known as The Adversary and his armies. Now they struggle to survive and hope for a day when they can return home. These people are effectively immortal, and sometimes pretty hard to kill, as they fueled and shaped by our stories and dreams. Arriving here, they put aside their previous quarrels and rivalries and form a new home, Fabletown. There is also the Farm in upstate New York, where the Fables who cannot pass for human are forced to reside. As the series moves along we are introduced to more and more fairy tale and folklore characters, and half the fun of the comic is seeing how these characters remain both true to what we collectively know about them from our childhoods and yet also how they are reinterpreted by the amazing Willingham who injects often minor or mediocre fable characters with true depth and personality — connecting us to their foibles and fates. In the second trade, a revolution at the Farm threatens to undo Fable society. As you might be noticing, while these are “fairy-tale” characters, the stories and their sub-text is decidedly both real-world-related and mature, compelling material. As the series moves along, we start to learn more about the Adversary and what forced these people from their homelands, and slowly the greater story takes shape, as the characters fight off an attack on our world by their enemies, and then start planning how to reclaim their homelands from the Adversary’s grasp. This then, brings us to the fifth volume, The Mean Seasons.

Without getting into too much detail this volume mixes wonderful character development with plots about espionage, political revolution, flashbacks, daring adventures, crime mysteries — that’s the broad range that Fables covers as the series progresses. Minor characters rise up — as the latest arc, which is due in trade early this summer, does in grand fashion — and others fall from grace.

I cannot praise Fables highly enough, and this is from someone who grew up on traditional superhero fare and counts Captain America and Batman as his favourite heroes. Fables is a book where after you read it you recommend it to everyone you meet, even complete strangers, At my local comic store if person walks in, looking for a comic and says that they (or the person that they are buying this for) isn’t really into superheroes or comics, and this is the book that is recommended — with the promise, that if the person reading it, doesn’t like Fables, they can bring it back and exchange it for something else. No one has ever brought a copy back. I have never seen a single comic book be enjoyed and sought after by such a broad range of people.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

E is for The Exterminators: Bug Brothers
Written by Simon Oliver
Art by Tony Moore
Vertigo Comics, 2006

Vertigo is a subdivision of DC Comics, publishing the racier, stranger, and more violent material that does not fit into DC’s “hero” continuity or marketing scheme. Popularized by such titles as Sandman and Swam Thing, people either love or hate the Vertigo line of comics; reveling in the storylines that the mature line allows, or despising what I heard once as “Great covers, but the art inside always sucks.” Much of the success attributed to Vertigo has come from trade paperback sales, where the complex and ever shifting plots can be absorbed more easily. I know of many comic fans who never read the monthly issues but can’t wait for the next TPB to be released.

Where does The Exterminators fit into this? Apparently not very well, as the title has been slated to wrap up in a few issues. Is this because the comic isn’t well written or doesn’t have excellent art? No, it has both. Why is it ending then? My theory is that it’s ending for the same reason that those who read it love it. This is one of the most disgusting comics you will ever pick up. I don’t mean that it contains horrific sexual acts or mind-numbing violence, but rather that the writer continues to come up with some of the most vile, revolting scenes that one could possibly imagine — most of which involve lots of cockroaches and other bugs.

Before I break down the first trade let me share with you how I encountered The Exterminators. I had heard some really good buzz about the book, so one day while I was sitting down to lunch I decided to see what all the hype was about. Very quickly I realized I couldn’t eat and read this trade at the same time — so I put aside my food and finished the trade. The Exterminators is definitely not for the squeamish or those who suffer from entomophobia (fear of insects). For the rest, it is a lot of fun.

The Exterminators: Bug Brothers is the first of three trades published, with a fourth slated for April 2008. The main character is Henry James, who has taken a job as an exterminator with the Bug-Bee-Gone company. Henry’s girlfriend works for Ocran Industries, the corporation that produce the wonder chemical, Draxx, that is used to kill cockroach infestations. Henry is partnered with AJ at the beginning of the story, a crass hick type who is supposed to be showing Henry the basics of exterminating, but instead spends his time shooting up Draxx with unfortunate consequences. After AJ’s death, while Henry is going through the deceased’s locker, he discovers an ancient Egyptian box with strange markings on the outside — I still don’t entirely understand the significance of this item, but I place my trust in the writer to reveal all, especially now that the series is wrapping up. Later, Henry is partnered with Stretch, a Buddhist/spiritual type who has strange ideas on how to bring about karmatic balance in the world. Together they try to aid a down-on-her-luck mother, whose apartment is overrun with bugs. As these supporting characters might indicate, the world of the Exterminator’s is a bizarre and twisted place, and that’s not even factoring in the various clients/victims that Henry is sent to help, or the massing super-cockroach army that will play a major role in the subsequent trades.

The Exterminators: Bug Brothers is a fun, if disturbing, read. I found the characters in the story to appear one-dimensional at first glance, but on further reading contain deeper layers and darker mysteries as the plot moves along. All my other reviews have been about major superhero icons and the very well-know writers/artists working on them, and this trade is the complete opposite. It is about ordinary everyday people, who have crappy jobs and unhappy lives, and how they survive. While I’m sure someone will object to this, I don’t know the writer’s other work particularly well (if he has done anything else), but that doesn’t make this book any less worth reading — the dialogue and plot are absolutely first rate. Tony Moore’s illustrations are fantastic and renders Simon Oliver’s absolutely disturbing scenes all too well. It’s a pity that the series will be wrapping up, but I am looking forward to how they plan on finishing their run. If you are looking for a great read, that doesn’t involve men in costumes, and that will, guaranteed, gross you out, pick up The Exterminators: The Bug Brothers.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

D is for DC: The New Frontier
Written by Darwyn Cooke
Art by Darwyn Cooke
DC Comics, 2004

DC: The New Frontier is an outstanding read. Written and illustrated by Darwyn Cooke, it recounts the emergence of DC’s Silver Age heroes amongst the social struggles taking place in 1950s America. Originally published in a six-issue limited series the entire story is collected in two volumes, but for the purposes of this review I’ll be discussing them as one book. I promise, if you read the first trade you will certainly purchase the second.

Darwyn Cooke examines the “disappearance” of the Golden Age heroes who refuse to bow to governmental pressures and instead retire from public life. Those that remain are either de facto agents of the US (such as Superman and Wonder Woman) or instead are considered fugitives of the law (such as Batman). Interestingly enough this situation reminded me of what Marvel is trying to explore with Civil War and its follow-up stories (dubbed The Initiative). I feel I should point out, though, that this trade was written several years before Marvel’s plotline and is rooted in the reality of the 1950s. That, and DC: The New Frontier is much better written, with a greater splendor and emotional power. As the story moves through the fifties, it deals with the “arrival” of the Silver Age DC heroes — Flash, Green Lantern, and Martian Manhunter. Darwyn Cooke is quoted as saying he is not trying to “retcon” these heroes, but rather create an entirely new story while utilizing the in-continuity events as they were originally published. Adding to this sense of authenticity is Cooke’s style of illustration, which blends elements of Golden/Silver Age artists with a form that reminds me of a certain recent Batman animated series. It really adds to the power of the themes explored in the two trades, and I was scarcely able to put it down once I had started.

The 1950s saw the beginning of the Cold War, and the fight against Communism and any “related” social evils that could possibly corrupt the American public. In reality, this lead to a period of history known as McCarthyism, which saw attacks on the entertainment industry, comic books, and anyone who didn’t perfectly fit into society’s prescribed roles. Fears over atomic global annihilation and the threat of Communist world domination caused the American public to go along with their government and its restrictive measures. It also fueled support for overseas action that included the Korean War. Even before the fifties began though, superhero comics were in decline, and it would be nearly a decade (or more depending on who you ask) till the start of the Silver Age of comics. Darwyn Cooke weaves the emotions and fears of the 1950s into DC: The New Frontier expertly. The Golden Age heroes of World War II are given the choice to either retire or reveal their identities and register with the US government and those that don’t are as much fugitives as the criminals they fight against. The public’s fears over atomic obliteration are reflected in this trade by a wave of anti-hero sentiment as the ordinary citizen feels insignificant in the face of those that can fly or wield unexplainable magics. In turn, the government’s fear of Communist saboteurs and sympathizers collides with those that seek to conceal their identities and fight the forces of evil outside the boundaries of the law. As the story moves along, the reader is introduced to the characters that will become the next generation of heroes, and we share in their trials and tribulations as they embrace their heroic nature, often long before they actually don their masks and costumes. Lastly, the fear of the other is represented in both the alien hero Martian Manhunter and a greater alien threat that acts as the underpinning of the story. This collection reads as a symbolic exploration of the 1950s in America, with our comic icons signifying the struggle of the individual against society’s stereotypes; which would become a defining aspect of the next decade.

If this review reads more as a historical and social discussion rather than the exploration of the merits and flaws of the comic book, it is because DC: The New Frontier inspires this kind of thought and reflection from its reader. Cooke skillfully blends social commentary, exciting visuals, excellent dialogue (the slang and “period” language is a blast), and a fun plot that culminates in a massive battle for the fate of the US with all the heroes finally banding together. DC: The New Frontier has garnered many awards and the two trades have been released in one volume as part of the Absolute Hardcover line. It will also soon be released in an adapted form on DVD as the animated movie Justice League: The New Frontier with Darwyn working on it as a visual consultant. There is a follow up to the trades, scheduled to be in comic stores in March, titled Justice League: The New Frontier Special. You don’t need to be a fan of Golden or Silver Age comics to thoroughly enjoy this remarkable story, and when you pick up the first volume, save yourself a second trip, and buy the second one right away.

The Alpha Review 

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

C is for Captain America: The Death of Captain America
Written by Ed Brubaker
Art by Steve Epting and Mike Perkins
Marvel, 2007

Captain America is one of comic’s oldest heroes, created by Joe Simon and Jack Kirby in 1941. He is certainly my favourite hero, having the moral character of Superman and the “human” aspect of Batman. What I mean – and this is what initially attracted me to Captain America – is that he doesn’t have any of the super powers that often define other heroes. He’s the peak achievement of human physical potential, and yet he can hold his own against virtually any other costumed character. While I have enjoyed the many runs of Captain America comics in the last twenty years (and through collecting back issues), Ed Brubaker’s Captain America is my favourite. Captain America was relaunched in 2005, with Ed Brubaker writing and Steve Epting and Mike Perkins providing the art. For many fans, this latest volume has been highly controversial, due to both the return of Bucky Barnes (now the Winter Soldier), and most recently, the death of Captain America himself. This latest trade paperback deals with his death and the immediate aftermath, collecting issues 25 to 30.

Civil War was touted as redefining the Marvel universe, and though it certainly had its share of big reveals and action filled moments, delays in shipping soured many fan’s opinions of the event. While this wasn’t as much of a problem for me, I did feel that the end of the Civil War was rather lame. For those who aren’t familiar with the premise of the Civil War, hundreds of innocent civilians died while the New Warriors tried to apprehend a group of villains and in response the US government demands that all costumed heroes register and reveal their identities. Captain America refuses to be the hatchet man of this scheme and goes underground while Iron Man becomes the leader of the registration movement. During a titanic battle in Manhattan, just as the anti-registration forces are about to win, Captain America surrenders and Iron Man wins. The way that this final scene was brought about seemed contrived and rather weak. It also left the status quo more or less unchanged – the registration forces were in power and those that had opposed it went further underground. Fast forward to Captain America #25. I have to admit that I knew nothing about what was to going happen in this issue of Captain America and just happened to drop by my local comic book store that day, managing to secure a copy. Without ruining the story in this trade, Captain America is killed – obviously, as this is the title of the trade itself – and the following issues focus on the secondary characters as they deal with Cap’s death. While many fans felt that this was another Death of Superman sales boost (and certainly, Captain America #25 sold far more copies than any other issue of this run), other people, myself included, felt that Brubaker had been following a plan from the beginning of his run on Captain America. Brubaker has, in fact, said that while the moment of death had been influenced by the demands of Civil War series; it had always been part of his larger plan. Another concern of long-time Captain America fans was whether the book could really continue with the absence of the main character. I feel that Brubaker’s story just keeps getting better and better, but you really should pick up this trade and decide for yourself.

For me, the death of Captain America was the real end to the Civil War storyline, providing a visual and emotional punch that seemed to be lacking from the mini-series itself. Ed Brubaker’s writing is fantastic, and not just in his development of Captain America. Brubaker has re-invigorated the back up cast that was often found in earlier Captain America volumes, building up our emotional investment in them, and providing the basis for the reader to actually care about Captain America without Captain America. Steve Epting and Mike Perkins provide amazing art, and their styles blend together seamlessly. While I heartily recommend this trade paperback, you won’t go wrong if you decide to start at the beginning, collecting the first five trades that have already been published. They are (Captain America) Winter Soldier Vol. 1 & 2, the harder to find Red Menace Vol. 1 & 2, and Captain America Civil War, which leads up to issue 24. To my knowledge these trades do leave out one issue, #10, which was the tie in to House of M, and has no bearing on the regular Captain America continuity. For those that want to read everything but don’t want to have to scrounge through back issue bins, there is a Captain America Omnibus that ends with issue 25. Still, if you want to read the aftermath of Cap’s death, this is the collection for you. Brilliantly written with fantastic art, this story is a perfect addition to any Cap fan’s collection or just a fun read for anyone who is trying to stay abreast of events in the Marvel universe.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

Batman: The Long Halloween
Written by Jeph Loeb
Art by Tim Sale
DC Comics, 1998

Having started this column with Superman (All-Star Superman, to be exact), it is only natural that Batman would be next. As with any popular and long running comic hero, there are a number of Batman trades, and it took awhile for me to choose which Batman collection to review. Batman: The Long Halloween falls between the two groups that I mentioned in my last article — continuity and Elseworlds. This trade is not derived from a regular Batman title and explores Batman’s early history, retelling the origin of Harvey Dent’s transformation into the villain Two-Face. This story has been done before, and from what I understand, a version of it will be included in the upcoming Batman movie The Dark Knight. The beauty of this particular account is the masterful weaving of existing Batman mythos with a new and very entertaining story — the Holiday killings. Originally published as thirteen issues, this is one huge collection, running nearly 400 pages. That being said, I must have read it in a day after I first picked it up — the story is just too gripping to be put down. Personally, I think this is Jeph Loeb’s best work, and the Loeb/Sale team has produced a lot of excellent material (you might know them best from thier work on Heroes).The Long Halloween follows a series of killings that plague Gotham for nearly a year, and involves many of Batman’s classic villains. When the story begins Harvey Dent is still the district attorney and Commisioner Gordon is still only a captain in the police department. Carmine “The Roman” Falcone rules the underworld, and the three protagonists are fighting valiantly to bring down his crime family. Into this mix arrives the Holiday Killer who starts striking at the various organized crime elements in Gotham. The killer’s motive remains as mysterious as does their identity, but the result is a brewing war between the crime families with the innocent people of Gotham suffering. Each chapter of the story focuses on a particular holiday, and the murder timed to coincide with it. Many of the individual chapters highlight one of Batman’s villains — such as Joker, Scarecrow, Poison Ivy, and Solomon Grundy — who add to the mayhem and complicate Batman’s attempts to stop the Holiday Killer. Catwoman also plays a prominent role in this story, as both an ally and opponent to Batman. As I have already mentioned, this trade weaves Harvey Dent’s metamorphosis into Two-Face into the plot, though I only realized this much later into the story. This particular telling of Two-Face’s origin doesn’t depict the Dent/Two-Face shift as being a singular psychotic break. Rather, it paints a picture of a man tortured by trying to achieve order and justice in a violent and malicious city, and the moral sacrifices that he makes along the way. Two-Face, when he is created by the all well too known splash of acid, seems like the natural progression of where Dent was heading, and I feel this adds a very human element to this familiar Batman villain.

It took me a long time to pick up this trade, even though it was recommended by a number of well-read friends. My initial problem with this collection was the art. I am not the biggest fan of Tim Sale’s style of illustration, even though I have enjoyed other work by this team (Superman For All Seasons). I find it too scratchy, and once the inks and colour have been added, too dark. Well, for Batman this would seem to be ideal, but when I used to flip through this book at the store I would always put it back, buying something else with cleaner lines and brighter art. After reading this story, I have partially changed my mind. I still don’t rate Sale as one my favourite artists of all time, but his style certainly works very well for the mood and atmosphere of this collection. That, and the story rocks so much you can’t help but enjoy this book. Personally, I think this is better than The Dark Knight Returns, which everyone claims is the best Batman story out there. If you enjoy this trade paperback, you should look into picking up the sequel Batman: Dark Victory. Grab Batman: The Long Halloween when you get the chance, as it sells out of my local comic shop whenever they get the trade in, and it is well worth the read, whether you are a Batman fan, or just enjoy comics in general (if you’re really hardcore you’ll buy the “absolute” edition with the oversized art and slipcase).

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

A is for All-Star Superman Vol. 1
Written by Grant Morrison
Art by Frank Quitely
DC Comics, 2007

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