Lucifer Vol. 2 - Children and Monsters

Lucifer Vol. 2 - Children and Monsters
By Mike Carey, Peter Gross, & Ryan Kelly

As with the first volume in Mike Carey's epic Lucifer series, the second volume contains two story arcs (2.5?) between its covers. They pick up where the first left off. Lucifer, as a reward for completing a task for God, has been given a gateway to an untouched void; a brand new realm in which there is nothingness; a place outside of creation.

This is, I guess, a big, big deal, because everyone wants it. And by everyone I mean EVERYONE, including the angels of Heaven, who are ready to mass an attack on Lucifer in order to get control of the gateway.

So Lucifer has some problems.

First we get Lucifer trying to regain his wings, which were torn off at his request in the pages of Sandman. This chapter has a nice Asian influence, cracking art and some good twists. It feels like a divergence, but it's an important step in building Lucifer back to the character he was before he left Hell.

Later we get some muddy stuff about an immortal girl and some such, a tangent that had me backtracking once or twice to be sure I was following the story. (As I will come to discovered later, this is not unusual for this series.)

And finally, we get the angels' attack on Lucifer's LA club, Lux, an attack that manages to take all that came prior (including in the first volume) and bring it full circle. Nifty stuff, and ultimately some very smart storytelling by Carey. He uses a number of elements introduced earlier, including some that seemed mere throwaways, and brings them into play for a rousing story.

All in all, Carey's writing is very good, at times excellent, and his plots are relatively strong. I have an issue with clarity, though. Maybe it's just me, but I at times find myself flipping back to double check on details from earlier stories or reminding myself who and what certain characters are. The art is fine, nothing to write home about, but it gets the job done.

Is this up to Sandman's level? Not after the first two volumes, no, not really. But then, what is? If the series improves for the third volume, it will be well on its way to excellence on its own terms. And really, that's the best thing a good comic can aspire to.

An earlier version of this review was originally posted at IMWAN.com.

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Lucifer Vol. 1 - Devil in the Gateway

Lucifer Vol. 1 - Devil in the Gateway
By Mike Carey

It goes without saying that most efforts to match Neil Gaiman's now legendary Sandman are destined to fall short of the mark. It also goes without saying that in writing a spinoff to Sandman, Mike Carey ended up in the unfortunate (and at times unfair) position of having his comic be relentlessly compared to Gaiman's landmark series.

And yes, I am going to further poke at the wound in this series of blog posts.

Two arcs (one from a miniseries) and a single issue make up the opening trade in the 11-volume Lucifer series, which is based on the portrait of Lucifer painted in the Sandman arc Season of Mists. Are the stories collected here any good?

Yes, they are good. Not great, but certainly good.

In the opening arc, Lucifer, who abandoned hell in aforementioned Sandman arc, is given a task to do. A task from God. The big guy has a problem, you see -- elder gods mucking with humanity in a bad way, and this will cause Big Problems -- so he goes to Lucifer to take care of the matter. An odd choice. Wonder what God is up to?

The watercoloured art in this first arc is great. The concepts are interesting, if vague, and the dialogue largely rings true. The resolution falls a bit flat, however, though it does feel as if it sets up future events. (As of this reading, I don't know if that's the case, but I assume so.) All in all, s solid start.

The second arc sort of picks up where the first left off, and involves a deck of cards filled with ... I dunno, spirits or demons or something. Carey obviously had some neat ideas he wanted to play around with, but I felt like this arc was unrefined and unfocused. You could see where he wanted to go, the themes with which he wanted to play and the ideas he wanted to seed, but it didn't quite click. A noble effort, to be sure, and certainly not bad, but clearly too early for Carey to start hitting his stride.

Not a bad start. I look forward to Vol. 2, in which (I'm pretty sure) the series' regular artist comes on board.

An earlier version of this review was originally posted at IMWAN.com.

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The Essential Fantastic Four - Vol. 1

Essential Fantastic Four – Vol. 1
By Stan Lee and Jack Kirby

(covering issues 1-20, Annual 1)

It wouldn’t be entirely true to say the Fantastic Four hit the ground running. In fact, the opposite is true. Unlike the Amazing Spider-Man, Stan Lee and Jack Kirby were clearly trying to find their way in the first days of this legendary book. The concept and characters were works in progress. Ideas were being tweaked right there on the page. What we have here is a book in an embryonic state, with some characterization – the Thing especially – a far cry from what would later be established as “real.”

But flawed as they are (and they are), they’re sure a heck of a lot of fun to read.

Stan and Jack took a good 10 issues or more to really hammer into place what would be the core of the book. It wasn't even clear at first that they had something decent on their hands. Lots of adventure and imaginative ideas right off the bat, yes, but some of them were laughable -- The Thing as the historical Blackbeard the Pirate made me groan -– plus ugly inks and an unrefined Kirby make the silly stories visually unappealing. It’s not until the end of this volume that you begin to see Kirby’s strengths show themselves (though his storytelling skills are strong from the start) and the book itself to begin to gel.

But even with the uneven quality of the initial stories, he and Stan tossed out some terrifically fun ideas, mixing pulp science fiction with the early 1960s version of “realistic” superheroes. These early FF books exist in a nice place where they can be unabashedly pulp, with a dose of the grandiose, and plenty of good-natured fun. Sure, some of the stuff is downright goofy but taken in context and with a grain of salt, you could also argue that they’re a hoot.

Some things to note: Ben Grimm betrays Reed and Johnny, casting them into the sea to drift away and die, and the Thing uses a nuke – a NUKE! – to destroy a giant monster right in the middle of a populated city!

If it sounds like the Thing is different than the one you know, it's true. He is. And what a jerk! One of my favorite Marvel characters, so boy was it eye-opening to see how different he is here. Scheming, plotting, and full of honest to god disdain for his teammates. I was pretty surprised at how humorless and mean he was in his first appearances. A totally different character. Not even likable in the slightest. Rather than being the huggable curmudgeon we know and love, he was ... well, a creep.

It's hard to call the very first stretch of Fantastic Four essential reading. I had fun with them. As a historic curiosity they're certainly of interest. But if the truth be told, Stan and Jack don't starting hitting their legendary stride until partway through the second volume of these black and white reprints.

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The Essential Amazing Spider-Man – Vol. 1

The Essential Amazing Spider-Man – Vol. 1
By Stan Lee and Steve Ditko

(covering Amazing Fantasy #15, Amazing Spider-Man #1-20, Annual #1)

The Amazing Spider-man is one of the world's most recognizable characters, matched in comics books only by the likes of Superman and Batman. He is an icon. An icon that has lasted for over 45 years and shows no sign of losing popularity. But was he cool even when he was introduced way back in 1962? The Essential Amazing Spider-Man – Vol. 1, which collects the original issues in an affordable black and white volume, is a great way to find out.

The answer? It was genius from the start. I wasn’t sure how well this would hold up, but it’s a home run, plain and simple. There is nothing not to like. (Except the Enforcers.)

Unlike the Fantastic Four, which in 1961 got off to an awkward and unsteady beginning, the Amazing Spider-Man hit the ground running and was a fun read from the very first issue. Sure, Peter Parker is kind of a jerk in the first two issues (his fight with the Vulture in issue #2 happened because Peter was trying to snag some money), but that’s part of what I like. From the start, Spider-Man and Peter Parker were evolving as characters, and they evolved in a very natural way.

It’s interesting to see this embryonic version of Spider-Man, having previously read only the origin and first issue, maybe a few others. Some core elements, like Flash Thompson and J. Jonah Jameson, are in place from the start, but other stuff we now consider essential – Gwen Stacy, Mary Jane, the Osbornes, etc. – are absent. Nifty, that. Goes to show you that Spider-Man is a character built upon an ever-changing status quo. Much more so than any other Marvel title at this time, Spider-Man was built as an ongoing saga that continued from issue to issue. Such is the case even today.

Though out of date by today's standards, Stan Lee’s writing is whimsical and fun. As much as I want to groan at it, I get a real kick out of the constant “the Marvel Age of Comics!” hype. Rather than off-putting, it's charming and endearing.

Adding to this is Steve Ditko’s art, which was a delight. I hadn't taken real notice of his work before, so this was eye opening. His quirky figures and expressive characters make Spider-Man stand out from the cookie-cutter comics of the era.

The steady stream of classic villains helps this collection reach great heights of totally awesomeness. So many iconic characters in just the first batch of issues! (Well, okay, there was a dud or two. I could do without ever seeing the Enforcers again. GOOFY!)

Aside from some really silly diversions, like the awful “Living Brain” issue, this stuff holds up remarkably well. It’s easy to see why readers were so excited by it and why Spider-Man was (allegedly) an instant hit. I LOVE the way Ditko lets the action unfold, and LOVE the way Lee gets us right into Peter's head.

It's a multi-generational hit, too. I gave my copy to my son after I was finished reading it, and he devoured the stories – in random order, of course, just like a kid should – and has since read it two or three times.

Even forty-five years later, this is top shelf fun.

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Planetary Vol. 3 - Leaving the Twentieth Century

Planetary Vol. 3 - Leaving the Twentieth Century
By Warren Ellis and John Cassaday

Sign that you're reading something that will stand the test of time: It just keeps getting better as you go on.

On the surface, Leaving the Twentieth Century isn't all that different from the two volumes that came before it, All Over the World and The Fourth Man. This is a collection of six stories, each a standalone foray into Warren Ellis' giddy blend of 1950s science fiction, 1990s superheroes, Twilight Zone episodes, 1980s Alan Mooreisms, and 1940s pulp.

We've got a visit with an ancient Sherlock Holmes. A wicked science fiction twist on Marvel's Thor mythology. Explosions of Asian and Australian aboriginal fable. A new take on Captain Marvel aka Shazam. And the works of Edgar Rice Burroughs and Jules Verne contorted into something entirely new.

Clearly, Ellis delights in showings us the familiar dressed in new clothes.

The clothes look better than ever, too. John Cassaday's art has improved dramatically since the first volume. Not sure if it's the inking or coloring or a new approach or a heavier hand with Photoshop or what, but things look just outstanding here. His knack for laying out a page and offering dramatic visuals just EXPLODES here with awesome landscapes and big, expansive shots that could have been pulled out of a David Lean film. Great stuff.

And naturally, these six stories continue to inject small dozes of larger mythology into the series. Things are clearly leading up to some larger confrontation. Some bit o' finality. Yet Ellis never succumbs to the lure of continuity, that great and burdensome beast at whose throne so many comic writers (and fans) worship. Despite having such a deep, rich backstory and mythology, Planetary is a surprisingly light read. You can read any single Planetary story and enjoy it on its own terms. You don't need to unravel a web of who what when where how whys. You don't need to know what happens in issue #312 (second series, not the 1960s original) of the spinoff title featuring the supporting character who now leads his own team, only it's not really him it's the clone featured in last year's epic crossover event. He avoids that trap, and by doing so makes Planetary like a little more awesome than it already is.

Modern comic writers should be taking notes.

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Planetary Vol. 2 - The Fourth Man

Planetary Vol. 2 - The Fourth Man
By Warren Ellis and John Cassaday

When I first settled in to read Planetary Vol. 1, I did not know what to expect, I only knew that my expectations weren't high. Though I liked a good deal of the Warren Ellis work I had read, his work on the edgy-and-epic The Authority left me cold. For whatever reason, I had the impression that Planetary was a kindred spirit to The Authority.

Turns out they're nothing alike. For one, Planetary is awesome whereas The Authority isn't.

But I digress.

After reading volume one, the reader gets the distinct impression that there is a larger story at work here. Sure, each of the six issues in that collection was a standalone, but each also dropped a little hint at a broader tapestry. Secret histories. Character backgrounds. Conspiracies. A bigger story. It was not unlike Hellboy in that respect.

Though again dishing out an array of six unique standalone stories, The Fourth Man makes clear that Planetary absolutely has a larger narrative, and that if we keep reading we're going to peel back all sorts of interesting layers from this big, tasty onion. Even moreso than the superb quality of these tales -- these six almost all knock it out of the park and to a story are better than the first volume's -- it is the idea that something larger is at work that has me eager to keep reading.

Which isn't to say the stories wouldn't still be awesome as a series of one-shots, because damn are they good. Ellis takes all sorts of geeky cool stuff like '50s sci-fi movies and classic superhero comics and more, shoves handfuls of magic mushrooms down their throat, and turns them into something familiar yet alien. It's like an bad dream, only it's an awesome bad dream from which you never want to wake. A killer twist on those giant insect movies, complete with Red Scare secret government projects. What would really happen to the Justice League arose in a dark and sinister world of conspiracies. Snow coming to realize who and what he is.

This is wall to wall great.

Consciously or not, word of mouth that is too good often results in me scoffing, sometimes even hoping to dislike Flavor of the Moment. All that gushing and fawning and "you've got to read this!" makes me a bit ill, like when you drink too much and then have a five-egg omelet and then try to swim the English Channel. And with the final issue of Planetary announced just before I started reading this, the buzz was building. I was ready to break out the Pepto. Sickness time approached.

But it passed. I get it. Planetary is, like, really good and stuff. So, like, I totally get it. 'Cause it's awesome.

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Planetary Vol. 1 - All Over the World

Planetary Vol. 1 - All Over the World
By Warren Ellis and John Cassaday

Warren Ellis is something of a polarizing figure in the world of comics. A writer who doesn't hide his disdain for traditional superhero stories and who has cultivated an online community is, to put it mildly, a bit prickly, Ellis has nonetheless built a resume that ought to earn respect from all but the most old school, it's-got-to-have-tights-or-it-ain't-comics readers. He has worked in classic science fiction (a genre too infrequently seen in modern comics), risque political and social commentary, horror, action/adventure, and more -- and it's almost always been worth reading. His least interesting work tends to be his traditional superhero stories.

His most acclaimed achievement in comics might be the four-time Eisner Award nominated Planetary, his long-running collaboration with artist John Cassaday. Tough to tell, though, since it's been so s l o w to come out. Though it began way back in 1999, it took them 10 years to release a mere 26 issues. (The 27th and final issue is due out in October 2009).

But with all the accolades this series has received, one has to ask, has Planetary been worth the wait? Is it time for me to take the plunge?

Having only just started to read it, I'm prepared to answer with a solid YES.

Planetary is kind of a superhero book, but only just barely. In fact, I'd be hesitant to categorize it that way, though many people do. Sure, it features people with amazing abilities doing amazing things, and often doing so while where tight and/or colorful costumes, but at heart it's a modern version of pulp science fiction through and through.

Oh yeah, the premise. Yeah, I guess you need to know that. "Planetary" is a secretive organization devoted to investigating amazing events and "the secret history of the 20th Century." The three investigators, funded by a mysterious "fourth man," trot around the globe (or dimensions, or universes) and pretty much do interviews and take notes. Once in a while they save the world.

This volume brings together six stories that give you a good idea of what they do, but even more importantly, provide a window into all the amazing worlds Ellis and Cassaday are going to show us. It probably wouldn't be far fetched to suggest that Ellis conceived of Planetary in part as an excuse to do whatever the hell he wanted to do in a comic, because this thing is all over the map. Even in just these first six issues we get Twilight Zone sci-fi, monster movie mysteries, superhero romps, and more. Whatever pops into his head that day.

Though each story stands on its own just fine, they each take subtle steps forward in uncovering a larger mythology, too. That might be what's most exciting about Planetary. The individual stories here are imaginative and wonderful (often not-so-veiled homages to characters and concepts Ellis clearly loves, such as Godzilla or 1960s superhero origin stories), but they each serve as a tiny part of a jigsaw puzzle. Minuscule piece by minuscule piece, we get the sense that something bigger is at work. A conspiracy, and a mystery, and maybe a threat to the planet. Something that may end up unfolding over the course of the entire series. And that's pretty awesome.

Heck, this whole damn thing was pretty awesome. Not super awesome like I'm Ready To Tell The World That This Is The Best Thing Ever awesome, but certainly This Made For A Good Night Of Reading Imaginative Comics awesome.

Though I could be wrong, I get the sense that a wild ride is ahead.

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