Tag Archives: nikolai-dante

Nine wishes for 2009 #5: Comics I care about

Yoink! These nine wishes for 2009 were meant to be done and dusted by 31 December. Nevertheless, I shall plough on…

I’m a geek, to paraphrase Nick Clegg, by temperament, by instinct and by upbringing (the latter is all too true – my dad made me watch Alien when I was 8 FFS! He would also blare out War of the Worlds at 11pm. My earliest memories were reading science fiction and horror mags on my parents’ bed and the excitement surrounding Star Wars and Close Encounters – really was there any hope for me?).

So it comes as no surprise that, despite being in my mid-thirties, I have an unusually large comic collection (the only geek I know who doesn’t read comics is Will Howells. Bad Will! No biscuit!). But I have this problem: they aren’t exciting me like they used to.

My first comics were the Beano (but not the Dandy – rubbish!) and the eighties Eagle. From there it was but a short step to 2000AD during its bog paper, black and white glory days and with the eighties UK comics brain drain in full swing, moving onto US comics was all but inevitable. Highlights have included: too many Judge Dredd stories to mention, but in particular Block Mania, Chopper’s escape to Oz and the revelation of the identity of The Dead Man; Nemesis the Warlock; Halo Jones (I could mention loads of Alan Moore stuff, but this is the one that inspired me the most, oddly); Grant Morrison’s greatest hits (Zenith, Animal Man, Doom Patrol, The Invisibles); The Sandman; Preacher; The Adventures of Luthor Arkwright. More recently, Nikolai Dante has had its moments. Morrison’s run on X-Men was good and Joss Whedon’s follow up was great too. I whizzed through Mike Carey’s Lucifer last year after, wrongly, assuming for years that it was just another worthless Sandman spin-off (Vertigo have only themselves to blame for that assumption, but that’s another story).

But the sort of buzz I felt during the late eighties and nineties isn’t there any more. Don’t misunderstand me, I recognise that to an extent I am merely a little jaded and that is unavoidable. And there is still good stuff out there. Buffy Season Eight, while patchy, is generally strong. 2000AD has been consistent (but not amazing) for a good decade now going through a very bad period before. You can’t switch brilliance on like a tap but I don’t think 2000AD can be accused of doing anything to piss on their chips.

I think my dilemma is threefold. Firstly, the demise of Comics International. To be clear (last year I bemoaned the state of the magazine and got ticked off by Burt for my trouble), it does appear to be a going concern and at least one of the problems for its erratic publishing schedule over the past couple of years has been the editor’s ill health, but it is a far cry from the rigorous monthly schedule that Dez Skinn managed to work to for 15 years. I hope that if they do get it back up and running, they go back to basics. When it was launched, CI was a free newsheet printed on newsprint which offered news, reviews, and pretty much nothing else. I don’t miss anything else; I do miss that basic service. It is a bit of an embarrassing thing to admit as somone who likes to think of himself as generally web-savvy, but I can’t get my head around using the web as a news source for my comics. Something does not compute. Nothing feels as natural as a few pages of news I can pore over on the tube home from the shops (I depend on Empire for similar reasons).

Secondly, I find it really hard to get into the indie-scene these days. Even though I’ve never actually lived in the East Midlands, I occasionally used to go to Page 45 for some of their special events. In particular, they ran a great open day in 1996. Ostensibly a day to promote Dave Sim‘s latest UK tour (I continued to collect Cerebus up until it ended even though I basically gave up reading it during the last few years as he seemed to get increasingly bonkers – needless to say I don’t share his views), they invited lots of other independent comic creators as well. Since the queue to get stuff signed by Sim and Gerhard was so long, you ended up going around and talking to all the creators. I ended up buying stuff from pretty much everyone, discovering a passion for, among others, Kane, Sleaze Castle and Dix (the cartoonist on the brilliant Roll Up! Roll Up! which ran in the Guardian a few years ago before they criminally cancelled it. Thanks to the magic of teh internets you can now own a collected edition – buy it now!). But as you’ll have seen by following those links, those particular wells of creative talent have either mutated (Jack Staff is good, but nothing like as good as Kane) or dried up entirely.

Are Page 45 still organising such open days? If they are, I never read about them even when CI was coming out regularly. Back in London these days, the closest to Page 45 is Gosh! – they often do signings, but don’t seem to use them as an opportunity to do something more ambitious. Maybe in 2009, this might change.

My third problem though seems much more intractable. I’ve always tended to read DC more than Marvel. This is simply because DC used 2000AD as a recruitment brochure in the eighties and took a lot of the fanbase with them. Slowly I got sucked in, loving Keith Giffen’s take on the Justice League and the post-John Byrne Superman (an era which effectively ended with the death and rebirth storyline). Having stayed away for a few years, I ended up picking up 52 and some of the other Infinite Crisis spinoffs and tie-ins.

Now, 52 was a well executed and enjoyable series – a year in the life told in real time. The problem is, it was such a success that they immediately issued a sequel – Countdown – which in turn was a prequel of Final Crisis – which in turn was a sequel to Infinite Crisis (and sort of a sequel to Seven Soldiers of Victory) – which in turn was a sequal to the Crisis on Infinite Earths (and that’s just the simplified version). The idea that the Infinite Crisis had created 52 alternate universes (after the Crisis of Infinite Earths destroyed the “infinite” alternates and merged them into one, the revamped eighties DC universe), is essentially lame, lazy and, as you will have seen by reading this paragraph, incredibly confusing. Add to this the “is he? isn’t he?” death of Batman at the end of last year, and an alternate timeline in the latest weekly series Trinity, and you have a terribly stodgy mess. The problem with all these tie-ins, cross-overs and spin-offs is that it utterly alienates the casual reader. DC seems to have decided that their future lies in giving the hardcore dizzyingly complex onanistic wank. I’ve put up with it for a year longer than I should have done and expect to more or less drop all my DC titles later this year.

Marvel also seem to be going out of their way to alienate readers by producing company-wide meta-narrative after company-wide meta-narrative even if by all acounts they are doing it much better. But again, how do you get on board? Browsing through trade paperbacks in Borders and the specialist shops, I haven’t the foggiest where to start with, say, Civil War.

Part of the problem, I suspect, is rooted in the fact that both of these companies have discovered that they have such large back catalogues now that the casual reader has plenty to churn through before running out and wanting to look at the latest stuff. Want to get into Batman? Most “top ten” lists include Killing Joke, Dark Knight Returns, Year One, The Long Halloween and Arkham Asylum. Most of the Marvel films are mining stories from the sixties which you can read in their Masterworks series of books. So even if they did make the new stuff more accessible, I suspect they would get very little out of it in terms of improved sales.

As someone who is more than a casual reader but much less than the hardcore, this is a problem. Are there really so few of us out there though? I just think it is a real shame that as comics finally enter the mainstream, they seem to be having such a creative lull. And while there is undoubtedly good stuff out there to be found, finding it seems to be becoming harder and harder. Anyone got any suggestions?

Tooth Review: Prog 2008 (obligatory spoiler warning)

Prog 2008Quote of the issue: “Did you see my televised debate — the one where I made Richard Dawkins cry? I wanted to use a picture of that on my personalised Christmas cards but the Archbishop wouldn’t let me.” Unnamed Church of England operative, Caballistics, Inc.

It’s finally arrived! And it’s a good’un…

Cover: Clint Langley draws Dredd in the foreground, with the other characters featured in this issue in the background.

Bit of a damp squib this. The non-Dredd characters are merely taken from other artists while there is something about the face of Dredd that I don’t like. I think it is the slightly pointed helmet.

The twin-logo design doesn’t exactly do it any favours either. I hope this “2000 sideways AD” logo isn’t here to stay as it is awful – a complete throwback to the bland logo they used around 2000. The fat exclamation mark design is a classic – if there’s no reason to change the name, there’s no reason to change the logo.

Strips: Droid Life, Judge Dredd, Shakara, Kingdom, Nikolai Dante, Stickleback, Sinister Dexter, Caballistics Inc, Strontium Dog.

Features: Best ever covers, letters, three “great moments of thrill power” pinups (The Apocalypse War by Boo Cook, The Angel Gang by Clint Langley, Nemesis the Warlock Book IV: The Gothic Empire by Bryan Talbot.

Spoilers… Continue reading Tooth Review: Prog 2008 (obligatory spoiler warning)

Tooth Review: 1564 (Obligatory Spoiler Warning)

A really scrotnig issue as the storylines begin to slot into place.

Prog 1564Cover: A Peter Doherty-drawn montage of the main characters in the current Mandroid storyline. Well drawn and timely if a little underwhelming.

Doherty is currently doing colourist duties on Dredd and in that respect is woefully underutilised. When will he resume artistic duties? He doesn’t seem to have drawn anything of substance in over a decade.

Quote of the Week: “Amassed! The man was a bloody menace! You couldn’t put anything down for a minute without him whipping it! Half the lost treasures of the ancient world ended up stuffed down his trousers!” (Erebus, The Red Seas)

Spoilers below… Continue reading Tooth Review: 1564 (Obligatory Spoiler Warning)

Tooth Review: 1563 (Obligatory Spoiler Warning)

Face offs galore this week as the new strips start to get going.

Prog 1563Cover: Simon Davis draws Finnegan Sinister John Woo style. Not sure about that gun chain – seems a little taut and impractical. I have visions that he must have something similar for his gloves, bless him. For those new readers wondering why Sinister has such a white face, it’s a Simon Davis thing.

Spoilers a-go-go… Continue reading Tooth Review: 1563 (Obligatory Spoiler Warning)

Tooth Review: 1562 (Obligatory Spoiler Warning)

The Red Seas is back – sort of. And the final showdowns begin in Button Man and Judge Dredd.

Prog 1562Cover: Frazer Irving draws Harry Ex. Effective but quite dark, meaning it doesn’t exactly leap off the shelf at you.

Spoilers ahoy! Continue reading Tooth Review: 1562 (Obligatory Spoiler Warning)

Tooth Review: 1561 (obligatory spoiler warning)

Best issue in a while as the new strips get into their strides.

Prog 1561Cover: A great painted Dredd by Boo Cook. Boo’s art has been coming on in leaps and bounds in recent years and he really captures Old Stony Face here. It’s all in the chin.

Spoilers below… Continue reading Tooth Review: 1561 (obligatory spoiler warning)