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Images & Words – Ultimate Avengers #5

Thursday, March 4th, 2010

Ultimate Avengers 5

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Looking ahead to the Wednesday releases, I assumed that First Wave #1 was going to earn the honor of OL’s pick-of-the-week. Set outside of the standard DC continuity, this title takes place in some ambiguous past, a pre-retro time of gumshoes and vigilantes. Without being bogged down by a litany of mandated superheroes and superteams, writer Brian Azzarello gets to showcase the more human qualities of Doc Savage, the Spirit and the Batman. Three bad asses who genuinely enjoy effing ess up.

And if this weren’t enough to induce pleasure-overload in the fanboy population, the series is being drawn by Rags Morales. This is the dude who did the pencils for Identity Crisis, one of the most personal and emotionally redolent superhero series I’ve ever read. He’s a great artist, but has recently done one book after another that I couldn’t care less about. Until now, that is.

First Wave #1 is an excellent comic book and I strongly suggest you snag a copy. Unless, of course, you don’t like a solid mystery story, artwork that convinces you to spend a few minutes on each page, great characterization, or good shit in general. If you’re willing to buy two comic books this week, make sure that this is one of them.

But if you’re only going to pick up one comic book this week, there is no better choice than Ultimate Avengers #5.

In case you don’t have a clue what any of this means, let me bring you up to speed. Ultimate Avengers is Mark Millar’s latest foray into Marvel Comics’ Ultimate universe, essentially updating and reimagining the Avengers. This series sees Nick Fury and Hawkeye initiating Project Avengers in an attempt to institute order after some near-apocalyptic catastrophe. With so many heroes dead or out of commission, readers are treated to some interesting twists on fan-favorite characters such as Tony Stark’s supercilious sibling Gregory and a genetically manufactured Nerd Hulk. It’s sick.

But perhaps the best wrench being thrown in the gears of Marvel continuity is Mark Millar’s approach to the Red Skull. In the Ultimate universe, Red Skull is the illegitimate son of Steve Rogers. Raised by a pack of government goons while Steve was stuck in suspended animation, Junior went totally bananas and decided that killing was a hobby he’d enjoy. Combining the physical prowess of his papa with an insatiable thirst for blood, this Red Skull is a (more than) formidable threat.

So, naturally, Steve Rogers wants to be the man to take him down. And this manhunt is what the book is all about…but insane. Basically, take whatever you’re imagining this book to be and force-feed it a six pack of Mountain Dew.

Ultimate Avengers #5 is just out of control. While Millar has used creator-owned properties to do whatever he damn well pleases, I think this comic might prove that he has been given total free reign. Pencilled by the fantastic Carlos Pacheco, this issue has some scenes so brutal that I was honestly shocked to find them in a mainstream comic. For instance, the first panel treats the reader to infanticide. And then, two pages later, an entire splash-page is dedicated to the assassination of JFK. Oh, and who could forget those panels that show the aftermath of forced cannibalism?

Reading these descriptions back to myself, I realize that this comic might seem gratuitously violent. But, really, it isn’t. Ok, that’s a lie – it is. Hell, peppered in between all of the aforementioned images are full-blown fight scenes. With that being said, the visual vulgarity of Ultimate Avengers #5 is irresistibly entertaining. Any time that I said exclaimed Holy shit! it was always closely trailed by that’s awesome!

I cannot understate the prowess of Mark Millar. This guy is firing on all cylinders, creating comics that are not only entertaining in the same way as action movies, but also filled with fresh perspectives that reinvigorate time-worn characters. It’s not just explosions, boobs & butts, and fight scenes – the madness is always anchored by a novel idea or two. And, more important, authentic sentiment.

I make no qualms about shelling out four bucks for a Millar book and neither should you. This week, the team of Millar/Pacheco/Vines have officially reached the Omega Level

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Images & Words – Choker #1

Thursday, February 25th, 2010

Choker

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Sometimes impulse purchases work out for the best. Other times, they don’t. This week, I’d like to share a story in which tossing down four bucks for an unfamiliar product ended up being a good idea.

A damn good idea.

Just like every Wednesday, I walked into the comic book store looking forward to snagging all sorts of goofy shit. Again, I know how ludicrous these books can be, but anticipating their release helps get me through the week. Reading them, on the other hand, helps me forget about the week altogether. Clearly, it’s a marriage made in Escapist Heaven. So it goes without saying, I picked up all of my favorite books that feature body builders with super powers, mind-numbing exposition and overly-sexualized women.

In addition to this mindrot, I also snagged Choker #1. Originally slated for release two weeks ago, the first issue of this six-part series comes out swinging. What we find out in this first issue is that over-the-hill private investigator Johnny Jackson is finally being offered a chance to regain his position on the city’s police force. Of course, this means he must appease the insidious chief of police by tracking down Hunt Cassidy, the man he locked up years ago.

Does this seem like another Crime Story Paint by Numbers? Sure. But Choker pulls it off, setting the story in the quasi-dystopian Shotgun City. Perhaps taking a page out of Spider Jerusalem’s playbook, Jackson has these kind words to say about his city:

Jesus. This place stinks worse than my office.

Devo-fucking-lution, how we’ve embrace you.

We’re living in one big melting pot of futility and folly, and somehow it continues to flourish.

There’s not a thing I can do about it.

Not anymore.

Mutiny has ravaged the ship and we’re slowly sinking. Not even the sharks will want to eat us.

Maybe I’m a sucker for a pessimistic, pissed-at-the-world detective. Maybe I think it’s an archetype I’ll always fall for. Maybe I just wish I could be one myself (a detective that is).

Definitely.

And while writer Ben McCool’s script certainly places Choker within the world of interesting narrative, it’s artist Ben Templesmith that cannon-launches it onto Mount Bad Ass Comic Book. This guy has done a ton of sick shit, such as 30 Days of Night and Warren Ellis’ (unfortunately delayed) Fell. However, I really think that Templesmith is upping the ante with his new series, and the readers are going to reap all the benefits.

Thus far, the artwork of Choker is nothing short of inspiring. Templesmith’s neat & tidy approach to panel layout keeps the story moving without the necessity of pausing to ask What the fuck is going on? With that being said, the contents of these panels are quite atmospheric in nature, creating a dark world that always seems to be clouded over. Templesmith then creates a balance, as he paints Shotgun City with vibrant neon colors. As a result, he generates a sharp urban contrast between progression and regression that harkens back to Bladerunner.

Choker #1 has proven to be the best four-dollar investment I have blindly made this week (and yes, I’ve made a few). Even without any text, this book would be worth your cash money. In a way, the fact that the story McCool has begun to unveil is actually rad, well that’s just icing on the cake.

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Images & Words – Joe the Barbarian #2

Thursday, February 18th, 2010

Joe the Barbarian 2

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

Joe the Barbarian is a mindfuck. A powerful, yet sweet, mindfuck that leaves the reader gasping for breath and begging for more. I have no doubt that those readers who prefer the pump-and-dump style of narrative-coitus are going to dismiss Joe the Barbarian as just another example of Grant Morrison’s insanity.

Two issues in, I’m inclined to disagree. While starting a bit slow, Joe the Barbarian definitely feels as though it’s working towards something beautiful. Sure, it’s still incredibly unclear whether the protagonist is actually engaged in a cross-dimensional journey or if he’s just hallucinating/imagining the whole ordeal (I’d guess the latter), but that’s of little consequence at this point. All that matters is that Joe is genuinely invested in his quest, thereby capturing the readers’ attention.

Fuck, I’ve done it again – I’ve somehow started reviewing a comic book without even explaining its damn premise. Hell, maybe I should’ve taken a journalism course or some shit (see: poor excuse). Or, I could just delete these three sentences, but that would somehow seem dishonest.

Anyways, this second issue of Joe the Barbarian picks up right where the first left off, with Joe seeking refuge in his childhood action figures after a rough day. How rough was this day? Well, Joe was given the impression by his mom that their house might be on the brink of foreclosure, he was bullied by a pack of goons, and he spent a bit of time brooding about his dead father. Yikes. But with the help of the action figures in his attic, Joe is transported to an alternate reality. An alternate reality that, according to these toys, Joe must save from total destruction

Throughout the second issue, Joe (referred to as “The Dying Boy” by one especially ominous action figure) begins to make his journey out of the attic and towards the rest of the house. At times, the readers are given glimpses of what Joe is really doing - this either puts his epic journey in perspective or creates a greater contrast between the world as most see it and as it is seen by the hero. Again, this makes the reader ask some important questions; did Joe really break an anthropomorphic-rat-warrior named Chakk out of jail, or did he just let his pet rat Jack out of its cage? Is Lord Arc actually an outcast who once ruled a throne of light, or is Joe talking to a lightning storm? Is Joe a chosen warrior, or is he just a hypoglycemic teen in desperate need of a candy bar?

Even if definitive answers are never delivered, the expedition from which they arise is worthwhile in its own right. Although I’m going to give writer/creator Grant Morrison his fair share of credit (yes, sometimes his madness is genius and not the other way around), I think Joe the Barbarian is truly successful because of artist Sean Murphy. As mundane and realistic as Murphy depicts Joe’s house, it’s Narnia-ified counterpart is twice as fantastic. Two-page spreads of life-size action figures in the midst of war are perfectly executed, as are skyscapes with impossible airships and stunning crescent moons. I’m not familiar with Murphy’s body of work, but his performance on Joe the Barbarian is bound to etch a place in my (admittedly depleted) brain-bank.

And although it’s a damn shame I’m putting this individual last (and am too lazy to edit this post so that he’s first), a big-ups is due to colorist Dave Stewart. As well as Murphy illustrates rat warriors and giant flaming skulls that hang ethereally, Stewart pounds on their chests and brings them to life. So while the night skies of Joe’s fantasy world evoke a sense astonishment, it is the faded purple hue that enables them to breathe and live. I really think Stewart may be outdoing his best work with Joe the Barbarian.

Joe the Barbarian #2 is just wonderful. With the interplay between fantasy and reality (ala Wizard of Oz or Chronicle of Narnia), this is a book that can be enjoyed by all ages. It’s one of those rare finds, a story that’s innocent enough for children but mature enough to entertain adults.

You’d be a fool to not give this comic a shot.

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Images & Words – Ultimate Armor Wars #4

Wednesday, February 10th, 2010

Ultimate Armor Wars 4

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

I love comics – honestly and earnestly, at that. As such, I definitely spend more money on Wednesdays than I should. Not only do I pick up titles that will be remembered for years to come, but some of their more timid brethren as well.

It is with this preface that I present OL’s comic of the week: Ultimate Armor Wars #4

As the final issue of a limited series taking place within the Ultimate universe, this book is hardly “mandatory reading.” In fact, I can’t even remember whether or not I’ve read all three of the preceding issues. Fortunately, this isn’t really of consequence and the comic could work fine as a one-shot about Tony Stark.

How can this be? Three word answer – Warren fucking Ellis.

While I’m sure that the story would’ve made more sense if I had carefully followed the entire Ultimate Armor Wars series, Ellis demonstrates his complete mastery of paneled images in a mere twenty-two pages. Unlike most comic book writers, Ellis can create works of legitimate merit (such as Doktor Sleepless and Transmetropolitan) and still triumphantly return to the world of capes and superpowers. So even though I can imagine Warren Ellis banging out the script for Ultimate Armor Wars in a thirty minute haze of Red Bull-induced freneticism, it’s still stronger than most of the garbage released on hump-day.

So, what’s the plot? Again, I’m not even completely sure. I know that it involves Tony Stark fighting people who wear knock-off Iron Man suits, having sex with a babe who double-crosses him and realizing that his grandfather is a cyborg. And not just any cyborg, but one that threatens his life in the hopes of learning the secret of some technological wonder. It’s chaotic, kooky and all over the place, but somehow it works.

Again, what makes the book work is the writer’s grasp of the Tony Stark character. While it seems easy for creators to make Stark either too much of a hero or too much of an arrogant playboy, Ellis has stumbled upon the perfect balance. Take note of the following bits of dialogue, muttered by Iron Man in the midst of battle;

“I quite literally cannot afford for you all to get killed. I’m not as rich as I used to be.”

“Dammit – everywhere I go, people in metal suits trying to turn me into dog food–”

Hell, Ellis even gives Stark a great line to describe his grandfather;

“Like Ernest Borgnine in an ill-advised love triangle with farming machinery and the wreckage of a Lincoln Continental.”

If you’re weary of spoilers and think you might buy this book, stop reading right now. But Ultimate Armor Wars #4 gets the feature in Images & Words because it ends with one of the best monologues I’ve seen attributed to Tony Stark in awhile. Having saved the day, the billionaire-genius heads to a bar to toss back a few shots and shed a tear. Below are the words of a man who realizes that his capacity for good is only rivaled by his capacity for evil.

Here’s to killing things.

Here’s to stamping out evil. Heh.

Here’s to liars and cheats and what they deserve.

Here’s to the life of a bachelor and an orphan.

Here’s to saving the world.

From me.

Oh, God.

Ellis knows just which question to ask – Is Tony Stark a sad superhero or an inspiring drunk?

Fortunately (for the readers), he seems to be both.

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Images & Words – Siege #2

Thursday, February 4th, 2010

Siege 2

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

The theme for this week’s Images & Words is blood and thunder. This is the phrase that I couldn’t stop thinking of as I read the second issue of Siege, the limited series that sees Norman Osborn and his cronies trying to trash Thor’s crib. Built upon the premise of gods and superheroes duking it out, the expectation is that Siege would be an action-packed fanboy wet dream.

So far, the expectations are being met. And then some.

Picking up where the first issue left off, Siege #2 takes the reader right into the middle of the battle for Asgard. As was to be expected, Ares (yes, the god of bloodlust exists in the Marvel Universe) realizes that Norman Osborn’s been playing him for a damn fool! Jumping ship, Ares has himself a slugfest with the Sentry. And it’s this slugfest that ends up stealing the show.

I don’t want to spoil anything, but I will say this – the fight ends with a fatality. Actually, it’s a two-page dismemberment, with entrails and blood and bodily fluids flying all over the damn place.

Yeah, it really is the artistic team of Coipel/Morales/Martin (pencils/inks/colors) that makes this comic especially worthwhile. Bendis’ scripting isn’t bad (in fact, it’s quite good) but the stunning visuals are what elevate the book. In addition to the aforementioned gorefest, even the more mundane sequences are sexy. Coipel’s pencils give Captain America a youthful sensibility which really shines through during his conversation with Steve Rogers.

Hell, the team even manages to make a snoozer of a meeting (between…well, some of Earth’s mightiest heroes) worthy being framed and hung poster-style.

I’m not going to waste time with one of my exhausting complaints about comics-events – but only because Siege is genuinely enjoyable. I think the series is pushing the Marvel universe in an interesting direction, and is doing so with guns and gods and explosions and all that other good shit. I’m sold.

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Watchmen 2 Be Desecrated

Thursday, February 4th, 2010

Watchmen 2

If Ben Kenobi didn’t make his noble sacrifice, he’d be sensing an unprecedented disturbance in the Force right now – as though millions of geeks were crying out, only to be silenced.

Word started spreading today that Dan DiDio, Executive Douchebag of DC Comics, is going ahead with plans to publish multiple series and projects based on Watchmen. Apparently Paul Levitz, former Decent Publisher and Respectful Fellow of DC Comics, had repeatedly turned down proposals to create spin-offs based on Watchmen out of a respect for Alan Moore (the kook/genius responsible for writing the series). Now that Levitz is out of the picture, DiDio is willing to cash-in on the DC-owned property, with nary a regard for the wishes of its original creators.

I believe that Watchmen is the greatest fictional narrative I have ever experienced, a perfect work of unparalleled excellence. As such, I understand that any attempts to capitalize on its reputation could never affect the power of the original series itself. But I can’t help get but pissed off when I think of schmohawks using my favorite piece of literature as means to sell bullshit crossover series, coffee mugs, and action figures. (Especially when the series lampoons such flagrant cash-grabs).

I dropped a post over at Warren Ellis’ Whitechapel forum, hoping to elicit response from the rare breed of nerd I call those whose opinions I value. To my delight, Warren offered his two cents:

Finding someone to work on it will be interesting. It’s not as cut and dried a thing as, say, working on an old Stan-and-Jack property.

And this got me thinking – What type of fucking asshole actually signs on to write/pencil/ink/color/letter/edit Watchmen 2? I’ve arrived at two answers; 1) A greedy fuck who doesn’t care about besmirching the legacy of the seminal work of the comics medium as long he’s paid well. 2) An arrogant prick who (laughably) thinks he’ll be able to live up to the standards of Watchmen.

This is fucked. I understand that the comic book industry is fucking shameless, more of a research & development department for the Movie/Cartoon/Toy Industry than an artistically-minded field. But I guess my inner optimist is deflated to realize that nothing is sacred anymore.

Who’s going to watch the Watchmen? Anyone that wakes up before 9AM on a Saturday.

[source]

[source2]

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Prepare to be Mesmo-rized!

Sunday, January 31st, 2010

Mesmo Delivery

I understand that OL suffers from a lack of patronage on the Sabbath. But I just want to offer an early reminder to those who are stumbling their way around the site: Rafael Grampá’s Mesmo Delivery is being (re)released this Wednesday.

As a proud owner of an AdHouse Books’ edition, I can attest that Mesmo Delivery is the real fucking deal. In just under fifty pages, Grampá demonstrates a mastery of the comics medium that others spend thousands of pages striving for. As an artist, he tempers the putrid and violent with an appealing cartoon sensibility. Or perhaps he understand that the reader will feel at ease with the spiritually-Nickelodeon images, thus amplifying the effect of decapitations and pants-pissings.

Again, I won’t harp right now. Between my previous feature, the upcoming Variant Covers and my probable feature for this week’s Images & Words, Rafael Grampá is bound to have some solid real estate at OL. Just make sure you buy this book – in addition to the novella, Dark Horse is tossing in some bonus shit as well. Summarily, there’s no reason to not support this rising star.

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Images & Words – Kick-Ass #8

Friday, January 29th, 2010

Kick Ass and Hit Girl

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

It seems as though a number of my favorite creators enjoy starting projects, getting me super-pumped about them, and then relegating them to the status of indefinite hiatus/who fucking knows?/cancelled. Do I ever expect to see the conclusion to Frank Miller and Jim Lee’s All-Star Batman and Robin? Short answer – no. Does it chap my ass that Warren Ellis’ Doktor Sleepless hasn’t been on a regular schedule for over a year? Let’s just say I’ve been wearing a lot of loose-fitting undies.

Fortunately, one of the guys on whom I can rely to finish his projects also happens to be one of my favorites. While the haters love to hold him in contempt (complaining that all his books are essentially the comics equivalent of popcorn-flicks), I cannot sing enough praises for the mighty Mark Millar. In the last few years, this guy has successfully completed some of the most entertaining miniseries and arcs. An incomplete and poorly arranged list:

Wolverine: Old Man Logan

Marvel 1985

Ultimates

Ultimates 2

Ultimate Avengers

Civil War

Wanted

When it comes to cartoon-magazines about superheroes, Millar’s consistency and excellence is absolutely unrivaled. The guy is a fucking titan of the industry, a writer whose own fandom is translated into passion and energy on the page. He might not be the mind-juggernaut that is Grant Morrison or a creator-of-continuity like Geoff Johns, but Mark Millar is a fucking boss.

So it is with the utmost pleasure that I present this edition of OL’s comic pick-of-week:

Kick-Ass #8

For any of you jerkies who’ve been out of the funny-book game since 2008, Kick-Ass is an exploration of what would happen if a comic book fanboy tried to become a superhero in the real world. Of course, shit goes wacky and all sorts of wannabes & imposters start showing up. Without giving too much away, I’ll tell you this – the first issue ends with protagonist Dave Lizewski getting the shit beat out of him during his first foray into the business of superheroism. Essentially, the combined effort of Millar and legendary artist John Romita Jr., the series is actually marked by its vulgarity, humor, and ultra-violent action scenes. In the best way possible.

Seven issues later and we’ve finally arrived at the end of the first arc. Now complete, I have no reservation in saying that this initial chapter of the Kick-Ass saga unrelentingly fires on all cylinders. Just as the book has done during its entire run, issue eight keeps the reader alternating between a state of jaw-dropping shock and belly-clutchin’ guffawing. We see the climatic showdown between the newly aligned Hit-Girl/Kick-Ass and the mobsters who’ve been hunting them. And what a climax it is.

Again, I really don’t want to spoil this issue but I will offer a look at some of its key ingredients:

Flamethrower. Castration. Cocaine. JRJR splash page. Child endangerment. Ben Grimm reference. Meat cleaver.

Trust me, it’s sick.

If the Kick-Ass movie is even half-faithful to this first arc (and word around the `net is that it’s full-faithful), we’re all in for a treat. Just make sure to read the comic first.

Because Comics is King.

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Images & Words – Captain America #602

Wednesday, January 20th, 2010

Captain America 602

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]  

Not to call my brother out, but on Tuesday he lied to the faithful OL readers. In the last Variant Covers, Caffeine Powered wrote that this week’s Captain America would see both Steve Rogers and Bucky rocking out in the Star-Spangled undies. Trusting his words, I got all sorts of excited and screamed “TWO CAP’N AMERIKURS!? GAW-LEE!~” into the face of my elderly roommate.

But then I actually read Captain America #602 – and I realized that my a brother is fucking liar! Steve Rogers isn’t anywhere in this dang book!

To be fair, I don’t think Caffeine Powered intentionally misled anyone. Given the current state of the 616, the natural conclusion would be to expect two Captain Americas. After all, Marvel has been pretty lax since bringing back Stevie; yet to be revived in Reborn, he’s been seen chilling with Bucky in Who Will Wield the Shield?, Siege and The Invincible Iron Man. Tack on the fact that the cover of this newest issue features a Captain America rocking the classic/dungarees/belt uniform, and one would be inclined to think that a team-up rests within.

Again, not the case. In fact, Steve Rogers is nowhere to be found in this issue. Brubaker writes him out of the plot by having Bucky explain the absence to Nick Fury;

“Steve’s fine…him and Sharon are just off the grid right now…Staying at her family estate in Virginia.”

What a load of caca. I really hope that all this is doublespeak for some sick-ass secret mission, because if Steve Rogers is actually just hanging out in Virginia, we’re going to have words. Maybe even swear words.

“Don’t get me wrong, Stevie, taking a vacation with a lady-friend is a great way to relax. But since you got shot with that time/bullet/same thing as Batman?/consciousness-transplant bullet, shit’s fallen to pieces. So get your ass out of Jamestown and start cracking skulls!”

Anyways, what is this issue about? Well, even with Rogers out of the picture, the reader is treated to two Captain Americas; Bucky (of course) and William Burnside, the fucked-up, mental patient who was rendered into a Steve Rogers facsimile in the 1950’s. Burnside has put on his own pair of Star-Spangled undies and is soiling the image of the shield slinger as he corrals hillbillies into forming an anti-government militia. Naturally, this inspires Bucky and Falcon to go regulate.

Considering how much shit is going on in the Marvel universe, it might be for the best to leave Steve Rogers out of the title book for now. Truthfully, I’m more than pleased with having Bucky wield the shield and don’t want to see him give it up anytime soon. I know it’s only a matter of time, what with the trailer for the Captain America movie having been officially released, so I’m cool with enjoying James Buchanan while I can.

Bucky’s tenure as the sentinel of liberty is bound to end sooner rather than later. So if this depresses you (as it should), make sure to snag Captain America #602.

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Images & Words – Neonomicon Hornbook

Wednesday, January 13th, 2010

Neonomicon

[images & words is the comic book pick-of-the-week at OL. equal parts review and diatribe, the post highlights the most memorable/infuriating/entertaining book released that wednesday]

As a fan of the comic book medium, it goes without saying that I have an appreciation for Alan Moore. Yes, these days Moore is recognized just as much for being a snake-worshipping lunatic as he is for being (one of) the most innovative comics writers of all time. And that’s depressing, but certainly a result of his own actions; maybe if the guy actually came out of his Northampton hideaway every now then we wouldn’t just write him off as a nutjob.

But the most important fact to remember is that when he wants to, Alan Moore can write with the best of `em Yeah, I’m a Watchmen zealot (file it under Best Fictional Work…Of All-Time) but I also really enjoy his work on Swamp Thing. Moore manages to take a goofy-ass plant-man and turn him into a truly horrifying creature, a green embodiment of the macabre that lives in a bog, contemplates existence, and fucks shit up from time to time.

I have no doubt in my mind that it is my admiration for Alan Moore and his mad sensibilities that have led me to choose the Neonomicon Hornbook as this week’s pick of the litter. Some background: Neonomicon is planned as a sequel to his 2003 series The Courtyard. Apparently, both of these series are rooted in the mythos of HP Lovecraft, thereby generating instant fan-interest. To be honest, I’ve never read any Lovecraft or The Courtyard but I figured that I’d try to jump into Moore’s newest work anyways.

Luckily, the Neonomicon Hornbook seems to be a great spot to hop aboard; the comic is a preview of the upcoming series, consisting of the first nine finished pages of the series and an excerpt from Moore’s script. With a two-dollar price tag, the issue is a bargain, offering enough finished product to tantalize the reader and supplementing this with a hefty chunk of the author’s script. As per usual, even a single panel of Moore’s directions to the artist reads as an insane, yet superbly detailed, set of instructions. Mayhaps it’s the aspiring writer in me, but I’d suggest that Moore’s writing alone justifies the two-hundred cent investment.

As far as an actual plot is concerned, the Neonomicon Hornbook doesn’t give reveal much at all. What the reader can take away from this first-look is that Lamper and Brears, two federal agents (one a saucy white woman and the other a strong black male), are investigating some sort of copycat serial killer. They feel compelled to interview the original serial killer, former federal agent Aldo Sax – now incarcerated, Sax has a swastika carved into his forehead and only speaks in gibberish.

This seems like the standard crime story/mystery fare, nothing not covered years ago in The Silence of the Lambs. Except, it’s Alan Moore so you know something fucked up is going on. Oh, and I neglected to mention – the first page is a splash of some ethereal, potentially amniotic fluid with the captions;

It’s the end, and the beginning.

He’s beneath the waters now, but soon, in only a few months, he will come forth.

And until then he sleeps.

And dreams.

Kooky.

From what I can tell, artist Jacen Burrows is going to do a fine job. I’m not sure his art will be pulling in Eisners or anything, but is solid through and through. I guess I’d chalk him up as being yet another one of those “standard, reliable Avatar Press artists.” Certainly not a bad thing to be.

It’s cheap. It’s easy. It’s relatively satisfying. And it won’t leave you with a painful cold sore. Snag the Neonomicon Hornbook.

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