April saw its fair share of Big Events (Fear Itself launched from Marvel, Superman’s defection from America generated mainstream press, we finally found out what happened after Blair kissed Dan Humphrey*), but it was the smaller books, or side looks at those Events that really had us buzzing this month. From some stunningly good art, to a story that had us dizzy with suspense, these are the ten best comic books of April, 2011:
10. Annhilators #2
There’s the kick-arse lead story to this book, which teams Marvel’s physically strongest cosmic characters together to battle a seemingly unstoppable threat – and features what might be the only time the Silver Surfer has acted like a TV detective – but it’s the back-up that put a giant smile on our faces. Well, my face. I won’t claim I have any clue what’s going on with your face. The full-length story features honorable tree-alien Groot teaming up with Indiana Jones-esqu fuzzball Rocket Raccoon as they battle evil clowns from outer space. Not only that, but it might feature the most purely enjoyable resistance movement in comics history, consisting of rebellious mushroom people and armed-to-the-teeth woodland creatures. Kudos to Marvel for publishing a book that shows off everything a cosmic comic story can – and should – be.
9. Fear Itself: The Home Front #1
Though over-all a good collection of shorts that works as a companion piece to Marvel’s Fear Itself #1, this makes the list for insanely good first story by Christos Gage, with art by Mike Mayhew, possibly one of the best stories I’ve ever read in one of Marvel’s anthology books. Focusing on Speedball, the hero who is still dealing with accidentally blowing up a school waaay back in Civil War #1, it shows in beautifully painted style how Speedball is making amends, while still unable to ever fully escape his past. It’s a perfect vehicle for the burgeoning (mystical) fear in the Marvel Universe, and deals with the issue with depth, gravity, and smarts. Plus, it’s gorgeous to look at: Mayhew’s art is Norman Rockwell-esque in its detail, befitting the small town setting, and flits between different styles with ease. If the story keeps at this level for the next six issues, we may be in for an all time classic.
8. Herc #1
Speaking of classics, Fred Van Lente and Greg Pak wrote one of the best modern runs on a comic with the recently concluded Incredible Hercules. Luckily, the rebooted title holds up, continuing the fun, action, and smarts of Incredible Hercules, while creating its own visual style and feel. Hercules is mostly powerless and human, and fighting evil in that well-known hive of scum and villainy: Brooklyn. Luckily, he’s in possession of the entire arsenal of Olympus: each time he pulls out a weapon, we get a quick history lesson about it, a neat visual trick I hope continues throughout the series. Oh, and he can hear the prayers of his followers, which works like Commissioner Gordon calling Batman on the Bat-Phone. Few titles start this confidently, with so much to set up out of the gate, and yet feel entirely new reader friendly. Herc nails it.
7. Secret Six #32
Only Gail Simone could make an all-out brawl with the forces of Hell so intensely sad, personal, and hilarious. The Secret Six – a villain team turned, if not good, then at least pragmatic – have headed down under to track down their former teammate Ragdoll. The buffoon of the group, Simone makes a perfectly logical leap and instead turns him into a vengeful villain. His speech about turning sane being his greatest nightmare is heartbreaking, disturbing, and funny all at the same time. Plus there are several other scenes that push the boundaries of what should be shown in a mainstream superhero comic book, but never feel exploitative or cheap. The only reason you’ll stop laughing at an issue of Secret Six is because it keeps punching you in the gut. Quite possibly the best ongoing villain series ever written.
6. Action Comics #900
Okay, yes, there was the whole non-troversy over David Goyer’s story, which had Superman rejecting the “American Way” part of, “Truth, Justice, and—“ And that’s a shame, because the rest of this monumental anniversary issue was really special. The lead story by Paul Cornell tied up "The Black Ring" storyline in style, giving us a great, fitting end to a Lex Luthor story, while smoothly transitioning Superman back into the leading role. And while Superman’s reasoning for what makes him as human as Lex had us choking back a tear, the flood works opened for Damon Lindelof and Ryan Sook’s beautiful short story about just how Baby Kal-El survived all that time in his rocket built for one. Oh, and with this issue (no insult to anyone else), but I think we can say that Gary Frank is the definitive Superman artist for our time. Please get him back on the title, ASAP.
5. Osborn #5
It’s not that we’ve been reserving our judgment on this title until the last issue: it’s been consistently good right out of the gate. But the story of Norman Osborn (Spider-Man’s nemesis, also known as the Green Goblin) and his jailbreak from an impossible prison stuck the landing in brilliant fashion. Spoiler time, but who would have thought Osborn’s plan was to get himself sent back to prison? Yet it follows completely from the first issue to the last, and Kelly Sue DeConnick structures this issue brilliantly, neatly tying up every plotline, while also setting up a whole host of indelible villains and situations for whatever writer picks up the character next. Hopefully it will be DeConnick herself, as she’s delivered one of the densest, smartest, most layered reads in comics. Oh, and we shouldn’t forget the contribution of Emma Rios on art (aided this issue by the complimentary Becky Cloonan), as well as Jose Villarrubia’s muted, alluring colors. If you missed this series when it first came out, do not hesitate to go back and pick up the individual issues. Unlike many comics these days, this is richly written stuff that’s well worth the cover price.
4. The Unwritten #24
Mike Carey and Peter Gross’ series about the power of stories manages to become richer, more complex, and more original with every issue. But it’s often the stand-alone stories that stand out, versus the ongoing narrative. This issue, we get the return of Mr. Bun, the swearing, murderous rabbit direct from a narrative much like Christopher Robin’s Hundred Acre Woods. We also get a better look at the infinite staircase that’s shown up previously throughout the book, and find out some key information about it, through the eyes of characters who may – or may not – ever show up again. These are all animal refugees from other storybooks, and as they make their way up the staircase for centuries, they encounter other stories, good and bad, and just try to make their way to the mythical top of the staircase. This is epic storytelling at it’s finest, told through the eyes of some of the smallest characters. Cheers to Vertigo, too, for allowing the creators to take their time with the storytelling, and really build something unique. Readers might take issue with story points not “paying off” for a long time, but we think the pay-off is in each textured, glorious issue.
3. Nonplayer #1
It was a long time coming; by Nate Simpson’s debut comic work was worth it. Beautifully drawn in a style reminiscent of Geof Darrow, while still feeling uniquely it’s own, Simpson writes and draws a story of a girl more interested in losing herself in video games than the real world. Except, it’s much more than that. In one short issue, Simpson deftly sets up numerous question marks and mysteries, enough to propel a series-worth, without ever distracting from the main narrative. And isn’t that everything you want out of a first issue? I’ve tried describing this book to people, and the best comparison I’ve found is that it functions like a great cold-open for a TV Pilot: it’s sets up the characters and scenarios, immediately draws you in, and leaves you hungry for more. Hopefully, we won’t have to wait forever for more of Nonplayer.
2. Steve Rogers: Super Soldier Annual #1
One of the biggest surprises of the month was this annual, a huge breath of fresh air in the super-serious, moody world of mainstream comics. James Asmus’ writing goes the opposite direction, making comic books fun to read again. The second part of an Annual crossover called “Escape From The Negative Zone,” which started with the gorgeously illustrated Uncanny X-Men Annual #3, and ends in Namor: The First Mutant Annual #1, Steve Rogers enters the Negative Zone in an attempt to diplomatically negotiate with villain Blastaar for the release of some captured X-Men, and ends with an all out brawl in space. Along the way, Asmus plots rollicking adventure, laugh out loud funny moments, and some brilliant characterization. Here’s a Steve Rogers who actually likes adventure, rather then the grim and gritty Super-Soldier he’s become. Here’s a Cyclops who knows he can never win an argument with a pretty redhead. And here’s a Namor driven insane by lack of water who manages to be funny and terrifying at the same time, a true force of nature. Oh, and you could give it to pretty much anyone, and they could jump right in. There’s a lot of talk about All-Ages comics, and how the designation limits the audience for a comic. If every in-continuity comic book from Marvel were as new reader friendly and fun as this Annual, we wouldn’t be having that conversation.
1. Locke & Key: Keys to the Kingdom #6
Locke & Key is a stunning piece of comic book art**. From Gabriel Rodriguez’s virtually unlimited talent with pencils, to Joe Hill’s perfect script, I don’t think there has yet been a bad issue of the book. This time around, we’re getting the conclusion to the second act of Locke & Key, with gigantic changes to the status quo, character’s lives changed forever, but most of all… It matters. Over the course of the past few series, the characters in Locke & Key have grown so real that I spent most of the issue with my heart in my throat from the tension. And much credit to Joe Hill for actually using in medias res the right way. He starts in the middle of the story, but – unlike literally every other instance of the technique in recent years – this middle amps up the tension, gives us some information, but not nearly enough to know where the plot is going. Oh, and it’s going to a way worse, and far more heartbreaking place than we ever could have expected. I know I’m avoiding talking about plot points, so for those of you who have never read Locke & Key, you have no reason to necessarily pick this up. If you don’t, though, you are missing out on one of the best comic books ever published. People always ask me, “What’s the new Sandman? What’s the new Y The Last Man? What’s the current series that will be a classic when it’s finished?” The answer is Locke & Key.
*What? WHAT?
**Full disclosure, and I hope this doesn’t taint anyone’s opinion of my review here, but I was surprised and delighted to find out that I was written in as a two-panel character in this issue of Locke & Key, as Dr. Zalben, thanks to consummate all around nice guys Joe Hill and Gabriel Rodriguez. If anything, I was more trepidatious than usual going into this issue, knowing that I could easily be swayed by the appearance. So just know, this issue is probably even better than I am letting on. There you go, then.
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