The Old Order Changeth!

My very first short box circa 1984... and yes I was the person who actually 

bought DC's Guy Gardner Warrior!

Some comic book collectors have spinner racks (lucky!) while others have beautifully designed shelving to display their collections. I am old school, and no carpenter, so even 40 years into my fandom, I still use long, and as I have become more "seasoned", primarily short, boxes for storing and organizing my collection. This requires quite a bit of space and, fortunately, we have a sort-of finished third floor attic where I read and store them with other collectibles.

Shazam! #1 variant 

cover by Gary Frank. 

It is during these winter months when we are "trapped" inside for the majority of the day that I will shift the organization of my collection. Often it is a change in publication the prompts a change, For example, DC's recently introduced Geoff Johns and Dale Eaglesham joint, Shazam! (2019, $4.99 per) title necessitates the movement of Jerry Ordway's incredible The Power of Shazam (1995-99, cover price $1.50 per issue) series into an active box. Though represents a significant departure from the characters as depicted in Power, with all pre-New 52 continuity erased, I like having access to previous narratives.

Conversely, the conclusion of the most recent Suicide Squad (Volume 5, 2016-19, Issue #1 was $2.99 and the final issue, $4.99) series means that title will shift to an "inactive" box, stored in the back part of the attic, until the teams eventual return to action. Then, once again, the old order will changeth!

Local comic book shops organize titles on the "New Releases" table, as well as on "Recent Releases" racks and their own "Back Issues" long boxes, first by publisher (Marvel, DC, Image, Dark Horse, etc.) and then alphabetically by title (Action Comics, Aquaman and so on). Decisions regarding the specific organization of titles in collections are more personal. When it comes to "Big Two" titles (DC and Marvel for the uninitiated), putting these titles by character families (Wolverine alongside Uncanny X-Men or Justice League Dark next to Justice League Odyssey). There are families in the smaller publishers as well, most notably (and expansive) the "Mignola-verse" titles from Dark Horse. These are comic books set in the world of Hellboy, a universe of titles created by Mike Mignola that includes Abe Sapien, Lobster Johnson, Witchfinder and many others.

Zeke Deadwood: Zombie Lawman 

cover by Thomas Boatwright.

Those smaller publishers beyond the Big Two, though given quality and quantity of titles it's past time to start thinking of Image Publishing as a "Big Three", are much more willing to take creative risks with creator owned titles, especially those in the Horror, Western and Science-Fiction genres. Because of this, many of my shorts boxes are organized alphabetically by genre families rather than publisher or creator.

For example, I currently have five boxes which are organized as "Westerns" that include a wide variety of characters from large and small publishers. This means that DC's Jonah Hex extended series (2005-10, 70 issues) is organized with the now-defunct Topps Comics Lone Ranger and Tonto miniseries (1994, 4 issues), IDW's 3 Devils (2016, 4 issues) and SLG Publishing's Zeke Deadwood: Zombie Lawman (2009-11, 2 issues) series of one-shots in my short boxes.

Interestingly enough, this brief post about organizing my comic books also has me organizing y thoughts. The inclusion of Zeke Deadwood among more traditional Westerns alone has me considering my next reorganization project to further disaggregating Westerns into a Horror-Western Mash-up section. That project, however, will have to wait for the next snowstorm...

Ballot Box & Long Box

As if our current political situation here in the USA hasn't created enough turmoil, NPR's new midday show, 1A, got me thinking about how my spending habits impact (positively or negatively) those who either support or oppose political parties/politicians. It was on my weekly drive to the local comic book shop for New Comic Book Day, that I listened intently as the host and guests worked through the question of "How does one respond to an administration that has no issue shaming corporation and businesses that express any disagreement with them?"

One of the guest reminded the listening audience of the Walter Reuther quote regarding the "direct relationship between the ballot box and breadbox."

Turning off the radio at the close of the interview, I headed into the shop wondering about who the publishers of my favorite comic books supported in the most recent election. The two most likely financial contributors of note would be those at the head of the Big Two, Marvel and DC. I recall hearing something in passing about an executive at Marvel Comics being involved with the Trump administration, but had not sussed out any particulars. Yet. Was there... or should there, be a direct relationship between the ballot box and the comic book long box? What practical impact would a potential buy-cott of  a company like Marvel whose chief executives contribute significant amounts of their personal financial gains (and therefore the money the consumer spend on the services provided) have? If I were to find out a Marvel bigwig was helping fund a politician I did not agree with, would my moral compass suggest I stop supporting that line and would it provide a meaningful enough message?

My initial thought is that the majority of artists (editors, writers, inkers, pencillers, letterers, etc.) in the industry, at least based on what can be inferred via Twitter, lean toward the more liberal side of the political spectrum. This group would include some of the most prominent Marvel creatives including Spider-man writer Dan Slott. My weekly pull sheet includes many titles that reflect my own (and presumably those of the creators) political leanings though such a factor has not always been a factor in my choices. (I do however purchase some titles that I don't outright "love" but recognize the need to support the artistic voice in the mainstream with my dollars.)

I am only a comic book fan with a very limited understanding of the industry beyond what can be gleaned though online reading and the tweets of a myriad of creators. (I do know that the "Marvel way" and "bullpen" was something of a ruse, albeit one I totally bought into as a youth: "Kirby, Stan and the crew hang around an office together goofing and making comics, right?")

So, what is "the story" with Marvel Comics and the 2016 Presidential candidate?

Last January, according to most news sources (whether the action was framed as a "good" or "bad" thing depends on the sources ranging from Breitbart to The Hollywood Review), "Marvel Entertainment CEO Isaac 'Ike' Perlmutter joined Republican presidential frontrunner Donald Trump by donating $1 million of his own money to America’s veterans on Thursday night in Des Moines, Iowa." (Breitbart) This was after first donating $2 million to Marco Rubio's during the primary season (THR). Following Trump's election victory, Perlmutter's wife was part of Trump's Inauguration committee.

Despite this personal support of Republican candidates, Perlmutter's employer Marvel Comics has famously published reality "crossovers" that (at least superficially) are decidedly pro-Democrat. There are two obvious examples that quickly come to mind. Who can forget the Amazing Spider-man #583 variant cover that featured Spidey snapping a picture of President Obama? This stunt proved successful enough to warrant four reprint runs. More recently, issue Ms. Marvel #13 in which the book's protagonist, Kamala Khan aka Ms. Marvel, overtly throws her support behind Senator Clinton. In an unfortunate twist, the issue actually hit stands after Election Day. This is chronicled in greater detail in "Marvel Comics Superhero Uses Her Powers to Help Elect Hillary Clinton" (from an unbiased website who's mission is to "combat liberal media" so take that as you will).

Whether a calculated move for image purposes or (optimistically) because of the high quality of the product warrants it, Marvel has also been willing to publish titles reflecting a very clear political agenda. The most obvious recent example of this would be the cover to issue 8 of 2016's short-lived "ongoing" Mockingbird. (Ironically the last issue to be published as the book was canceled following it's publication.) It made quite a bit of news when the protagonist was featured on the cover wearing a t-shirt inviting readers to "Ask me about my feminist agenda".

The bottom line is while I like using my disposal entertainment dollars to be entertained, I also recognize to use these limited resources to support political/social perspectives with which I have agreement. Not buying certain comic books might make one "feel better" but ultimately only impact negatively those at the creative level. It is fair to suggest that this group includes many individuals whose ideals are consistent with my own and are giving larger voice to relevant issues.

Nothing is simple, even in the murky place where the worlds of lol it's and "funny books" overlap. The resolution to the decision of whether or not to buy-city is to remain vigilant in following the money in a way that works best for you and your conscience.

Run Reader: Gears of War

With his signature catch-phrase, salty language, and buckets of
gore, Marcus Fenix is back in Gears of War #1 (2008).

This past Christmas I was fortunate enough to be gifted with an XBOX One game system. The Holiday Bundle version I received came with the upgraded, "Ultimate Edition" of the original Gears of War game first released eons ago (in gaming terms) in 2006. Thanks to the wonderful world-building of the game's production team, and despite having previously bested both this game and it's subsequent titles, it was difficult not to be easily drawn back into the world of Marcus Fenix and Delta Team.

Issue #2 cover by
Brandon Badeaux.

In edition to being something of a forerunner in dramatic sci-fi/action-adventure console video gaming, the Gears of War franchise also stands as one of the rare early game titles to be successfully spun off into an ongoing comic book series. Running 24 issues from 2009 to 2012, Gears of War was published by DC Comics under the company's now defunct Wildstorm imprint. (Fun fact: SEGA stalwart Sonic the Hedgehog's comic book adventures continue to be published by Archie Comics to this day, with the the most recent issue being #279!) The synergy between game and comic book is such that issues of the series are now available with the Ultimate Edition as unlockable extras, pages of which are viewable in the Special Features.

The success of the comic book is best attributed to its consistency with the games: both are moody and violent in tone with a tightly woven narrative. A key to this consistency in characterization is the result of the comic books use of the games' writers to handle scripting duties. With artwork equally evocative of the video game series, the talents involved contribute an additional layer of humanity to those operating in the Gears universe.

From Gears of War issue #7 written by Joshua Ortega,
art Simon Bisley and Henry Flint .

While there are quieter moments of subtle characterization in each of the Gears games (if you look for them), the comic book format provides numerous opportunities throughout the 24 issue run for characters to breathe and develop even more fully. Due to his established in-game tough guy status, Gears' protagonist Marcus Fenix' is at the center of most stories, if not as the lead, than certainly as a clear influence on the character from whose perspective the story is told.

Even with an already incredibly culturally diverse character line-up in its gaming universe, the Gears comic book also fills out the ranks of those under Marcus's command. Additionally, the series takes the reader back to familiar historical points in the establish Gears historical timeline, such as the Pendulum Wars. each issue takes on the perspective of ancillary characters who at one point or another find themselves with the orbit of Marcus Fenix. In addition to adding characters that would eventually find their way into the game, such as Jace Stratton, introduced in print with issue #3 and voiced by Micheal B. Jordan in Gears of War 3, the comic book series also adds to the mythology of the game-based world. While a minor character, and major influence, in the first two Gears games, Marcus's father takes the lead in a series of flashback issues to the aforementioned Pendulum Wars.

Gears of War #10, written
by Mike Capps and Joshua
Ortega with art by Liam Sharpe.

The opening six-issue arc entitled "Hollow" is written by Joshua Ortega with pencils by Liam Sharp. The events of the arc bridges the narrative gap between the first Gears of War game and the start of the second, following the brutal adventures of Marcus Fenix and Delta Squad in the battle against the Locust. As the writer of Gears 2, Ortega has a clear familiarity with the characters and, with Sharp's command of visuals, both tell a story with minimum dialogue and maximum carnage. One potential drawback to readers unfamiliar with the franchise is a lack of familiarity with the characters by potential readers. While I benefited from having played the games, for example the motivations of both Delta team and the evil invading locust army were understood, the uninitiated might need more background than the obvious "ugly monster equals bad guy" trope.

During its 24 issue run, DC/Wildstorm's Gears of War title maintained a high quality, never deviating from the exclusive "Gears-verse" for story setting. While part of the DC's company -wide "Draw the line at $2.99" price freeze initiative, readers never (thankfully) saw a cross-over with Green Lantern or, more suitably perhaps, Lobo. Concluding with a 6 part story by writer Karen Traviss, that bridges the narrative gap between the conclusion of the second Gears game and concludes with a story which leads directly into Gears of War 3.

The series can still easily collected as individual issues (my preferred format) are still available at cover price at your local comic shop if you are willing to dig deep into the back issue bins. Of course, the series has also been collected into three trades, though the license with DC has surely lapsed by now, there may be more stories in the future as Gears of War 4, with the son of Marcus Fenix in the lead, nears its release.

Issue #13 by Liam Sharp.

Issue #14 cover by Leonardo Manco.

Issue #19 cover by Colin Wilson.

Late to the Party: Northlanders

From Northlanders #10 (2008), written by Brian Wood with art by Dean Ormston.

A fan of historical fantasies such as AMC's Vikings television program, I have often wished that there were more similarly conceived comic books. Though the sword-and-sorcery genre, especially in the pulpy presentation of fictionalized barbarians such as Conan and Red Sonja, have been long time staples of the comic book racks, realistic depictions often seem limited to nuanced character moments presented as small parts of larger fantasies. Recently I came across Northlanders, a DC/Vertigo series which ran for fifty issues from 2007 to 2012. Now, this is Viking action!

Written by Brian Wood (whose current Revolutionary War set series Rebels for Dark Horse, is equally well-researched and written) with a variety of different artists, the stories told in Northlanders set in and around historical events during the Viking Age. Back when it was originally published, I was in a more cape comic collecting mode, purchasing and reading stories more closely associated with the medium such as Superman, Fantastic Four and Spider-man. Though I dabbled in the occasional Vertigo-style independent title, Northlanders somehow missed my attention. Now as my own tastes have shifted, I have been fortunate to acquire most the first twenty issues of the series' run via back issue bins. (Yes, there are trade paperbacks available for purchase, but I remain a single-issue collector--which presents its own challenges!)

Rather than binge reading--plowing through the 20 issues I have in quick order--I have elected to savor each issue and arc, reading them between novels or articles for school and other more recently published titles and series. This has been a most rewarding approach as I'll often reward myself with an issue after having completed other big-boy tasks such as yard work or grading papers.

As a whole, the series reads as an anthology of tales told from a variety of perspectives through a number of historical events set during the Viking Age. While  my own grasp of the historical accuracy is limited, it is clear that Wood has done his research. (As readers of the aforementioned Rebels will attest, Wood is nothing if not not through and his sharing of his process and research is in itself fascinating.) Violence, nudity and appropriately vulgar language earn Northlanders its "Suggested for Mature Readers" labeling, but having thus far made my way through the first two story arcs, or ten issues, these adult trope are story driven rather than gratuitous.

Interior art from Northlanders #7, art by Davide Gianfelice.

The common theme of the heavy weight of inheritance in the first two arcs, "Sven the Returned" by Wood and Davide Gianfelice in issues 1-7 and "Lindesfarne" with art by Dean Ormston, that create connective tissue between stories beyond the Viking Age settings of each. In "Sven," the eponymously named protagonist returns with desire to reclaim his Viking birthright from those who usurped his father, while "Lindesfarne" tells of another young boy who rejects his father's brand of Saxon cruelty in favor of a more violent Viking one. Both characters achieve a level of success on their respective quests, but as one might expect of hard stories in an incredibly harsh world, the resolutions lack the tidiness of traditional comic books. This is a good thing and consistent with the world Wood and his accomplices bring to life.

Only ten issues in and I'm hooked for the fifty issue run that Northlanders had, which conclude in 2012, especially as Wood is a constant through the entirety of the series. The artwork is consistently solid, and though it might lack the ultra realistic shading and pencil work that stories of this ilk seem to need, in concert with the writing and coloring it is far more than serviceable. In the majority of cases, I am unfamiliar with the interior artists (the though of Becky Cloonan coming up in 35 and 36 is surely something to look forward to), but they are the capable supporting cast.

As I await the return of Vikings to the small screen sometime in 2016, the prospect of continuing to make my way through Wood's Viking landscape one arc at a time is an exciting one.