Aaron and Alex are back to talk about We3, written by Grant Morrison and illustrated by Frank Quitely. Published by Vertigo Comics in 2004. Morrison and Quitely deliver an elegantly violent story about three animals turned war machines trying to find their way home. It's Robocop meets Homeward Bound, what more could you want?
We're back with another Quickies review. This time, Aaron and Alex discuss a batch of new #1 issues including two beloved licensed properties and two issues from new publisher TSK Studios. Overall, we mostly liked all these books, especially the stuff from TKO Studios. As with all our Quickie reviews, we gave ourselves a 5 minute time limit to discuss each book, but we liked Goodnight Paradise so much that we give it an extra 5 minutes because the rules are made up and the points don't matter.
Comics reviewed: Army of Darkness/Bubba Ho Tep #1 by Scott Duvall and Vincenzo Federici
The Fearsome Doctor Fang #1 by Tze Chun, Mike Weiss, and Dan McDaid
G.I. Joe: Sierra Muerte #1 by Michel Fiffe
Goodnight Paradise by Joshua Dysart and Alberto Ponticelli
We here at Comic DNA are starting up reviews again in a new series called Quickies. Aaron and Alex will be doing short reviews of new(ish) comics still on the stands. We've imposed a five minute time limit on each book we review to keep from repeating ourselves and going off on tangents.
Comics reviewed in this episode:
Action Comics #1007 by Brian Michael Bendis & Steve Epting
X-O Manowar #23 by Matt Kindt & Tomás Giorello
The Wild Storm #19 by Warren Ellis & Jon Davis-Hunt
Livewire #1 by Vita Ayala & Raúl Allén
We will start doing long form discussions about graphic novels and other larger works again, but they will be less frequent than the Quickies reviews.
Aaron and Alex discuss Michel Fiffe's superhero revenge comic, COPRA, a modern indie classic if there ever was one. The discussion mostly revolves around Fiffe's artistic style, but we also talk about his refreshingly natural writing. As Aaron once said to Michel Fiffe, "Copra is pure comics!"
This episode features Batman Year 100 by Paul Pope. In addition to gushing over Pope's art, we also discuss the ambiguity of the story and some of the politics that make up the foundation of the book, as well as the many ways it deviates from a traditional Batman story and why some fans might dislike it.
Read Aaron's comics here:
Aaron is joined by his good friends (and favorite husband/wife duo), Alex and Taryn to discuss the first volume of the freshly reprinted Battle Angel Alita. We spend more time talking about how important the manga was during our impressionable teenage years than actually discussing the content of the book, but we do try to dig into why it is considered to be such an underground classic.
Alex and Aaron have a short, final discussion about Stan Lee & Jack Kirby's X-men and then discuss what kind of new books they should read for future episodes. This episode also marks the debut of the webcam format we will be using for future YouTube videos.
Aaron and Alex finish their series on Stan Lee and Jack Kirby's original X-men issues. Finally! Issues 17 and 18 are the last issues to be plotted and laid out by Kirby. These two issues feature the return of Magneto, who has another weird plan to take over the world. It should come as no surprise to learn that these issues are not very good, and by this point we are just glad to be finished with these books.
Aaron and Alex continue with Stan Lee & Jack Kirby's X-men series with issues 14-16, introducing the famous Sentinels for the first time. Despite being overwritten with a loose and simple plot, this is one of the better stories of the era because it's actually about the X-men.
The discussion mostly revolves around how well the issue handles the themes unique to the X-men mythos, such as the human versus mutant dynamic. This issue also features a continuity point that is referenced in Grant Morrison's New X-men series from the early 2000's. Aaron also goes into in impromptu critique of the more recent Captain America: Winter Soldier movie, using it as an example of a poorly written, one dimensional villain.