Last Month’s Comics: DC Reboots and ‘Spider-Island’ Breaks Out

Welcome to Last Month’s Comics, in which I will discuss, uh, last month’s comics. The past couple episodes, we’ve pimped Direct Comic Book Service, which I’ve recently started using as a way to return to regular comics reading. The only downside is that I only get bi-weekly shipments (the weekly option is there, it’s just more expensive), so I won’t wind up reading all of my comics from one month until the beginning or the middle of the next. So I figured it’d be nice to sum up my thoughts, frustrations, and surprises about each month’s comics in a single column. It should be noted that, of course, I’m only reading comics that strike my fancy, there are some books I won’t get started on until a couple months from now, and that I also skipped out on all of DC’s books this month…with one exception.

Let’s get started with August 2011…

BEST #1
Angel & Faith #1
Writer: Christos Gage
Art: Rebekah Isaacs (pencils/inks), Dan Jackson (colors)
Executive Producer: Joss Whedon
Publisher: Dark Horse

Last year, Gobbledygeek called Buffy the Vampire Slayer: Season Eight the Worst Comic Book of 2010. It was more a symbolic award than anything: there were worse comics, but none that were more disappointing. Season Eight had a very strong first two-thirds, but in the last third, things went awry more than they went a-right (please forgive me). It all culminated in the bizarre, confusing, contrived “Twilight’s Last Gleaming” arc. However, the final issue was a stellar return to form, and Joss Whedon has promised that Season Nine will be smaller, more character-driven, less prone to jump-the-shark-ness. Judging from Angel & Faith #1, the first piece of Season Nine, I’d say he’s kept that promise. Though I still don’t fully understand what Angel was up to last season–“Your whole Twilight phase makes about as much sense as a David Lynch movie,” so says Faith–watching him again struggling with remorse over his actions and back in help-the-helpless mode is refreshing. Where once Angel was Faith’s mentor, the roles have reversed. Faith is now there to help Angel deal with his grief, though based on the last-page shocker, she’s got a lot of work to do. Christos Gage has all of the characters’ voices down pat, and Rebekah Isaacs’ art might be the best to ever grace any Whedon comic. Can she draw Buffy too?

(Paul and I reviewed Angel & Faith #1 in “Talking Turkey.”)

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Four-Color Flashback: Chris Claremont & John Byrne’s ‘Uncanny X-Men’ #122-128

Welcome to week 3 of 5 in our analysis of Chris Claremont and John Byrne’s run on Uncanny X-Men. Weeks 1 and 2 can be found here and here.

From #122, “Cry for the Children!,” to #128, “The Action of the Tiger!,” almost every X-Man experiences considerable developments. Since I spilled a boatload of digital ink in the first two columns by going through each issue chronologically, I figured I’d take a different tack this week. I’ll discuss each X-Man individually, then offer some overall thoughts after the fact.

First up:

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Four-Color Flashback: Chris Claremont & John Byrne’s ‘Uncanny X-Men’ #108-114

Welcome to our new column, “Four-Color Flashback,” in which we will occasionally discuss classic or interesting comic book runs. First up is the legendary 35-issue span encompassing Chris Claremont’s work with John Byrne on Uncanny X-Men. So legendary, in fact, that I’m amazed I’ve never read it. Claremont’s initial 16-year run on the book, from 1975 to 1991, has been so influential on not just the most successful superteam in the business, but also modern superhero comics as a whole, that at times it can feel like you’ve read the whole thing even if you’ve read nary a page. The four years from 1977 to 1981, during which John Byrne joined the series as penciler and co-plotter, are largely regarded as the pinnacle of Claremont’s work on the title. What with X-Men being in the air as of late, considering the release of X-Men: First Class and my recent purchase of the two hardcover editions of Joss Whedon’s Astonishing X-Men run (itself a loving homage to 70’s-era Claremont), I’ve decided that now is as good a time as any to finally read the thing. If you’d like to play along, I’ll be covering seven issues a week for five weeks, starting with #s 108-114.

First, a little history on both myself and the X-Men. As a big comics fan, I’ve read many X-Men comics over the years, including some of Claremont’s later or more recent work. When I was younger, I cut my teeth on my dad’s comics collection, so I wouldn’t be surprised if I’ve read some of the Claremont/Byrne stuff, as he owned his fair share of 70’s and 80’s X-Men. Though if I did, I don’t remember much beyond certain cover images. As for the X-Men themselves, before Claremont came along, well, Marvel’s mighty mutants were in dire shape. Stan Lee and Jack Kirby, who brought us so many of our popular superheroes, had created the pupils at Xavier’s School for Gifted Youngsters in 1963. The resulting 19-issue run, which I have read, is fun in the classic Lee/Kirby mold, and even introduced the series’ common sociopolitical themes, with the mutant-hating Bolivar Trask alerting humanity to the so-called “mutant menace” and creating the Sentinels to eradicate all mutant life.

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