The first volume of a Warren Ellis-written comic is always interesting as he sets up a weird future filled with smart competent antisocial assholes saving the world from things worse than themselves. Injection is the first novel of just such a book.
Jordie Bellaire does the colour and Declan Shalvey does art and both are great. There’s an AI that’s mining myth to make the future weird and the border between our slightly in the future world and the otherspaces being created and invading are dramatic and beautiful.
Basically it’s a story about a thinktank that’s trying to make up for creating this future. There’s a deductive genius, a hacker, a spy, a magician and the Ahab/Nemo. Because it’s volume 1 it’s hard to get a sense of characters beyond their roles, but the reason I read Ellis stories is for the ideas and Injection has some neat ones around AI and magic as math. I liked it.
Jason Shiga’s Demon (vol. 1) is a comic about a guy who tries to kill himself but it doesn’t take. There’s a Groundhog Day aspect to the first chunk of the volume while he figures out what’s going on, and then it becomes a pretty funny and gross action book where he realizes that the reason it isn’t working makes him one of the most dangerous people alive.
It’s drawn in a similar style to his choosable-path time-travel comic Meanwhile (and uses the same protagonist) but as the introduction states it is decidedly not a kids’ book. Good stuff.
Last year I tried reading Joe Hill’s first novel Heart-Shaped Box and couldn’t finish it. It was horror but to me felt like an Eli Roth movie or part of the Saw franchise where it was just sort of unremittingly shitty to its characters, kind of revelling in the power that the writer has to play god with the shits under their command. I hated that book.
I love Joe Hill and Gabriel Rodriguez’s Locke and Key.
Maybe there’s a bit of a softening to how Hill portrays people, but damn did I ever give a shit about the Locke family and their myriad not-great decisions that let terrible supernatural things happen to them.
The story starts off with the violent death of the father of the Locke family. He dies trying to protect his wife and kids from a murderer. He’d always said though that if anything happened to him the family should move back to his family home in Lovecraft County.
In the first volume (which I’d read a few years ago without following up) that kind of cutesy naming thing (“See, it’s in New England and it’s horror, so the county is Lovecraft! Like the writer! Get it? Eh?”) bugged me. Everything felt very on the nose and wink-nudge nerdculture nodding (the gym teacher named Whedon and stuff). It was a little less annoying this time (especially after having recently dealt with all the Dark Tower self-referential bullshit) and once you get past the first volume the story really settles into itself and gets good.
The hook to the story is that in this family home there are all these magickal keys and locks and doors that the kids find and have to protect from nefarious forces. It’s a great hook and as it goes along the “stupid rules” make sense. The villain has an actually interesting endgame and uses one of the traditional horror tropes that gives me the screaming habublies to achieve it.
So yes. It won Eisners and all that so the book isn’t some undiscovered gem; it doesn’t need my praise but it has it.
Last July I began reading Stephen King’s Dark Tower series. I finished it last week. I’m glad I read it but there were definitely aspects I liked more than others.
I came to the series through Jon Rosenberg’s Scenes From a Multiverse‘s Gunshooter strips and the upcoming movie. I like to know about these big event pieces of fiction that people will talk about even if I haven’t been to a movie theatre since Fury Road (no wait, I saw The Force Awakens in the theatre). In this case I wanted to get a bit of my own opinionating underway before the flood of other people’s thoughts overwhelm me. Casting Idris Elba as the gunslinger pissed off racists (Rosenberg’s second wave of Gunshooter strips reflected this casting) so that’s cool, but I wanted to have more of a reason to care about this story, and that meant reading it.
There are seven books in the series and they range unevenly between post-apocalyptic western and alternate-universe-hopping Sliders knockoff and self-indulgent hamhanded metafictional pastiche. I liked it best when it was doing the western thing (The Gunslinger (Gunshooter interpretation), the middle 3/4 of Wizard and Glass and the non-priest-focused parts of Wolves of the Calla), and the ending was pretty great. I hated the Doombots and the Harry Potter references and the “Stephen King: maintainer of the universe” bullshit. The way things were kludged together in terms of timelines and reinventing how timetravel worked with a handwave about a keystone world annoyed me, as did most of the dialogue.
But. I’m glad I read it. I like it as a frame for reading the rest of Stephen King’s work through. It felt supremely self-indulgent but that’s what you trust an author with, right? If it had ended worse I’d have been pissed off, but it ends well (deus ex machina note from Stephen King aside).
I read the first couple of trade paperback collections of Brian K. Vaughan and Pia Guerrera’s Y: The Last Man years ago, and I think the only reason I didn’t continue reading it was the usual library dance of the next volume not being on the shelf when I wanted it and blah blah blah laziness. At my new library, all five volumes of the omnibus edition were just sitting on the shelf when I was wandering by and I decided it was time to fill in that gap.
Y: The Last Man is pretty good!
I knew I liked the premise but in my head since I’d never completed the series it was just a cool premise. I didn’t remember much else about it. I was a little worried it was going to feel very heavy-handed or that it was going to devolve into bullshit (which is my impression of what happened with Fables, though I may be wrong about that). But Vaughan writes really good dialogue (and you can totally hear how Saga is by the same writer). There’s a lot of good weirdness and I like how the story isn’t a slave to its premise. Other males are born; there’s acknowledgement that all sorts of species will go extinct; there’s jokiness through the action scenes. It gets a bit more globe-trotty than I expected in the later volumes and I like the eventual sidelining of Yorick as the key to everything and focusing on how he’s dealing with his very changed life as the object of humanity’s quest. I’d also say it stuck the landing.
I like space operas. They are a very comfortable kind of fiction for me. Assembled families in space ships going around and having adventures is all I really want in life and is actually one of the things I’m saddest will never be a real thing I can do. Since I’ll never get to live in a spaceship I make do with making this kind of thing my favourite kind of RPG scenario and read comics that follow the path.
Dustin Nguyen and Jeff Lemire’s Descender is one of those stories. The main character is a companion robot who is the key to robot evolution and was missed when the majority of robots were exterminated after turning on humanity.
Machine Moon is the second volume in the series and it remains pretty good. Nguyen’s watercoloury art makes it feel more serious than it might otherwise. The dialogue is good and I like the characters and the big problems they’re facing. The main problem is just one of serialization; I’d like to read the whole story in one go but can’t.
This isn’t better than Saga, but I like it.
And I haven’t ever written about Saga on here? What? We talked a bit about it in an old episode of Librarians on the Radio if you’re interested.
Tom Gauld’s Mooncop is beautiful. The quietness of the police officer’s story on a gradually emptying satellite matches Gauld’s art-style perfectly. I can’t really say much more about it besides that it is good. I read it on half a lunch break and spent the rest of the break thinking about it.
If you like Jason‘s work — I do — you’d find Mooncop very similar.