Dallas is a time travel story about trying to kill President Kennedy. At one point the planet is destroyed. There are psychotic timetravelling hitmen and Number 5 is trying to stop a past version of himself.
I keep on digging the art in this book and Way’s approach to time travel (and the inaccuracy of such methods) was pretty sweet. This isn’t the kind of story you can just drop into, so make sure you read Apocalypse Suite to figure out who these characters are and why you should care first.
I enjoy stories of Russia’s history, especially when they’re about the Russian soul, which always seems so different from mine. Petrograd, by Philip Gelatt and Tyler Crook, is about a British spy in Petrograd during the Great War (hence the interstitial name between St. Petersburg and Leningrad). The British want to make sure the Russians and Germans don’t come to a separate peace so they push their Petrograd office into making sure that doesn’t happen, by killing Rasputin.
Cleary is one of the spies. He’s in bed with revolutionaries, feeding information to his masters and the tsarist secret police, and hobnobs with princes (for more information). When Cleary is pushed into plotting assassination he’s clearly out of his depth and the book focuses on what kind of a man he is trying to be.
It’s a great book, done in a bigger hardcover than a lot of Oni Press’ stuff. The art is detailed and brushy (reminded this untutored eye of Craig Thompson’s work, but with more traditional page layouts) with faded orange washes throughout. It’s a great non-gamourous spy story with violence and repercussions and talk of “Russifying one’s soul.”
Rick Geary’s biography of Trotsky isn’t terrible. Trotsky: A Graphic Biography lays out the facts about Trotsky’s life and politics in a mostly coherent way. It just didn’t really need to be a comic. The images tended not to really add anything or show anything that wasn’t going on in the essay dwelling in the captions.
This isn’t to say I didn’t learn anything from it. It was a good Coles Notes kind of document, but it’s nowhere near as good as Logicomix or Suspended in Language which made much better use of the comix form.
Ed Brubaker and Sean Phillips’ Sleeper is an excellent dark story about a super-powered secret agent who was sent to infiltrate a criminal organization as a deep-cover agent. When the book begins the only man who knows who Holden Carver really is is in a coma, and he’s getting in over his head in the organization.
There was a lot of awesomeness to love about this book. Holden Carver’s superpower is that he doesn’t feel pain and hals really quickly, but he can also transfer injuries that were inflicted on him to other people. So he gets shot, doesn’t feel the pain, touches you so you’ve been shot to the equivalent degree, and then he heals up while you don’t. He does a number of assassination jobs in service of the bad guys, but then he did bad things when he was a government agent too.
The book is set in the WildStorm universe, so there are a couple of references to The Authority, and the existence of posthumans is very well-established. One of the neat recurring bits is playing “origin stories” when they’re doing the boring parts of the job. It’s just one of those things that seems so right in a noirish crime book in a superheroic universe. (Ed Brubaker also worked on Gotham Central, another bunch of great noir stories in a superhero world.)