Best of 2010. The Artists

There’s no such thing as a best artist in comic books, in my humblest of opinions, so I’ll use this space to write about some of the artists that caught my attention in 2010, whether they were on new projects or a part of new creative teams. Let's get started:

From Hulk #27.

Gabriel Hardman on Hulk. Talk about a thankless task—having to follow fan-favorite Ed McGuiness after his popular run with series creator Jeph Loeb ended this year. But I’ll be honest, I prefer Hardman’s work on the character. Hardman has a wonderfully 60’s retro style to his artwork that feels modern nonetheless. His Hulk is a muscle-bound monster who is more than formidable, but Hardman draws his face as the confident, courageous soldier he is. This is important because we have to believe the guy is a hero. Add Bettie Breitweiser’s astounding palette to the mix and Hulk is one of the most stunning books of the year.

Hardman draws fantastic action and series writer Jeff Parker has given the artist plenty of fisticuffs to fit into the pages of Hulk. Iron Man, Thor, and Namor have all guest-starred in the title and Hardman has gotten to create some fantastically splashy fight scenes.



From Batman and Robin #13.

Frazer Irving on Batman and Robin and Batman: The Return of Bruce Wayne. If someone had shown me something Irving had drawn outside of superhero comics, I would have never thought his style appropriate for mainstream work. This is why I don’t edit comic books. Irving’s work on Batman and Robin (issues #13 through #16) and The Return of Bruce Wayne #2 has been a wonderful departure from more standard comic book art. His Joker is as creepy a version of the character that I have ever seen.

How do you describe Frazer’s haunting work? It almost looks as though you are looking into a person’s nightmare. Apropos for a Batman book for certain. Everything in the foreground is clear while the details of the background are scarce or often washed out. Irving handles the inks and colors on his own work which might seem obvious since the finishing perfectly compliments the pencils.




From New Avengers #2.

Stuart Immonen on New Avengers. If pressed to choose an artist who can draw any character in the Marvel or DC Universes, I would be surprised if many comic book enthusiasts would select a name other than Immonen. This year came one of the artist’s biggest gigs—the relaunch of New Avengers with writer Brian Michael Bendis. While I have not always been a fan of Bendis’ storytelling on the title, Immonen has killed, killed, killed on every page of this book.

Immonen can do talking heads, he can do characters sitting around a table, but most important, Immonen can do world-in-knee-deep-danger-style action. And Bendis has thrown a lot of end-of-the-world scripting at Immonen and the artist never fails to deliver (and the book is always on time). Look out in 2011 when Immonen gets what may be his biggest project to date: Fear Itself.

From Thor: The Mighty Avenger #7.

Chris Samnee on Thor: The Mighty Avenger. Samnee deservedly got a lot of buzz for his work on 2010’s new all-ages (until issue 7 at least) Thor title. The art may appear deceivingly simple, but look closer and see how much life and character Samnee brings to his character-work. Samnee makes sure to use the right body language and expressions to ensure the reader understands what Thor and Jane Foster, his Earthly lady love, are thinking.

Samnee’s version of Thor was also an intentional departure from what readers have been accustomed to for over 40 years. He’s a big guy, but not the steroid-induced hulk that he has become in the in-continuity comics. Thor: TMA was my introduction to Samnee and I’m eager to see what he moves onto after the book ends with issue #8. The first Thor: TMA trade is currently available with a second scheduled to be released in 2011.

From Superior #1.

Leinil Yu on Superior. Yu’s work has never been more… superior (I had to). Yu’s panels are filled with wonderful detail. In the past issue alone Yu drew some amazingly cinematic moments: a satellite landing in Time Square, a submarine pulled off of the coast of Long Island, and a reactor meltdown. Yu brings series-creator Mark Millar’s imagination to life, giving the book a big-screen feel the entire time.

Yu is also adept at creating the quieter more touching moments of the series in which Young Simon Pooni’s challenges with multiple sclerosis are explored. Yu has grown and grown as an artist over the last decade, but I’ve found his work on Superior to be his best.

From The Flash #4.

Francis Manapul on The Flash. Where do you begin with a guy who was born to draw splash pages? Manapul’s work on Geoff Johns’ Flash relaunch has been beyond spectacular. While the book tends to run late—if it’s going to look like this—then fine with me.

In the first issue, there’s a two-page splash of Barry pulling apart the Trickster car that is astounding. In the third issue, there’s a fantastic sequence in which Barry saves the inhabitants of a burning building then proceeds to put the entire thing back together. But Manapul may long be remembered for a breathtaking scene that has Barry rescuing two helicopter pilots in issue #4 of the series (above). Barry runs up the side of a building, runs across the propeller, into the helicopter to pull out the pilots, and onto the building beside it in a split second. Month in and out, Manapul always brings his best to Johns’ pages.

There are plenty of others to mention: Sami Basri on Power Girl, Kenneth Rocafort on Velocity, Eddy Barrows on Superman, Carlos Pacheco on Ultimate Thor, Adam Kubert on Astonishing Spider-Man and Wolverine, most everyone involved with Strange Tales II, and so many more. There was no lack of great artwork in 2010.

Wednesday's Finest, 11/2/10 Releases

By Don M. Ventura

Batman and Robin #16

DC

I’ve admitted a few times on this blog that reading Grant Morrison’s work can sometimes be, well… work. Thankfully, the payoff is usually somewhere between good and great (and every once in a while confounding unfortunately).

I found Batman and Robin #16 to be an example of the writer’s greatness. We open in 1765 with a triumphant Doctor Hurt who believes himself to have summoned the demon (or daemon) Barbatos but may be communicating with Darkseid, the villain responsible for transporting Batman back in time.

Jump to the present where the last issue ended, with the return of a very angry Bruce Wayne, face to face against Doctor. Hurt and his 99 Fiends.  Cameron Stewart, one of three artists on this issue, draws a multi-panel two page spread of Bruce, Dick and Damian taking down the Fiends.

In this scene Dick has been shot in the head and Bruce makes sure he is okay for the time being, followed by “On your feet soldier.” Damian’s first words to Bruce: “You’re not a clone are you? Or some stupid robot?” I enjoy Morrison’s voices for these characters. He’s forced them into a reunion where they’ve been given little time to absorb what’s happening.

The most suspenseful scene in the book begins next as Bruce hunts down Doctor Hurt in the Batcave to rescue Alfred (in a segment drawn by Chris Burnham). Alfred has been in danger innumerable times over the years, but Morrison has been given free reign to do as he pleases with the Bat-universe. I was genuinely worried as Alfred implores, in a touching scene, for Bruce to take care of Hurt before coming to the rescue of his old friend.

The final act of the book is completed by Frazer Irving, who at first glance seemed ill-fit to draw a superhero comic book, but I have quickly become a fan of his work in these last few issues (and The Return of Bruce Wayne #2). There is a dreamlike quality to Irving’s artwork that is haunting.

In the end, the fates of the characters are determined and the overreaching storylines of Morrison’s run on this book, Batman, and Final Crisis are all seemingly resolved (do we really need to pick up The Return of Bruce Wayne #6 at this point?). In the final few pages, Morrison sets up the status quo for our three protagonists in the pages of this series and Batman: Incorporated.

Irving, Stewart, and Burnham all did superb work on this issue—each of the artists have a different form of storytelling and their look is unique to one another, but the story flowed perfectly fine regardless. And Morrison has proven again his ability to aptly weave and resolve a complex story and write two Batman’s with distinguishable characters. Not a simple task; some writers have clumsily written Dick as Bruce during the past year and a half.

Welcome back Bruce.

Superboy #1

DC

I’ve enjoyed Connor Kent since I first started reading Teen Titans when Geoff Johns revamped the book, however I was not a fan of the Lex Luthor clone storylines; I liked the idea but felt it quickly wore its welcome.

So I was pleased to see that Connor would have his own book after a brief run in Adventure Comics. However, I didn’t care for this. The whole story and the dialogue felt stale. Jeff Lemire doesn’t seem to have anything fresh to find in the character and presented a by-the-numbers story.

I did like the introduction of two supporting characters: Lori Luthor (Lex’s niece) and Simon Valentine, Connor’s best friend in Smallville. Both seem to have potential; Lori because she’s a Luthor and Simon because he informs Connor that he know Connor is Superboy. Still, I only saw possibilities and not a good use of these characters.

The artwork by Pier Gallo is fine with the exception of Connor’s face. In some parts of the book, Gallo draws the character’s eyes too close togetherand it looks odd. Other than this, Gallo’s other characters are fine and his backgrounds are gorgeous. The cover by Rafael Albuquerque is superb.

I’m surprised to not like this book. It’s not as though Connor Kent is as constrained a character as Superman can sometimes be. I expected something more captivating from Lemire’s series opener.

Scarlet #3

Icon

Scarlet continues to be one of the more exciting titles being published today. Brian Michael Bendis is always in his element when he is writing gritty crime stories.

In the previous issue Scarlet killed her boyfriend Gabriel’s murderer, a dirty cop in need of a scapegoat. Bendis is unfolding a fascinating tale, with some fresh storytelling elements that remind you how inventive he can be.  Scarlet enlists the aid of Brandon, Gabriel’s best friend, to help her on her mission to take out the corruption that has infested the Police Department. Her plan appears to be by means of violence followed by more violence.

Alex Maleev’s artwork is as mesmerizing as it has ever been. There’s a fantastic three-page scene using snapshots of Gabriel and Brandon’s friendship (a similar method was used in the first issue).

If you haven’t yet picked up Scarlet, Icon has reprinted the first two issues so it should not be difficult to jump on from the beginning.

Wolverine #3

Marvel

I have to be frank here. When you write Wolverine, he has to be written with balls. When you write Wolverine well, the reader has to understand just where that strength is coming from. Jason Aaron gets this.

There’s a scene where Wolverine takes a leap at Satan, ready to take on the lord of all that is evil. But what is important about this scene is that Aaron builds up to this. Aaron doesn’t take for granted that Logan is a badass and he doesn't simply insert this act of innate bravery. We're three issues in and this is shaping up to be one of this character's best runs.

Wolverine is still in hell and Mystique, Daimon Helstrom, Ghost Rider(s), and his girlfriend Melita are on their way to save him (though not saving him may mean eternal damnation).  Add to this, the soulless Wolverine is running around Utopia ready to slice into a newly returned Kitty Pryde. This makes a former comrade very angry as the story closes.

Aaron continues to write strong follow-up features that support the main story. He is aided this month by Michael Gaydos whose artwork effectively sets the tone.

The Amazing Spider-Man #647

Marvel

For the past couple of years The Amazing Spider-Man has chronicled the life of Peter Parker after he and Mary Jane’s relationship went “poof”. The first post-Mary Jane storyline was called “Brand New Day” and it was intended to take Peter back to his roots.

Some fans, myself included, turned their backs on the character after such a blatantly sloppy semi-retconning of the character. Then something happened. The story’s got good thanks to veteran writers Mark Waid, Joe Kelly, Marc Guggenheim and Dan Slott. Fred Van Lente, Zeb Wells, and Bob Gale also stepped into the rotating line-up.

All of the writers are on hand to close out the “Brand New Day” chapter (101 issues), before Slott takes the reigns of the book which moves to a biweekly schedule this month. The issue revolves around Harry Osborn’s departure from Queens with his new son, Peter’s blossoming relationship with Carlie, and includes short vignettes featuring Spidey’s supporting cast.

The stories told here are good. My favorite was an epilogue to the first half of the book in which Harry demonstrates that, though fairly meek, he still has Osborn blood running through his veins. Wells is the writer and Michael Delmundo provides some really sharp and atmospheric artwork; everything is in the dark and colored in a deep blue hue except for a faint orange glow provided by the houselights from May’s home. I was slightly reminded of what Frazer Irving has been doing on Batman and Robin.

Strange Tales II #2

Marvel

The more you know Marvel and its characters the more fun Strange Tales II becomes. Marvel has assembled a group of indie-comics creators to write and draw a really entertaining (and often bizarre) anthology.

Strange Tales II #2 includes stories featuring Iron-Man, the lovely ladies of Marvel, Uatu (the Watcher), Ghost Rider, the X-Men, Spider-Man and more. Not everything works, but most of it does.

Of course Spider-Man is an easy target, and Paul Maybury writes and draws “Little Lies” in which Peter repeatedly has to explain the origin of his continuous bumps and bruises. In “Indecision” Jeffrey Brown has Cyclops totally unfocused on anything but Jean Grey. When he goes to discuss his romantic problems with Professor X, the Professor makes him forget why he walked into the room. “Well just let me know when you think of it, Scott,” says the Professor. “You know you can talk to me anytime.” Gold.

Anthologies are a rarity in comics nowadays, especially humorous ones. The writers and artists assembled on this project have enough familiarity with the characters to have some good natured fun with Marvel’s classic characters.

Morrison Moves from 'Batman and Robin' to 'Batman: Incorporated'

Spoilers Abound!

I caught up quickly with Grant Morrison’s Batman and Robin series in trades and issues; today’s issue #16 served as an excellent segue into Morrison’s next Bat-project, Batman: Incorporated.

Morrison is one of those writers I have a difficult time reading on a monthly basis and find myself appreciating more once I’ve read the issues in a single sitting or in trade paperback form. His stories can often start in the middle of a scene that is resolved the following month (or at the end of the arc) which can make it difficult if you’re reading multiple titles or the books run late. I’ll give Morrison this, once an arc is finished, it becomes clear how structured the man’s storytelling is.

His run on Batman and Robin was strong. There was the introduction of Dick Grayson as Batman and all the struggles that came with it; his problems with wearing a cape again, a botched jail break, and his struggles with Damian all demonstrated that Batman had difficult boots to fill.

Speaking of Bruce’s son, Morrison seemed to have great fun writing and developing Damian Wayne, the fifth Robin. The series opened with Damian ready to take the cowl off Dick’s head because he thought himself ready to don it, then Damian’s fear that Bruce might return and forbid him from being Robin, and ultimately Damian’s defiance of his mother (and new sworn enemy) Talia al Ghul. Damian’s story and characterization is what kept me enthralled with this book.

Morrison kept the story arcs short (typically three issues apiece) and then tied them all together, in addition to resolving his entire Batman run with Batman and Robin #16. Bruce Wayne is back (I mentioned spoilers at the beginning) and is making Batman a franchise which he has made public (below).

The art on the book has been gorgeous. Specifically by Frank Quitely in the first arc (and all the covers) and the stunning work of Frazer Irving in the final arc. Irving has drawn the most creepy Joker (left) in recent memory.

Batman and Robin has been a fantastic run for Morrison who has already has some classic runs under his belt. I look forward to continuing to follow Batman’s adventures in Batman: Incorporated. I just can’t promise I’ll read it every month.