Alex De Campi reopens the Grindhouse

I definitely enjoyed the eight issue comic book horror anthology Grindhouse: Doors Open At Midnight written by Alex De Campi, which Dark Horse published last year.  So I was happy to find out that a “second season” had been given the go-ahead.  The first four issues of Grindhouse: Drive In, Bleed Out feature more excellent, unnerving writing from De Campi.

Grindhouse Drive In Bleed Out 1 cover

The opening two-parter “Slay Ride” is illustrated by R.M. Guera.  It is Christmas Eve in northwest Canada, and death stalks the countryside.  A group of malevolent spirits have taken on humanoid form and begun a killing spree.  After claiming their first two victims, the entities approach the elderly Mother Wolf, only to let her be when they sense that she is already dying of cancer.

Mother Wolf telephones Shayla, an embittered woman who is estranged from her family, to let her know that her father and brother have been murdered.  Mother Wolf convinces the reluctant Shayla to try to help the other families in the remote area before they are also slaughtered by the creatures.

De Campi is deliberately vague about the nature of these entities.  Attempting to explain them to Shayla, Mother Wolf states…

“You have to make a conscious decision to be good. It’s hard. The world wears you down. Every day, you have to start trying all over again.

“Or else, monsters like these? They tiptoe in on every hateful thought.

“If you believe in something enough, it appears. They are what we believe in now. Greed. Compulsion. Addiction.”

These beings appear to be human sin and weakness made sentient & corporeal.  Their physical “bodies” are created from snow, and although this makes them somewhat easy to disperse they are nevertheless extremely dangerous.  Even if their forms are destroyed, it seems likely that whatever was animating them still exists and has merely been temporarily banished.

Grindhouse Drive In Bleed Out 1 pg 10

“Slay Ride” is allegorical and open to interpretation.  For example, Shayla alludes to these beings having claimed members of her family many times in the past.  It is unclear if this means that they have actually manifested before, or if the vices they represent, such as lust and alcoholism, have plagued her family through the decades.

We also are never told the exact relationship between Shayla and Mother Wolf.  Is the elderly woman her aunt, her grandmother, or something else?  De Campi doesn’t specify.

While the lack of details and explanations can be maddening, this undoubtedly contributes to the unnerving tone of the story.  “Slay Ride” is a darkly surreal nightmare, and the unanswered questions compound the reader’s unease.

Guera’s artwork possesses a palpable air of twisted insanity.  The designs for the entities are comically twisted, simultaneously outrageous caricatures and grotesque phantasms.  The coloring by Giulia Brusco works extremely well with Guera’s art, and the end result is an atmosphere of oppressive bleakness and razor-taut anxiety.

De Campi totally shifts gears in her second story, “Blood Lagoon,” which reunites her with artist Chris Peterson, her collaborator on “Bee Vixens From Mars” from the first Grindhouse series.  “Blood Lagoon” features the return of the sardonic, ass-kicking Garcia, aka “that crazy, one-eyed Latina.”

Grindhouse Drive In Bleed Out 4 cover

Also making a comeback are Wayne and Sergei, the couple who helped her defeat the Martian invasion.  The two are engaged to marry, and Wayne is hoping to convince his father to attend.  Of course, this is the Deep South and Wayne’s father is a redneck of the first order, with accompanying homophobia.  Garcia reluctantly accompanies Wayne on the road trip to Alabama, although she expects it will be an exercise in futility.  As she dryly inquires, “On a scale of zero ta minus ten, how much fun is this trip gonna be?”

Not surprisingly, Wayne’s father Billy Ray provides anything but a warm welcome.  On top of that, while Wayne is happy to be home for a visit and reunite with old friends, he is depressed to see that the town is in dire straits.  Unemployment is rampant and the area is being polluted by the local slaughterhouse.

And then the aliens show up.  This time, though, instead of a hive of seductive bee-women, a horde of giant blood-sucking ticks is on the rampage.

Once again De Campi presents a story where the protagonists fall outside of what some would refer to as “traditional American mainstream.”  Garcia is an older Hispanic woman.  Even though her family has lived in Texas for generations, people keep ignorantly assuming she is an immigrant from Mexico, which understandably infuriates her to no end.  Wayne is a homosexual who grew up in rural Tennessee, and as a result had to find the ability to stand up on his own two feet and defend himself at a very early age.  Wayne’s old friend Vikki and her teenage son Darryl are African American, and Vikki proudly proclaims that her late father was a Black Panther back in the day.

De Campi humorous lampshades the backgrounds of her cast when they hole up in the town liquor store to fight off the giant ticks.  Vikki hands her cell phone to Wayne’s father and tells him “Billy Ray, you call the police. You sound white, they’ll listen to you.”  It’s a funny line, but it’s also sadly depressing in its accuracy.

Grindhouse Drive In Bleed Out 3 pg 14

It eventually once again falls to Garcia to save the day.  De Campi shows us that Garcia is tough-as-nails without making her invulnerable.

As I’ve noted before, one of the reasons I like the original Die Hard movie is because John McClane, despite the fact that he was out-fighting terrorists, very much came across as an everyman, and he was put through the wringer.  This was also more or less the case in the sequel.  But by the third one McClane had become an unstoppable action hero, and I totally lost interest in the series at that point.

Fortunately De Campi does not fall into this trap.  Garcia beats the odds, but she comes out bruised and bloody.  She isn’t given an easy victory, which of course makes it all the more compelling when she does succeed.

“Blood Lagoon” is a violently comedic farce.  Peterson’s artwork is perfect for this story.  He very adeptly renders both humorous gags and horrific gore side-by-side.

I also appreciate Peterson’s depictions of Garcia.  She is an older woman, but she is still in shape and attractive.  I think some artists are unfortunately only able to draw two types of women: young & sexy and old & frail.  Much like Steve Epting’s excellent work illustrating Velvet Templeton in Velvet from Image Comics, Peterson renders Garcia as a woman in her mid-forties who is very much ready to kick some caboose and turn heads in the process.

Grindhouse: Drive In, Bleed Out has so far been impressive and fun.  I’m definitely looking forward to the second half.

By the way, the first three issues actually sold out before I could buy them at one of the comic shops in Manhattan.  I was able to purchase all four through Things From Another World Comics, which has a section on their website for De Campi’s work.  So if you’re having trouble locating Grindhouse, head on over there: Alex De Campi at tfaw.comics

And, no, I am not getting a cut of the profits from TFAW!  I am just trying to help out and point people in the direction of some excellent comics that might have fallen under their radar.  Try some new stuff;  it’s good for you!

Glen Orbik: 1963 to 2015

Last week on his Facebook page, artist Joe Jusko announced the sad news that painter Glen Orbik had passed away at the much too young age of 51 years.  Orbik had been suffering from cancer, and on May 11th he succumbed to his illness.

While I was not especially familiar with Glen Orbik’s work, I immediately recognized his name.  For about a decade, beginning in the mid 1990s, Orbik painted a number of beautiful comic book covers.  Many of these were done for DC Comics.

Orbik’s first comic book cover was for Aquaman #25.  He painted a striking portrait of the king of the seas, giving him a noble, contemplative look.  Orbik’s style was very well suited to capturing the roughly-hewn majesty of Peter David’s revamp of Aquaman, with his long hair, beard, bare chest and harpoon in place of his lost left hand.

Legends of the DC Universe 1 cover

Also for DC Comics, Orbik illustrated the cover to the graphic novel The Life Story of the Flash.  He contributed covers to the Batman story arcs “Cataclysm,” “Aftershock,” and “No Man’s Land.”  Orbik also painted covers for the anthology title Legends of the DC Universe, including the three issue debut arc starring Superman.  For these Orbik rendered a vision of the Man of Steel that was both bursting with power and endowed with humanity.

During his career Orbik illustrated numerous book covers.  His work was well suited to science fiction, fantasy and especially mystery & noir.  Orbik’s moody, atmospheric work in that genre made him an absolutely ideal choice to contribute several covers to DC Comics’ 1997 annuals, which had the loose overarching theme of “Pulp Heroes.”

Among Orbik’s covers for the “Pulp Heroes” annuals was the incredibly striking painted artwork for Aquaman Annual #3.  His depiction of Aquaman was once again both savage and noble, gracefully gliding through the ocean to discover a beautiful murder victim, an image that was a superb amalgamation of fantasy and hard-boiled crime imagery.

Aquaman Annual 3 cover

Orbik also did work for other comic book companies.  He painted several covers and trading cards for Marvel Comics.  Most notably, Orbik’s dynamic cover for Thor #41 (November 2001) was later re-used in the character’s profile for The Official Handbook of the Marvel Universe: Avengers 2004.  He painted several covers for The Victorian and Anne Steelyard: The Garden of Emptiness, both from Penny-Farthing Productions. He also contributed a variant cover to The Oz / Wonderland Chronicles #3 in 2008 (the main cover for which, incidentally, was illustrated by Jusko).

Orbik’s wife Laurel Blechman was an artist, as well.  She collaborated with him on various covers, including his DC Comics work.

A large selection of Glen Orbik’s paintings, including those he did with Blechman, is on display at his official website.  I definitely recommend visiting it.  There is some incredibly beautiful art to be seen.

It is unfortunate that Orbik passed away at such a young age.  He was a very talented artist.

Look out! Here comes Spider-Gwen!

A few months ago Marvel Comics published the epic “Spider-Verse” crossover masterminded by writer Dan Slott, which featured appearances by pretty much every single alternate reality version of Spider-Man ever conceived, as well as introducing numerous new incarnations.  The breakout star of “Spider-Verse” was Gwen Stacy as a new Spider-Woman, who fans took to calling “Spider-Gwen.”

Making her debut in Edge of Spider-Verse #2, this parallel universe revision of Gwen Stacy / Spider-Woman was quickly given an ongoing title once “Spider-Verse” wrapped up.  Spider-Gwen #1 hit the shelves a mere five months after Edge of Spider-Verse #2, and so far is selling at a brisk pace.

Spider-Gwen 1 cover

I think there is a very basic reason why Spider-Gwen is such a success, and it ties in with the history of the original version of the character.  Gwen Stacy first appeared in 1965 in Amazing Spider-Man #31 by Steve Ditko & Stan Lee.  Gwen was originally something of a haughty ice queen.  After Ditko departed the series, Lee and new penciler John Romita gradually transformed Gwen into a warmer, caring figure.  She became involved in a long-term relationship with Peter Parker.  All these years later many long-time readers regard Gwen as Spider-Man’s first true love.

Fast forward to 1973 and the tragic events of Amazing Spider-Man #121.  In a story by Gerry Conway, Gil Kane & John Romita,  Gwen Stacy was brutally murdered by Spider-Man’s arch-enemy the Green Goblin, thrown from the top of the Brooklyn Bridge.  In hindsight, Gwen’s death is probably the first prominent example of what two decades later would be referred to by Gail Simone as “women in refrigerators” syndrome.

Ever since then the character of Gwen Stacy has been defined primarily by her death, by the fact that she was killed by Norman Osborn in order to make Spider-Man suffer.  A version of Gwen introduced in Ultimate Spider-Man was eventually murdered by Carnage.  Gwen appeared in the two recent Amazing Spider-Man movies, played by actress Emma Stone.  And, yep, at the end of the second one, she gets killed by the Green Goblin.  No matter what reality Gwen popped up in she seemed to have a target painted on her back, and fans were left holding their breaths waiting for someone to inevitably pull the trigger.

So by introducing an alternate reality version of Gwen Stacy who is Spider-Woman, this horrible trend is finally turned completely around.  Instead of being a victim, Gwen is now a hero.

Of course, it’s not just the concept but the execution.  As I understand it, Slott initially thought up the idea of giving a parallel universe version of Gwen the spider-powers.  The actual development of the character fell to writer Jason Latour and artist Robbi Rodriguez, the latter of whom designed Spider-Woman’s distinctive costume.

Edge of Spider-Verse 2 pg 2 & 3 Spider-Gwen origin

I have to admit, when I first read Spider-Gwen #1-4 I was a bit lost.  I felt like I had come in on the second act.  So I went and finally purchased Edge of Spider-Verse #2, now on its fifth printing (I told you the character was hot).  Reading that and then re-reading those issues of Spider-Gwen, things did make more sense.

Admittedly the story in Edge of Spider-Verse #2 drops the readers right into the middle of things.  I imagine that when Latour wrote it he didn’t have any idea that Spider-Woman would be an instant hit.  So he set out to give readers a crash course on Gwen’s origin via a quick two-page flashback before showing us what she was up to, and then ending the issue with a hook leading into the rest of the “Spider-Verse” crossover.

In the Spider-Gwen reality of Earth-65 it was Gwen Stacy and not Peter Parker who got bit by a radioactive spider and gained super-powers.  Much like Peter did waaaay back in Amazing Fantasy #15, Gwen adopted a costumed identity in order to seek fame & fortune.

Peter, who was as much of a socially awkward nerd in this reality as he was on “mainstream” Earth-616, became a huge fan of Spider-Woman.  Tired of being bullied by his high school classmates, Peter decided he also wanted to be famous.  He developed what appeared to be a serum similar to the one that turned Curt Connors into the Lizard.  Transforming into a monster, Peter fought Spider-Woman, and during the battle was fatally wounded.  The dying Peter told Spider-Woman “I just… just… wanted to be special… like you.”  This left Gwen completely devastated, as she and Peter had been close friends.

The J. Jonah Jameson of this world, who much like his 616 counterpart never met a spider-themed vigilante who he didn’t hate, immediately began blaming Spider-Woman for Peter’s death.  His editorials in The Daily Bugle convinced the general public and the NYPD that Spider-Woman is a criminal.

In a crowning piece of irony, Jameson is the one who declares “Spider-Woman and those like her must learn that with their great power comes an even greater responsibility!”  It is an admonishment that Gwen takes to heart.  She sets aside her frivolous goals and vows to use her powers to help others, even if most people believe her to be a murderer.

Edge of Spider-Verse 2 pg 18

Gwen’s task is made all the more difficult by the fact that the police officer leading the manhunt for her is none other than her father, Captain George Stacy.  This ends up placing Stacy in the crosshairs of the Kingpin, who has his own plans for Spider-Woman.  An assassin is dispatched to murder the police captain.  Spider-Woman saves her father’s life, but Stacy immediately turns around and tries to arrest her.  This forces Gwen to unmask, much to her father’s shock.  She attempts to explain her actions to her father:

“You’re a good cop, Dad. You put on that badge and carry that gun because you know if you don’t, someone who shouldn’t will.

“When I put this mask on, I only did it because it freed me from responsibility. I thought I was special. And Peter Parker died because he tried to follow my example. I have to take responsibility for that. To make his death mean something.

“This mask is my badge now. If I don’t define what it means, monsters like this will. This is where I’m needed most.”

I’m glad that Latour got the reveal of Gwen’s identity to her father out of the way early on.  He avoided having the clichéd set-up of an authority figure on a misguided mission to hunt down a misunderstood vigilante, not knowing that their target is a loved one.  That type of thing has been played out too many times in the past.

The Spider-Gwen series is very much concerned with Gwen’s efforts to make things right.  Beneath the flippant attitude and corny quips of Spider-Woman, she is in turmoil, still haunted by feelings of guilt over Peter’s death.  Her relationship with her father is severely strained, as she has forced him to choose between his responsibilities as a parent and his duty as a police officer.  She is very much the novice crime-fighter, making a number of serious mistakes.  Gwen also struggles to balance her two identities, to find a way to be both an ordinary teen and a super-hero.  Her friendships with the members of the band the Mary Janes is on the skids since she keeps flaking out on them due to her activities as Spider-Woman.

It’s interesting how similar yet how different the Spider-Gwen universe is from the “regular” Marvel universe.  The Kingpin and the Vulture are much like their 616 selves.  Matt Murdock is not Daredevil but he is still blind and possesses heightened senses.  However in this reality he works as the Kingpin’s lawyer and is totally corrupt.  Frank Castle is also a regular fixture, not as the Punisher, but as a member of the NYPD, albeit one who is nearly as ruthless as his vigilante counterpart.  Castle’s idea of “interrogating” a suspect is to beat him within an inch of his life.

Spider-Gwen 2 pg 3

Despite the often somber tone, Latour features a lot of humor in his stories.  Spider-Woman draws the Vulture out of hiding by spray painting insulting graffiti all about the city such as “Your nest is a hot mess” and “Death from a butt.”  In the second issue, after sustaining a concussion during her battle with the Vulture, Gwen begins hallucinating that her one-time ally Spider-Ham is following her around making smartass comments.

I did feel that these issues went by a bit too quickly.  At $3.99 each, it would be nice if they were somewhat more substantial reads.  But that’s hardly a complaint that I would direct solely at Latour.  It seems endemic of a good portion of the comic book biz: the more expensive single issues become, the shorter the time it takes to read them, or so it seems.

The artwork by Rodriguez on Spider-Gwen is amazing.  He gives this series a unique look and atmosphere.  Rodriguez’s illustration of the action sequences is dynamic, with extremely effective layouts & storytelling.  Likewise, he does solid work with the quieter character moments, as in issue #4 when May Parker talks to Gwen about what happened to Peter, and about her feelings concerning Spider-Woman.

Spider-Gwen 3 pg 10

Rico Renzi’s coloring on these issues certainly stands out.  He utilizes unusual, distinctive hues to create a palpable sense of atmosphere.  Renzi’s coloring very much complements Rodriguez’s artwork.

The design sense that Rodriguez demonstrates on his covers for Spider-Gwen is striking.  He creates very eye-catching, abstract compositions on each of them.

As with so many other comic books nowadays, Spider-Gwen is being released with numerous variant covers by a number of different artists.  For issue #4 I decided to mix things up a bit and buy one of those, the regularly-priced variant by Mark Brooks.  His portrait of Spider-Woman hanging out on the side of the George Washington Bridge is done a much more photo-realistic style than Rodriguez’s work.  I’ve recently seen Brooks’ work on a number of covers for Marvel titles.  He’s done quality work on these.

Spider-Gwen 4 variant cover

While I was somewhat undecided after reading the first couple of issues of Spider-Gwen, the next two hooked my interest.  For the time being I think I’ll keep following this book and see where Latour & Rodriguez are going.

At the very least, with all the action taking place on “Earth-65” I hopefully won’t have to worry about Spider-Woman getting tied up in all the Secret Wars shenanigans currently occupying most of Marvel’s publishing line.  Ideally Gwen will be given the time to feature in several stories in her own reality, to stand on her own two feet, before once again crossing over into other realities.

Having said that, if and when Spider-Gwen does pay a visit to Earth-616, hopefully we will get to see her toss Norman Osborn off a bridge!

Cats and comic books: Hero Cats #3-5

The Hero Cats comic book series from Action Lab Entertainment continues to be an enjoyable read.  I previously reviewed the first two issues, so now let’s take a look at #s 3-5.

Hero Cats 3 cover

Cassiopeia, the newest member of the Hero Cats team, has been serving as the gateway character, the readers’ introduction to the rest of the book’s cast, both feline and human.  In issue #3 we see her official basic training, as the rest of the kitty commandos put her through the paces to see if she has what it takes to battle evil and protect the innocent.

Kyle Puttkammer’s script for this issue is both funny and moving.  He does a good job showing the novice Cassiopeia overcoming her doubts & inexperience to be accepted by the team.  Puttkammer also examines the motivations of Hero Cat leader Ace, and shows the developing bond between him and Cassiopeia.  The story is very thoughtful, sentimental and laugh-out-loud funny.

In issue #4 the Hero Cats explore a subterranean mystery beneath Stellar City.  They discover a civilization of trolls and help them fight off invading rock monsters.  Puttkammer uses the story to delve into the background of Belle, the long-haired telepathic member of the team.

Hero Cats 4 pg 16

In prior issues of Hero Cats readers were told of how Cassiopeia’s humans, Stanley Quest and his daughter Suzie, were secretly the costumed crime-fighters Galaxy Man and Cosmic Girl.  Cassiopeia and the rest of her team finally discover this in issue #5.  The cynical Midnight and Belle are both automatically suspicious, observing that all of the bizarre menaces that have been plaguing Stellar City only began to show up after Galaxy Man first made his debut.  Cassiopeia, of course, thinks they are being ridiculous.

Actually, though, Cassiopeia’s two teammates might just be on to something.  During his latest journey into outer space to search for his missing astronaut wife Amelia, Galaxy Man unwittingly brings back to Earth a swarm of ravenous space bugs.  Fortunately it turns out they are allergic to peanut butter.  Cassiopeia, Rocco and Rocket all team up with Cosmic Girl, who has, amazingly enough, still managed to keep her identity a secret from her father.

Puttkammer’s writing on these three issues is great.  As I have observed before, he is one of those writers whose stories can be appreciated on different levels.  Younger readers will enjoy the cute cats and their funny adventures.  Adults will appreciate the development of the felines’ different personalities.  Puttkammer does a good job scripting the Hero Cats’ interactions as they work to apply their often-clashing world views and philosophies to solving the crises facing them.

Hero Cats 3 pg 9

I certainly had to chuckle at the various scenes in these issues of Cassiopeia trying to talk to her humans.  We the readers obviously understand her dialogue, but to the people in the story it just sounds like “Meow meow meow!”  I expect anyone who has ever had a cat can identify with that.  Cats can be very expressive, and they often appear to be attempting to communicate with us.  You just know when a cat is telling you something, even if you may not know precisely what it is.

I really enjoy the work by penciler Marcus Williams and inker Ryan Sellers.  Their art is cute and expressive, possessing a real dynamic quality.  Williams & Sellers invest their characters with genuine emotion.  They are great at rendering both dramatic action sequences and quieter scenes featuring Puttkammer’s passages of dialogue.

Tracy Yardley once again illustrates the Galaxy Man & Cosmic Girl two page back-up stories in Hero Cats, as well as penciling the cover to issue #6.  It was interesting to see her interpretations of the various cats on that.  Yardley has a somewhat different style from Williams, but she is definitely a good fit for this series.  I hope she will continue to contribute to Hero Cats.

Hero Cats 6 cover

Once again, I recommend this series.  Back issues can be ordered through the Hero Cats website.  There is also a trade paperback out collecting the first three issues.

Y’know, while I’ve been typing up this review, one of my two cats, Squeaky, has been sitting next to the desk.  I think she wants me to pay less attention to fictional felines and spend more time with her.  Looks like it’s time for treats and tummy rubs!

Super Blog Team-Up 6: Top Ten Avengers Sketches

Welcome to Super Blog Team-Up 6!  Has it really been three months since the last SBTU?  I guess time flies while life’s kicking you in the gut!  Seriously, lately things have been insane.  I’m grateful that I have this blog as a creative outlet to help me unwind.

The theme of SBTU 6 is “Top Ten.”  All the contributors have come up with cool comic-related Top Ten lists.  I must thank Karen Williams of Between the Pages for suggesting that I do a list involving my hobby of collecting comic book convention sketches.  Since a number of SBTU 6 bloggers are doing Avengers-related lists to tie in with the release of the Avengers: Age of Ultron movie, I decided to assemble my top ten Avengers sketches.

Avengers Assemble title page by Richard Howell I’m a long-time fan of the Avengers comic book series published by Marvel Comics, and I started an “Avengers Assemble” themed sketchbook in 2007.  Okay, I’m not too enthusiastic about some of the stories from the last ten years or so.  But there are many classic stories that have been published in the decades before, and numerous amazing characters have been members of the various Avengers teams.  The Avengers are the perfect subject for a convention sketchbook.

Narrowing it down to ten picks was difficult.  I’ve gotten over fifty sketches in this book so far.  There are a few that just missed the cut.  If you asked me again next month I might come up with a different list.  I also didn’t include a couple of pieces that were commissions, where the artists has the sketchbook for a few days and created detailed illustrations.  I will probably spotlight those in some other post in the future.  If you are an artist who contributed to this book and did not make the list, please don’t be offended!  I also posted these in chronological order because I couldn’t make up my mind which one was the best. Without further ado, here is my list of top ten Avengers sketches:

1) Scarlet Witch by Richard Howell Scarlet Witch sketch by Richard Howell Once I decided to start an Avengers sketchbook, I knew that I wanted Richard Howell to start it off with a drawing of the Scarlet Witch.  As a teenager who saw Wanda drawn by Howell in the pages of Marvel Comics Presents #60-63, I thought it was the sexiest version of the character I had ever seen. Of course, Howell had also penciled the twelve part Vision and Scarlet Witch miniseries a few years before which I later read via back issues. To this day, I still consider Richard’s depiction of Wanda to be one of the most beautiful in the character’s history.

I was thrilled that I was able to kick off the sketchbook with this lovely portrait by Howell.  He also drew / lettered the “Avengers Assemble” title page for the book that appears at the top of this post.

2) Black Widow by Hannibal King Black Widow sketch by Hannibal King Hannibal King is good at illustrating tough, sexy women.  When I asked him if he’d draw the Black Widow, he smiled and said “You just made my day.” Obviously he’s fond of the character, which was good news for me. King proceeded to create this stunning pencil illustration. While King was drawing this, I looked through his portfolio. He had done some incredible pieces featuring Captain America, Nick Fury, Val Fontaine, and Hydra. Someone at Marvel ought to give him a S.H.I.E.L.D. story to illustrate ASAP!

This sketch was later printed in Back Issue #26.  Head over to the TwoMorrows Publishing website for information on that magazine, as well as other quality comic book-related publications.

3) Wasp by Brian Kong Wasp sketch by Brian Kong Brian Kong drew a whole heap of very cool Avengers sketch cards, including several of the Wasp.  When I asked Kong if he’d do a drawing of the Wasp, he asked “Which costume?”  Because, oh lordy, Janet Van Dyne had had soooooo many different costumes over the years!  One of my favorites was the one George Perez drew her in during the early 80s, and again in the late 90s. I asked Kong if he could draw the Wasp in that, and he grinned, responding “I was just about to suggest that one.”

I’ve seen Kong at a number of NY area conventions over the years, and obtained several sketches from him.  This one of the Wasp is probably my favorite.  He did an amazing job on it.

4) Warbird / Ms. Marvel by Taki Soma Ms Marvel Warbird sketch by Taki Soma Back in 2008 Taki Soma was also drawing Avengers sketch cards, and so she had a book full of Marvel reference on hand. I flipped through the Avengers chapter, saw there was a profile on Ms. Marvel, and asked Soma if she would be able to do a sketch using that. I was very happy with her depiction of Carol Danvers. Soma is definitely a talented artist.  In the last few years she’s collaborated with her husband Michael Avon Oeming on several projects.

5) Jocasta by Andy MacDonald Jocasta sketch by Andy MacDonald It was his excellent work on NYC Mech that caused me to ask Andy MacDonald to sketch Jocasta.  He draws incredible robots and sci-fi tech.  I just knew he’d do a great job rendering “the bride of Ultron.”  I always liked the character, and in the past wished she’d been an Avengers member for longer (I was thrilled when Dan Slott featured her in the Mighty Avengers series).  Jocasta has such a distinctive visual, as well as an unusual backstory (inspired by Oedipus Rex, naturally).

MacDonald really captured the character of Jocasta, both in terms of her look and her personality.  It’s a very expressive piece.  This is another sketch that was published in Back Issue, appearing in Jarrod Buttery’s article on Jocasta in the robot-themed issue #72.

6) Black Panther by Sal Abbinanti Black Panther sketch by Sal Abbinanti Atomika creator Sal Abbinanti was drawing some amazing, rather surreal color sketches at the 2008 MoCCA Art Festival. He certainly did a great job on this one. Not even having a fire alarm going off and he building getting evacuated by the FDNY when he was halfway done with it threw him off his game. I suppose you could say Abbinanti was “on fire” with this one!  He really went all out, and it shows.

7) Patriot by Ben Granoff Patriot sketch by Ben Granoff I really did enjoy the various Young Avengers miniseries, even if they did come out infrequently.  The team had some cool characters, including the current Patriot, Eli Bradley.  I saw independent artist Ben Granoff’s work on the small press series We Were The… Freedom Federation published by Bag & Board Studios, and I was impressed.  Indeed, he drew an amazing illustration of Patriot.  This one totally surpassed my expectations.

8) Hercules by Chris Giarusso Hercules sketch by Chris GiarrussoI’m a fan of Chris Giarrusso, creator of Mini Marvels and G-Man.  He seemed like the perfect choice to draw Hercules, the mythical and mirthful Avenger who is never more happy than when he’s busting heads together, or knocking back a large flagon of mead, often doing both at the same time!  The reference I had for Hercules had the character grimacing, but I asked Chris to draw a smiling Hercules, adding “Pretend he’s just left the bar or something.”  Chris literally ran with my suggestion, and here we see Herc with a frosty mug of beer in hand, having a grand old night on the town!

9) Hawkeye / Kate Bishop by Ed Coutts Hawkeye Kate Bishop sketch by Ed Coutts Here’s a great sketch of Kate Bishop, another member of the Young Avengers, and co-star of the Hawkeye ongoing series featuring her teamed up with the original avenging archer Clint Barton.  This was drawn by Ed Coutts, a very talented artist.  His work has appeared in a number of issues of Femforce from AC Comics.  He renders very beautiful women.  I’ve met Coutts at a number of conventions and acquired several nice sketches from him.

10) Ant-Man / Scott Lang by Jacob Chabot Ant-Man Scott Lang sketch by Jacob Chabot Scott Lang, the second Ant-Man, is drawn by Jacob Chabot. This is the costume & helmet Scott wore when he was a member of Heroes for Hire, and when he first officially joined the Avengers (I wasn’t a fan of his “gas mask” helmet that briefly followed). Chabot he drew a very cool sketch of the character. I love the inking on this piece.

Scott Lang has a new solo comic book currently running, and he’s scheduled to make his cinematic debut in the upcoming Ant-Man movie.  That gave me yet another good reason to include this great sketch in this top ten list.

11) Ultron by Chris Duckett Ultron sketch by Chris Duckett Ultron, that murderous mechanical menace, arch adversary of the Avengers, and current star of the silver screen is superbly rendered in this pencil illustration by the talented Chris Duckett from the Bronx Heroes team of creators.  If you ever meet Duckett at a convention, I recommend getting a sketch from him. He does fantastic work.

What’s that, you say?  This was supposed to be a top ten and not a top eleven?!?  Bah!!!  Ultron laughs at you humans and your silly rules!  And soon Ultron will rule the world, humanity we be destroyed, and every single entry on this list will be a different incarnation of his mechanical brilliance!  Until that day inevitably comes, weak creatures of the flesh, you will have to learn to accept that there is an extra entry to spotlight the supreme genius of Ultron :)

Super Blog Team-Up 6 continues below I hope everyone enjoyed this top ten (um, top eleven) countdown of Avengers convention sketches.  You can see scans of the entire sketchbook at Comic Art Fans… http://www.comicartfans.com/galleryroom.asp?gsub=43066

Be sure to also visit the other fantastic blogs participating in Super Blog Team-Up 6…

  1. Longbox Graveyard: Top 10 Super-Dogs
  2. The Unspoken Decade: Top 10 Avengers Moments of the 1990s
  3. Legion Of Super-Bloggers: Top 10 Who’s Who Legion Entries
  4. The SuperHero Satellite: Top 10 DC Comics Titles That Ended Before Their Time
  5. Flodo’s Page: Top 10 Green Lantern Ring-Slings …That Don’t Appear In Modern Continuity
  6. Fantastiverse: Top 10 Avengers Greatest Super Battles
  7. Mystery V-Log: Top 10 Avengers Covers
  8. Idol Head Of Diablou: Top 10 Most Important Martian Manhunter Villains
  9. Marvel Superheroes Podcast: Top 10 Avengers Age Of Ultron Tie-In
  10. Chasing Amazing: Top 10 Favorite Moments Of The “Chase”
  11. Between The Pages: Top 10 Wackiest DC Comics Covers
  12. Bronze Age Babies: The Top 10 Bronze Age Characters (x2!)
  13. Too Dangerous For A Girl!: Top Ten Worst Heroic Haircuts
  14. Vic Sage Via The Retroist: Top Ten Comic Character Deaths
  15. I’m The Gun: The 10 Best All-Star Squadron Covers

Two thumbs up to Charlton Hero for organizing this whole shebang.  As always, it’s been a blast!

The Four Faces of Typhoid Mary

Writer Ann Nocenti, during her time on the Daredevil from late 1986 to early 1991, told many unconventional stories that addressed a number of controversial topics.  One of the ways she explored certain issues was via the character of Typhoid Mary who she co-created with artist John Romita Jr.

Marvel Comics Presents 150 cover

Typhoid Mary is definitely one of Nocenti’s most memorable creations.  Mary Walker is telepathic, telekinetic and pyrokinetic.  She also suffers from multiple personality disorder, switching between the sweet, innocent, naïve Mary and the sadistic, domineering, seductive Typhoid.  This transformation is not merely mental but also physical, with her pulse rate & temperature changing.

After Nocenti’s departure from Daredevil, she continued to develop Typhoid Mary in a pair of serials that ran in the biweekly anthology Marvel Comics Presents.  Working with artist Steve Lightle, she teamed up Typhoid first with Wolverine and then with Ghost Rider.  The arcs of these two serials culminated in the full-length two-part story “Bloody Mary: A Battle of the Sexes” that appeared in Marvel Comics Presents #150-151, published in early 1994.  The artwork was by Lightle and Fred Harper.

MCP #150 opens with Typhoid ostensibly in the care of psychiatrist Doctor Hunt.  Unfortunately Hunt is badly in need of a refresher course on professional ethics, as he believes he has fallen in love with Mary, and their “sessions” involve having sex with her.  Hunt is supposedly planning to integrate Mary’s personalities together, although more than one character suspects that what he really intends to do is obliterate the kindly Mary persona so that he will have the kinky Typhoid all to himself.

Marvel Comics Presents 150 pg 5

Wolverine removes Mary from Hunt’s care, not only because he can see that the psychiatrist is a quack, but also because he requires Typhoid’s help.  A young mutant empathy & chameleon named Jessie has been abducted by the Fortress, one of those innumerable nefarious scientific conspiracies that populate the Marvel universe.  Wolverine needs Typhoid to infiltrate the Fortress and extricate Jessie.  He is able to sell this mission to Mary by explaining that if Jessie is not rescued she will be subjected to unscrupulous experiments, much as the two of them also have been.

Typhoid’s rescue attempt goes awry and she is captured by the Fortress.  She unconsciously sends out a telepathic SOS to not just Wolverine, but to her old paramour / adversary Daredevil and to Ghost Rider… although at this point in time the flaming-skulled cyclist is dead (well, deader than usual) and the mayday is received by his replacement Vengeance.

The imprisoned Typhoid is probed by the Fortress scientists, which results in a third personality bursting forth.  Bloody Mary is a ruthless man-hater who vows to avenge the crimes “the patriarch” has inflicted upon women.  She brutally decimates the Fortress personnel and departs with Jessie.

Later, arriving at a woman’s shelter, Bloody Mary is shocked to discover that Jessie is, in fact, a boy; his empathic abilities had previously caused him to mimic first Steel Raven, the female mercenary who brought him to the Fortress, and then Mary.  Now, though, he is reverting to his true gender.  Bloody Mary is furious.  Calling Jessie a “filthy liar,” she violently slaps the teenager.  Stealing the shelter’s files on battered women, Mary flees, intending to avenge them.

Marvel Comics Presents 150 pg 24

Bloody Mary embarks upon her mission of retribution, brutalizing the husbands and boyfriends of the women in the shelter, inflicting upon them the exact injuries they gave their victims.  Attempting to track her down are Wolverine, Daredevil and Vengeance, who each have their own ideas about how to deal with Bloody Mary.  The three vigilantes at odds with one another, as they argue over whether Mary deserves psychiatric help, imprisonment, or death.

Added to the mix is Steel Raven, dispatched by the Fortress to retrieve Jessie.  Raven is beginning to have second thoughts about her employers, though, unsettled by their experiments on children.  When Raven catches up to Bloody Mary, she finds that she is in agreement with her quest for retribution against abusive men.  The mercenary holds off Vengeance and Wolverine so that Mary can continue on her mission.

Vacillating back and forth between her three personalities, Mary once again encounters Jessie, who has been looking for her.  The empathic teen begins to copy each of Mary’s personas in rapid succession…

Mary: Look at you, my multiple personalities, they’re contagious. Look at you. You echo all I am. Stay away. I can’t be responsible!

Jessie: I want to be with you, Mary. I want to help you.

Mary: How did you manage to trick me, make me think you were a girl?

Jessie: Because I am a girl. I’m just trapped in this boy’s body. I want to be like you.

Mary: Oh, yeah? Which me? Who shall I be for you?

Jessie: That Wolverine man was right. There’s one more in there. One more that’s the best of all. Don’t you feel it?

Prompted by Jessie, Mary looks within herself, and uncovers a fourth personality, a woman who refers to herself as “Walker.”  This identity shares certain aspects of the other three.  Walker is kind but assertive.  She is not abusive, nor will she allow herself to be abused.

Marvel Comics Presents 151 pg 24

Walker reflects upon her various natures…

“I began to hate all the shrinks and doctors, all the men, and I divided myself into four parts: one helpless before men, one using them, one hating them… and now me, indifferent to them. Beyond them.”

Walker returns to the hospital where she was being treated and confronts Hunt on his unethical, criminal behavior, and then exposes what he did to her.  As he is being led away by the police, she turns to address the reporters on the scene.  Walker vows to continue Bloody Mary’s quest to avenge women, but it is apparent she will be doing so a more rational manner.  And with that she departs, Jessie accompanying her.

The first time I read “Bloody Mary: A Battle of the Sexes” I was 18 years old.  I found it incredibly thought-provoking.  It raised so many questions that I had never really considered previously, about women’s roles in society and how these are often imposed upon them by men, about homosexuality & gender identity, about crime & punishment.  Two decades later, re-reading it, Nocenti’s story still stirred a great deal of contemplation.

Interviewed in October 1998 by the Daredevil fan site Man Without Fear, Nocenti explained the creation of Typhoid Mary…

“As for where Typhoid came from, you’ll have to ask the shrink I’ve as yet never gone to. I think I wanted to shatter the female stereotypes–virgin, whore, bitch, ditz, feminist, girl scout, all-suffering mother, et al.–into tiny fragments and yet keep all the pieces in the same little female bundle.”

Through her character Nocenti addresses the identities that men often assign to women.  Typhoid Mary is a challenge to the Virgin-Whore Complex, the idea often perpetuated by male-dominant cultures that a woman is either a virtuous, chaste innocent or a sinful, promiscuous seductress, with no middle ground in-between.  Mary is the “virgin” and Typhoid is the “whore,” and neither of them is healthy.  These two halves are the result of fission of personality.  The splitting of an atom initially results in tremendous energy but ultimately leads to radioactive decay.  Likewise, Mary Walker’s personality split to protect her from trauma, but over time this became detrimental, with neither aspect able to function as a whole individual.

Marvel Comics Presents 151 pg 16

Mary by herself is kind and caring, but also helpless and unsophisticated, unprepared to cope with the complexities of the world.  Typhoid, on the other hand, protects herself from harm by acting as the aggressor and manipulating others, but this renders her incapable of forming real friendships and relationships with others.  Both Mary and Typhoid possess attributes that, if united, would make them a strong, independent, healthy person.

Bloody Mary is another unbalanced splinter of Mary Walker’s personality.  Nocenti casts Bloody Mary as an embodiment of the stereotype of the militant feminist, what some derogatorily refer to as a “Feminazi.”  Bloody Mary views the conflict between men and women in absolutes, declaring that “All women are political prisoners.”  She regards all men as victimizers, not realizing that she is guilty of the same broad judgments as those she opposes.

If, however, the determination and convictions of Bloody Mary were united with the qualities of Mary Walker and Typhoid Mary, once again you would have an individual who is secure and balanced.  The whole is greater than the sum of its parts.

I think that all of us, men and women, are incredibly complex.  At different times in our lives, in different setting among different people, we play different roles, we assume different identities, emphasize different parts of our personalities.  Sometimes we have trouble deciding exactly who we are.

Even with someone such as Hunt, Nocenti demonstrates that people are complicated.  For all his sins, at one point the psychiatrist does express self-doubt and begins to question his objectivity.  Ultimately, though, Hunt ignores his uncertainty.  He attempts to rationalize his actions to Walker with a misogynist rant about how all women are seductive manipulators.  Sometimes, when you get right down to it, people really are jerks.

Marvel Comics Presents 151 pg 28

Jessie is an interesting figure.  Through him/her, Nocenti touches upon the question of what determines sexual orientation and gender identity.  How much of it is conscious individual choice, how much is a result of socialization, and how much of it is biological?

When I was in my teens I was still trying to make up my mind about homosexuality.  I will admit at one point I knew very little about the subject and the thought of people of the same gender having sex seemed really weird.  Then in the early 1990s I read newspaper articles about how homosexuality was likely determined by genetics.  At that point I must have started to understand that if sexual orientation was something that a person was born with, just like skin color or eye color or height or being left-handed, then it was unjust to discriminate against someone on that basis.

As for the transgender aspect of Jessie’s character, two decades later sex change remains even more controversial than homosexuality.  It still seems a bit odd to me.  The concept of a person’s psychological gender identity being different from their physical one is difficult for me to understand.  But just because something is beyond my conception doesn’t make it wrong.  It is important to keep an open mind.  And I recognize that it is crucial for people to be comfortable in their own skin, to be happy with who they are.

“Bloody Mary” is a good story, although not without its flaws.  Perhaps Nocenti’s plot is overly ambitious, attempting to fit in its in-depth exploration of Typhoid Mary, appearances by Wolverine, Daredevil and Vengeance, and the introductions of Steel Raven, Jessie and the Fortress.

There may have been certain editorial directives at work that Nocenti had to work within, such as the use of Vengeance.  It would have made much more sense to have Ghost Rider appear but, again, the character was (temporarily) deceased, and so Vengeance was slotted in even though he’d never met Typhoid before.   He doesn’t have much to do in this story.  Daredevil also seems to be fighting for space.  Halfway through MCP #151 he rather abruptly agrees to just let Wolverine handle Typhoid, and then vanishes from the story.

The division of artwork between Steve Lightle and Fred Harper isn’t ideal.  Both Lightle and Harper are very talented artists, but they have extremely different styles.  Consequently the two halves of this story are visually quite different.

Marvel Comics Presents 150 pg 16

Lightle’s detailed artwork on the first half of “Bloody Mary” is amazing.  I have been a fan of his since I first saw his covers for Classic X-Men in 1989.  So I was happy his work began appearing regularly in MCP starting in 1992.

Lightle works in tangent with colorist Maryann Lightle who, as you can probably guess by that last name, is his wife.  It seems likely that her familiarity with her husband’s work enabled Maryann Lightle to do an extremely effective job coloring his art on this issue.

I especially liked Lightle’s design for Wolverine’s stealth uniform.  Lightle also designed the Steel Raven character, and co-plotted the first half of the story with Nocenti.

It appears that Lightle was originally intended to illustrate the entire story.  In late 1993 I met MCP editor Richard Ashford at a store signing.  He had preview artwork for upcoming issues including this story, which he stated was going to run in #149-150.  Fast forward to early 1994 and MCP #149 came out with no sign of Typhoid Mary but instead four stand-alone eight page stories.  “Bloody Mary” by Nocenti & Lightle did begin in the next issue, but the letter column announced that the artist on second part would be Harper.

I don’t know if there were deadline problems and work on this story was running late (hence the story being moved back an issue), or if Ashford was worried that it would come in behind schedule, but whatever the case he assigned the second half to Harper, who was a regular contributor to MCP.  Lightle did illustrate to cover for #151, though.

Marvel Comics Presents 151 pg 5

On the second half of “Bloody Mary,” Harper does very solid work.  His layouts and storytelling on many of his pages are dramatic and inventive.  As I said, Harper’s art is very unlike Lightle’s, but judged on its own merits it is good.

Regrettably sometimes the coloring doesn’t do Harper too many favors.  I don’t blame colorist Joe Andreani, who did quite a bit of work at Marvel in the 1990s.  Apparently MCP didn’t get the best color reproduction that was available at the time.  Or perhaps it is just that Harper’s style with its heavy use of blacks is better-suited to appearing in black & white.  I’ve seen a number of his original pages from MCP and they look so much more impressive in person, revealing a lot of detail that was unclear or obscured when they were printed.

In any case, despite certain problems, Marvel Comics Presents #150-151 are still a strong pair of issues.  Ann Nocenti’s writing on “Bloody Mary: A Battle of the Sexes” it thoughtful and intelligent.  Nocenti does an excellent job continuing to develop her creation Typhoid Mary, and through her addresses a number of controversial topics while crafting an entertaining story.

UPDATE: I was just notified by Steve Andreski, via the Back Issue Magazine group on Facebook, that there is an upcoming trade paperback from Marvel collecting the Typhoid Mary serials from MCP including “Bloody Mary,” as well as several other excellent stories featuring the character written by Ann Nocenti.  Here’s the info…

Typhoid's Kiss TPB solicitation

I highly recommend purchasing a copy of the Daredevil: Typhoid’s Kiss trade paperback when it comes out.  There are some really great stories that are going to be contained in this volume.  Thanks for the info, Steve!

Doctor Who reviews: The Eleventh Doctor #11

Disaster strikes as the TARDIS crashes smack dab into the middle of a honking big time paradox.  In other words, it’s just another typically bizarre day for the Doctor and his companions in the pages of Doctor Who: The Eleventh Doctor #11 from Titan Comics.

The Doctor learned that the mysterious shape-shifting ARC is actually the mind of the strange Entity that he recently encountered.  ARC was ripped from its body by the ruthless interplanetary corporation SERVEYOUinc (damn it, that name is playing havoc with spellcheck).  Now hoping to locate the Entity, the Doctor has ARC plug in to the TARDIS telepathic circuits.  ARC discovers that it can navigate the time machine to back before it was captured by SERVEYOUinc, and attempts to alter its own past, despite the Doctor’s panicked attempts to stop this.

This results in the TARDIS fracturing from the attempt to rewrite history.  Alice, Jones and ARC find themselves in different portions of the damaged ship.  The Doctor is left drifting through space in a non-corporeal state, helplessly witnessing the agents of SERVEYOUinc attacking & capturing the Entity.

Doctor Who Eleventh Doctor 11 cover

“Four Dimensions” is another temporal twister from writer Al Ewing.  He brings together some of the threads he (along with series co-writer Rob Williams) has been developing in previous issues.  Since the beginning of this series, the Doctor and his companions have been encountering various representatives of SERVEYOUinc, albeit in a non-linear fashion, hopping back & forth across the timeline.  It’s a very Steven Moffat storyline, with the Doctor meeting people who he yet to meet but who know already know him from events that to them are the past.  And, of course, vice versa.  Ewing utilizes this issue to finally establish the chronological order of events, clearing up some of the confusion the Doctor and his companions (as well as the readers, no doubt) have been experiencing.

Ewing also looks at the fallout from the Doctor’s disastrous confrontation with SERVEYOUinc in the last two issues.  It’s been commented from time to time that the Doctor is usually most successful when fighting against overtly villainous foes such as invading armies and power-mad dictators.  When he has to deal with subtler adversaries, such as deeply entrenched political corruption or corporate malfeasance that is technically taking place within the boundaries of the law, he often ends up making a hash of things.

That’s exactly what happened in this case: the Doctor attempted to beat SERVEYOUinc at their own game by using time travel to raise enough capital to buy them out.  Instead, it completely blew up in his face, and the Doctor became a helpless pawn of SERVEYOUinc, corrupted by their promises & lies.  It fell to Alice and Jones to have to save him and everyone else.

This is followed up on in issue #11.  The Doctor is attempting to locate the Entity to prevent it from falling into the “wrong hands.”  To this, Jones offhandedly replies “What, like yours?”  Alice is furious at this rude comment, but the Doctor is forced to acknowledge that there is validity to what Jones said, that he really did mess things up in their confrontation with SERVEYOUinc.  Ewing has previously shown Alice role in keeping the Doctor’s ego in check.  Now we see Jones also playing a part in that.

Doctor Who Eleventh Doctor 11 pg 8

After the TARDIS is cracked, the plot gets really wonky.  Credit goes to artist Boo Cook for successfully pulling this off with his inventive four-panel pages, effective layouts and off-kilter compositions as the action is split between the Doctor, Alice, Jones and ARC.

Cook has been alternating with Simon Fraser and Warren Pleece on art chores for The Eleventh Doctor.  Truthfully, Fraser has been my favorite until now, as his style fits in quite well with what I regard as “traditional” Doctor Who comic book artwork.  Cook, in contrast, has a much wilder, sketchy style to his work.  You might describe it as looking “early 1990s Image Comics.”

Cook’s unconventional work is a perfect fit for the story in issue #11, though.  He draws some really odd and interesting pages.  Cook even manages to pull off Jones’ latest fashion experiment, with the destined-to-be glam rock god wearing full clown regalia & make-up.

I definitely have to point out the contributions of colorists Hi-Fi.  I’ve noticed their coloring work on a number of occasions in the past.  In this issue, after our cast members are split apart, each of them and their surroundings are colored in a different hue.  This works very well in conjunction with Cook’s artwork.

Rounding out the issue is another humorous “Pond Life” back-up strip by Marc Ellerby.  The Doctor once again drops in on Amy and Rory, this time with Strax the Sontaran in tow.  The two are about to embark on their annual “pub crawl across the galaxy.”  Amy suggests that Rory accompany them, which he does reluctantly.  And over the next two pages, naturally enough, hilarity ensues.

Doctor Who Eleventh Doctor 11 pg 25

I will admit that I found last few issues of The Eleventh Doctor a bit underwhelming.  They weren’t bad, just not as interesting as they could have been, at least in my estimation.  But Ewing and Cook definitely did excellent work on issue #11.

In any case, despite its slightly uneven quality, Doctor Who: The Eleventh Doctor is still a good read, and I’m looking forward to what Ewing and his artistic collaborators bring us next.