Justice League vs Godzilla vs Kong

 
 
Justice League vs Godzilla vs Kong

by Brian Buccellato

art by Christian Duce and Tom Derenick

DC Comics

2024

 

 

Increasingly, I think that as a reader of comics, I'm more interested in well-done miniseries than in trying to follow an ongoing storyline. So DC Comics' Justice League vs Godzilla vs Kong seemed like a safe bet for me. Superheroes fighting giant monsters! Heroes acting, you know, heroic, saving the day, protecting the city and the people who live there! That sort of thing. And we do get that, but it's awfully busy, with what feels like way too many characters and too much interpersonal drama.
 
I will grant two good reasons to have such an overstuffed cast list. The first is that when giant monsters attack, having literally dozens of superheroes fighting them does help sell that these things are dangerous and hard to defeat, so it's all hands on deck. Also I guess one fun thing about giant crossovers is maybe getting to see your niche favorite character, even if it's only as an extra in a few panels. But my counterpoint to that would be that with so many heroes and so many supervillains in the mix too, the pacing is quite slow, and few characters actually have anything going on for you to care about. A more focused cast list would've let a clearer story with stronger stakes progress more quickly.
 
The Legion of Doom, which seemingly includes every supervillain of note except the Joker, or at the very least a few per hero, breaks into Superman's Fortress of Solitude as part of Lex Luthor's latest scheme. Whatever they had planned doesn't actually happen though, because Toy Man finds a ruby that grants wishes among Superman's things, which transports them all to Skull Island and transports Skull Island to whatever version of Earth this is supposed to be. 
 
The result is King Kong, Godzilla, and four other giant monster I don't recognize getting unleashed on the cities of DC comics. I would've enjoyed Mothra or another really famous monster; these kind of felt like filler to pad out the story. Kong stays on the island, where both Green Arrow and Gorilla Grodd will try to recruit him. Godzilla attacks Metropolis, a giant bat goes to Gotham, a crab monster attacks the Flash's home, a creature that looks like a woolly mammoth without a trunk (like the pokemon Mamoswine, kind of) attacks the Amazons on Paradise Island, and some big sea monster goes after Atlantis (and has to do battle with a kraken defending the underwater city).
 
Godzilla seemingly kills Superman with its fire breath, but teams of other heroes temporarily hold back the other monsters, who mysteriously retreat before finishing their attacks. Then there's kind of a long lull. The heroes try to revive Superman, the villains try to find Toy Man, and the monsters spend a long time converging on a spot for a final battle.
 
The big fight has a bunch of moments that seem like they're supposed to be Crowning Moments of Awesome (as the TV Tropes website would call them), but they get rushed through so quickly, they seem anticlimactic rather than cool. Lex Luthor builds a Mecha-Godzilla! The League of Assassins resurrects an undead Necro-Godzilla! Five Green Lanterns team up to make a multi-part Voltron-like mecha! King Kong gets recruited to wear a Green Lantern Ring! It should be exciting and fun and badass! But the pacing is wrong, and as I said, there are just too many people on every page.
 
I also disliked how much of what happened is driven by what TV Tropes would call Idiot Plots, where the action is caused by people making shockingly stupid decisions. Toy Man hijacks Luthor's presumably superior plan and then dies immediately from being stepped on by Godzilla (which we don't learn until tge very end, making the other villains' search for him into a pointless shaggy dog story). Superman nearly dies because Shazam shows up midway through his Godzilla fight and summons magic lightning despite Superman telling him not to, which enrages Godzilla and distracts Superman at a crucial moment, then spends the rest of the series moping about his fuck-up. Red Hood shoots the giant bat against Batman's instructions, angering it, and Bat Girl beats him up, much to the other bat heroes' amusement. Gorilla Grodd kills Guy Gardner and all the other Lanterns are just like "oh well, never liked the guy." It's not like, good storytelling, just supposedly capable people behaving incompetently, creating unnecessary problems, and then acting callously toward each other about it. It's annoying. It makes the plot feel pointless and the characters unsympathetic.
 
I still think there could be fun to be had with just King Kong and Godzilla and a core Justice League, telling a more compact story, but boy, this sure isn't it. 

The Strange Tales of Oscar Zahn 1

 
 
The Strange Tales of Oscar Zahn

by Tri Vuong

Ten Speed Books

2024 

 

  

The first volume of The Strange Tales of Oscar Zahn collects eight chapters of Tri Vuong's webcomic. Like the green yuri, Strange Tales was originally published online a few pages at a time, giving Vuong a bit more flexibility with chapter length than he'd've gotten with a print comic. The first and last chapters are stand alone stories, the rest are divided into a pair of three-part narratives.
 
Oscar is a ghost. He looks like a person with a skull floating where his head should be. He investigates other ghosts, and tries to help them achieve peace. He's quite chipper and amiable! Also, there's a giant ghostly octopus that lives shrunk down inside his skull that emerges at full size at inopportune moments to wreak chaos.
 
In the first story, Oscar helps an old woman living in a haunted house. In the second tale, he finds a ghost soldier still reliving WWI. In the third, rather complex story, Oscar tries to help an old sailor deal with his guilt for a shipwrecked crew he was unable to rescue, personified by a radio that continuously plays their final distress call. He gets help from a crew of ghosts that inhabit diving suits and try to preserve abandoned treasure, like a trove of Betamax tapes. The octopus really gets out of hand in this one. The final story is even shorter than the first; the old woman has trouble with her house again and moves into Oscar's apartment.
 
The structure of these stories is a quite similar to a lot of the Hellboy comics, where the title character mostly serves as an observer, giving the ghosts the audience they need for their dramas to finally finish playing out and achieve resolution. Vuong's art is sometimes pretty similar to Mike Mignola's, and the color pallet is a close match. Oscar has a different personality than Hellboy, but his adventures aren't that different; he even holds a cursed entity inside him. 
 
The similarities are enough to invite comparison. You might see more of what you already like here, but unless you are invested in the mystery of where the octopus came from, why it's haunting Oscar, and why he keeps trying to solve mysteries when the creature comes out every time and endangers everyone he interacts with, I think the individual stories themselves are not quite as strong as Mignola's.

Paper Girls 5

 
 
Paper Girls 5
by Brian Vaughan
art by Cliff Chiang

Image Comics

2018 

 

 
In the fifth volume of Paper Girls, the girls have arrived in the future, to the time where the Old Timers, the older generation in a temporal conflict with their own descendants, are operating from. There's only one volume left after this, and the shape of the time war has become a knot.
 
From the girls' perspective, which is the order the comics take place in, the girls started out in the 1980s, where the Old Timers, led by the Grand Father, showed up and took over their neighborhood in the Cleveland suburbs by putting everyone else in suspended animation and erasing their memories of the intrusion. The Grand Father seems to be very long-lived; he still speaks contemporary English, while everyone below him speaks a dialect that has diverged so far it borders on gibberish. We didn't know the reason for this, but it seemed the Old Timers did it to capture a few far-future teens, who speak a language so different it's represented with alien script; they can only be understood with the help of translator machines. They also met a silent alien, a green sphere with many eyestalks that seemed to watch them.
 
Then the girls were accidentally transported to the 2010s. They met Erin's middle-aged self, and learned that she had no memory of time traveling as a teen ... and that Mac died of leukemia while she was still in high school. They found a message carved on KJ's field hockey stick that helped them navigate the invisible time portals around the city. They met another far-future teen, a clone of Erin, who accidentally brought some giant tardigrades with her. The tardigrades started wrecking up downtown, and the Old Timers showed up again en masse and middle-aged Erin risked her life (maybe even died) to help the girls escape through a time portal.
 
That portal led the girls all the way back to the Stone Age. They met the first time traveler, born in the 2010s, who was shocked to already find evidence of other time trips on her maiden voyage. They also met a cavegirl their own age, Wadi, and agreed to help her rescue her son Japoh from the three cavemen who took him. Tiffany carved the message they saw earlier into the field hockey stick, and stuck it through a fold in time for her past self to find. KJ encountered the spherical green alien again and touched it; she got fragmentary visions of future events, including her and Mac kissing. The girls helped with the rescue, but then time traveled again by accident.
 
This time they arrived on New Year's Day in the year 2000. Giant robots piloted by the Old Timers and the far-future teens were fighting openly in Cleveland, although they were invisible to almost everyone except time travelers. The girls met Tiffany's post-college self. She's a goth! The far-future mechas were clearly superior to the ones piloted by the Old Timers. The newly appointed Grand Father, a relatively young man was piloting one; a bad hit killed his girlfriend, who used her dying words to beg him to abide by their principles of preserving history, rather than using time travel to save her. He tearfully agreed, and managed to kill the other mech pilot. For safety amidst the ongoing battle, the girls and college-age Tiffany clambered up into the broken mecha shell. The young Grand Father saw them and assumed they were the ones who killed his girlfriend, and then the mech sent itself forward in time.
 
Now the girls arrive in a future Cleveland, a time when everyone talks in the near-unintelligible dialect of the other Old Timers we've met so far, and the Grand Father is the old man we first saw him as. He has the green alien in his office! We also learn something I maybe should've noticed sooner - the Grand Father is Japoh, the baby born in the Stone Age, who the girls helped to reunite with his mother. I'll talk more about what the girls get up to in the future in a moment, but first, let's review events from the Old Timers' perspective.
 
The lab that invented time travel rescued the stranded first time traveler. She brought back the cavepeople Wadi and Japoh, claiming they were her children. The Old Timer faction formed, and eventually Japoh was made its leader. Among his fights with the future teens, his girlfriend died, and he thought the paper girls were responsible. When the killer mecha finally reappeared, after years of waiting, he thought he had a chance for revenge. At the same time, reports came in of the tardigrades in the 2010s. The Grand Father decided to launch the all-out offensive we saw earlier (which his staff viewed as a major over-reaction), and then to intercept the girls in the 1980s.
 
The Old Timers say their goal is to preserve the first draft of history, as unchanged by time travel as possible, but what does that even mean here? Japoh doesn't know it, but he was only brought to the future to become a leader because the girls saved him as an infant. They were only in the Stone Age to save him because he invaded their neighborhood, which he did in response to events the girls got entangled in after they got lost in time during the invasion. Plus he only thinks he's mad at them because of mistaken identity! Cause and effect aren't just reversed here, they're completely intertwined and entangled. There doesn't seem to be any pre-intervention state! Every major event in this sequence has a cause happened after its effect, and that, in turn, could only have happened because the effect came first.
 
In the future Cleveland, KJ tries to talk to Mac about her vision of them kissing, but Mac doesn't want to hear it. KJ has been coming to accept that she might be a lesbian, while Mac seems more homophobic than ever. The two go to find a doctor, while Erin and the two Tiffanys go look for Wadi, who is an old woman despite whatever anti-aging drugs she and Japoh have been taking. The good news for Mac is that the future has a cure for leukemia; the bad news is that she doesn't really have it, she has a rare disease caused by time travel. The doctor tries to turn Mac over to the Old Timers, but KJ beats the guy up and rescues her friend. After briefly thinking she could change something, Mac accepts that she'll die, accepts that KJ's visions will come true, and kisses her, surprising them both. 
 
Wadi agrees to help the girls sneak past her son and get back to the 1980s. They get joined en route to the departure point by the future-teen clone of Erin. Once again, they're cornered and only make it out because someone sacrifices their life; this time it's college-age Tiffany. The girls are paying a terrible price for getting caught up in this mess. Mac is going to die of time travel sickness in high school, Tiffany will be killed in her mid-20s, Erin will die in her early 40s. 
 
There's one volume left, and I fear KJ win't make it out alive either. What started as a mystery and then maybe a fun adventure (even if they weren't in control of how they were time traveling) has become the reason three of the four will die young, seemingly with nothing gained, nothing to show for it. Future Erin and future Tiffany have already revealed they won't even remember all this afterward! I don't know if the last volume will salvage anything positive, or if it's going to be a total downer, but I guess I'll find out soon.

The Spire

 
 
The Spire
by Simon Spurrier

art by Jeff Stokely

Boom! Comics

2016 
 
 
The Spire collects an 8 issue comic book miniseries written by Simon Spurrier and drawn by Jeff Stokely. It tells a neo-noir mystery, complete with a hardboiled investigator protagonist, set in a New Weird fantasy city. 
 
The namesake city of the comic, the Spire itself, is a towering cone of adjoining buildings, all in the same shade, like a sandcastle or a wasps' nest. It sits in a wasteland, called the 'Nothingland', and the outside air is poisonous to normal humans. The city's residents are a mix of humans and beings who are politely called 'Sculpted' but usually called by the slur 'Skew'. Their name seems to me to imply that the first sculpted were created from humans by genetic modification, probably to survive the outdoor pollution, and possibly to perform specialized work, during the 'antiki-times' where all the best tech comes from. 
 
There are various tribes of sculpted who all share the same traits, like the messengers - tiny bald men with the proportions of infants who fly on miniature wings and are propelled forward by farting. Humans resent the sculpted for taking up space in the Spire (when they could live outside), exploit them economically (giving certain low-paid jobs to the sculpted, and demanding annual tithes from the wasteland tribes), and then resent that too (because "they're taking our jobs"). The city is a multiracial society with an official policy of strength through diversity, but it's also tense. Also living in the wasteland are a religious sect who preach death to all the sculpted, and who use antiki-tech environment suits and shelters to survive the toxic air.
 
The modern-ish city, the unique nature of the humanoid residents, and the attention to race and class inequality reminds me of China Mieville's city of Bas Lag from Perdido Street Station. (I think Mieville had some babbling little flying men too, now that I think of it.) Stokely makes everyone look vaguely grotesque in a way that matches the low tone of Spurrier's writing. The city is dirty, people piss themselves in fear, mock each other for smelling like shit, swear constantly. The upper city dwellers, who get the majority of the natural sunlight, are racists and snobs, the religious are zealots who preach genocide, the cops and military are reading to beat anyone who's insufficiently respectful, and they'll actually carry out a pogrom before the book's over. But the overall tone mostly varies between ironic detachment and darkly humorous. There are only a few moments when it seems we're encouraged to feel sincere emotion.
 
Our hard-bitten investigator is Sha, the captain of the city watch. Sha is a Medusi, a sculpted person with jellyfish characteristics, including thin tentacles she can use for climbing and catching criminals, the ability to heal from injuries (except the missing eye she wears a patch over), and the ability to reshape her skin, temporarily as a disguise or more permanently if required. Sha's an amnesiac who is estranged from her tribe and never ages. She's like one "snikt, bub" away from being a female Wolverine. Sha is foul-mouthed, an overly demanding boss to her put-upon subordinant, obnoxiously rude to ever other member of the city government, and , inadvisably, is sleeping with the younger daughter of the royal family (who can't really understand that her family won't allow her to make a lesbian relationship with a racialized commoner public or official).
 
The mystery here is a series of murders of servants close to the matriarch of the royal family that start right after her husband dies of a disease of old age. The older daughter will soon take the throne ... unless the murderer ultimately plans to kill a royal and not just their staff. Sha is determined to solve the case and protect the family, even as the incoming queen prepares to undo her father's progressive reforms, make peace with the zealots, and persecute the sculpted anew. The solution to the mystery is based in events from decades earlier, shown in cryptic flashbacks, when the matriarch was young, and in the specific details of several sculpted tribes' abilities.
 
One detail we learn near the end is something Sha forgot long ago because of her amnesia - she's transgender. As a Medusi, she could fully and permanently reshape herself to become female without any outside help. That forgotten transition turns out to explain a number of things about Sha, and to be an important piece of the puzzle to finally solve the mystery by unraveling the killer's motivation. You can file The Spire next to All About My Mother as stories where a closeted trans woman gets someone pregnant, then abandons them in order to finally come out and begin living as a woman herself. I can only imagine the level of dysphoria that becoming a father might trigger in someone who was previously resigned to life as a man, but the nature of both narratives are that we see the aftermath of that decision, rather than the pain that led up to it, and the possibility that the couple could've remained together is never really considered.

DIE 4

 
 
DIE 4
Bleed
by Kieron Gillen
art by Stephanie Hans

Image Comics

2021 
 
 
From the start, I've found myself drawn to the high-concept worldbuilding of Kieron Gillen and Stephanie Hans' comic series DIE, but (especially after the first volume) I've been less impressed by the plot and storytelling going on there. The comic is at its best when introducing a character or idea and letting admire all the allusions and creativity on display in each one, but then less successful at setting them in motion. Which is especially a problem here in the final volume, "Bleed", because there's little left to introduce, and a lot of plot left to resolve.
 
As an example, consider the Fair. These are Die's equivalent of fairies, but they're also robots. They act fairly in the sense that they'll hear any request, and they have a 50 percent chance of granting it, so they are fair like a coin toss. The two faces of the coin are 0 for no and 1 for yes, because the binary outcome is like a computer bit, which is why they're robots as well as fairies. Also, the way that you meet them is by going to the Fair, a kind of traveling festival they run. 
 
Merging multiple inspirations like that and layering multiple meanings into one thing is kind of impressive ... but then in this volume, all we see of the Fair are their smashed bodies, because the flew to the center of the world to take part in a climactic confrontation that happened entirely off camera. We just see the ruins of the aftermath, like HG Wells's smashed time machine from whatever his role was in the decisive last battle, which Gillen and Hans decided not to show us any of.
 
This is what I mean when I say that the ideas of the comic are very careful constructed, while the story itself is ultimately pretty disappointing.
 
In the 1990, a group of teenagers found some magic dice that transported them to the fantasy world of Die. There, they each had a fantastic persona and access to powerful magical abilities. They spent a couple years trapped there, battling the evil Grandmaster, before defeating him and performing the ritual to return to Earth. But in the last moment, the Grandmaster grabbed Solomon, and so only five of the six friends made it home. Since they had vanished without a trace for two years, it was a big deal when they came back, but they were magically prevented from saying anything about what had happened.
 
Then, a couple decades later, when the survivors were all in their early 40s and facing the typical (stereotypical?) problems of midlife, they were transported back to the world of Die and thrust back into the old game, only with their former friend Solomon acting as the Grandmaster this time. They defeated Sol, but then couldn't actually agree about returning home, some because they wanted to avoid an impending divorce or a cancer diagnosis, others because they felt guilty about destroying a whole city to defeat their former friend. Basically whenever someone changed their mind to return, someone else changed it the other way to stay, so that collectively they just seemed to be dithering indecisively.
 
While the heroes spent the next two volumes of the comic squabbling and sabotaging each other, we got a bit of a tour of Die. It's a planet shaped like a d20, and each face is the realm of a different Master, an echo of a real person who had some idea that contributed to the history of roleplaying. There's Eternal Prussia, based on the original German military war game, Kriegspiel. There's Little England, a mash-up of Tolkein's Lord of the Rings and HG Wells's Little Wars, a war game for hobbyists to play on their living room floor. Eternal Prussia and Little England are locked in an unending war that resembles WWI. There's Angria, based on the Bronte siblings' childhood game of make-believe, a site of political intrigue, and the place our protagonists did most of their bickering. In this most recent volume, we also got to see an ocean face based on HP Lovecraft's fiction, which holds the stairway to the center of the planet. 
 
Near the end of the third volume, we got a call to action that seemed to set up an exciting conclusion. We learned that between the group's two visits, Sol had been busy working on behalf of the planet Die itself to send inspirations backward in time to ensure its creation. Supposedly Sol made the toy soldiers that inspired the Brontes' for example, and sent them to them so that they'd write their stories, so that Angria would be here waiting for teen Sol in the 80s. The friends learned that if Sol succeeded in making the dice that had transported them as teens, and sent them to himself, then the time paradox would resolve, Die would fully merge with Earth, and everyone would be trapped in a fantasy realm. To prevent this, the friends recruited the Fair, rallied Wells and the armies of Little England, plotted to entangle the plotters and schemers of Angria ... and then, as I mentioned, in this volume, Gillen and Hans decided not to show us any of that.
 
Instead, we watch the six sad adults mope down the stairs to the center of the world where they don't stop anything, but also nothing bad happens. Die, suddenly now personified as a guy with a d20 for a head, explains that they're too late, he's already successfully closed the time loop to ensure his own existence, and now that they've witnessed it, he can send them home. In explaining all the steps, he even claims to have caused WWI, which would otherwise not have happened, purely so that Tolkein would be inspired to write The Hobbit, which horrifies the friends, but they're too late to do anything about it. There's no mention of the planets merging; it seems less like anyone saved the day and more like the authors forgot what the consequences were supposed to be. When they get home, it's 2020, and they arrive in the middle of a global pandemic with no idea of what they've missed.
 
Along the way down the stairs, we finally get a bit of resolution about Ash's up-to-now unspoken feelings about gender. I felt let down about this too. On Earth, Dominic is a man and seems to be fine with that; on Die she is a woman named Ash and seems to be fine with that too. As they descend, we're told that the Grandmaster only caught Sol because Ash paused during the ceremony because she didn't really want to go back to Earth. We also meet the giant fiery spirit of Ash's femininity, who blocks the way unless Ash will agree to merge with her. 
 
Ash says that on Earth, Dominic thought about being a woman at least once a day, not that he minded living as a man, just that it was a thought he had every single day. And given the chance to have a woman's body, Ash didn't want to leave Die then and doesn't want to leave now. And she merged with the spirit of herself (?) which supposedly displaced Dominic entirely. And what this means, the characters tell each other, is that Ash is gender fluid. Dominic definitely wasn't a closeted trans woman! And he'll be fine having a man's body and social identity again as soon as they all leave, even though right now Ash can't bear to give hers up. Yes, the characters repeat, this isn't being trans, its gender fluidity. 
 
This development adds DIE to my list of disappointing works where a character is seemingly portrayed as being a trans woman, only for late-in-the-game dialogue to reveal that, oh no, they're definitely not that, they certainly couldn't be that, they're just like, really sensitive and in touch with their feminine side, or maybe their gender cannot be labeled in any way at all. 
 
I would be interested in seeing more authentic portrayals of nonbinary characters in fiction; I am not interested in seeing yet more characters who are written in every way like they're trans only to make a surprise announcement of some sort of nonbinary identity at the last minute instead. I'm not interested in listening to people who seem to think that saying you're bisexual or gender nonbinary is enlightened and expansive (so long as you publicly live a conventional hetero life), but that being gay or trans is small-minded and unworthy. It's not fair to the people who are treated like their identity is unspeakable; it's also not fair to the people who are treated like the name of their identity is a cudgel to beat the unworthy, while the actual experience of what they feel or how they live is never shown.
 
But then, many things about DIE disappointed me. The first volume seemed promising, but overall, the comic has seemed more like a neat idea than like a good story, and nearly every time I've felt interested in some aspect of it, character or plot or whatever, that aspect has been ignominiously dropped or anticlimactically abandoned.

Super Late Bloomer

 
 
Super Late Bloomer
My Early Days in Transition
An Up and Out Collection

by Julia Kaye

Andrews McMeel
2018

 

 

Super Late Bloomer is a collection of autobiographical comics by Julia Kay, drawn in the 4 panel cartoon style of a daily newspaper comic. For Kaye, these comics functioned like a diary, helping her keep track of moods and events during her first summer living openly as a trans woman. Kaye was in her mid-20s at the time, and had moved back in with her parents while she started taking estrogen, getting laser hair removal, wearing women's clothes in public, changing her name and documents, and coming out to a widening circle of acquaintances.
 
Because they're so short, each comic is a little vignette of a single mood or incident. There's a mix of joy and self-acceptance with various forms of awkwardness and unpleasantness. I found a lot of Kaye's experiences really relatable, some from when I was first coming out myself, and some still today. A consistent metaphor is that taking estrogen and transitioning is like going through puberty again, with all the doubt and awkwardness that entails.
 
Kaye has a lot of self doubts - she worries that others will see her as a man playing dress-up, she frets about visible stubble, she's self-conscious about her voice. Sometimes she gets misgendered, even when she looks her most femme; other times she fears she will be, but then it's fine. Sometimes she hates her reflection. There are a few comics about public bathrooms - being afraid to come out of a stall when someone else is there, worrying what a friend will think when you're both in there at the same time. Kaye's parents are supportive, but there's one family member who's distant now, and she misses their friendship.
 
I think that for a lot of trans people, the process of figuring out what it is you're feeling and trying to decide what to do about it, is inherently isolating. You're doing a lot of introspecting, thinking about some of your most uncomfortable memories and emotions, and imagining how you might be able to feel better in the future. And you yourself might be the only trans person you know personally. It's easy to feel alone. 
 
Coming out, starting to socially and medically transition, hopefully does make you feel better. It's also different from anything you've done before, and it's new for your friends and family too. I think one of the most valuable things about a book like Super Late Bloomer is that it reminds you you're not alone, that others have felt what you're feeling, have done what you're now doing. You may be different from most of the people you know, but there are others like you, and things went mostly okay for them, and they can for you too. 

Paper Girls 4

 
 
Paper Girls 4

by Brian Vaughan
art by Cliff Chiang

Image Comics
2018
 
  

In volume 4 of Paper Girls, I think we finally start getting some clear information about what's been happening across the previous volumes, thanks to a helpful true believer who tries to indoctrinate the girls to her side. The new info helps make sense of what we've seen up to this point. Til now, we've mostly been along for the ride as the girls were menaced by a baffling conflict going on around them. We still are, really, but at least we're starting to understand the conflict!

 

In the first volume, the girls' suburban Cleveland neighborhood was invaded by strangeness the morning after Halloween in 1988. We saw that the two factions were mutated teenagers dressed like ninjas or burglars, and an army of knights riding pterodactyls. The future teens language is incomprehensible without a translator; the knights speak a barely intelligible version of English that reads like online forum slang. The knights are led by an old man who sounds perfectly contemporary and can barely understand his own troops.

 

We now know this is the War of the Ages, fought between the Old Timers, who want to avoid making any consequential changes to history, and their own descendants, who want to use time travel to change things. The linguistic drift we see suggests how long a span of future history we're dealing with here. The Old Timers have robots that can repair property damage, and to keep people from witnessing anything, they teleport them into stasis pods and use amnesia rays to erase anything out of place. They want to fight the teens whenever they show up, and use their tech to keep the fight itself from being recorded or remembered. We're told that the teens want to change history for the better, although we've mostly seen them stealing, perhaps supplies or maybe just souvenirs.

 

The girls time traveled by accident and arrived in 2016 in volume two. They met Erin's adult-self and also a future-teen who was a clone of Erin. Mac learned she has as-yet undiagnosed cancer and only a few years to live. The future clone accidentally brought tardigrades with her, and even more accidentally, they arrived as giants that began destroying downtown Cleveland. That brought in the Old Timers, flying a giant airship like a cathedral. 

 

The girls got sent through time again, appearing in the Stone Age in volume 3. They met a cavegirl their own age (who they could speak to using one of the translators) and the woman who invented time travel, on the very first trip. Unfortunately, the past was already littered with future junk when she arrived. Based on the two factions' philosophies, I'd guess the abandoned tech was left behind by the future teens. Touching an anomaly gave KJ a brief, kaleidoscopic vision of events from her own future, including kissing Mac. KJ was surprised and shaken by the vision. The scientist was killed by a caveman, but the girls used her time machine to escape.

 

Now in volume 4, they arrive back home, but on New Years Eve in the year 1999. In the comic, the Y2K bug caused mass power outages and other infrastructure shut-downs. Also, giant robots are fighting in the Cleveland suburbs, but only Tiffany can see them! Half the robots are being piloted by future teens, and half by the Old Timers. The leader, who we've always seen as an old man, is still young here, and the pterodactyl breeding program isn't finished yet. From his perspective, this battle happens early in his career. For the teens who met the girls in volume 1, I think this fight is immediately before that meeting; they retreat backward in time when their mecha is damaged.

 

The girls meet an elderly cartoonist who lives in their neighborhood. She met the future teens when she was a kid, and she's become a fanatical believer in their perspective on the war. They also meet Tiffany's college-age self. She grows up to be a goth! With a White boyfriend! The girls get into the damaged, abandoned mecha and it takes them further into the future, where the leader of the Old Timers is waiting. That particular mecha killed his copilot (who begged him, with her dying words, to hold fast to their principles and not overwrite her death), and he wants revenge. Hopefully he'll learn that it has a new pilot before he destroys it!

 

 

You'll want to break out the decoder ring for this one, because the future teens have kind of a lot of dialogue. It's depicted using a substitution code, with strange symbols replacing familiar letters. It takes a bit of time and effort matching the symbols to figure out what they're saying. The effect is interesting. Each symbol is complicated, looking more like a Chinese ideogram than an English letter. So the future teens' speech bubbles look like they're saying a lot. Somehow when I look at the symbols, the way it's written makes what they're saying look technical and complex, or maybe angry and warlike. Then I translate it and I see they mostly speak in short words and simple sentences, and most of what they're saying is just simple expressions of surprise or dismay. There's dramatic irony in the contrast.

 

Things are pretty tangled at this point, especially with the revelation that the order that we (and the girls) are seeing events in doesn't match the order the factions perceive them, and that the factions also have different timelines of events from each other. Time travel plots are frequently confusing, and this one has more interweaving than most.

The Creepy Case Files of Margo Maloo

 
The Creepy Case Files of Margo Maloo

by Drew Weing

First Second

2016 

 

 

The Creepy Case Files of Margo Maloo is a kids' comic about a boy who moves to the city, discovers it's full of monsters, then learns that monsters aren't as scary as he thought. 
 
Our viewpoint character is Charles, an aspiring journalist whose parents have just moved into a fixer-upper apartment in a former hotel. Echo City is on the coast; it's a bit economically distressed, though maybe things have recently improved. The titular Margo Maloo helps out other kids who have monster problems. Her main rules for helping are that the monsters were here first and have at least as much right to a peaceful life as the human kids do, and that you can't tell any adults about the existence of monsters. 
 
Creepy Case Files has three chapters. In the first, Charles sees a troll in his bedroom at night. A neighbor kid, who really wants to set a world record for like hopping on one leg or standing on his head, gives Charles Margo's business card, and she shows up to help negotiate a peaceful resolution. The troll's annoyed that the hotel's getting remodeled, but he and Charles find common ground in their love of little stuffed toys that definitely are not Beanie Babies. In the second chapter, inquisitive Charles gets Margo to agree to let him tag along while she helps find a lost kid in an abandoned restaurant that's haunted by a ghost. In the third chapter, Charles is falsely accused of kidnapping a baby ogre. (He's been seen snooping around, and monsters have trouble telling humans apart!) Margo finds the baby and clears his name, with Charles taking on a Watson-like role.
 
Charles's parents dress like former Gen X alternative kids. They're excited by the DIY opportunities, and the fact that unlike in their old small town, the can get quinoa in the grocery store here, and carry-out from Korean restaurants. I feel like author Drew Weing included those details for parents who are reading with their kids to enjoy. Also for grown-ups' benefit - Charles's dad trying to explain the fraught ethics of gentrification to an disinterested 10-year-old, and dad clearly worrying that his White son isn't getting along with the neighbors before realizing Charles is talking about monsters, which are obviously just make-believe. The neighbor kid who wants to set a record is Black, and it seems like they will be friends. Margo looks Mediterranean to me. She's too much of a loner to consider Charles a friend, but by the end of the book, she might accept him as a partner in this monster business. 

Godzilla's Monsterpiece Theatre

 
Godzilla's Monsterpiece Theatre

by Tom Scioli

IDW

2025 
 
 
Godzilla's Monsterpiece Theatre collects a 3-issue comic miniseries by Tom Scioli. Taking advantage of some very recent additions to the public domain to unleash the city-destroying might of Godzilla on the unsuspecting party-goers of Long Island during the Jazz Age. That's right, Godzilla wrecks West Egg and makes an implacable enemy of the wealthy and obsessive Jay Gatsby.
 
The first issue is the best, because Scioli has Nick Caraway narrate that issue, mostly using text directly from The Great Gatsby juxtaposed against illustrations of Godzilla causing mayhem, first in the suburbs, and then in downtown Manhattan. There's a great scene of Gatsby rushing across the bay to rescue Daisy in a speedboat, paired with the famous last lines of the book. Daisy is injured (although she'll eventually recover), and Gatsby swears eternal revenge for the insult.
 
In the second issue, Gatsby assembles an international team to help - an elderly Sherlock Holmes, the time traveler from HG Wells's The Time Machine, a Jules Verne who actually built all his fabulous devices instead of only writing about them, and Dracula. It reminds me of Alan Moore's League of Extraordinary Gentlemen, although Moore chose slightly less prominent characters, while Scioli recruits the stars. Moore also writes more text and imbues his characters with more complexity. Scioli doesn't write all that much dialogue, and his characters seem flatter and more one-note, with just a single defining trait they repeat again and again.
 
In the final issue, in a surprise betrayal that no one could've seen coming, Dracula attacks his teammates with the goal of dominating Godzilla and ruling the world. A werewolf, a mummy, and an enlarging ray show up too. The climactic showdown is exciting, but also a bit silly, in its sheer over-the-topness. Godzilla isn't so much defeated as simply driven away, and by then, Gatsby might still be determined, but he no longer has any resources left to keep fighting.
 
This wasn't as good as I'd hoped, but Scioli does capture the feeling of dumping out a boxful of toys from different makers and playing with all of them together, telling a new story that's only slightly connected to the tales they originally came from.

Paper Girls 3

 
Paper Girls 3

by Brian Vaughan

art by Cliff Chiang

Image Comics

2017 
 
 
In the third volume of Brian Vaughan and Cliff Chiang's Paper Girls comic, the girls find themselves 10,000 years in the past, where they meet a cavegirl their own age, and the first person to ever travel through time, a woman scientist born in the 2010s. 
 
Much to the scientist's horror, her maiden voyage is to a past already despoiled by travelers from further in the future. Not only are teen girls from the 1980s already there when she first arrives, but a trio of menacing cavemen (collectively, the fathers of the cavegirl's infant child) are wearing space helmets and are using the Playstation controller button symbols to decorate themselves.

In Paper Girls volume 1, we first met the girls as they met up in their Cleveland suburb to ride their paper routes together, the morning after Halloween in the late 1980s. New kid Erin was introduced to KJ, Tiffany, and tough-girl Mac, who's kind of the group leader. Weird things started happening! Everyone else was frozen in place, and then started disappearing, with only the paper girls unaffected. White knights riding pterodactyls patrolled the skies, and a small gang of black-clad teenagers from the far future ran around looking for things to steal. When the teens' time machine exploded, the paper girls were accidentally sent to the 2010s.
 
Luckily, in volume 2, the first person they met was a middle-aged Erin, who took them in until they could figure out what's going on. Another future teen, this one a clone of Erin arrived, and accidentally brought some giant tardigrades through time with her. The tardigrades started wrecking up downtown Cleveland, which caught the attention of the time traveling pterodactyl knights. The knights are led by an old hippie who operates out of a giant airship cathedral. 
 
Dramatic as they look, they seem to be trying to prevent changes to history. The heavy-handed tactic of putting every potential witness into some kind of temporary stasis seems to be in service of that goal. We don't know why the girls aren't affected, about Erin's clone suggested the reason she is a clone is so she could piggyback off of whatever's protecting Erin. While the airship and flying knights fought a city-destroying tardigrade, the girls fell through a hole in time created by all the disturbances.
 
Now in volume 3, we don't see either of the warring factions at all, we just see hints of how much they've time traveled based on the apparent changes to the prehistoric past. The girls get separated, with Erin and Tiffany meeting the cavegirl and then the time traveling scientist. KJ and Mac encounter a strange creature that looks like an inverted pyramid with tentacles. KJ touches it, and sees visions of her future, including her and Mac kissing, which troubles her, because she didn't realize she likes girls, and Mac is vocally homophobic. (Mac is also dying - in the 2010s she learned she has leukemia and only a couple years to live. She's trying to act tougher than usual to cover her fear.) 
 
KJ is slightly able to play off her sudden awkwardness as being caused by getting her first ever period while trapped in the Stone Age, although Mac, who's never had any sex ed because her Catholic family disapproves, is super curious. They manage to reunite with the others, agree to protect the cavegirl from the trio of cavemen, and agree to help the scientist get back to her time machine, which Mac and KJ saw earlier. Things don't go as planned! In the end, the time machine leaves on autopilot without the scientist, and the paper girls get caught up in it's wake and transported somewhere new.

DIE 3

 
 
DIE 3

The Great Game

by Kiren Gillen

art by Stephanie Hans

Image Comics

2020 

 

 

In the first volume of DIE, six teenagers in England in 1990 found six magic dice, and disappeared into the fantasy world of Die, an Earth-sized planet shaped like an icosahedron, a d20. They were trapped their for years, living out fantasy adventures in their roles as the mind-controlling Dictator, the lucky Fool, the emotion-powered Grief Knight, the cyberpunk Neo, the God Binder, who trades favors with supernatural entities, and the Master, who runs the game. Eventually the group learned a magic ritual that would let them leave and return home, but when they left, Solomon, their friend who'd first found the dice and acted as the Master, was seized by the evil Grandmaster who ruled the whole world of Die.
 
25 years after they returned, the now middle-aged friends got pulled back into Die. In the intervening years, Solomon had killed the old Grandmaster and become the new one. He wanted the game to resume, and the others couldn't leave without changing his mind or killing him. He holed up inside his fortress in Glass Town, protected by the armies of Little England and besieged by the armies of Eternal Prussia. The group has long since decided that although strange, the planet Die is real, and its inhabitants have the same moral worth as people living on Earth. Despite this, they also agreed to help Eternal Prussia break the siege and crack the giant bell jar protecting Glass Town so they could kill Sol and go home. The plan succeeded, but then not everyone was ready to leave yet...
 
So then in volume 2, the group split, then recombined, and split again. Initially, two members wanted to stay for awhile to avoid their problems back on Earth, while the others wanted to return immediately. With time to settle in though, everyone starts to feel guilty about what they did to Glass Town and worried about what Eternal Prussia might be doing in there. When they split up again, it's basically a disagreement about tactics instead of goals.
 
Now in volume 3, Dictator Ash and God Binder Izzy are co-ruling the nation of Angria, which is based on the fantasy world the Bronte siblings created together as children. The WWI-era hobbit army of Little England arrives at Angria's capital to demand Ash's surrender for her role in the fall of Glass Town. She arranges to meet with the Master of Little England, who turns out to be HG Wells. He explains that the German inventor of the original military wargame, Kriegspiel was drawn to Die, and his game formed the basis of Eternal Prussia. Wells blamed Kriegspiel for emboldening Germany's military, and wrote his own Little Wars game to try to discourage actual warfare. Ash disillusions him by revealing that WWI happened anyway, and Wells sets off in his time machine to do ... something. But the meeting succeeds in forging an alliance between Little England and Angria.
 
The others are all headed for Glass Town directly. Along the way, they meet a Fallen version of Neo Angela's daughter. The Fallen are like zombie orcs. When Sol became one after they killed him, they realized all the Fallen are former players who died on Die. They wonder how any Fallen could've already been there in 1990, if they were really the first players to arrive. (HG Wells and Charlotte Bronte are Masters, not players.) They also wonder how Angela's daughter could be there, and why she's years older than when Angela left. 
 
They learn from some helpful dwarves that Sol actually created the 12 toy soldiers that inspired the Brontes to write their Angria stories. Eventually the meet some Fair (robot elves from the future) who reveal that Die itself is from the future, but that it draws in people from the past to help ensure its own existence. It sent the toy soldiers back to recruit the Brontes, and the magic dice back to recruit Ash, Angela, and the others. What Eternal Prussia is making in Glass Town now, almost 30 years after their first visit, are the dice that will bring them here. If the dice are made and sent, the Die will merge with Earth in 2020. So Angela's daughter, and the other Fallen, are like the ghosts of people who haven't died yet, but will. Or they could all be saved, if the group can interrupt the creation of the magic dice...
 
Because Gillen is giving us a close-up view of these characters, we really only see three faces of Die - Angria, Little England, and Eternal Prussia, plus the Grandmaster's Realm on face 20. I can't help but wonder what would be on the other sixteen sides! 
 
Planet Die is an interesting villain. Like Roko's Basilisk, it's a malign intelligence from the future that's manipulating the past in order to ensure its own creation. Normally I wouldn't think if a planet as being a villain, but several characters who would know have suggested that Die either has or is being controlled by some sort of evil mind. I'm not totally sure how the Fair fit into this; maybe they're from further in the future, after Die merges with Earth. Ordinarily, in comics, I'd expect the good guys to win, but this is a dark enough fantasy that a downer ending seems possible. 

Physics for Cats

 
 
Physics for Cats

by Tom Gauld

Drawn & Quarterly
2025
 

  

Physics for Cats is the most recent collection of Tom Gauld's comics. All of these were originally printed in New Scientist magazine, and basically all of them are about academia or scientific research. Gauld draws comics to about the same dimensions as classic newspaper cartoon strips, although he usually draws them as just one big panel, only sometimes splitting them up smaller.

 

Gauld's humor tends to be gentle and absurd. We get jokes about competition among scientists, like a researcher who's jealous that his rival's failed experiment exploded more spectacularly than his own, or a lab that can't do any research because they spent all their grant funding on really cool looking scifi doors. There are other jokes about failed research, the risk that you might devote years to studying something that turns out to be less impressive than you hoped, or to trying to accomplish a task that proves to be impossible. Gauld's humor doesn't mock so much as it commiserates.

 

We get comics where the humor comes from applying scientific language or attitudes to another context, like when a scientist details their method of study before revealing that yes, they do know what they want to order, or when we experimentally vary the length of Rapunzel's hair and the height of her tower to observe the effect on the outcome of the fairy tale. There are also several comics where characters realize they're in a drawing.

 

Because they were all originally published in one place, and had a consistent topic to fit that publication, the comics here have more thematic unity than you usually get from Gauld. He's always had recurring subject matter - often about books, authors, and tropes of fiction - but this ends up being a more cohesive collection than previously.

The Best American Comics 2019

 
 
The Best American Comics 2019

edited by Jillian Tamaki

Houghton Mifflin Harcourt
2019

 

  

The Best American Comics 2019 ended up being the last one in the series. I sort of assume it was cancelled for reasons nebulously related to the Covid-19 pandemic and the ensuing economic turmoil, but that's really only a guess on my part. The series editor announced the publisher's decision in late 2020, but he didn't give any reason. He might not know it, or might not be allowed to say.

 

Jilian Tamaki picked 2019's comics. I think she chose fewer short comics than in the past. There are only a couple 1-2 pagers. Her excerpts from longer works feel particularly well-chosen to tell a complete sub-part of the larger story, which is something I've been critical of other editors about. I haven't been systematically counting, but I think Tamaki may have chosen a few more women artists than in the past, and I think the majority of her picks are nonfiction, mostly memoir.

 

Among the graphic nonfiction, we get Joe Sacco reporting on the petroleum industry at the oil sands in Alberta, Canada (the same region Kate Beaton wrote about in Ducks). Sophia Foster-Dimino has a harrowing account of her accidental pregnancy and abortion when she was in college and in an abusive relationship. There's an excerpt from Vera Brogsol's memoir Be Prepared about attending a Russian culture summer camp in America when she was a kid. And one of my favorite pieces in the book, Angie Wang writes about trying to find her favorite Chinese food in American restaurants, prepared the way she remembers it. Wang's piece was drawn for the cellphone, intended to be viewed by scrolling down and downward.

 

There were fewer fictional pieces. We get an excerpt from Nick Drsano's Sabrina about two strangers who are drawn together after both witnessing a murder, while omnipresent right-wing radio casts doubt on what happened in the background. I especially liked Unihabitable by Jed McGowan, a complete comic told from the perspective of a swarm of billions of nano robots attempting to terraform an alien world, then making peace with their failure. Like Angie Wang, McGowan (digitally?) painted his comic, making it look very different from the many black-and-white pen drawings that were the most common style earlier in the series.

 

I'll miss the BAC books. I've found a number of artists I like by reading them. There are a couple other comics anthologies I want to read, although they actually precede the Best American series.

Paper Girls 2

 
 
Paper Girls 2

by Brian Vaughan

art by Cliff Chiang

Image Comics

2016 

 

 

In the first volume of Paper Girls, four girls on their paper routes the morning after Halloween joined together, initially for self-defense against older teen boys out looking for trouble, and then to try to figure out and stay away from a whole host of weird things happening in their neighborhood.
 
For reasons unknown, the 'Old Timers' came to that morning in the late 1980s and imposed an electronic and communications blackout, kidnapping almost everyone except our four young heroines. Some far future teen boys with a stolen time machine arrived at the same time to steal useful tech. It's not clear if the Old Timers are there to catch the teens, or if the teens are there to take advantage of the blackout.
 
But when Chinese American new girl Erin got injured, it was one of the mystery teens who got her medical care. Shortly afterward, their time machine exploded! Erin, Mac, and Tiffany were sent to 2016 where they ran into Erin's adult self. KJ went somewhere else.
 
Now in volume 2, adult Erin brings her younger self and two friends home. We learn she has the scar from the injury, but no memory of how she got it. It seems the Old Timers eventually put everything back and erase everyone's memories after doing ... whatever it is they're up to. Separately, another future teen who speaks an alien language arrives in 2016. This one is also Erin? It turns out she's a clone, grown from Erin's blood after she got medical care, and she's the niece of the teen boys from the first volume.
 
Young Erin and Old Erin go to the abandoned shopping mall to look for KJ. They find her field hockey stick with a message carved in it - a warning not to trust 'the other Erin', and directions for where to go next. But which one is 'other'? Mac and Tiffany go looking for their own older selves, and Mac learns she died of leukemia in the early 90s. Meanwhile, Clone Erin is also on her way to the mall, and manages to run into Mac and Tiffany on the way. 

Clone Erin's trip somehow brought a pair of hundred foot tall tardigrades with her, and they immediately start wrecking downtown Cleveland, which attracts the attention of the Old Timers again. They arrive in a combination zeppelin-cathedral and unleash another squadron of knights riding pteradons. 
 
From Clone Erin and the leader of the Old Timers, we learn that there is only one timeline, no branching or parallel worlds, and there are at least two factions with access to time travel, although their goals, and what rules they might follow, remain unknown. Both factions seem to want the paper girls, although we don't understand why yet. The leader of the Old Timers mentions that his mother was born in 2016, and worries that he and his airship are 'breaking curfew' in order to address the tardigrades, so there might be another faction we haven't met yet that will show up soon.
 
Eventually Clone Erin tries to kidnap the girls to her far future home, but they manage to send her back alone. With Old Erin's help, they dodge the Old Timers, and follow the directions from the hockey stick, arriving at a different future where their friend KJ is waiting for them.
 
Some time travel ideas are easier to understand than others. You have to be pretty far in the weeds, for example, to understand how the most shocking scene in the film Looper is supposed to work. The idea of a single timeline, and a group somehow outside it who repeatedly writes over parts of it to preserve their preferred version of human history benefits a bit from familiarity. Isaac Asimov introduced this version of time travel, along with a bureacratic agency that monitors changes in The End of Eternity. John Crowley and Charles Stross have both told their own versions, in Great Work of Time and Palimpsest, and anyone who's watched the Loki tv show has seen Marvel's version of time travel law enforcement. Visually, the Old Timers in Paper Girls look nothing like the 'man in a gray suit' bureaucrats that usually show up in these stories, but I think the idea about time travel is the same.
 
Volume 1 introduced the girls and the mysteries and set things in motion. Now in volume 2, we learn a lot more about Erin, and a fair bit about what's going on, and the action definitely ramps up. I'm excited to see what's next!

The Best American Comics 2018

 
The Best American Comics 2018

edited by Phoebe Gloeckner

Houghton Mifflin Harcourt

2018

 

 

The Best American Comics 2018 is the second-to-last volume in the series. I don't know why Houghton Mifflin decided to stop this series from their Best American line, although if they gave any reason in the press, I guess I should be able to find out. My tentative guess is that it was a casualty of the pandemic. Each volume so far has included a call for submissions, to be considered for two volumes into the future, and the call for BAC 2020 is in here.
 
Editor Phoebe Gloeckner decided against placing the comics into categories, and she's the first editor to organize the comics alphabetically by author's last name. I think there were fewer comics this time where I really couldn't tell why they were included, how anyone could think they were the best of anything, but I don't know if that means Gloeckner's taste is more similar to mine, or if I now find it easier to appreciate a wider range of comics. 
 
Both in her selections generally and in her choice of what to excerpt from longer works, Gloeckner seems to have an eye for comics that mix sex and nudity with ugliness and self-hatred. I think there might be more graphic memoirs in the mix this time, although they're always pretty common across BAC volumes. 
 
Childhood memories, often upsetting, are another recurring motif in the memoirs. We get an excerpt from Emil Ferris's My Favorite Thing is Monsters from right after her parents died; a truly traumatic childhood memory about pets dying from Gabrielle Bell, from whom we've seen more everyday life stuff up until now; and memoir blending with an architectural history of New York's children's spaces in Julia Jacquette's Playground of My Mind, which stands out for being about something pleasant. I really liked How to be Alive by Tara Booth and Ugly by Chloe Perkins, both of which had frank depictions of grappling with the artists' loathing of their own bodies and desires.
 
There's only a bit of non-memoirist graphic nonfiction, including Guy Delisle's Hostage, and a a couple different accounts of American and British involvement in the Middle East. I previously read Delisle's Factory Summers.

There are a number of familiar faces among the fictional comics, including Jaime Hernandez with a Love & Rockets excerpt, Simon Hanselmann with a Megg and Mogg comic, a shockingly bloody (and cartoony) excerpt from one of Ted Stearn's Fuzz and Pluck comics, and Jesse Jacobs with an even more overtly psychedelic offering than usual. My favorite was probably DJ Bryant's "Echoes into Eternity", which felt like a complete Twilight Zone story in 8 pages. 

DIE 2

 
 
DIE 2
Split the Party

by Kieron Gillen

art by Stephanie Hans

Image Comics

2020

 

  

In the first volume of DIE, we learned that on Dominic's 16th birthday, he and five of his friends gathered to play a bespoke roleplaying game. They vanished from the Earth for months, and when they came back, they were unable to speak about anything that happened there, and game master Solomon remained behind. Then, a couple decades later, as they were all staring down the disappointments of their mid-30s, they got pulled back to the game world, back to the 20-sided planet Die. 
 
When they returned to Die, each got back the supernatural powers they had the first time. Also, Dominic, who seemed happy enough to be a man on Earth, became a woman named Ash. Going back again opened up a lot of old wounds and traumas, and the group couldn't leave until everyone agreed. Ultimately, they killed Sol, but then the group fractured, with three wanting to leave, and two wanting to stay behind.
 
In volume 2, Split the Party, we return after more weeks or months have passed, and both sides are basically hopeless. Ash the Dictator, who can compel people to do things; her sister Angela, the fairy-powered cyberpunk Neo; and Matt the Grief Knight, whose powers are fueled by his own and others' sadness, are trapped in the besieged remains of Glass Town. Izzy the Godbinder, who can compel spirits to do do favors for her on the promise she'll do them a favor in return in the future, and Chuck the Fool, who can be supernaturally lucky, so long as he remains over-confident and non-self-reflective, have been transported to the far side of the planet. Everyone is starving and desperate at the start of the volume.
 
Die seems to be made up of the remains of the games others have played there before. Glass Town, and the countries Angria and Gondal, were all invented collectively by the Brontes; the conquering army from Eternal Prussia seems like it came from the war games HG Wells used to play on the living room floor with Robert Louis Stevenson. My recognizing this isn't a spoiler, but neither is it something Gillon necessarily expects his audience to already know. The characters certainly don't. An explanation of the allusions is part of the plot. Zamorna, who is as fiendish as he is handsome, is another Bronte creation; he eventually describes himself as a ravisher of 17 year-old girls, dreamed up by a 17 year-old girl who wanted to be ravished. Gillen makes him literally a vampire.
 
The last time the group was on Die, they initially treated is as just a game, the place itself and its inhabitants as unreal. They acted as though their actions had no consequences, as though they were the only people present who could be hurt or who had lives that mattered. They were also, after an unspecified period of just having fun, desperate to figure out how to escape and return home. Eventually they came to accept that Die was real, magical but real, that the people who lived there were real. We don't really know what they did before reaching that point, but we know they regret a lot of it, now.
 
And they regret all the chaos Sol caused, and that their only plan to defeat Sol involved allowing Prussia to wreck Glass Town. Sol, though dead, persists as one of the Fallen, the zombie-orcs that the group used to just think of as generic monsters to kill.
 
Ash, Angela, Matt, and their prisoner Sol go to Angria, where they are greeted by Ash's son, Augustus, who is a member of the Ruling Party here. It seems that as teenagers, Izzy dated Zamorna, then Ash dated Zamorna and got pregnant, and Izzy got a goddess to agree to take over the pregnancy when they all returned to Earth. Izzy and Zamorna arrive not long after Ash, (Chuck is off sleeping with elf queens instead, apparently,) and Izzy confesses to the group's role in the conquest of Glass Town, which gets them all locked in bell jars in prison.
 
While they're locked up, their jailer is the ghost or remnant of Charlotte Bronte, who briefly tells the story of how she and her siblings made up their parts of Die. Allegiances shift, and Ash agrees to help Izzy save the world before they leave again, which involves a complicated plan to temporarily amplify her Dictator's powers to make herself the queen of Angria and place Zamorna under her thrall. We'll have to wait to see what she'll do!
 
Meanwhile Chuck shows up, luckily at just the right time to rescue Matt and Angela, leaving the zombie of Sol in prison. They have a different plan to save the world, so they're off to the races too.
 
Gillen's use of so many literary characters and setting components here reminds me of The League of Extraordinary Gentlemen or Fables, though I suspect the gaming history he's drawing on is much less familiar to most people than the literary heroes and fairy tale figures from those series. 
 
Portal fantasies where you change when you pass through the portal (and I guess magical girl series where you transform to activate your powers) have the potential to include magical gender changes, but I think Gillen has done more with that idea than I've seen before. My one complaint is that Ash is so reserved and taciturn that we hardly know how she feels, or how Dominic felt about briefly becoming a girl and then turning back into a boy all those years ago. Dominic was bi, and maybe the experience helped him accept his attraction to men? But in neither body does Dominic or Ash appear to experience any kind of gender dysphoria. 

 

We get one page of backstory about her relationship with Zamorna, how it intersected with her fraught friendship with Izzy, and what happened to her pregnancy. The emotion is implied amidst a spare recitation of facts, without the benefit an actual voice to lend inflection to the words. You know she's not happy, that her lack of affect is covering up some kind of pain, but all we see is the surface of the black box. We can only guess what's inside it. Maybe there's more coming, but I can't help but wish that Ash was either more expressive or that she had a foil, another character who experienced the same things but reacted differently, so we could discern more about how she felt by contrast.

Paper Girls 1

 
 
Paper Girls 1

by Brian Vaughan
art by Cliff Chiang
Image Comics
2016

 

 

Paper Girls 1 collects the first few issues of a comic series in the 'kids on bikes' subgenre about teenagers in the 1980s discovering scifi weirdness in their suburban cul-de-sac, as popularized by Stranger Things. It's a style of story that relies on our nostalgic memory of the 80s, that somewhat resembles a subset of stories that were popular then, but that also relies on us today having enough distance to have formed a simplified, stylized consensus image of the decade. In the same way that no one would've actually made Grease or Happy Days or Bye Bye Birdie in the 1950s, 'kids on bikes' plots needed that 30 years of distance to become viable.
 
Anyway, our heroes here are four newspaper delivery girls, out on their usual morning routes at 5am the day after Halloween in 1988. Our viewpoint character is Erin, the new girl, who the others recruit for mutual protection against the older boys in Halloween costumes who think it's fun to harass preteen girls when there are no adults around. Erin is enamored with group leader Mac, the first girl in town to get a paper route, who made it okay for the others to get one too.
 
Erin is Chinese American and goes to Catholic school, Tiffany is Black and goes to a different private Christian school, KJ is Jewish, and Mac is White, goes to public school, and comes from the poorest family in the group. Mac uses anti-gay slurs against anyone who threaten the girls, which strikes me as pretty accurate for the time period, while the others appreciate her defending them but wish she'd use different words, which seems like a more contemporary touch.
 
It's fortunate they team up, because they quickly find themselves in danger from a lot more than rude kids. First, the power goes out, almost everyone else in the neighborhood vanishes, and the sky fills up with stars and constellations they've never seen before. The girls get accosted by some creepy-looking guys who speak an alien language dressed all in black. And a flock of pterandons descends on the neighborhood, some ridden by knights in white armor. Things are getting weird!
 
The girls are mostly trying to keep away from anything strange, especially after Erin gets injured, but they (and we, the audience) soon realize that the dinosaur riders are somehow responsible for all this, that the black-clad teens are mostly there to steal local tech while whatever's going on is happening, and that the girls themselves were supposed to have vanished along with everyone else. Also, all of this has something to do with some catastrophe in the future, something bad enough to justify sending people back to pilfer from the past. It helps that a translator device eventually helps the girls understand the future-teens.
 
Eventually, the girls get medical help for Erin, and ditch the knights in white armor, although the boys who helped them aren't so lucky. At the very end, the think they've found another ally ... an older, adult version of Erin!
 
This first volume is very heavy on mystery and set-up, light on explanation. It's probably the kind of introduction that repays you for rereading it once you understand more about how things work. The art is bold and graphic, with an emphasis on showing the emotions on people's faces, and a mix of pastel and neon colors to reflect the palette of the idealized 80s.
 
The 'alien language' spoken by the older boys is a simple substitution code, with a unique symbol taking the place of each letter. Other readers solved it and posted a key online, which I appreciate. We only see the symbols when the boys don't have access to a translator, but I think it enriches the story if you go back and see what they were actually saying the rest of the time after your initial readthrough.