The team at Journey Planet had a busy 2024, and continues to be busy, but found time this week to read comics. And as we approach the imminent Hugo Nomination Deadline some of the co-editors — David Ferguson, Helena Nash and James Bacon — offer ten recommendations which cover quite the variety of “Graphic Stories”.
Uncanny Valley by Tony Fleecs and Dave Wachter, Boom! Studios.
Recommended by Helena Nash
This is a really nice little self-contained series about twelve-year old Oliver Peet, who’s just a bit different from his classmates. For instance, jumping from a bridge doesn’t leave a scratch on him, but he does leave a distinctly boy-shaped hole in the ground, not to mention those little birds that briefly circle around his dazed head. Soon, Oliver is on the run from weird-looking talking crows and other cartoonish menaces, and only his estranged grandfather, two-foot tall cowpoke Pecos Pete can save him.
Cards on the table; I love ‘real world meets cartoons’ stories, from Who Framed Roger Rabbit? to Cool World, to Animal Man’s Coyote Gospel to The Banana Splits in Hocus Pocus Park, so Uncanny Valley is right up my street. What hooked me in was Dave Wachter’s eye-catching art, which come in two flavours: delicately painted real-world people and locations in soft realistic tones and shades, and lovely bold flat primary colours for the cartoon creatures invading our world in search of Oliver. The contrast of the cartoon art really pings off the page.
I like seeing Oliver discover the toon-powers he’s inherited from Pete, but it’s the mystery surrounding his birth and the nature of the cartoonish archvillain that’s after him that has kept me reading this series. Issue #6 is a particular delight, as writer Fleecs makes inventive use of a well-known 96-year old cartoon character – now in the public domain – to guide us through Uncanny Valley’s backstory, which felt to me like it could have come from a lost issue of DIE, only with less murky artwork.
Monstress Volume 9: The Possessed By Marjorie Liu and Sana Takeda
Reccomended by James Bacon
The Hugo winning fan favourite series Monstress released its ninth volume last year, reprinting issues #49 to #54 as the series enters its tenth year in ongoing publication. We see a return to older characters in this arc, in a sense, and back to the Known World as Maika Halfwolf along with Kippa and Ren return from the prison-planet of the Old Gods, Golga. A year is a long time, and much has occurred, and we see the Lord Doctor, succeeding in gaining attachment to the monstrum, but failing to connect with Zinn.
Maika, Kipp and Ren are the shining beacon of hope, in a horrific world that has been built, developed for us, that shows the darkness of war and violence, and we see the importance of relationships, comradeship, and how friendships deepend and develop, through a process of reflection and learning and how important empathy is, against the crushing evil, the heavy hand of oppression, and the darkness and horrific impact and effects of brutality and betrayal. The best stories often contain the internal conflict of the person themselves as well as with those who are closest, as well as against the larger evil, which permeates and corrupts.
It is such a compelling read, I am continually astounded by the subtlety of the change in direction, complexities managed and shared and also the incredible beauty of the art, it is so rich and impressive and offers so much to the reader complementing exquisitely the story. Monstress continually feels both well-paced and placed, but here the story leans into something that is important though, the importance of strength through adversity and collective strength, the importance of those around you, and right now, it feels so very timely.
Death Strikes: The Emperor of Atlantis by Dave Maass and Patrick Lay; Based on Der Kaiser von Atlantis, by Peter Kien and Viktor Ullman
Recommended by James Bacon
At first look, one might think that adapting an Opera Der Kaiser von Atlantis, created by Peter Kien and Viktor Ullman, two Jewish artists, in Terezan concentration camp in 1943 might not be of genre interest, but Kien and Ullman created an incredibly fantastical piece of dystopia, folding in mythic and even undead elements and yet it is poignant and pointed.
Atlantis still exists in this world and is a technologically advanced super power, the land of “Blood and Technology” and the brutal Emperor Overall, who is cruel, and uses propaganda, has soldiers fighting in war after war, but he has devised a war to end all wars to rid the land of criminals, everyone, men, women and children, must now fight against one another a “final holy war” that will end with the “eradication of evil in our lands” and so “Our old Friend Death, our flag bearer will raise his sword in Salute to our great future.”
It is utterly insane sounding and yet it is inspired and demonstrates the ability of artists to divine and see not just what is around them, in a given moment, but threatens us all, and it is a thoughtful work to read at this time.
Who will they come for next, well, everyone.
Except, Death is not having any of it. We see a skeletal form in Uniform, like a jaded veteran soldier and he goes in strike! This, even when people are killed, they do not die, creating a horrific situation. Within this, we do have “the spirit of life” and we have to discover whether love can save humanity. An early panel explains much:
It is a wonderful comic, but it is astonishing that work has been saved from the horrors of the Holocaust. The comic includes designs from the original opera as well as additional material. The fact it was created inside a Concentration Camp, never performed, shows us how important art is and can be, that eighty years later, it can speak strongly. The endless war, and the total control of power, is frightening, and so the comedic aspect of Death going on Strike is an amazing twist, quite inspired and there is a sense of relevance to the story as we consider those in power who make bloody minded decisions, that decimate.
An incredible comic.
Conan the Barbarian by Jim Zub, Roberto de la Torre and others, Titan Comics
Reccomended by Helena Nash
If, like me, you were a fan of Marvel’s Conan comics back in the 70s and 80s, with writer Roy Thomas and artist John Buscema at the peak of their story-telling powers, then you might want to give Titan Comics’ take on the sullen-eyed Cimmerian a go. Writer ‘Grim’ Jim Zub clearly knows his Conan, weaving together elements from both Robert E Howard’s source material and Roy Thomas’ classic interpretation, frequently favouring the Lovecraftian end of the swords & sorcery pool, which is fine with me.
He introduces a new recurring character — Brissa, a valiant Pictish ranger — which nicely reclaims the Picts from their depiction as primitive savages in “Beyond the Black River”. And, excitingly for this fan, Zub draws on minor characters from Howard’s back catalogue far beyond the Hyborian Age. To say any more about the comic’s “Black Stone” saga would be a spoiler, but I was particularly excited to meet (once more) a certain tower inhabitant.
The real draw for me though is artist Roberto de la Torre. I can only assume that he has very purposefully modeled his pencil style on John Buscema, and that is just fine with me. Or maybe he was cloned from one of Buscema’s cells? I don’t know. I just love every spare, bold stroke of his brush.
Ultimate Spider-Man Vol. 1: Married With Children By Jonathan Hickman, Marco Checchetto and David Messina.
Reccomended by James Bacon
No one expected Ultimate Spider-Man to be so good, and it was, Issue #1 was just such a good start, introducing us to a 35 year old Peter Parker married to Mary Jane Watson, with two kids and an excellent position in the Daily Bugle. So we have a more mature Peter, who now at this stage, gets his powers.
The comic went to seven printings as demand for it was unbelievable, the concept is not all that far removed, but it undoes all the history we know, or may be familiar with after decades of Spider-Man permeating culture. It was such a fresh and new start and everything is delightfully different, yet familiar and then pleasing as we see Peter meet pals Harry Osborne and Gwen Stacey, Uncle Ben being a pal with J. Jonah Jameson. The villainous side is also different, we have a larger greater threat, deeper and more layered.
It is perfect for anyone who has never been a Spider-Man reader, and would like to enjoy the comics, while also being a really interesting take, which is respectful of the history, but not slavish to any constraints, and allows for really fascinating interpersonal development as we see Spider-Man in this new start, while for experienced readers it offers something fresh and different, re-energised and pleasing.
Self-Esteem and the End of the World by Luke Healy
Recomended by David Ferguson and James Bacon
This comic is an incredible human insight into the imaginative world of comic artist Luke Healy, it is desperately sad and also brilliantly funny, at times it feels tragic, but in the smallest of human ways. Anxiety, self worth, our purpose and focus as one being the centre of everything all seems to come together in this comic. Self help features, the human drive to develop, and the inability of the world to accept.
Luke is a comic artist, and like so many, he feels the value of himself in what he does, his career, it is what he builds his self esteem around, and when this not only starts to crumble, but falls apart because a pandemic, and then logistics issues, it results in a mental dissonance and upset, that unsettles the fragile equilibrium that existed for him, as he resorts to working in the heavily capitalistic high productivity world of a call centre. Soul destroying stuff.
The story is set somewhat in the future, and so climate makes an impact on matters, and this only adds to the doomed feeling and even when he gets a break, it seems that the world is plotting against him, while the mundane every day things, small human thoughts and matters continue to occur.
Empathy and understanding for Healy are worn thin by the story, one feels on purpose as we come to understand if one stops to look away from the page that the ongoing incessant capitalistic drive all around us, the machinery that is now life makes us wonder if is the master of his own destiny, that by doing – something – anything – different it would help him, better him, and such is the erosion of understanding of humans, let alone any appreciation of the human affliction of anxiety that can inadvertently impact anyone.
In the finest of Irish story telling traditions, Self-Esteem and the End of the World is brilliantly bleak, a story that is quietly grim as it acutely looks at human frailty, while also considering the wider world, which in itself is a depressing thought, but also unnervingly funny.
Thundercats: Omens by Drew Moss, Declan Shalvey and Stephen Mooney
Recommended by David Ferguson and James Bacon
The Thundercats cartoon debuted in 1985 and with four seasons there were over 100 episodes of this popular cartoon that saw children running around broom raised in hand shouting “Thundercats Ho!”
It was a fun TV series as we see cat like humanoids escaping Thundera, and there was a fascinating introduction, first we meet Panthro, Chetara, Tigra Wily Kit and Wily Cat and then with the older Jagga introducing the sword of omens to Liono which contains the eye of Thundera which is “Alive” and has “eye beyond sight”. We also meet Snarf. We see that the sword will serve Liono as hereditary lord of the Thundercats. For these people escaping the dying Thundera are the nobles and as such Jagga presents them with personal weapons to them. The ThunderCats and their fleeing people are attacked en route by their mortal enemies, the Mutants of Plun-Darr and they destroy the other pilgrim ships which are unarmed and attack and board the flagship, but are defeated by Liono as the Sword of Omens comes alive in his hands.
The comic takes us on the same journey, we see the escape, and Jagga’s sacrifice, and also the grown up, yet immature Liono and the Flagship which acts as a base on their new home Third Earth but there are aspects that receive brief mention allowing a wonderful mix of action and depth space to flower. The challenges facing Liono, his feelings, his inexperience as they must fight against the mutants, but also we see new aspects in the first issue, there are new courses being charted, so we see that there are connections that previously were not known, and also we see that Sword of Omens is not impervious! As the story continues, we have a totally new adventure, exciting, full of action, and offering a level of depth that really works well, and the first five comics form this story, collected in Volume 1.
The passion from Declan, Drew and Stephen is clear and one feels that this is very much so something they both enjoyed and were delighted to give fans, the art is really nicely done, and the attention to detail demonstrates a real care but the energy and excitement comes through the pages.
Dreadnoughts The March of Progress by Michael Owen Carroll, John Higgins and Sally Hurst
Recommended by James Bacon
Dreadnoughts is set in the world of Judge Dredd, set in the future from now, not very far, the 2030’s telling the history of how America went from a place with Police and a Judicial system to “Judges” with the power administer justice instantaneously, enforcers, investigators as well as judge, jury, sentencer and even executioner.
The concept of Judge Dredd was at its core was to demonstrate forty-eight years ago, the risks of facsism and a dystopian world where democracy was no more, it had a political aspect to it and it has confronted the challenges of Democracy and rights, in very inventive ways over the years, but Dreadnoughts just leans into asking readers hard questions, presenting stories that feel relevant and are so timely.
There is a patience and thoughtful approach, this is the second volume following on from Dreadnoughts Breaking Ground, which was a brilliant start, here we continue, and there is something horribly fascinating as we see the development of the dystopian aspect, as we are presented with two stories in this volume. All in the name of progress, we see the oppressiveness and flaws, how democracy could be challenged and of course, that is very poignant at this time and yet it keeps its focus, tells individual stories.
We follow Judge Veranda Glover in Boulder, Colorado there is a subtly to the view of the near future, how do people get to the eventual place of an allegedly benevolent fascism that is brutal, one that is course littered with corruption and here we see that journey although it is gentle, allowing the reader to reflect and consider Glover’s actions and the world she is in as we move forward. It is interesting to see how protests and riots are portrayed and there are layers to what is going on, although adding criminal elements allows us to follow Glover on a procedural while not ignoring the broader situation.
There is also a standalone story “Nothing to fear” which is a very different pace and setting as we see a smaller situation, with Judge Beckett entering a small town in Wyoming and we see how much disruption it causes to the quiet and settled corruption and criminality that works under the calm surface. There is the classic “Marshall” coming to the Western town sense about it all and it is full of action without the loss of the broader sense of power shift and concern over the future.
Dreadnoughts continues to fascinating and brilliantly build a near future removing much of the fantastic from the Judge Dredd world, over 100 years away and we are left with much more personal and human, even familiar situations, that are then powerful in their portrayal and one can feel a connection to the now. Fear is such a lever as well as a powerful emotion that creates energy and empowers those who set out top abuse trust and it is a tool that can be used to implement a demise of democracy.
Everytime I read Dreadnoughts, and the stories are continuing in the pages of the Judge Dredd Megazine, I feel it is exciting and fresh, but also of the moment, or perhaps I think about particular current events that resonate in reflection. It is one of those comics that captures the imagination and thoughts easily.
The Silent Scream by Ash Redburn, Cinecrypt.
Recommended by Helena Nash
I came across this short one-off comic at a weird fiction convention last year. It was the cover that drew me in; beautifully rendered monochrome headshots of three giants of silent horror movies: Max Schreck as Count Orlok (Nosferatu, 1922), Lon Chaney as Erik (The Phantom of the Opera, 1925) and Conrad Veidt as Cesare (The Cabinet of Doctor Caligari, 1920).
The story begins at the Paris opera house, with an iconic gaunt silhouette creeping up the ornate stairs to a private box, where a familiar masked figure is taking in the evening’s performance on stage. The two old monsters meet, exchange pleasantries and make a deal of sorts, which involves a vial of blood and the somnambulist Cesare.
So far, so League of Extraordinary Gentlemen, but where The Silent Scream differs from Moore and O’Neill’s series is Ash Redburn’s art, which faithfully evokes the black & white imagery of those old 1920s horror films. It’s almost like one of those old magazine photostories, but rather than just pasting word balloons onto some screen-captured stills, here the artwork remixes and blends its visual source material, creating a truly original monster mash. The writing too does justice to its origins but takes the result in new directions. After all, what would the Phantom and Nosferatu talk about?
The Legend of Luther Arkwright by Bryan Talbot
Recommended by James Bacon
It is incredible that Luther Arkwright stories written and drawn by the versatile Bryan Talbot began in 1978, and now we have the latest story to consider, The Legend of Luther Arkwright. The artwork continues to be beautiful, and richly drawn and complements the story perfectly.
Set in the science fictional multiverse that allows for some very subtle and some really cleverly in your face visions, extrapolating on current trends and concerns, there is an incisiveness to Talbot’s work, where pages are filled with visual treats and threats, as we journey with the psychically powered Arkwright as he navigates a selection of parallels that have already diverged from our own, and we see the potential hellscapes that we might ask ourselves, if we are lucky to have avoided, while contemplating what might have been. There are many storytelling devices deployed with the comic, which immerse the reader into the story.
Arkwright is of course, in an existential battle, one that is full of action and quickly paced, and it weaves excitingly, as the reader is never sure footed about where it will lead, and whether there is some conjuring story telling trick ahead, as Talbot manages the adventure.
There are thoughtful moments, times when we see development and learn of characters and there is at this stage also pause to reflect back over “history” and for those who have read The Adventures of Luther Arkwright and Heart of Empire there is a continuity and continuation that is satisfying, yet this is a tale that can stand alone.
It is so much a story of this instance, even as we see parallels which are removed from our reality, they speak to the reader, gives a sense of possible place, and while the original adventures reflected on a war within Britain while being relevant to the world in 1978, the story published now features the media and leans heavier into the political fight, and one feels the issues absolutely resonate with the now, of this actual moment in 2025. It is frightening that a work which was started some years past can yet be eerily so painfully evocative and touching here and now.
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