Tag Archives: Christopher Priest

Indubitable Issues and Pull List (02/07/18)




Tyler’s Recommendation…
Swamp Thing Winter Special #1
“Tom King and the late Len Wein team up for a special edition Swamp Thing story. As a big Swampy fan, I’m very excited for this special. Tom King writing anything has my attention at this point, and I can’t wait to see what he and Wein have come up with.”

Continue reading Indubitable Issues and Pull List (02/07/18)

Priest Taking Over Justice League, Humphries Taking Over Nightwing

Writer Christopher Priest of Deathstroke, Black Panther, Deadpool, The Ray & Captain America will be taking over the Justice League ongoing title with art by Pete Woods of Backlash, Catwoman, Action Comics, Robin & Deadpool at issue #34 in December. In addition, Sam Humphries of Green Lanterns, Jonesy, Avengers AI & Uncanny X-Force will be taking over writing Nightwing  with art from Bernard Chang of Batman Beyond, X-Men, Cable & Superman. More details at CBR here & here

NYCC: Black Panther 50th Anniversary Panel

Gil Kane

On Friday at New York Comic Con, Marvel held a panel observing the 50th Anniversary of Black Panther. Created in 1966 by Stan Lee and Jack Kirby, Black Panther debuted in the pages of Fantastic Four #52. Lee and Kirby were at the height of their collaboration at this moment, having just wrapped a string of stories introducing iconic figures such as the Inhumans, Galactus and Silver Surfer. The issue prior (#51) told the classic tale “This Man . . . This Monster!” Given this high level of quality, it is hardly surprising that they would not miss a beat when premiering The Big Two’s first black superhero. Two years later, Roy Thomas added the Panther to the ranks of The Avengers just in time for T’Challa to share Earth’s Mightiest Heroes’ initial encounters with Ultron and The Vision.

Despite their canonical status, the NYCC panel was mostly silent on these earliest Black Panther stories. Instead, they cited the work of writer Don McGregor as the foundational Black Panther tales. In the early 70s, Marvel launched Jungle Action as a low-profile series reprinting old adventure stories from the 1950s. However, much had changed in America since the 50s and McGregor found much of these stories racially offensive. (A cursory glance at the initial covers suggests that these narratives revolved around a generic Tarzan type rescuing a fearful white woman from all sorts of rampaging jungle beasts). Eventually editorial grew tired of McGregor’s complaining and assigned him the task of writing new scripts for the series. As McGregor explained, “jungle books didn’t sell, so what did they have to lose? They could simply cancel the series and say ‘hey we tried.’” Then in the tradition of Frank Miller, Jim Starlin and other creators reviving moribund properties, McGregor refashioned Jungle Action into something iconic.

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Podcast Episode Thirty Four

image Just Dean & Pat this week to talk about the comics as Alex was ill from some combination of Pat’s singing and the micro-brew beer’s he’s been drinking. The guys talk about the excellent Black Monday Murders, The Vision, Black Panther, All Star Batman, Deathstroke and all the usual inanities

Tuesday Top Ten: Political Comics

With the political climate heating up in the US, and Marvel’s Captain America: Civil War premiering this week, we put together a list of our ten favorite comics dealing with political issues…

Prez 2 Ben Caldwell

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The Rough Guide To DC Rebirth

Like Marvel comics has had before them, today I’m taking a look at the new DC Comics Rebirth lineup of titles announced last weekend. DC Comics attempted to reboot in the summer of 2011 with their New 52 initiative. Though initially successful, readers quickly tired of the redundant writing & art styles that was often overtly in your face with little substance and dated concepts, while creative talent left the books in droves over accusations of overreaching editorial mandates. In 2015, the publisher began walking away from the concept; first with their Convergence event whose story was used to reestablish the Multiverse and then the DC You initiative,  a sincere attempt to diversify the style and creative talent on their line of books. In spite of some really great comics, DC You failed to reestablish the publisher’s already shrinking market share while the one two punch of Star Wars & Secret Wars allowed chief competitor Marvel Comics to dominate the direct market. During WonderCon 2016, DC Comics announced another new initiative with a relaunch of the publishers comics with new #1’s and creative teams for their series of titles. Some look great, some of the creators brought in during DC You have leveled up, some familiar faces are sticking around, some new writers have been brought into the fold and some comics vet’s are returning after years away from the publisher. Some books look great, some have potential, some look kind of bland and some look like hot garbage. Will divide the contenders from the pretenders with Yay, Mayhaps or Nay. As always, remember that not even all of the creative teams have been announced let alone all the possible series so this lineup is subject to change.

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Review of Deathstroke Rebirth #1

384464._SX640_QL80_TTD_by Christopher Priest, Carlos Pagulayan, Jason Paz & Jeremy Cox

After a long hiatus from the industry, comics great Christopher Priest returns in Deathstroke Rebirth #1 and proves that he hasn’t lost a step. Deathstroke Rebirth is sharp & insightful from it’s opening page until it’s conclusion with the writers trademark whip smart dialogue and brutally honest world view.

Created by Marv Wolfman & George Perez for their seminal New Teen Titans series in the 1980’s, he’d be a recurring villain in their iconic run on the title as a sort of proto-Deadpool in design and backstory. Since then, he got a brief solo series while being mostly utilized as a plot engine in DC event’s and crossovers like No Man’s Lands, Identity Crisis and Infinite Crisis. That all changed during the New 52 relaunch where the character and his solo series have become a fixture at the publisher in addition to their hit Arrow television series despite the comic rarely if ever moving the needle in terms of sales or conversation. Prior to the announcement of Christopher Priest on the title, the most notable event for the character in the New 52 had been when Rob Liefeld left the title and proceeded to have a meltdown on Twitter. Enter Christophe Priest.

Having left comics in the early 2000’s over dissapointment with his The Crew series being cancelled at issue #7, Priest influence on the medium has become more pronounced then ever. As Image Comics and similar mainstream publishers found success publishing creator owned comics with unique voices and style followed by Marvel & DC’s swift  integration of those creators onto their properties; the DNA of Priest’s biting sarcasm, gift for satire and insight into current events, politics & pop culture is engrained in some of the celebrated work of writers like Matt Fraction, Nick Spencer or James Asmus. Comics Priest wrote over fifteen years ago feel as fresh and in step with current trends as any current ongoing. Meanwhile; the writer spent years waiting for either Marvel or DC to offer him a character that wasn’t black. Finally, someone at DC Comics had the foresight to offer Priest the job on Deathstroke and what we have now is Deathstroke Rebirth #1, quite easily one of the best Rebirth books in the publishers two month old relaunch.
That may sound like faint praise as the quality for the majority of Rebirth one shots has ranged between mediocre to objectively terrible; often without that being indicative of the actual series going forward. Priest makes Deathstroke Rebirth work mostly by just being Priest. While readers only familar with his most popular work may not get the same level of humor they are used to seeing from the writer, it’s easily supplanted in Priest’s subtle approach in tackling serious issues with a casual naturalism, his sharp ear for engaging and believable dialogue or his unique style for plot structure. One particular example comes when Deathstroke says “I have son’s” and the book backtracks from the present to a flashback of the character’s own harsh parenting of his two male children and then jumps forward with the quote “I had sons. They died when I put on this uniform, just like your’s the day you did” It’s a brilliant piece of writing synochracy that reveals new elements of the character which still feeling completely inline with his past iterations. It’s emotionally devastating on multiple levels and then closes out with the coolest line possible. Deathstroke Rebirth is filled with that particular kind of Preist genius; a casual negotiation with an African facist warlord about the use of political lobbying influence with a Super PAC before the next page pans out onto the carnage of the battlefield, Time Master evading Deathstrokes assassination attempts by projecting himself on a seven second delay, the “pups” chapter; it’s a masterfully written comic done squarely in the singular voice of it’s writer.  While the art is decidedly unspectacular; it’s by no means bad and does it’s job in a smooth visual narrative without any noticeable mistakes of gaffe’s. It doesn’t stick out but with the quality of writing here, it doesn’t need to.
Even as so many modern comics writers have incorporated Preist’s style; he still feel’s like a breath of fresh air on Deathstroke Rebirth #1. Not following the trends of the time period the he helped start or Rebirth’s one shot format; Deathstroke Rebirth #1 is a sharp and engrossing single issue comic that penetrates to the core of both it’s main character and his world but also parallels our own with it’s insights in equal measure.