If there was a book that isn’t Sandman more deserving of oversized, supersaturated Absolute edition, Promethea is it. It’s a sometimes-skipping, sometimes-running, sometimes-strolling journey through a dream world as wild and beautiful as Neil Gaiman’s but ruled by a warrior-queen who’s everything Wonder Woman ought to be.

Promethea is a living story, and she’s just taken over a new human host. The previous incarnations, like something out of Joseph Campbell, have all left their mark on her, and they each have something to teach young Sophie Bangs, a college student whose research has led her to Promethea’s tale.

I love Alan Moore (which should almost go without saying) and yet I’d never read these stories, which are probably the most like me of any of his works. Promethea is in one sense the wealth of woman-knowledge and magic passed down from generation to generation, and that’s an idea I can certainly get behind. But the story is less about ideas than about feelings; less a story than an experience.

Imagination-scapes unfurl across double-page spreads full of symbols that evoke a visceral reaction and yet are things you’ve never seen or heard of. It makes me want to write, or dream, or write about dreams. Hell, it makes me want to draw, and I’m no good at that.

Layered into the story are thoughtful critiques of power, hierarchy, patriarchy, as well as pokes and gibes at mainstream comic storytelling. The tale gets stranger as it goes on, spinning off into splashy explanations of Moore’s thoughts on magic and myth within the myth he’s created.

It’s less a narrative than a trip, fables layered on top of stories and characters’ identities shifting into dreams. If Watchmen is Moore’s Ulysses, then Promethea is Finnegans Wake and it demands the same experience—stop trying to make it make sense and just let it wash over you and enjoy the ride.

This week kicked off with some interesting news, with Wizard CEO Gareb Shamus announcing that the ailing entertainment company would be assuming the reins of FunFare, a toy magazine aimed at younger children.

Yet at the same time, we’ve also heard reports of even more layoffs, in addition to general complaints about Wizard’s online store. With competition looming in the convention department, and Wizard’s staff and funds shrinking to the point of consolidating into one New York office, what’s the company’s next step?

You may be surprised, but apparently it’s taking over a new convention — in Toronto.

According to the Beat, Wizard has announced that it has purchased the Toronto Comicon. “We’ve always had a strong following in Canada, so buying the Toronto Comicon is something that allows me to give back to our fans. These attendees are known to be serious collectors and comic industry followers,” Shamus said in a press release.  “I am thrilled to offer the guests, celebrities, artists, dealers and exhibitors to our Canadian audience for the very first time.”

Peter Dixon, the former owner of the con, will be “intimately involved” with the new management, who are scheuled to debut the all-new, all-different con in 2010. But with Wizard’s shrinking fortunes, is this a sound reinvestment strategy, or a Hail Mary in the face of opposition from exhibitors like Reed and websites like, well, us? What say you, Rama readers?

Did you give Mysterius the Unfathomable a try during its DC Comics WildStorm six issue run? After reading the last issue of the series, out last week, I’m as big a fan as when I started and I can only hope that this is not the last we see of the magician/mystic/detective and his lovely assistant, Delfi.

Created by the team of writer Jeff Parker (Agents of Atlas) and artist Tom Fowler (Mad Magazine), this series says goobye for now. A lot has been said about the quality of this series to which I add that this is one you’ll want to read more of once you let yourself inside this fully realized world of quirky supernatural goodness.

It’s in the last couple of issues that things come to head between Mysterius and Delfi. With their lives in mortal danger, Delfi lashes out at her boss for being so selfish as to allow them both to get into such a mess. Just when he needs her the most, she abandons him. Of course, Mysterius does not realize how badly he’s behaved or how badly he needs Delfi. In the end, they both may need each other far more than they could ever admit.

And that is at the heart of this story. Nevermind, for a moment, the witches, the zombies, and the pits of hell that also make up the plot. Basically, this is a buddy story. Mysterius may seem to be a dapper yet bumbling middle-aged man with a pot belly. But, when he’s teamed up with the right assistant (this time it would be Ella Tamblyn aka Delfi) he has a better than even chance at summoning his formidable magical powers. It also helps if he can somehow make a human connection with his Delfi and, despite himself, he just might be able to inspire her to help him. Some pretty successful comics titles are based on much less. The foundation is in place for this series to come back with a bang and I would prefer it to be sooner than later. Check out the Word Balloon interview with Jeff Parker where he says he’d love to pursue more Mysterius comics and would definitely see a possible TV show. His first choice for an actor to play Mysterius would be Geoffrey Rush. I still see Bill Murray as a contender but I can see why Rush would fit right in.

Thanks to the artistry of Tom Fowler and colorist Dave McCaig, all hell can break loose spectacularly in this final issue. Human (and nonhuman) excess runs amok in this satire of Burning Man which is worthy of the best Mad Magazine parody. Much has been said about the European look of this comic. I would go ahead and say it is a European style, both in the writing and art, which is made up of elegant detail, delicate exaggeration, and overall irreverence. Most of these characters are mercilessly drawn with more than a little junk in the trunk. Things are played up for laughs and it works quite well here even when depicting minions from hell battling zombies. Americans can sometimes take things too seriously, including minions from hell and zombies.

Understandably, Mysterius the Unfathomable is a special taste, sort of like Seaguy, but easily accessible. Once you get the collected trade to this year’s best kept secret in comics, you’ll see what the fuss is about and you’ll enjoy lingering over it. Here’s a sample of a nice added touch of spookiness. Delfi and Mysterius are en route to see a client when Delfi thinks she sees something strange:

Delfi: Wait–No…How did he turn the other way so quick? Look here, bird!

Mysterius: You…can’t see his face?

(pause)

Mysterius: Did that bird not have a face?

Delfi: Well, I’m sure it did, I just couldn’t see it. No big deal, sorry to stop everything. I just do that.

Mysterius: No, it is a big deal if it was a portent. Faceless bird…

Delfi: Can’t a portent be for something good?

Mysterius: Almost never.

Towards the end of this story, just when everyone should be resting easy in a comfy epilogue, off in a corner, there it is again, that bird without a face. What a cool and eerie way to say that Mysterius remains at your service.

While not a sales juggernaut like some artists (*cough* Hitch *cough* Lee *cough), artist Chris Sprouse does have a dedicated fanbase… one of which I am a part of.  So it’s great news to read on Sprouse’s blog this week an update on his comics projects. He’s currently at work on a new Tom Strong miniseries with writer Peter Hogan called Tom Strong: Robots of Doom. While original writer and co-creator Alan Moore isn’t returning to the character, Moore has given the blessing for his co-creators to continue on the ABC creations if they would like (such as the recent Top 10 miniseries).

According to an earlier blog post by Sprouse, the plan is to do several miniseries “so that Tom Strong can live on–Hellboy-style–as an ongoing series of self-contained mini-series.” While this new miniseries hasn’t been official solicited by DC/Wildstorm/ABC (is that confusing?) yet, this writer expects a Late Fall 2009 release.

It’s time to be super self-referential here; my instant reaction after reading Ex Machina #42 has to be re-said here:

The problem with Ex Machina from @WildStorm is when it’s on my pile, it ruins every other book in its wake of awesomeness. So. Damn. Good.about 8 hours ago from TwitterFon

TheGeek616

Lucas Siegel

I think that’s the best 140 character sum up of the experience of reading this book I could come up with. The true measure of greatness that Vaughan, Harris, Clark, and Mettler have achieved is that this story is perfect as a comic book. It could be told through another medium, but it wouldn’t be told as well.

The art in #42 has to be mentioned first. I’ve always been a fan of Harris’s art, but the way he has grown in his storytelling over the course of 42 issues has been incredible. In this issue, there are 8 pages of conversation with no real action. The story, thanks to both the great flow of the actual words and primarily the story telling in the art. The first half takes place in a dark underground room, and most of the conversation features the two characters’ hands and their shadows. It’s such a brilliant device and it made the whole thing that much more exciting. There is some action in this story, however, and while it is a little more static that some artists’ work, that is actually the preferred style here. The snapshot style of his art serves the building tension beautifully. The last three pages were especially gloriously creepy, and while the reveal at the end was expected, it was still exciting to see. Clark and Mettler know exactly how to bring out the best in Harris, and these three should work together for the rest of time.

Brian K. Vaughan continues to top my favorite writer on a regular basis: himself. While Y: The Last Man has been my favorite comic for quite some time, the final year of Ex Machina may change my mind. This issue is remarkable in that it tells a solid story on its own, it fits into the current story arc nicely, revealing just enough about the past and present to keep it going, and fits in the overall 42 issue so far story, building on what has come before and setting up the future. This is comic book writing at its absolute finest. It proves that characterization is just as important as high action, and the balance between the two that should be reached in any story. Vaughan definitely rewards longtime readers, showing that he’s had an overall story in mind for Mitchell Hundred since the very beginning.

I can’t wait for more Ex Machina, and oddly, thought it is one of my favorite reads, I can’t wait for it to end. All that means is I’ll get to enjoy it all over again, and more easily share the whole story with others.

So if you’re not reading this, I’d like to know why. The book has something for political fans, superhero fans, fans of deep characterization, fans of conversation, fans of writing taking the forefront, fans of art driving the story. This. Is. Comics.

It’s been years in the making, but Planetary #27 may make its triumphant return in 2009!

Wildstorm announced a new “creator-driven” series of books at the ComicsPRO conference in Memphis that will make their way into stores in 2009.

One of the questions discussed is the legacy of Grant Morrison, whose WildC.A.T.S. and Authority relaunches were left unfinished. Hank Kanalz of Wildstorm said that WildC.A.T.S. “will be completed as a graphic novel, and will be solicited when it’s complete.”

The Authority, meanwhile, will be completed by Keith Giffen and a number of different artists.

In addition, Kanalz announced several new series.

PS238’s Aaron Williams will team up with Fiona Staples to create North 40, which deals with a Midwestern town and its hidden book of nightmares; Red Herring, by Dave Tischman and Philip Bond, will be a series of miniseries logged as “Daily Show meets X-Files”; David Lapham will create Sparta, a magical story about a town built around a football team; and Jeff Mariotte will mastermind Garrison, an FBI procedural tracking down a serial killer.

[Via Nerdage in Memphis.]

Mysterius The Unfathomable #3

Created by Jeff Parker and Tom Fowler

DC Comics - Wildstorm

This is a limited run that should continue because of all its eye-popping intelligent goodness. An old school magician, turns out to be a real wizard, pals around with beautiful young women, likes antiques. Sounds good so far and it only gets better.

In issue 3, we find our wizard, Mysterius, hot on the case with his lovely and wisecracking assistant, Delfi. His client is eager to rid himself of a witch’s curse and this has led the sleuthing duo to Grant’s Tomb just as it blows up.

You can see Tom Fowler, the artist, embrace the MAD Magazine tradition of exaggeration and turn it into his own in the ongoing strip for MAD entitled, Monroe. And you see his style in full bloom in Mysterius with a gorgeous cinematic kick as his talents blend with the writer, Jeff Parker. This series howls with life. The explosion at Grant’s Tomb propels the characters in all directions with the witches making their getaway in a hatchback. But, hold on, captured perfectly in one panel: out of the rearview, the witches spot Mysterius tauntingly holding up the idol they all seek.

The energy never lets up in this multi-textured series. You get all sorts of little asides: a bunch of hippies off on a road trip, a sidewalk con artist outwitted at cards. The atmosphere is palpable. You even get a book within a book, held up for you to see, full of crazy art and incantations. 

The story of Vic Chesnea is further explored. He was the first client we got to know in issue 1. He is in limbo, one part in hell and the other clinging to reality. This is the result of a séance led by Mysterius. Although it really wasn’t his fault, Mysterius finds himself further and further involved in bringing Vic back and making sure all the ugly ghoulies from hell stay put.

We get a generous helping of these ghoulies. It is an ambitious depiction successfully executed. Mysterius and his team are frantically dripping candle wax to ward off evil spirits, as the mansion fills up with fog. Then, from the mail slot, the first demon strikes Delfi. Erika grabs a sword. And Mysterius yells out, “Yes, now whack that tongue off my assistant!” This is a lot of fun. It is just as good, if not better, than some of the best movies with goofy demons, including Ghostbusters. Come to think of it, a movie pitch for Mysterius would have to say, “leading man role of wizard playboy suitable for Bill Murray.” 

Last year, WildStorm did something bold: the heroes full-on lost, the world was destroyed, the population decimated, and every book set in that universe had to drastically change. The pro-active teams and heroes of this slightly more “extreme” world suddenly had to fall back and play the protection game. Some of them were killed, and worse, some were simply taken out of commission (How can you be a King of Cities if there are no Cities left?).

There were a couple of stumbles and missteps with the relaunches of the core books, but now that things are running smoothly, the folks at WildStorm have created a story that runs seamlessly between Gen 13, Stormwatch: PHD, Authority, and Wildcats.

That’s not to say the story is constantly moving back and forth between every issue of every book. The fine line between a cohesive universe and annoyingly disjointed stories has been walked nearly perfectly here. You can read any one of the four books and have a full story. You’ll be lucky, as well, because DnA, Chris Gage, Edgington, Beatty, and Utley are telling some very cool post-apocalyptic stories individually. The way they weave together is sometimes subtle, like a single location or character being mentioned in two or more books, and sometimes elaborate, with entire scenes replaying across more than one book. This is done sparingly, so it doesn’t induce any rip-off feelings, just a sense of cool.

The world hasn’t magically snapped back into place, the internal conflicts amongst each team are much more dire (if they can’t trust/rely on each other, they’re screwed), and it’s making for a truly new world, new dynamics, and new stories.

The other nice way they’re tying the stories together is through four part backups that run in each of the four books. Now for this, yes, you need to get all four for the complete story, but its not essential stuff. It does, however, further grow the universe and the other characters that live in it, and set up stories for later. A nice bonus to include, and while they’re at varying levels of excitement, they still make the whole post-apocalyptic world feel much larger and more devastating.

In an industry where continuity between characters (or even between a single character and himself) can get quite confusing, what WildStorm has done here isn’t just a successful experiment or a breath of fresh air, it’s a truly cool project that excites this Non-Jaded Comic Fan. Stories that stand-alone, issues that provide large looks at the characters involved while also adding to a larger tapestry, and the strongest inter-book continuity out there makes for some great reading.