(This was part of The Best of Best Shots Column over at Newsarama)
Bronze – Tula Lotay (Image Comics/Vertigo): In Supreme Blue Rose and in Bodies, Tula Lotay’s art in 2014 has explored consciousness, memory, and the human struggle to connect and understand. In both books the fluid chalk and grease pencil look of Lotay’s art feels fresh and new. In Supreme Blue Rose she creates multi-layered, patterned scenes to get lost in. We may never find our way out of that story’s maze, but Lotay’s pictures make that book something to treasure. In Bodies her style is cleaner and simpler, with fewer elements to disorient us as she draws a character with an emptier mind. Her work gives the impression that she has an intuitive grasp of how to translate the writers’ intentions, especially in the face of heavy poetic license.
Silver – She-Hulk (Marvel Comics): Charles Soule, Javier Pulido and Muntsa Vicente packed this series with fun, color, and style, making She-Hulk a joy to read. Soule’s excellent dialogue, Pulido’s deceptively simple shapes and dead-on facial expressions, and Vicente’s flat, bright colors all made this team’s interpretation of She-Hulk more fun and funnier than most comics on the shelves. They gave Jen a lot of heart but kept the mood light. This book never took itself too seriously, but always had a core earnestness. Add in an electrifying guest-artist turn by Ron Wimberly, and this series is a phenomenon to get in on if it escaped your attention this year.
Item to Watch in 2015 – Gotham Academy (DC Comics): Three issues in, Gotham Academy has been flying under the radar compared to some of its cousin publications at DC. It’s had less buzz, less controversy and less praise than a lot of new books but I think it might be a sleeper. The creepy boarding school setting does have the dour, gritty vibe that the new Batgirl team has moved away from. But at the heart of the story, the troubles of Olive Silverlock are deftly handled by writers Becky Cloonan and Brendan Fletcher. Artist Karl Kerschl gives us some of the best facial expressions of believable kids. Maps, Olive and Pommeline are developing into nuanced characters. Something good is blooming there in gloomy Gotham.
Still swooning for THIS guy:
My review, which appeared today (aka Man-Crush Monday) in the Newsarama Best Shots column.
Supreme Blue Rose #4
Written by Warren Ellis
Art by Tula Lotay
Lettering by Richard Starkings
Published by Image Comics
Review by Lilith Wood
‘Rama Rating: 7 out of 10
Supreme Blue Rose #4 continues a nebulous, beautiful-looking story full of characters who have a shaky grasp on time and reality. Readers should expect to be confused as writer Warren Ellis keeps his cards close to chest and sends us in wide circles. Tula Lotay’s luminous artwork grants this book a literary quality, but without it Ellis’s script would read like the metaphysical version of business school jargon. This fourth issue does not give the story much additional traction or forward momentum, consigning it to visual poetry for patient aesthetes.
In Supreme Blue Rose #4, protagonist Diana Dane has fully entered a dream world, leaving behind a recognizable reality where people talked about Instagram and Karl Lagerfeld. Now she’s taken a limo ride on a bridge to the moon, which is the long way round to a town called Littlehaven in upstate New York. We have learned that time can get sick and die, and that the world as Diana (and we) know it is actually only four months old. As Diana says at the beginning of this issue, “I am just not even questioning these things anymore.”
Tula Lotay’s illustration is mostly of and for disorientation, with interludes of connection between pairs of people. One of these connections is between Diana and Doc Rocket. Ellis and Lotay give Doc Rocket a different persona than the original Supreme character, making him an older man with a kindly face. Tula Lotay draws this Doc Rocket with a calm warmth that brings out Diana’s own warmth. The two characters generate a chemistry at the beginning of the issue that cuts through some of the story’s relentless confusion.
To convey a warped sense of time and place, Lotay uses wandering lines that look like pastel crayons and black grease pencil. These float above or beneath washes of color. Sometimes the lights of a night-time city scene or the aurora borealis try to force their way through from the back of a panel. In contrast to the swervy, loose look of Lotay’s lines, almost every panel is rectangular and uniform with clean black borders. Some of these panels are scenes from a television show that is trying to transmit a message from the future.
Besides Diana’s dream-reality and screen caps from a telenovela called Professor Night, this issue also cuts to the hallucinations of scientist Chelsea Henry. The things and places Chelsea sees are some of the most glorious things Lotay has had a chance to illustrate in Supreme Blue Rose so far. Chelsea sees ruins, giant stingrays, dinosaurs, and plaintive figures labeled coolly “late human render ghosts.” Chelsea, like almost everyone else in the story, does not know what is happening to her or how things work.
The overriding message of this book has been that a message is being forced across time and is coming through as garbled static to be decoded. Supreme Blue Rose #4 reaffirms that Ellis has made a book that is garbled static, beautifully rendered by Lotay. So far, this impressionistic success comes at the cost of traditional story elements such as dramatic irony, collectible clues, and energy that builds toward a crisis. Readers who like to get from point A to point B should swim at their own risk. Readers who like the sensation of Brownian motion should come on in, the water’s fine.
First, I don’t find very many male comic book characters to be sexy, but I’m not reading comics in pursuit of sexiness so I don’t really care. In general, comics creators make their men with noses that are way too small and regular. Their faces aren’t drawn with enough detail. They’re just not real enough. Their hands aren’t interesting to look at. Sometimes their eyes are so round, they look guileless. They’re either too handsome or too cartoonishly homely. And big muscles really aren’t interesting to me.
Second, there is an enjoyable ambience of sexiness from the female characters. If a beautiful female character isn’t a prop and is somewhat believable, I usually think she’s sexy. It’s the inverse of the situation with men. The women just lend themselves to sexiness, and then they can kind of kick up a miasma of sexiness for the whole book, even if the men aren’t really participating. I don’t read the kind of books that make me feel extremely sad about how women are portrayed, so I’m not taking those depictions into account.
But what or who do I find sexy among comic book men? Well, there haven’t been that many but here are six in no particular order.
#1) Marko from Saga.
I haven’t been reading this book regularly, but this guy is really appealing. It’s his face that does it for me—Fiona Staples is just good at faces, I think. Even with horns and flappy ears, he looks more like a guy who could exist in real life than most men I see in comic books. I like the lines of his face, his strong nose, his jawline, his angularity, his brows, his deepset eyes, and his lips that are just a little bit full. He looks very intelligent and a little brooding, but also like he’s a good guy. He also looks tired, and looking tired is really important. I have a thing for tired-looking guys. I blame it on working in a seafood plant as a young girl and developing crushes on machinists who were too old for me and would look increasingly wrecked as the canning season wore on. Which leads right into the next guy.
#2) Earl Tubbs from Southern Bastards.
Jason Latour drew Earl so old and craggy and mad. He’s like a tree trunk with big meaty forearms. He’s so tired. He’s exhausted. He has the weight of the world on his big broad shoulders. He doesn’t suffer fools. He has giant hands. He wears plaid. I love Earl.
#3) Bruno from Ms. Marvel.
I feel a little bad that he’s in high school, but I don’t really feel bad, because the book invites me to temporarily relive the sensations of being a teenager. I like how he’s skinny and has curly hair that’s a little long. He tucks it behind his ear in an indifferent manner, and his facial hair situation is a bit haphazard. I like how he’s the all-seeing bystander. Kamala has definitely taken him for granted so far. He is always in her corner and has a delectable dry wit. He does this thing where he furrows his brows and pinches the bridge of his nose with his bony fingers. It’s very realistic! Kudos to G. Willow Wilson and Adrian Alphona for creating an understated character that I want to make out with under the bleachers in some kind of time-travel scenario in which I am definitely not the age I am now.
#4) Tanmay Aayu from Trinadot.
He does look a little like my Uncle Barney circa 1983, but so do half the guys in Portland. Tanmay has a lot of nice features, like a full dark beard, strong eyebrows, narrow shoulders, limpid eyes, unruly hair, and smallish blunt-fingered hands. He’s sort of a monk but on the outs with the other monks. He’s in some kind of danger. The story (which is written and drawn by Melody Often) is full of mysteries and is a little surreal, so I’m not sure what’s going on yet. I do know that Tanmay has a good working relationship with his grandmother and isn’t much of a talker. He has a cute face when he laughs. He takes care of Bea when she’s injured and in her delirium she mistakes him for a small, friendly bear.
#5) Doc Rocket from Supreme Blue Rose.
Look at him! Tula Lotay gives him such warm eyes, and such sproingy hair, and a lot of lines and grooves on his face. He’s a scientist in a beat-up spacesuit. He has some sort of pink tribal-looking graffiti on his clothing and skin. He has either freckles or acne scars—either way, it looks good on him. I like his brushy mustache and how he’s looking out from under his eyebrows. He looks tired, and has great hands. One of them is holding a drink because it’s been a helluva day. We don’t really know Doc Rocket very well yet, because he just staggered out of his rocket at the end of the most recent issue—but this is a love at first sight situation. He’s on the cover of the forthcoming issue, so I’m excited.
#6) Bloody Lips from Elektra.
Michael Del Mundo’s cannibalistic villain is crazy hot. I can hardly take it. Who cares that he eats people? Who cares that you can’t even see his face? He’s steeped in this warm brown glow with little turquoise zing lines, forever associated with summer and youth and water. Writer W. Haden Blackman makes his voice sandy and colloquial, and it works. He’s good at what he does, and he knows it, and he likes it. It makes you think how birds must love flying, and seals must love swimming, and cheetahs must love running. It’s fun to be this guy. He’s not really evil, exactly, he just has goals that are really inconvenient for everybody else. His hands and forearms and veins are incredibly sensual. This is what he reminds me of: The summer I was sixteen, I had a crush on a beautiful crewman on a fishing boat. He had golden skin and wild, curly hair, and it always seemed like light was pouring out of his face. Near the end of the salmon season I was looking out the window of the cannery office and saw the boat he worked on heading out for the last time, not to return until the next year. My crush was in the seine skiff that was trailing behind the boat. As I stood there watching, he leapt like a cat from the skiff into the boat. That leap is what Bloody Lips reminds me of.