In my reading of comic books, and in my coverage of comic books as a journalist, I tend to pay more attention to the artists who write the words than those who draw the pictures. It’s not that I don’t appreciate what pencilers, inkers and colorists do; I do, even if I often don’t give them the thought (and ink) they deserve. I promise to change. But I am a child of the ’80s, the decade that introduced us to Alan Moore, Grant Morrison and Neil Gaiman and ushered in the era of the auteur scribe — inventive, intelligent scripters with a vision and distinctive authorial voice that was discernable no matter who was making the pictures, even if you didn’t like the pictures. The irony, of course, is that the only reason I purchased my first Alan Moore comic (Swamp Thing #36) was because when I dared to pick it up and leaf through it, the art work of Stephen Bissette and John Totleben knocked me on my ass. Here’s the truth: When you go to the comic book store fishing for The Next Good Thing, chances are it’ll be the visual storytelling, not the word balloons, that’ll hook you. And for me, it often comes down to one arresting page — one that stops me in my flip-through tracks and makes me go: “There’s something special going on here — something worth my time.”
Last Saturday, I had exactly such an experience in my local comic book shop, a dimly lit, uncomfortably humid shoebox of a place tucked away in a strip mall in Long Beach, California. The comic: The Amazing Spider-Man #655. READ FULL STORY »















