2019 Eisner Best New Series Roulette

by Steven Harris & Tara Lawson-Harris

Last month, the 2019 Eisner Award nominations were revealed. The Eisners are awarded to those who are succeeding in the comic industry and pushing the envelope in comic book storytelling.  One category to watch this year is the The Best New Series category. For the first time in Eisner history, publishing company Image Comics has completely swept the category.  Despite knowing about some of these books, neither of us have ever read any of the series nominated. In order to figure out what all the fuss is about, we each read the first issue of each nominated series at random and have provided our initial thoughts below! 

Bitter Root #1 

Creators: David F. Walker, Chuck Brown, Sanford Greene, Rico Renzi 
Publisher: Image Comics
Release Date: November 14, 2018

Steven’s Initial Thoughts:

I was very impressed with the first issue of Bitter Root!  Despite being a fan of Walker & Green’s Power-Man & Iron-Fist book that was published at Marvel in 20__, I must admit I was unaware that this book even existed.  The premise of an all black family based out of 1920’s Harlem, who uses a combination of witchcraft and steampunk technology to fight demonic manifestations of racism and hate, is a book that I never knew I wanted.  The family dynamics of the Sangeryeo clan are laid out clearly in a way that doesn’t feel like the characters are exposition machines merely there to catch the reader up to speed.  Artist Sanford Greee and colorist Rico Renzi are a fantastic combination.  The opening pages that take place in a Harlem Jazz club feel alive and full of creative energy.  Bitter Root feels right at home in a world where creators like Jordan Peele, Ryan Coogler, and Boots Riley are attacking age old problems that people of color face in the modern world.  By the end of the first issue, I can see this book potentially finding its place into the canon one day because of its unique ethnogothic flavor. 

Tara’s Initial Thoughts

This book seems to be the most complex and important of the nominees. It’s well researched, and it’s clearly driven by passion and rage. I don’t think it’s my favorite book at this point, but I can tell that this book is needed in the industry. It’s one of the books where I’m not the target audience, but I can still see why the book matters— I’m sure many comic book readers feel similarly about ManEaters. I do like the characters in this book, especially Blink and Berg. The way Berg uses language is entertaining for the reader, and also serves to slow the reader down to process what is being said, which is a nice touch. 

Crowded #1

Creators: Christopher Sebela, Ro Stein & Ted Brandt, Triona Farrell, Cardinal Rae
Publisher: Image Comics
Release Date: August 15, 2018

Steven’s Initial Thoughts:

Out of all the issues we reviewed for this post, I found Crowded to be the book I was least likely to return to after its first issue. The book is wonderfully clever with its satirical look at the modern practice of relying on crowd sourcing apps and where that practice could potentially take us. However, its central characters were not compelling enough for me to continue to follow. The twist at the end of the first issue was easy to guess and the central dynamic between the main characters felt so strained that I can not seen how this book can exist long term. I think this story is better suited as one off OGN. 

Tara’s Initial Thoughts: 

I liked this book reasonably well. When it first opened I was reminded of Heroes for Hire in the sense that you could hire superheroes. As the story progressed, that idea combined with what was basically Kickstarter Murder. The emphasis on technology in this work makes it grounded and relatable, but also runs the risk of making it too trendy. 

My favorite character is Vita and I’m interested to see where her character development goes. Charlie stresses me out, and I kinda want to see her get her ass kicked. However, I can see the chemistry between the two, and I suspect that there will be a romantic plot line between them, although I’m not sure if there’s any textual evidence for that prediction. 

Man-Eaters #1:

Creators: Chelsea Cain, Kate Niemczyk, Rachelle Rosenberg
Publisher: Image Comics
Release Date: September 26, 2018

Steven’s Initial Thoughts:

I have made no secret about how much I’ve missed Kelly Sue DeConnick’s Bitch Planet series. After the first read through of Man-Eaters by Chelsea Cain, Kate Kiemczyk and Rachelle Rosenberg, it is seems a worthy successor has made its way to the spinner rack. By utilizing a ludicrous concept (that women get their periods they become unstoppable feline killing machines), the creators take aim at the stigma around mensuration and femininity in our society. The quirky narration is aided Niemczyk’s clever splash pages that firmly establish the book’s satirical tone.  Out of all the first issues selected, the final page cliff hanger of this book felt like a gut punch. I am intrigued by how long the creators can sustain this book and how far they are willing to push the envelope. 

Tara’s Initial Thoughts:

I like the humor of the book a lot. It’s very sarcastic and witty. It takes a normal bodily function and exaggerates it to the point of “horror”, but it’s a comedic horror. The idea of women’s mood swings and hormones coming from their “pussy” and not men’s rather intolerable behavior is definitely inventive. Taking it to the next level with women’s periods turning women into literal pussies, or giant cats, is also interesting on an animal studies level. I would have to do more research into this, but on a first take, I’ve never heard of a big cat attacking someone for no reason. It’s always because someone invaded their personal space (like we see with a lot of attacks that happen at zoos), or because they were kept domesticated in private homes, or because of illegal hunting (which also makes a solid parallel to rape, unfortunately). 

However, I was expecting a bit more substance from the first issue. I might be biased on this front because, as a comic book reader, I generally trade-wait. But I got to the end of the issue and was surprised that was I there— I turned the page, the story was over, and I was disappointed because nothing much had happened. The entire comic was this weird exposition-through-action thing that writers do when they have to world-build. And I get that a lot has to happen before the story can really unfold; world-building, mood setting, and characters are all things you have to develop up-front. However, I still feel like the entire first issue could be summed up in the one page summaries that some comics have before the story starts— you will especially see it with cross-over events. Which is basically all a way of saying that the first issue felt like exposition, and that the real action will start in the next few issues. I loved the first issue, and I wanted more, but it reminds me of Y: The Last Man and I’m slightly worried that it will be too trendy of a book because of the sarcasm; since comics are written in a serial format, that trendiness can work for sales and not for long-term canonical reasons.

Gideon Falls #1

Creators: Jeff Lemire, Andrea Sorrentino 
Publisher: Image Comics 
Release Date: March 7 2018

Steven’s Initial Thoughts:

The first issue of Gideon Falls reads like the fist chapter of a long forgotten Stephen King novel.   Jeff Lemire— best known for his quieter and more introspective pieces like The Nobody, Essex County & The Underwater Welder —is charging head first into new territory with his first horror series. The mysteries set up within in the inaugural issues are compelling —  but also carry faint echos of LOST or the Dark Tower series where threads are laid but I’m hesitant to pull on due to fear of unsatisfying resolutions. However, without a doubt the most promising part of Gideon Falls is the art of Andrea Sorrentino. On the Secret Empire episode of the Critically Comics podcast, I previously declared my admiration of Sorrentiono’s style and innovative layouts. It is my hope that Gideon Falls will unleash the creative floodgates and let Sorrentino go absolutely bananas with his art duties. 

Tara’s Initial Thoughts:

I think I read the first issue when it came out, but I had forgotten about it. So reading this felt familiar and distant all at the same time. I loved this first issue and would 100% keep reading. I’m curious to know how Norton and Father Fred will intersect. I also want to know why Norton is drawn upside down so much. I’ve always enjoyed reading about people who are maybe crazy, but probably aren’t, and this book has that. I feel like my love for this book means that I should be saying deep complex things about it, but I don’t have deep complex things to say. I liked the tone and how it reminded me of Castle Rock and Fargo. I’m drawn to the characters— I immediately trust both of the m but am wary of that fact at the same time. 

Sky-ward #1 

Skyward #1

Creators: Joe Henderson, Lee Garbett
Publisher: Image Comics 
Release Date: April 18 2018

Steven’s Initial Thoughts:

Despite its simple concept, Sky-ward seems primed for an multi-media adaption. The main concept of living in without gravity seems perfect for a film or VR video game — it would allow for the world to feel so much more alive.  Based on the first issue alone, I can’t shake the vibe that this book was created in hopes of auctioning off the adaption rights in the future.  While the world of Skyward is fun, none of the characters or conflicts created within the first issue do not demand that I return in the future.

Tara’s Initial Thoughts:

I really like the cover, which is why I read it before Jeff Lemire’s book, and let’s be clear: that is the only reason. But it turned out to be a solid read. I felt like there was action, without giving away too much of the plot. The ending was great because it introduced a new character and a new set of stakes for the main character (who at the beginning of the book, I wasn’t expecting to be the main character). The plot of 20 years without gravity and people can’t even remember life without gravity. How. Fucking. Cool??!  Also, based on they first issue, I expect that this will be a great book for disability studies.  

One thing that I like about the book is that it feels outlandish without feeling crazy. I don’t expect to start floating, but if I did start floating and there was a scientist saying “I told you so” I’d be like “yeah, you did, but I didn’t read your article because there are way too many articles in academia, also I suck at math.” 

But I really love that it features a woman of color because the world needs more WOC-led books. Also, the prose is great. It’s been really hard for me recently to be invested in a story for the story and not for feminist, animal studies or non-fiction characteristics, but this book does exact that. But also I feel weird about it because Joe Henderson is a white guy and not a POC. 

Isola #1

Creators: Brenden Flethcher, Karl Kerschl
Publisher: Image Comics
Release Date: April 4 2018

Steven’s Initial Thoughts:

Disclaimer: High fantasy is typically not my cup of tea. However, the world and characters introduced in the first of Isola have intrigued me to return for at least one more issue. As a fan of the creators previous Gotham Academy book, I have no doubt Fletcher & Kerschl can successfully manage the task of world building at an appropriate rate. Despite feeling like this is equal parts King Arthur legend, Star Wars, and Avatar, Isla still feels fresh in large part to Kerschl’s art style. If the creators play their cards rights, Image may have another Saga level smash success on their hands. 

Tara’s Initial Thoughts:

As far as quality goes, this book is definitely top tier—up there with Gideon Falls. It did a ton of world building in a way that didn’t feel like world building, but instead felt like I was just reading a story. It also set up a lot of questions that I look forward to finding out the answers to. The art was beautiful, and I absolutely loved seeing how the Queen looked compared to the other animals in the story. My only complaint is that I would like a bit more character development— at this point I don’t know if the main character is a woman or still a teenager, or why she is with the Queen and no one else is. But I suspect those questions will be answered in the next few issues. 

Final Thoughts:

Steven’s Prediction: I think the book that impressed me that most was Bitter Root. Out of all of these books, Bitter Root has a premise and world I’ve never seen remotely like. After the first issue I’m rooting for this book to have a health life span. However, the book I am most likely to follow the most is Gideon’s Fall. Based on how other locked-box mystery stories have let me down in the past, I am not quiet sure if I’m ready to commit to another story in that genre.

Tara’s Prediction:
My favorite book was Isola, mostly because of its incredible art, but also for its beautiful prose. However, the book that I think is most likely to win the Eisner for Best New Series is Bitter Root. Its subject matter is both important and timely, and the voices feel very fresh.

Football, BBQ, and Moonshine: The Best of Southern Comics

by Tara Lawson-Harris

There’s a new trend in independent comic books—the Southern comic. And these books are delicious. Featuring Southern staples like down-home barbeque and moonshine, these stories highlight what the region is best known for. They also emphasize other great qualities of the South—strong family bonds, a desire to fight for what’s right, and an ability to overcome challenges like poverty. The issues these books tackle, such as racism, the opioid epidemic, and religion, are simultaneously distinctive to the region and relatable to the entire United States.

Unfortunately, this new genre is created almost exclusively by white men, which means you get a lot of the same tropes over and over. There’s a lot of room for growth. I mean, all you really need to do is create a story where the female character isn’t a waitress, stripper, or soldier and you’ve broken new ground. But while there’s a lack of diversity in terms of creators of the genre, the characters being written about are relatively diverse. At least two of the five feature women of color, and one has several people of color included in the story.

So without further ado, here are five great comic books about the South:


S

Southern Bastards by Jason Aaron and Jason Latour (2014, ongoing series)

By far my favorite comic on this list, Southern Bastards is about how the reverence of football leads to a culture of violence and corruption. When Earl Tubbs comes back to his Alabama hometown to settle his affairs, he immediately clashes with the football coach, who is known for having ties to crime in the area. This sets off a violent chain of events that leads to the introduction of the real protagonist: Roberta (Berta) Tubbs, a biracial woman and U. S. Marine who isn’t taking shit from anyone. The first 4 volumes are out now.

What makes it Southern: Football. It’s basically a religion in the book and in the South.

Loose Ends by Jason Latour, Chris Brunner, and Rico Renzi (2017, 4 issue mini-series)

Loose Ends is the only comic on this list that features characters of at least 3 different races. A self-proclaimed “southern crime romance,” the narrative centers on a biracial romance between an African American woman and a white man. While the main story takes place in the American South, there are flashbacks to some of the characters being at war in the Middle East. The characters avoid being stereotypes, and are relatively well developed. There are a lot of characters in the story, so the narrative can be confusing at points.

What really makes this story stand out is the coloring by Rico Renzi. He is best known for his use of bold, neon colors, but in Loose Ends he combines those neons with monochromatic spreads, creating a visual that you never get tired of.

What makes it Southern: Overcoming poverty.

Moonshine by Brian Azzarello and Eduardo Risso (2017, ongoing series)

From the creative team of 100 Bullets, werewolves make moonshine and refuse to sell it to a New York gangster in 1929. Enough said.  

What makes it Southern: Bootlegging, which is foundational to the region’s history.  

Warlords of Appalachia by Phillip Kennedy Johnson and Jonas Scharf (2016, 4 issue mini-series)

This book is set in an alternate history where there was a second civil war, and Kentucky is the last state to hold out. I do want to emphasize that this is not a civil war based on slavery or racism, but instead on freedom of religion. The story focuses on Kade Mercer, a former Kentucky Guard who mostly keeps to himself, until his son is kidnapped by the United States government. Singled out by multiple groups for multiple reasons, Kade must navigate territories haunted by violent drug addicts, all while leading civilians to safety and avoiding being hunted himself.

What makes it Southern: The emphasis on drugs, religion, and family.

Cannibal by Brian Buccellato, Jennifer Young, and Matías Bergara (2016, ongoing series)

This series is about a society where the Yellow Fever returned, and in order to get rid of the plague, people infected were given medicine called a Y-PAK. What the CDC didn’t know when they issued the medicine was that a side-effect caused people to have to eat human flesh—otherwise they die of fever. What makes this story different from zombie stories is that these people are still fully functioning—they have jobs, families, and most importantly, remorse. Cannibal is set in set in Florida, where the outbreak is just now starting.

What makes it Southern: Florida swamps, and the mistrust of outsiders.

This list is not exhaustive of all the Southern books on the market, but it will give you a solid foundation of the genre. I fully expect that some of these books will end up being discussed on the podcast to see whether they belong in the canon.  The quality of these books are a bit of a mixed bag, but as more diverse voices and new stories get published, this will definitely be a genre to watch. I for one, can’t wait to read more of it.

Episode 1.04 – Wonder Woman by Greg Rucka (2003 – 2006)

by Tara Lawson-Harris & Steven Harris

On the fourth episode of the Critically Comics podcast, Tara and Steven discuss Greg Rucka’s first run on Wonder Woman from 2003 to 2006! This episode covers Rucka’s Wonder Woman: Hiketia one-shot, the infamous Eyes of the Gorgan story arc and the controversial neck snap heard around the world. Is Greg Rucka’s first tenure on Wonder Woman the best Wonder Woman run of all time or is corrupted by the forced tie-ins to Infinite Crisis? Join the debate and let us know what you think!

Building Multi-Medial Comic Book Canons

by Steven Harris

After Tara’s explanation of what “canon” means in regards to both literature and this podcast, let’s expand upon what can be considered canon.

While a canon is typically limited to only one medium (i.e. novels or films), with fandoms demanding more content for their favorite franchises, creators are more willing to expand their canon to multi-media platforms. Multi-media adaptions of comic book based intellectual property can never share the same linear canon as their source material due to the never ending nature of comic books. However, due to the strength in the writing of certain adaptions and how widely they’ve been embraced by both the comic community and mainstream audiences, select few multi-media adaptions of comic inspired works can be folded into a particular character’s canon. 

Multi-media canons are not a new phenomena. For example, Star Trek originated as a television show in 1966 and has since become a multi-media franchise that has grown to include five additional television series, thirteen full length feature films, and countless novels and graphic novels. Previously, for a fan to consume everything that existed in the canon of the  Star Trek Universe they would have to consume no less than four different types of media. For a new fan, that much content can be intimidating and lead to struggles in determining what is canon — a debate that is only exacerbated with the inclusion of the dreaded “reboot” phenomena. Reboots often leave fans scratching their heads over what is still in canon  and what is being quietly swept under the rug.

Occasionally, the owners of the intellectual property will descend from their high perch and plainly state for fans what is and isn’t canon. Perhaps the most controversial example of this is when Disney acquired the Star Wars franchise in 2012; after picking up the franchise, Disney firmly stated that from 2012 on only the Star Wars films and Clone Wars animated series would be considered in continuity and that all other stories (video games, comics, novels, etc.) would be considered non-canonical and be retired/rebranded as in-universe “legends”. To further drive home their point, Disney stated they would be creating an entirely new canon that would be established solely by material that they would exclusively oversee. This declaration alienated fans who spent decades enjoying these previously published works because they were being told that the stories they revered were no longer important to the other franchise. This frustration that was all too similar and all too familiar with DC Comics fans who struggled to determine what was in still in continuity after the company wide “New 52” relaunch of 2012.

Sometimes fans themselves are divided about a canon being divided between different mediums. A more recent example of a multi-medial canon is the creation of the Wizarding World of Harry Potter.  If a fan wishes to complete the full Harry Potter canon that was established with the original novels, they must switch mediums at least three times. J.K. Rowling launched Pottermore, an exclusively online library of short stories and various writings that Rowling has stated are all canonical. In 2016 J.K. Rowling co-wrote Harry Potter and the Cursed Child, a stage play that acts as an epilogue to the Harry Potter sage. Furthermore, 2016 saw the launch of the Fantastic Beast series — a five part film saga that canonically takes place sixty years before the first Harry Potter novel and features several characters referenced in the original book series.  The Fantastic Beasts series has been met with a mixed reception with some voicing frustration with J.K. Rowling by comparing her to George Lucas due to her inability to stop tinkering with her previous stories. 

While the previously examples of Star Trek, Star Wars and The Wizarding World of Harry Potter are multimedia canons, they are still linear progressions of the same story.  If a timeline were to be created for any of those franchises, each entry (regardless of medium) could be plotted in a mostly linear path. Comic books and comic books films cannot share the same linear canonical timeline due to the ongoing nature of comic books. At best comic books films can be adaptations of poplar comic book storylines. It would be impossible for comic books films to be anything other than loose adaptations of already pre- existing comic books storylines — film studios would not expect film goers to read the complete 70+ years of superhero comic books before watching a single two hour film. Conversely, it would be just as alienating for a comic book reader to be forced to into a cinema to see how a particular storyline would be resolved.  However, an argument can be be that select pieces of media should have a place in certain character’s individual canon. 

Due to the mass popularity of superhero media, a cross pollination effect has occurred where media outside of comics has started to effect comic books own continuity.  The best example of this is with Batman and how the various forms of multi-medal Batmen have affected the character’s in universe continuity. Without the creative output of Bruce Timm & Paul Dini on B:TAS, there would be no definitive takes on characters such as Ra’s Al Ghul, Mr. Freeze, or the Joker

Unquestionably, the legacy of B:TAS is the creation of Harely Quinn. Harley Quinn first appeared in “Joker’s Favor”, the twenty-second episode of B:TAS’s inaugural season. What could have been an inconsequential throw away character was welcomed by fans with open arms. Quinn made her first published appearance in 1993 in a printed spinoff of B:TAS. Five years after that, Harley officially entered the Batman canon when she was introduced during the No Man’s Land crossover. Within a decade of her appearance on the B:TAS she was given her own solo series in 2001. Since being introduced into the DC Universe, Harely has become a staple in Batman’s canon but has become popular anti-hero and well celebrated LGTBQ icon. Due to fans connecting with the character, she ended up being a lead in 2016’s Suicide Squad feature film where she was portrayed by Margot Robbie.

Another example of outside media having seismic ramifications on the comic book industry is the rise of the Marvel Cinematic Universe. In attempts to capitalize on the success of their films, Marvel has made several attempts to streamline the comic book versions of their characters to match what is seen on screen. The biggest example the MCU has had on Marvel Comics is the way that Iron Man/ Tony Stark has been written for the past decade — what is seen on the page is a complete distillation of Robert Downey Jr.’s personality. (We will dive more into the MCU’s effect on Marvel comic books in an ongoing blog series after Avengers: Endgame is released.)

While our podcast will continue to focus on what published comic books can be considered canon worthy, we will be launching a regular blog post series to determine what pieces of comic book inspired media can included in individual characters’ own personal canon. These characters have transcended off the page and established their own non-linear multimedia canons – canons that are not defined by events that add to their overarching story but instead a canon made up of pieces of work that cut to the core aspects of the character.

Mini-Episode 1: Interview with Colorist Rico Renzi

by Steven Harris & Tara-Lawson Harris

Join us for our first episode of the Critically Comics podcast! This past weekend we had the opportunity to comic creator Rico Renzi. Renzi is best known for his work on Image Comics’s Loose Ends, Vertigo Comic’s Goddess Mode, and Marvel’s Spider-Gwen and The Unbeatable Squirrel Girl. We talk to Renzi about his process, what it means to include people of color in his work, how he felt seeing Spider-Gwen on screen, and what books he would include in the comic book / graphic novel canon.

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Hollaback Squirrel: Other Canon-Worthy Squirrel Girl Comics

by Steven Harris

Earlier this month, we posted the third episode of the Critically Comics podcast. The episode focused on the first volume of Marvel’s The Unbeatable Squirrel Girl and The Unbeatable Squirrel Girl Beats Up the Marvel Universe. (The episode can be found here).

In addition to the material we covered, there have been an additional forty-two issues published. Last week saw the publication of The Unbeatable Squirrel Girl Vol. 2 #48 — which marks the character’s 50th solo issue by Ryan North.  While I believe that the material we previously covered has earned The Unbeatable Squirrel Girl a place in the comics canon, I wanted to discuss some additional issues that we did not talk about on the podcast. The following are the top issues that demonstrate how this book deserves a place in the comics canon with its unique and genre-bending storytelling. 

“Animal House” by Ryan North & Erica Henderson and Chip Zdarsky & Joe Quinones – The Unbeatable Squirrel Girl Vol. 2, #6 &  Howard the Duck vol. 6, #6

“Animal House” is a two part crossover storyline that begins in The Unbeatable Squirrel Girl Vol. 2 #6 by Ryan North and Erica Henderson, and concludes in Howard the Duck vol. 6 , #6 by Chip Zdarsky and Joe Quinones. In this story, Doreen helps Howard locate a missing cat and ends up getting sucked into a larger adventure where they are hunted for sport.  Shannon Sugarbaker, a southern debutante and the villain of the story, kidnaps Doreen and Howard, along with a menagerie of other animal-themed characters from the Marvel Universe — the X-Men’s Beast, Kraven the Hunter, and Weapon II, a Wolverine inspired squirrel. On the surface, the story serves as a loose adaption of Richard Connell’s The Most Dangerous Game. In addition, the book (albeit comically) raises the issue of legal rights of the “advanced” animals / animal hybrids. When applying an animal studies lens to this story, a wide variety of issues become readily apparent. For example, if animals were to gain human qualities like Howard the Duck, what ethical issues would arise with hunting? At what point would we award the same rights and privileges as humans? This thought exercise is just under the surface of the story, and can be a launchpad for several classroom discussions. Due to inspiring such conversations, “Animal House” is a gem of a story in Ryan North & Erica Henderson’s run on The Unbeatable Squirrel Girl.

“Be The Unbeatable Squirrel Girl” by Ryan North & Erica Henderson – The Unbeatable Squirrel Girl vol. 2 #7

In this issue, Ryan North and Erica Henderson break the streamlined narrative expectations of a typical comic book story. Instead, North and Henderson create a choose your own adventure style story. “Be The Unbeatable Squirrel Girl” is less of a title to the issue, but more of a challenge issued to the reader by the omnipotent narrator of the issue, Galactus, who threatens to devour the planet if the readers do not correctly reach the end of the story. By using this creative framing device, North and Henderson place a comedic sense of urgency and duty onto the readers to pick the “correct” path. The sheer nature of a choose your own adventure story requires the reader to physically flip back and forth between pages of the story, an action that requires an extra level of physical engagement with the reader. Additionally, presenting this technique in a comic book format allows the reader to visually follow multiple time lines at the same time all on the same page. Some of the choices readers are faced with ultimately end up merging into the same ending, but North has amusing comments concerning eventuality littered throughout these convergences. Included at the end of the issue is a “secret ending that is only reached through cheating” which is a meta commentary about how often readers “cheat” in choose your own adventure stories by skipping around. While “Be The Unbeatable  Squirrel Girl” could be written off as being too “gimmicky”, it invites readers to physically interact with the issue in a way that 99% of other books take for granted.

In addition, this story gifted the world this incredible panel:

It legitimately might be one of my favorite panels of all time.

The Unbeatable Squirrel Girl vol. 2 #11  by Ryan North and Jacob Chabot

Part of what sets Squirrel Girl apart from other heroes in the Marvel Universe is that when she is not fighting crime, she is an active college student. A through line of Ryan North’s tenure on the book has been Doreen Green attempting to obtain a degree in computer science. In this particular issue, Doreen’s knowledge in computer science takes the spotlight. Most of the issue takes place in Doreen’s dreams — a clever twist on the ages old nightmare of showing up to a test you do not feel prepared for. The supernatural villain, Nightmare, tries to take advantage of Doreen’s insecurities as a student and make her doubt her ability to fully understand computer science. However, in true Squirrel Girl fashion, Doreen finds a solution that does not invoke throwing fists; Instead of punching her problems away, Doreen defeats Nightmare by reciting basic computational control flow statements and explains binary by counting to 31 on a single hand. This issue presents convoluted computer science concepts into an easy to follow comic book story. By incorporating practical and educational segments into the story, this issue shows that comic books are more than mere entertainment. 

“The Mighty Mewnir” — The Unbeatable Squirrel Girl Vol. 2 #15 by Ryan North and Erica Henderson 

While it may not be the highest concept issue, The Unbeatable Squirrel Girl #15 has enough creative ideas to launch multiple analyses. The traditional storyline of hero versus villain takes a backseat to the less thrilling daily adventures of a common cat. While Squirrel Girl fights the Taskmaster in the background of the story, North & Henderson follow a day  in the life of Mew (Doreen’s roommate, Nancy Whitehead’s, cat). The creative team breaks traditional comic storytelling format to emphasize Mew’s indifference to super heroics by forcing dialogue balloons out of the panel. Instead of watching the Avengers confront Taskmaster, readers are invited into the dreams of Mew as she contemplates what exists beyond the mouse hole in the wall. In the end, it is Mew who actually saves the day by indirectly helping Doreen by giving her the idea to use her tail (a trait Taskmaster can’t copy) to defeat the villain. Applying an animal studies lens to the adventures of Mew opens up discussions of how animals are used in literature, and what value they have in the stories they appear in. What is inarguably a one-off issue demonstrates how much creativity North & Henderson have and how willing they are to bend comic book storytelling norms.

“Special ‘Zine’ Issue” — The Unbeatable Squirrel Girl Vol. 2 #26 by Ryan North, Erica Henderson, Madeline McGrane, Chip Zdarsky, Tom Fowler, Carla Speed McNeil, Michael Cho, Rahzzzah, Anders Nilsen, Rico Renzi, and Jim Davis

One of the major underlying themes of entire Unbeatable Squirrel Girl series is the emphasis on friendship and collaboration parties. In the publishing world, there is no better example of collaboration than zines. Zines (short for magazine or “fanzine”) are usually the creative work of several contributing writers who come together and self-publish their work in a single volume. While each writer contributes to the content inside, they all assist in compiling, publishing, and distributing the zine. Because zines are typically underground self-publications, they are often to have an inexperienced and unpolished appearance. The Zine issue of The Unbeatable Squirrel Girl contains all the hallmarks of a zine: multiple stories within the issue, a rough outer appearance and an emphasis on collaboration (both in the issue itself and the creators whose work are featured in the issue). Taking the time to carefully tune the aesthetic of the issue is indicative of the creative energy North and Henderson carry throughout their run. The emphasis on collaboration and on under-appreciated zine publications in this issue makes this series stand out head-and-shoulders above other modern superhero comics.

Episode 1.03 – Squirrel Girl by Ryan North & Erica Henderson

by Steven Harris & Tara Lawson-Harris

Download and listen through iTunes!

On the third episode of the Critically Comics podcast, Steven and Tara discuss Marvel’s Squirrel Girl by Ryan North and Erica Henderson! This episode covers the first three volumes of the series and the representation of the character in outside media. Will Squirrel Girl be the best comedy series to be introduced into the canon or will it divide the hosts? Join the debate and let us know what you think of the series!