“Pride of Baghdad,” written by Brian K. Vaughan, drawn by Niko Henrichon, (Vertigo, 136 pages, $19.99). Based on the true tale of a quartet of lions “liberated” during America’s 2003 bombing of Baghdad, “Pride” is by turns vicious, humorous and emotional.
Freed from captivity and learning how to live on their own again, the pride encounters a bizarre set of circumstances rife with political subtext. Writer Brian K. Vaughan (“Ex Machina”) infuses witty prose into Niko Henrichon’s lush, resonant drawings.
“The Fountain,” written by Darren Aronofsky, adapted and painted by Kent Williams, (Vertigo, 176 pages, $39.99) “Ambitious” doesn’t even begin to describe this tale. Originally written as a screenplay by director Aronofsky (“Pi,” “Requiem for a Dream”), the story was deemed unwieldy and recast as a graphic novel.
The plot intercuts between three incarnations of the main character – Spanish conquistador, scientist and astronaut – as he searches for immortality for his lover, Isabel/Izzi. Difficult to describe but with a delicious sense of inner logic, “The Fountain” was finally released on film Nov. 22.
“The Best American Comics 2006,” edited by Harvey Pekar and Anne Elizabeth Moore, (Houghton Mifflin, 320 pages, $22). There’s a “Best American” everything else, so why not comics? Pekar, best known from the pseudo-biography “American Splendor,” and Ann Elizabeth Moore of Punk Planet, collect a who’s-who of established artists and newcomers from the full spectrum of styles and formats.
Impressively balanced and organized, this is a must-read for any serious comics fan, whether you lean toward Robert Crumb, Kim Deitch or Jaime Hernandez. Graphic novels? Alt-newspapers? Self-published mini-strips? They’ve got you covered.
“Walking Dead Vol. 5: The Best Defense,” written by Robert Kirkman and Charlie Adlard, drawn by Cliff Rathburn, (Image, 136 pages, $12.99) This popular series has been the gold standard for zombie comics since its inception, and Volume 5 upholds that tradition of quality.
Spare but expressive, the story concerns new challenges for a band of human survivors holed up in a prison. The chilling cliffhanger tantalizes in a way that only “Walking Dead” can. Gruesome touches return some of the high-minded plot excursions to a visceral level.
“The Absolute Sandman: Vol. 1,” written by Neil Gaiman, various illustrators, (Vertigo, 612 pages, $99.99)
Vertigo has hit another homerun with this lavish, seven-pound hardcover edition of the first 20 issues of the hugely influential “Sandman” series. Impossibly dark and gorgeously rendered, Gaiman’s series redefined comics in the ’90s, continuing to reverberate with nearly every title currently clogging the shelves.
Recommended comics
“52,” (DC Comics) written by Geoff Johns, Grant Morrison and others; various artists
“Hellblazer,” (Vertigo) written by Denise Mina; art by Leonardo Manco
“Y: The Last Man,” (Vertigo) written by Brian K. Vaughan; art by Pia Guerra and Jose Marzan Jr.
“Wetworks,” (Wildstorm) written by Mike Carey; art by Whilce Portacio and Trevor Scott
“Amazing Spider Man: Civil War,” (Marvel) written by J. Michael Straczynski; art by Ron Garney
“Star Wars: Knights of the Old Republic,” (Dark Horse) written by John Jackson Miller; art by Dustin Weaver
“Deadworld,” (Image Comics) written by Gary Reed, art by Dalibor Talajic
“Daybreak,” (Bodega) story and art by Brian Ralph
“Red Sonja vs. Thulsa Doom,” (Dynamite Entertainment) written by Peter David and Luke Lieberman; art by Will Conrad
“Ode to Kirihito,” (Vertical Inc.) story and art by Osamu Tezuka
