‘Trillium #1’: The Comic You Should Be Reading This Week

Senior Contributor
08.07.13 20 Comments

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Jeff Lemire debuts his new miniseries Trillium, and it’s a simultaneously sweeping and heartfelt endeavor. A full review, plus reviews of books from DC, IDW, Dark Horse, and Valiant under the jump.

Trillium is Lemire’s latest work as both artist and writer, following up on Sweet Tooth and The Underwater Welder. But it’s a very different story, a mix of science fiction and early 20th century adventure with an epic sweep and a human core.

The book follows two very different stories. The first is a WWI veteran, William, in the jungle supposedly for archaelogical reasons, but really because he can’t function as a human being anymore: William is going into the jungle to die. Meanwhile, in 3797, Nika is searching for the cure to stop a sentient virus; it’s up to her to save the last vestiges of the human race. Then these two stories intersect.

It’s also arguably Lemire’s most ambitious book to date as an artist. In addition to being two stories that require you to flip the issue to read one or the other, the layouts mirror each other perfectly. It’s a nice, subtle touch you won’t notice at first, but stands out nonetheless.

In short, it’s Lemire, one of the best in comics, firing on all cylinders. It’s a must for your sub list, but what about the rest of the week’s books?


Sina Grace and Daniel Freedman give Final Fight the affectionately silly parody you didn’t realize it deserved. Grace, probably best known for The Lil’ Depressed Boy, gets to uncork with some hilarious fight scenes, and the threads of loving parody and tribute that run throughout are a joy for fans of these games. Even if you haven’t played them, though, the book is a light, breezy, self-contained read, and some of the most fun you’ll find on the stands this week.


Roberto Castro’s art almost redeems this book, which crosses over Tarzan and John Carter. But the script by Arvid Nelson, while not bad, is a bit generic and predictable. It might pick up in the next few issues, but for now it’s largely for pulp fans.


Adam Warren and Carlos Gomez hand in an amusing slice of slapstick about that least formidable of enemies, the goblin. It’s the kind of book where a “sacred relic” looks rather suspiciously like a glowing D20, but it’s got more than a few laughs to it, and if you’re looking for something light and funny, this’ll fit the bill.


J. Michael Straczynski’s script hits notes that are rapidly becoming a bit cliche; this story of a washed-up sidekick doesn’t really play as well as, say, The Venture Brothers riffing on the same concept. Not helping is that the titular sidekick is, well, a grade-A jerk. But the book is elevated considerably with Tom Mandrake at the drawing board; Mandrake’s style lends itself well to a book about a down and out hero and gives it a noirish feel without going over the top. If you like gritty superhero stories, or just Mandrake’s art, this is well worth picking up.


This is not a new Frank Miller script for a comic. But you’d be forgiven for thinking so.

Frank Miller’s script for RoboCop 3 is the stuff of legend, mostly because Miller insisted he wrote something that was a lot better than what was on the screen. Not that this was a profound claim, but still, at the time everyone was willing to give Miller the benefit of the doubt. Boom! hired Steven Grant to adapt his screenplay to the comics and, well… let’s say it’s clear why Miller’s vision never made it to the screen.

It’s an unrelentingly joyless and grim exercise that teeters on the edge of self-parody, something Grant struggles to fix; for example, the first issue literally ends in the middle of a scene. Korkut Oztekin’s decision to pay homage by imitating Miller’s art style doesn’t help, either: Oztekin is a talented artist but the style just doesn’t fit with his technique.

One hopes that this creative team is given a shot at RoboCop without having to stick to someone else’s story or art style, because even with all the drawbacks, it’s pretty clear they work well together. This, though, is not that book.


You know how you’re told you can’t judge a book by its cover? That’s not entirely true.

This is an amusing enough Western adventure, centering around a minor Zorro character, but let’s not pretend that this book’s key selling point is anything other than, well, the cover. Eric Trautmann’s story is sturdy enough, albeit nothing we haven’t seen before, and Joseph Michael Linsner is in his element. But it’s ultimately nothing memorable, and really for hardcore Zorro fans, and cheesecake fans, only.


After a strong first issue, Matt Fraction and Howard Chaykin get into a vibe with this cross between a backstage drama and a murder mystery. It’s a beautifully rendered book, courtesy Chaykin, and Fraction keeps a lot of balls in the air to keep us guessing and launch a whole string of plotlines. It’s a strong, engaging book and one you really should be reading.


Nick Spencer and Steve Lieber just keep getting funnier in this book. Exploring the machinations of low-grade Marvel supervillains as they book minor heists and Boomerang struggles hilariously with the legal system and worse, his lawyer, it’s a look at a side of the Marvel Universe we rarely see, and it’s a lot of fun. Add this to your sub list; it’s only getting better from here.


After a… rather purple opening issue, Joe Casey and his art teams get down to business with this Comic’s Greatest World title. The anthology format helps the book in the sense that this feels not like three short stories, but three full-length comic books in one issue, even though it’s only a few pages longer; each story is that well told and that fast-paced. Dan McDaid, Paul Maybury, and Ulises Farinas all deliver very different art, and each style is uniquely suited to the story. If you’re looking for some superhero comics, and some bang for your buck, this is the book to get.


Chris Mowry’s script is entertaining, for a script about giant monsters, but whether or not you pick up this book will depend heavily on the art. Matt Frank does a good job with the monsters but the other art is a bit lacking in detail and a bit too generic to make the book stand out, especially compared to other books IDW has done such as Godzilla: Half-Century War. Still, it might be worth picking up if you’re a fan of giant monsters, just take a look at the art, first.


James Asmus and Tom Fowler are having far too much fun in this book. Right from the opening panels, they rip on comic book tropes, while simultaneously glorying in the carnage and the absurdity. The result is a funny, funny book, probably the funniest book this week, and a book you should be reading.


This prequel deals largely with the Dinobots and a new, uncertain Optimus Prime attempting to keep order as Cybertron goes to hell. Chris Metzen and Flint Dille write a pretty entertaining pulp SF script, it must be said, although it teeters on the line of being a little too self-serious. Livio Ramondelli’s art is likely the selling point; it’s… unique for the franchise, certainly. Interesting for Transformers fans, and those who want to see a franchise from their childhood grown up.


Mike Costa’s smart, clever espionage thriller takes a moment to really dig into the head of Clockspring, the systems nerd the series’ bad guy is playing like a flute, and it’s an issue that’s probably going to hit pretty close to home. Clockspring is scared, socially isolated, and unable to relate with other human beings. And since he has enormous power, he’s a profoundly dangerous person. G.I. Joe just doesn’t realize it yet.

Werther Dell’Edera backs the story up with some very well-done art; a nice touch is that in the modern day, we rarely see Clockspring’s eyes, and he’s willing to use touches like memes in his art: Opening the book with a Forever Alone gag may not be subtle, but it’s effective. A new arc is starting in this book and regardless of the license, it’s a superb spy thriller; give it a shot.


A solid and engaging book wraps up its first major arc in style. Mostly this makes me curious what Justin Jordan has planned for the future of the book; they’ve supposedly taken away the major antagonist… and what’s a Shadowman without him? We’ll be curious to find out.


J.M. DeMatteis and Fernando Blanco continue their very offbeat superhero book. One of the overriding themes of this book has been self-sacrifice; what happens when you do it for the right reasons, the wrong ones, or avoid it altogether. Meanwhile, Blanco continues to deliver some strong metaphysical art, exploring all the different kinds of heavens. It all coalesces in a story that pays off in a surprisingly intense way, that, whether you’ve been following this book or are coming in just to read a Trinity War tie-in, is oddly affecting. It’s a good place to get a feel for the series, if you’ve been on the fence about picking it up.


Robert Venditti continues a fairly solid run on this particular title. Hal is not really doing a good job of running the Corps, and, being Hal, he’s beating himself up for his own failures instead of trying to fix the problem. Really, what’s most enjoyable about Venditti’s run is the characterization; even when Kilowog only gets a few panels, he’s got something to do and it’s perfectly in character. Billy Tan and Rob Hunter acquit themselves quite well, also; Hal can still hand out a beating even if he’s down on himself. Worth picking up, if you’re a GL fan.

Abe Sapien #5: This surprisingly introspective and thoughtful book wraps up a pretty compelling two-issue arc, Max Fiumara’s art being a particular stand-out.

Transformers: Robots In Disguise #20: John Barber actually does a pretty good job of building Starscream as a character, and Andrew Griffith’s art has a pleasing manga-meets-’80s cartoon feel; a treat for adult fans.

Dungeons and Dragons: Cutter #4: This book is really for R.A. Salvatore fans and no one else, alas. It’s an OK fantasy comic, but little beyond that.

The Victories #4: The less said for this issue, the better. Suffice to say that Michael Avon Oeming is not screwing around here.

Sheltered #2: Tight, intelligent, and well-paced, Ed Brisson and Johnnie Christmas really have something with this book. Pick it up if you’re a fan of thrillers.

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Grimm Fairy Tales Presents Zombies The Cursed #2 (Of 3)(Cover A Paulo Siqueira), $3.99 
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Grimm Fairy Tales Presents Zombies The Cursed #2 (Of 3)(Cover C Pasquale Qualano), $3.99 
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