Content Management Powered by CuteNews

The Best American series has been published since 1915, but The Best American Comics 2006 marks the series' first dedication to comic books. Some of the past years' best comic offerings have been showcased in the relatively new Best American Non-Required Reading series, but the choices always seemed out of focus, in the background. With this new edition, the vast collection of literature known as "comic books" finally gets its long-awaited move into the mainstream spotlight.

Comic books are stereotypically devoid of any literary value or maturity. To most, they exist in the same realm as Disneyland and Candy Land; fine for perusing during childhood, but hardly stimulating in the more adult years. The emergence of underground comics in the 1960s and 70s introduced the world to the idea of comics as activism, comics as serious entertainment, comics as literature. Now, decades later, the comics intricate storylines, deeply developed characters, heartwrenching plots, and suspenseful twists are overtaking the childish, stereotypical worlds of superheroes in tight suits and cartoon villains who never seem to catch a break.

More than anything, The Best American Comics 2006 is a statement of acceptance. Finally, a mainstream venue has been created for the ever-increasing array of comics cementing "comic books" status as a valid, serious form of literature.

Of course, that isn't to say the whole superhero genre can't play a role in this new era of comic books. Comics like the X-Men story "God Loves, Man Kills" and Alan Moore's Watchmen redefined the boundaries of superhero comics, imbuing the genre with a never-before-seen realism. Conversely, as the world of superheroes matures, some creators are drawing upon the saccharine legacy of the superhero as a pot of comedic gold. Case in point: the book's opening story.

"The Amazing Life of Onion Jack" by Joel Priddy tells the highly amusing story of (tell me if you heard this one before) an alien who crashes to Earth as a baby, has superpowers, and grows up to do a bit of crime fighting and world saving (*cough* Superman *cough*). The twist? Onion Jack really just wants to be a chef, but destiny seems to have other ideas. Priddy walks us through Jack's entire life, from birth to death, lampooning the entire history of superhero comics along the way. The story is very enjoyable even without knowledge of superheroes, and is a great opener.

From there, however, things get rocky. On one hand, the anthology is definitely filled with stories that do not disappoint. Rebecca Dart's "Rabbithead" is a very inventive Western-esque tale, displaying, as the creator intended, the unique stories that are only possible in comic form. Kurt Wolfgang's "Passing Before Life's Very Eyes" also stands out, a touching look at an old man's journey to the light at the end of the tunnel. Lilli Carre's "Adventures of Paul Bunyan & His Ox, Babe" is another warm, amusing piece about a conversation between Paul Bunyan and his ox. And, perhaps my favorite story of the bunch, Anders Nilsen's did with "The Gift" everything every comic should. He made a well-written story that pushed the limits of its structure and (like "Rabbithead") is such a great comic because of what it is: a comic.

On the other hand, the anthology is filled with a lot mediocrity. Stories like Kim Deitch's "Ready To Die" and Jonathan Bennett's "Dance With The Ventures" fail because they're awash with normalcy; nothing makes them outstanding. I do not know why, but there are a plethora of comic books, including some in The Best American Comics 2006, that are lauded despite them having poor writing or poor artwork (or sometimes both). There is a tendency, I believe (and the boringness but inclusion of stuff like Justin Hall's "La Rubia Loca" supports this belief), for an idea itself to be higher valued than its implementation. For instance, "La Rubia Loca" seems to be good simply because it's about a backpacking trip where a schizophrenic woman with dissociative identity disorder goes crazy. The art is nothing special and neither is the writing, but it sure does sound like a great idea.

A final criticism: Any "best of" series is going to be obviously subjective, but I read through the collected stories and was genuinely surprised to not find some stories (especially when I saw which stories were included). I all but knew that nothing from the big three (Marvel, DC, Image) would find its way in, but why not something from Strangers in Paradise (I mean, if you're not going to worry about including non-self-contained stories) or maybe even a webcomic or two? Anyway, this whole criticism is sure to be addressed in future editions, and is directed less at the 2006 edition than at the process in general.

Despite my previous complaints, The Best American Comics 2006 is a generally good anthology. At the very least, it is a good first try by the publishers, and I am excited to read future editions. The 2006 edition contained comics from as far back as 2004, and I think some of the problems I had will be fixed automatically by significantly decreasing the number of possible entries. Regardless of any shortcomings, the anthology is a needed mainstream push. Hopefully, passerbys will see the volume, pick it up, and realize the next great American novel just may not be a novel at all.

by Spencer Sugarman

---