Dearest internet: it’s the time of the week when we talk about the comics that we liked. Hopefully it is also the time that you read about them and run off to buy copies of what you missed. You dicks.

FINGERSSS

If anybody is currently putting out better-designed comics than Jonathan Hickman, I haven’t seen them. As a former designer himself, Hickman brings a clean, evocative style to all of his books, especially his creator-owned ones, and matches it with amazing collaborators like Nick Pitarra and Ryan Bodenheim. Secret #2, the latest issue of his and Bodenheim‘s corporate espionage suspense tale, is no exception.

Whereas the first issue introduced us to the big picture and some of the plot strokes, Issue #2 focuses on the past and interpersonal relationships of the main characters. In #1, we saw how the firm hooks jobs. In #2, we see the politics behind the scenes and get a hint of the deep waters underneath the series’ surface.

Hickman‘s design evokes a slick, modern feel, and the art team of Bodenheim and colourist Michael Garlans deliver on the rest. Bodenheim‘s fine, confident lines exude style, and like Joe Eisma in Morning Glories, he knows how to playfully hide details to keep narrative tension going.

Garlans‘ colours are revelatory. The limited palette draws out the emotion from details - like a severed finger - and fills scenes with atmosphere and emotion. The clash of grey and red gives shock. An early scene done all in shades of yellow practically drips discomfort and a palpable air of sleaziness. This is a book done by professionals at the peak of their game: a thrilling mystery that teases details and delivers on emotion and expert theming. This is the Mad Men of comics. As such, its creators have earned the Diamond Don Draper Award. (J)

FINAL DESTINATION 6: DESTIN ME DEADLY

Turn out, when you’re writing a recommendation for Morning Glories, the perfect accompanying music is Miley Cyrus’ Party in the USA.

No, I am not joking. Have you even read this site before?

My supposition is this: Morning Glories is a fantastic book, but at times it can be harrowing. This issue was especially tense - and I found that I was in the need of a pick me up when I reached the end of the issue. Having listened to Call Me Maybe a little too recently, I went back to an old stand by, and it’s working quite well. I feel less harrowed. What am I supposed to be talking about?

Issue 19 wraps up the P.E. arc that has been running through the past seven issues - and it does it in a big way. In a way that you absolutely couldn’t see coming. Talking about it more in depth than that would ruin it for quite a few people - and who am I to take a book’s enjoyment away from them? Especially when the third collection is just a few short weeks away? Just know this: the issue was good, the arc was good, and the book is good. You should have been reading this a long time ago, but if you start right now? We might be able to forgive you. Three trades will be out by the time the next issue hits, which will pick up right where you leave off in the final collection. Make this happen.

Oh and also? We’re awarding this book the M. Night Shyamalan Memorial Award for Excellence in Twist Endings… for what will be obvious reasons. You’re welcome. (B)

I love my iPad - I just upgraded to the latest generation with the Retina screen, making it even better - and one thing it’s great for is reading comics. In particular, one thing I’m thrilled to see is comics publishers starting to leverage the fact that every tablet owner potentially has a comic book shop in their hand, one that doesn’t have to mimic the brick and mortar stores. Over the last few months, the major publishers have dipped their toes into digital-first and digital-only titles, and last week, DC released their most exciting one yet:

The first issue of Legends of the Dark Knight, an out-of-continuity digital anthology series started with a bang, courtesy of “The Butler Did It,” a story from superstar artist Jeff Lemire and writer Damon Lindelof, who you might recognize from his job as a producer on Crossing Jordan. Or Lost, whatever.

For a guy who’s known for the mysteries and twists in his work, Lindelof pretty much lets the cat out of the bag with the issue title. As soon as things go south, it’s not hard to figure out how a lot of the rest of the story will play out. However, it ends up being a pretty skillful double-fake. By “spoiling” a bit of the plot, Lindelof and Lemire free readers to be carried away and surprised by the tone, as well as a different look at the relationship between Alfred and a young Bruce. It’s such an interesting take on a very iconic relationship, one that succeeds because the creative team knows exactly how far away from “canon” to take their story and what parts of the mythos to root it in. The story then becomes one of contrast, where a more proactive and argumentative Alfred encourages the reader to reconsider the more passive, traditionally supportive representations. A young Batman still needs to learn, and in “The Butler Did It,” we see maybe his most important lesson being given to him by the only person who could teach it.

All credit to Lemire for his gorgeous art that evokes both his creator-owned work with Sweet Tooth and Essex County as well as Francesco Francavilla‘s moody take on Batman from his work with Scott Snyder. Lemire‘s Batman is untested, sporting a slightly ill-fitting suit, and his Bruce is stupidly cocky. No vulnerabilities? That’s what a kid thinks, and what an adult knows better than to delude himself with. It’s interesting how Lemire adapts his style to fit in with the superheroic subject matter, but is still so unmistakably unique and, here, iconoclastic. What’s cool is how this enhances the mood; his style gives a slight sense of unease to the story. Gotham hasn’t felt this dangerous in a long time, like the city that chews people up and creates supervillains. Despite the giveaway of the title, Lemire‘s art creates the feeling that anything could happen.

Finally, this is a comic that’s designed for a tablet, utilizing the whole screen instead of the vertical letterboxing that a lot of digital comics have. It utilizes the Retina screen wonderfully, and finally gives me a reason to turn my iPad sideways that isn’t Netflix or MLB At Bat. It might not be the first digital-first comic DC has made, but it’s one that showcases what both the format and a team of talented creators can do better than almost any other to date. (J)

This is Comics! The Blog. We now commence our broadcast week.