Best of February 2012: I wonder how FAST I can go

Here's a reminder for this week: I'm taking a scheduled break, roughly week-long to recharge my batteries and concern myself with school stuff. Today's going to be the monthly recap for February.

"Hey wait a minute," you say. "There's still a Wednesday left in February," you say! What about those comics?

Well, I'm not getting any of those, so it's safe to say that I've read all of February's comics that I'm going to read. Here are the things from those comic books that came out this month, that I liked, that you might like too:

by Scott Snyder and Rafael Albuquerque

from American Vampire #24, by Scott Snyder and Rafael Albuquerque

What a frightening panel! If you look around the vampire's lower jaw, you can see that it actually protrudes outside of the skin. You can see all the muscles in their lower gums -- this is a trademark of the American vampire, and it's a frightening visual!

from American Vampire #24, by Scott Snyder and Rafael Albuquerque
Do you see this? The layouts in American Vampire are very traditional, so this two-page spread is HUGE. Dynamic. It's the one portion of the comic that explains Travis Kidd's motivation: the death of his parents have haunted him, and the only way he can remove their ghosts is by killing Skinner Sweet. As many vampires as he kills, none of them will do it unless that vampire is Skinner.

by John Layman and Rob Guillory

from Chew #24, by John Layman and Rob Guillory

So here's Mason Savoy dressed up as a nurse, so he could take the blood from a bedridden kung fu champion, so he could feed it to Olive Chu, so she could learn kung fu too.

Someone, somewhere is going to find this sexy.

by Mark Waid and Paolo Rivera

From Daredevil 9, by Waid and Rivera
Oh my goodness I love this panel. Look at the lines. Look at how they're thicker when they're closer to you, and thinner when they're far. You can see the crevices in between the stalagmites, through the black in between the pink curves. It's such a simple use of lines and color that makes one beautiful image.

by Francis Manapul and Brian Buccellato
from Flash #6, by Francis Manapul and Brian Buccellato

Panels like this are why I don't choose to read Flash digitally. I could save myself a walking trip, and just get it on, but I simply wouldn't be able to zoom out and digest a page in the right way. There are some images that you have to hold the page in front of your eyes, so you can look everywhere, and see everything simultaneously, and this two-page spread is that kind of image.

The use of color is so exciting. I love how the Flash's reds and yellows pop out of the snow white background. Couple that with the creative uses of his super powers, and The Flash is the comic book ideal: it's where exciting colors and creative visuals come together.
by Eric Powell with Dave Stewart

from The Goon #37, by Eric Powell and Dave Stewart

Visual irony! Gotta love it.

by Kurtis J. Wiebe and Tyler Jenkins

from Peter Panzefaust #1, by Wiebe and Jenkins

This one's a weird, subtle panel from the issue that caught my eye. Peter Panzerfaust takes the shell of an artillery round, and you can see the outline of his body. And he survives!

by Rick Remender and Gabriel Hardman

from Secret Avengers 22, by Remender and Hardman
Hardman nailed these tight close-ups on people's faces. There's another one in my original review. Well done.

from Secret Avengers 22, by Remender and Hardman

Captain Britain's reasoning for why he'd make a better Secret Avengers leader than Harkeye. He is literally the life-version of the ">=O" emoticon. I love it.

by Brian Bendis and Chris Samnee

So here's Miles running around the rooftops wondering about his superpowers. He's not at the point where he knows what he can do, so this is what he's doing. And it looks delightful.

Here's Miles having a conversation with his mom, and thinking about being Spider-Man. This kid is genuinely excited to have super-powers, and to be the new Spider-Man no less! Who wouldn't be?

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