Fat Pants is a monthly Comic Pants feature in which we mull over the last month’s trades and graphic novels in order to let you know which ones we feel are most worth your attention. It is far from a comprehensive list of all the good reads published in the past month, so please feel free let us know in the comments which trades and graphic novels came out in the last month that you, the reader, feel are most worth our attention. So, without further ado, here are the books we think really stood out this month.

American Virgin Vol. 2: Going Down
Writer: Steven T. Seagle
Artists: Becky Cloonan & Ryan Kelly
Company: Vertigo

Randy: When you start the series with the beheading of a Christian girl in Africa and the protagonist heading down to Africa with his black sheep half-sister to meet up with a mercenary and seek justice, where do you go from there? As it turns out, the first story was only the beginning. Round two includes a casket dry-humping, forays into a gay Olympics and S&M club in Australia and the confrontation between Adam, the “American Virgin” of the title and the man who used an axe on his beloved’s head. It’s provocative stuff, full of human drama and real emotion along with the shocking sex and violence.

Nick: Ditto to everything Randy just said, as he hits on many of the reasons why American Virgin continues to shine and why it is one of those rare comics that comes to about as close to perfect as a comic can get. Honestly though, one of the main reasons that keeps me glued to the pages are the characters. Seagle has created these multi-layered, very human, very flawed individuals that anyone can relate to. Adam Chamberlain, his dysfunctional family, the assassin helping, and his friends all individually bring something new and real to the table, and the situations that they are put in and have to deal with are always surprising. Actually, if I had to describe American Virgin in one word, that’s what it would be: Surprising.

Randy: Yeah, there’s definitely that “Holy crap, did I just see that?” feel to American Virgin. This kind of shock value can be cheesy or cheap, but Seagle, Cloonan and the rest are not doing that. Instead, the shocks come from the willingness to frankly explore sex and what it means to a variety of different people in a variety of different cultures. The book is in many ways about Adam’s personal journey, as the path that he thought he’d set out for him is rudely disrupted, and he has to find his own way again, but the sights along the way are fascinating. Especially when depicted with the style that Becky Cloonan and Ryan Kelly bring to the book.

Nick:My god, the art! Cloonan and Kelly don’t use a regular old baseball bat to knock the work they provide for American Virgin out of the park, they use an adamantium-laced sledgehammer. Every aspect of it is gorgeous and intricately detailed. There’s a lot about it that reminds me of Paul Pope’s work, especially the rounded and energetic lines that give the characters and world that’s been created a unique look and a fun sense of energy. Then when you throw in the wonderful and always perfect colors of Brian Miller, you’ve struck gold.

Randy: You’re not wrong about the Paul Pope vibe, especially when Kelly joins in on inks. What I love most about Cloonan’s work, here, though, is the distinctive characters she builds. Adam, Cyndi, Mel, guest stars like Claudia or Deacon or the butcher who cut off Cass’s head, they’re all characters who come to life instantly, visually, the second you see them on-panel. You can get a sense of how they move and who they are just from the designs Cloonan gives them. And that sense of place and atmosphere carries through with Kelly and Miller as well, most notably in the bright lights and sweaty touches of the nightclub scenes.

Well-drawn, well-written and full of surprises, American Virgin is another jewel in the Vertigo crown.

The Hood: Blood From Stones HC
Writer: Brian K. Vaughan
Artist: Kyle Hotz
Company: Marvel Comics

Nick: You know, it’s always kind of a downer to consider the enormous amount of good stories that have been told in the medium of comics that have yet to be collected. It’s a crime, really. But then every once in awhile, things like this come along, a nice hardcover of a great story that most people probably have never even heard of. Why is it a great story? It has that status in my mind because of the elite team of Brian K. Vaughan and Kyle Hotz. The story that Vaughan cooks up is simple one about a petty thief named Parker Robbins who finds an alien cloak and a set of boots that give him super powers. It’s simple but it works extremely well and is interesting because of the unique elements that he brings to his writing. Oh, and let’s not forget about Hotz’s artwork either. Man, can that guy draw or what?

Randy: The Hood is an interesting genre blend, a supervillain meets crime meets the supernatural tale that is a perfect mood for the spooky, shadowy, slightly grungy look of Hotz and the three-dimensional characterization that Vaughan is famous for. I mean, I’d tune in for the excellent use of B-list supervillains Constrictor, Jack O’Lantern and Shocker (played like threats instead of the easy for laughs route), but I’m even more impressed with the character relationships between our protagonist Parker and his ex-junkie friend, his addle-minded mother, his pregnant girlfriend and his Russian mistress. Parker is not a nice guy, but you still kind of want to like him, because he’s smart when he needs to be (his out-maneuvering of crime boss The Golem is terrific) and we see glimpses of humanity in his honest love for his girl, his loyalty to his friend and his devotion to his mother. He is unquestionably a bad guy, anti-social, violent and self-centered, and yet… he’s got more layers than your average thug.

Nick: Yeah, if Vaughan does one thing better than everything else, it’s his ability to create a multi-faceted character that feels as human and as normal as the average guy walking down the street. No matter what is happening to him, be it encountering an other worldly being or going toe to toe with The Shocker (like Randy has already pointed out, played as an actual threat and not a gag, which in my opinion, rocks), you actually care what happens to him. Each and every series that Vaughan does, be it Runaways, Y the Last Man, or Ex Machina, he gives you the strong sense of character and I don’t know about you, but it’s an ability that keeps me coming back again and again.

Randy: If there’s a disappointment with me where The Hood is concerned, it’s that you can see that this wasn’t really meant to be a one-off. Oh, it’s a satisfying enough story that I’d recommend it, but I can’t say that you look at it and think “Wow, this guy is going to be the next Kingpin of crime!” Not where you really want the story to go, unless maybe you are Brian Bendis. The unresolved feud with The Golem, the new vigilante White Fang, the question of what’s going to happen between Parker and his girl and the re-appearance of the supernatural menace that gave him his supervillain powers, all showing up in the last few pages? There should have been more, but with the character being dragged into New Avengers and Vaughan pretty much done with company-owned characters, we’re probably never going to see it. So view The Hood: Blood From Stones like one of those awesome TV pilots that the networks were too stupid to pick up on, or view it as a chance to see Vaughan dip his toes into the noir genre, but make sure and view it, because it’s a good read.

The Damned Vol. 1: Three Days Dead
Writer: Cullen Bunn
Artist: Brian Hurtt
Company: Oni Press

Nick: What drew me to this project initially was the utter originality of it. Sure, there have been all kinds of demon and mobster comics, movies, and novels done, but I can’t for the life of me think of one that put both genres together in quite the same way that Cullen Bun and Brian Hurtt have here. The result of this melding of worlds is something akin to a peanut butter and jelly sandwich, as the combination is utterly delicious and pleasing as hell to read. Cullen Bunn’s story of soul trafficking and turf wars between different demon families is sharp, a sort of dark, character-centric story that pays homages to things like Miller’s Crossing, The Goon, and Hellboy. There’s a lot to like here, be it the quirky characters and their snappy, very gangster-like dialogue, or the always on the mark Brian Hurtt art.

Randy: OK, who else is hungry for a peanut butter and jelly sandwich? No? Just me? Damn you and your food metaphors, Nick! At any rate, you’re right that The Damned is the kind of perfect “how come nobody ever did this before?” genre blend that is all too rare in any medium. To quote a very wise and handsome young man from the back cover, “Every now and then, you run across a concept that just clicks, from the moment you first hear it.” OK, that’s my quote, and I’m neither wise nor handsome. I am, however, very much a fan of The Damned. Hurtt creates memorable monsters on a level that few artists can play at, guys like Bernie Wrightson and John Totleben or, to use a more modern example, Guy Davis. Even better, he’s got the period of the piece down cold, from the flapper bob hairdos and wiseguy wife-beaters to the tommy guns and the underground gin joints.

Nick:Mmmm…Comics. Mmmm…Food. Don’t know why my brain focuses on these two things so much, not to mention why it puts them together, it just does. Must be some kind of flaw in the wiring of my brain. But enough about that, let’s get back to Brian Hurtt’s art. As for Randy’s notion that Hurtt has the always important knack for creating memorable monsters, I agree with him 100%. What’s also neat is that he varies the complexity of each monster, some being intricate snake monsters with thousands of little eyes that run up and down their bodies, to the more simplistic monsters like your thirty foot tall, kill you in one punch variety. The important thing though is that no matter what they are, or how sophisticated their designs may be, they all pop and have a distinct presence on the page.

Randy: As do the humans (and demons) in The Damned, actually. Not just visually, but in terms of personality. There’s the hard-boiled, often-betrayed lead character Eddie, the scheming (but surprisingly sympathetic) demon boss Alphonse Algheri, loyal mook Tony, sleazy human gangster Danny O’Brien and the creepy, inhuman Verlochin and plenty moore. Bunn writes a very character-driven story, and watching these characters run into each other is always entertaining. There’s also a pretty strong plot involving a precarious crime family truce in the offing, a mysterious tendency for demons to wipe out others and then kill themselves and a missing bookkeeper who seems to have something to do with all of it. Not all of these plot threads come to a completely satisfying conclusion, and in fact there’s a last-minute introduction of something to do with Eddie and his mom that I couldn’t quite wrap my head around, but the good news about unresolved plot threads is that there’s more to come when the second series of The Damned hits, hopefully before the next year is out.

Immortal Iron Fist Vol. 1 HC: The Last Iron Fist Story
Writers: Ed Brubaker & Matt Fraction
Artists: David Aja & Travel Foreman
Company: Marvel Comics

Nick: A brilliant and layered story that combines martial arts style action with a Highlander-esque mythos. Honestly, I wasn’t that fond of the first couple of issues of this series. Don’t know why really, they just didn’t click with me the first time around. On a whim, I picked up the trade and I have to say, this is some great stuff and it reads extremely well in trade format. Brubaker and Fraction’s idea of past Iron Fists is an immediate attention grabber and it’s an idea that certainly has a lot of avenues with which to explore. And I have to say, I’m smitten with Travel Foreman’s artwork. This guy can draw the hell out of just about anything.

Randy: Foreman’s good, but the main artist here is David Aja, and he’s certainly no slouch. I had my doubts about his style at first, as it has the gritty photo-ref look of Alex Maleev, but Aja brings a lot less stiffness and stronger fight choreography to the page, and while there are still moments that looks posed, it tends to be more of a deliberate “slow motion stop” effect before the action kicks back in. And action is the name of the game here… Brubaker and Fraction stop short of invalidating what’s gone before with Iron Fist, in fact they make use of his origin and some past villains, but they use it as the smallest base from which to launch wild-eyed ideas of underground science empires and mystical martial arts tournaments. And, in what could easily have been a terrible idea but turns out to be an awesome one, they make Iron Fist but one in a long line of mystically-empowered martial artists.

Nick: Yes, it truly is an awesome idea, but like you said it could also have been a horrible one too. What saved it was that even though Danny Rand is the “real” main character, and rightly so, Fraction and Brubaker don’t skimp on the other characters that they have created. They’re a cool little group of people, these past Iron Fists, and what makes them cool is that they don’t feel like the typical cannon fodder or filler characters that you sometimes can get in comics. They all have their own backstories to tell that add a real richness to the overall story being setup. Also, seeing the more business oriented side of Danny and his strained relationship with his company’s CEO, Jeryn Hogarth, is a nice touch that evokes the same kind of feel that you get between Matt Murdock and Foggy. On the art side of things, Aja’s style continues to grow on me more and more, and it evokes the coolness of the original Matrix film did during the numerous fight scenes.

Randy: It also helps that the other Iron Fist focused on in this volume, the World War I era Orson Randall, is as cool a character as Danny Rand. Born of a father who ran an underground science empire that seems right out of the pages of Planetary, fought in “The Great War” and uses his chi powers to fire glowing bullets out of his twin .45 caliber pistols. If Danny Rand is the ’70s martial arts hero archetype (and he is), then Orson Randall is his ’30s pulp hero equivalent. Fraction and Brubaker have opened up the Iron Fist concept to embody archetypes throughout the ages, up to and including their kickass Tsui Hark-esque homage Wu-Ao-Shi, without reducing in any way the coolness of the original Iron Fist. And I’m a fan of the original Iron Fist costume, which should be unashamed of its high collar, yellow slippers and tattoo-revealed bare chest, but I can’t deny that Aja’s update is a solid one, and his design work for the Iron Fists throughout the ages is pretty sharp as well. Although some credit for those might go to Travel Foreman as well, I’m not sure. Oh, and also worth mentioning… best use of Power Man, Misty Knight and Colleen Wing in the last 10 years or so?

Nick:Best use? It might be. I am always in favor of having the original Heroes for Hire team up and take on a plethora of ninjas, ’cause that’s just cool to watch. Cool is also an adjective that could be used to sum up The Immortal Iron Fist as a whole. The book just exudes it like there’s no tomorrow and with each page in this collection, there’s a high level of entertainment being provided. At the end of the day, that’s what counts the most in my book and I can’t wait to see what Brubaker, Fraction and the rest of the Iron Fist team does next.

True Story Swear to God Vol. 1
Writer/Artist: Tom Beland
Company: Image Comics

Randy: I’ve talked at length about how good True Story Swear to God is before, but that’s not going to stop me from going on again about how it’s one of the funniest and most endearing comics on the market. Or talking about how Beland’s sharp comedic timing, on display from the very first page where he shows off a colorful bit of local Puerto Rico color to hilarious effect. Or talking about Beland’s abilities to show off not just struggle but payoff, and to give the reader uplifting, manly tear-inducing moments that could make a Grinch’s heart swell three sizes, as the story shows Beland taking his first steps to being a comic book creator. Yes, I’ve said all these things before, but this time… I’ve got backup. Nick? Tell the people about True Story.

Nick:Okay, where to begin here? I mean there are so many things about this title that I could mention, but I think what strikes me most about True Story Swear to God is the colossal amount of heart that Beland injects into each and every tale that he tells. It’s a rarity these days to find something, a comic book no less, that evokes such a wide net of emotions that it can have you busting a gut on one page to crying those manly tears that Randy was talking about on another page. That kind of writing ability is a true, undeniable example of utter perfection, and that’s what this book is, perfection.

For A Few Dollars More:

Nick:Nextwave Vol. 2 HC: I Kick Your Face (Marvel Comics) Ah, the dearly departed antics of Nextwave. Poor, poor Nextwave. It’s high-hilarity lifespan was cut too short, but this second hardcover, collecting the last six issues of the series, still goes a long way to prove that comic book that a sadistically fun romp blended with the campy vibe of a Saturday morning cartoon can work. The book goes out on top though with exploding broccoli men, a clever use of the Stan Lee and Jack Kirby creation of Forbush Man, and some truly gorgeous and the always energy-laden pencils of Stuart Immonen. If you’re in any way looking for a good laugh, this is a book that fits the bill perfectly.

Randy: Captain America: War & Remembrance (Marvel Comics) Don’t get me wrong, my personal fave Cap run is big chunks of the Gruenwald run in the ’80s and ’90s, and Ed Brubaker is doing a hell of a job on the current title, but this short run by Roger Stern and John Byrne may represent the high watermark for the book. Batroc the Leaper kick-boxing Cap alongside Mister Hyde (and showing off his hidden noble code of honor), Cap vs. Dragon Man, Cap returning to England to battle Baron Blood the vampire alongside Union Jack, Cap deciding whether or not to run for President, and more feathered hair than you can shake a retro ’80s night at all showed up in this 9-issue run. Byrne, inked by Joe Rubinstein, is at the peak of his abilities, and Stern provides stories that are a terrific mix of action storytelling, melodramatic subplots and fun, memorable characters.

Randy: Fallen Angel Premiere HC (IDW) In many ways, Fallen Angel ended for me with #18 of the DC series, which provided a pretty perfect capper to the series as a whole. And its resurrection at IDW was weaker, with JK Woodward’s painted art taking some getting used to after the solid superhero style of David Lopez worked so well on the initial run. This is less a continuation and more of a sequel, as David’s story jumps eighteen years into the future, a luxury allowed by his mostly immortal cast, and presents a two-fold story detailing the Angel’s mysterious origin and shaking the status quo of the mystical city of Bete Noire up considerably. Despite an increase in the sex and swearing brought on by the new publisher, the IDW Fallen Angel has a little bit more of a melodramatic, soap opera-ish quality rather than the darker, noir tone of the DC series, although it’s still dark as hell in many places. Mixed feelings about the returning series aside, though, there’s no denying that IDW has put together a terrific hardcover volume for those who want to give the book its second chance. The oversized hardcovers allow Woodward’s art (even when he switches over to standard comic art instead of painting) to shine, as it opens the storytelling up and allows the reader to see details that were missed in the smaller pages. And 13 issues is a much more satisfying chunk of story that allows the narrative and the new cast of characters room to breathe and develop, to see the larger story that David is working on here. If push comes to shove, I’d recommend picking up the DC series first… but if you find you’re still hungry for more Fallen Angel after that, this Premiere hardcover is definitely the way to get it.

Randy: Flight Vol. 4 (Image Comics) Another volume of Flight arrives, and as always, it’s a fairly impressive display of artistic talent and exquisite color sense. Flipping through Flight 4, it’s easy to get lost in the expansive colors and eye-catching art. If you slow down a bit, though, you’ll find a pretty solid array of stories. Only a few are great, but most are at least pretty good, and all are elevated by the level of artistic craft brought to bear on the project. I started to run down my favorites in the original review, but stopped when I realized that I was basically naming every story, or at least a good majority of them. Everything from fantasy to science-fiction to humor to slice-of-life and beyond is covered here, and the stories include everything from a pair of circus midgets seeking love to the tale of two fishmongers battling it out for dominance over a village. If you’re at all a fan of the short story form in comics, Flight is, as always, well worth your time and money.

Nick: Union Jack: London Falling (Marvel Comics): At first glance this might seem to fit the classic superhero mold: Two parts balls to the wall action and high-octane explosions, one part great characters. And really, Union Jack is just that, but writer Christos Gage takes these expectations and expands upon them. He gives us all of the action that we could want but also adds a few other layers, specifically a nice riff on duty, honor, and what makes a superhero a superhero. Then when you add the wonder that is Mike Perkins on the art side of things and give the reader the grin-inducing uses of Batroc the Leaper, Crossfire, Sabra, Arabian Knight, and Valentina Allegra de Fontaine, and the end result is a book that is a must read.

Randy: Intersections (Image Comics) Honestly, a full-color sketchbook from Duncan Fegredo (Hellboy: Darkness Calls) and Sean Phillips (Criminal) would be plenty for me, but Intersections also has a clever theme, as the two artists exchanged an “art conversation” by means of a Moleskin notebook that they would mail back and forth. Intersections is the result of that conversation, and it’s a fascinating look at two talented artists with solid fundamentals and style to spare. Don’t go in expecting wild and crazy, a lot of it is life drawing, although both Fegredo and Phillips bring the quirk as well. Interesting segues abound, as a set of faces from a wine tasting inspires a “Red, Red Whine” piece, or a yellow-tinged self portrait titled “The Yellow Kid” earns a “Blue Boy” response, to give only two examples. Fans of art and experimental visual narrative should definitely check this out, either in the softcover or the swanky signed and numbered hardcover edition.

Randy: Usagi Yojimbo Vol. 21 (Dark Horse Comics) Another terrific tale from master cartoonist Stan Sakai, this volume finds Usagi and his friend Tomoe in the grasp of slavers working a hidden mine. One of the slavers is Tomoe’s cruel cousin, with whom she used to spar as a child. And so the stage is set for a terrific exploration of the can’t-quite-be-romantic relationship between Usagi and Tomoe (both are too honorable to give up their “jobs” and be with each other), a “sibling rivalry” of sorts between Tomoe and her cousin Noriko and of course plenty of action as the vengeful samurai do their best to help the other slaves revolt and escape. Oh, and it all ties in to ongoing political intrigue with a pair of feudal lords, an oily advisor to Tomoe’s master Lord Noriyuki, but is at the same time completely accessible even if you’ve never read a Usagi story before. A fantastic read, as always.

Nick:Batman Ego and Other Tails HC (DC Comics): Darwyn Cooke is easily one of the most awe-inspiring creators ever to pick up a pencil. His artwork, everything from his style to his his color palate, carries a slick coolness and an easy on the eye feel that immediately draws the reader in, while his cleverly told stories always entertain and never disappoint. With Ego and Other Tails, what you get is a veritable monster sized treasure chest that’s filled to the brim with all sorts of Cooke goodness; everything from Batman: Ego, his first foray in mainstream comics, to select stories from his masterful issue of Solo. What’s worth the price of admission by itself is Selina’s Big Score, which is in many ways the perfect heist story. All of the stories though are excellent and to have all of them collected in a single hardcover is an opportunity you can’t pass up.