Liberty

In the “CBLDF Liberty Annual 2014” anthology, most of the pieces touch upon the themes of censorship or creativity in some way, but the best ones take the theme and go further with it, or go off in another direction entirely. “Dramatic Reading” by Meryl Jaffe, Janet K. Lee and Dylan Todd is a one-page linking the words of Dr. Frankenstein to the hubris of authoritarian thought control. It sums up the dangers of banning books well, but it works better as an ad than a comic. “Little Star” by Tom Fowler, Jeff Parker, Jordie Bellaire and Kelly Tindall quickly establishes a great setting — an open market on a city in another star system. There is no real arc, but it succeeds in creating a moment of spiritual reflection. “The Idea Factory” by Mariah Huehner, Rob Reger, Cat Ferris and Nate Piekos is an “Emily and the Strangers” story. The visuals are fun but the story is boring because it sticks too closely to the anti-censorship message to have a plot. “Black and White” is an almost silent

“JSA Liberty Files: The Whistling Skull” #1 is less about the Justice Society of America (in any imaginary incarnation) and more about the backstory of the Whistling Skull. Honestly, it’s only barely about the Whistling Skull and so much more about Tony Harris’ art. Jumping from 1940 Japan to London in 1925 and back to 1940 for a brisk run through Switzerland, Harris’ art drives the story, which really doesn’t do much other than keep pace. While “JSA Liberty Files: The Whistling Skull” #1 is a grand display of Harris’ art, the story itself leaves a little to be desired. Sure, this is only one-sixth of the total narrative, but the issue hops all over time and space, delivering random glimpses at the Whistling Skull in various points in time before abruptly stopping. At no point does the titular character provide the reader with rationale for his cause, nor do we achieve a true sense of the scope of that cause. Three members of the JSA appear in the opening scene of this issue, but th

Buying “CBLDF Liberty Annual” #5 will support the Comic Book Legal Defense Fund, and thus comics creators’ right to protection under The First Amendment. There’s also some actual gems in this anthology of short pieces and previews of longer works; skip to the bottom of this review if you want the short version. “Which Came First?” by Jonathan Hickman is an illustrated pithy joke or thought, not a story, but Hickman’s design and drawing skills are put to good use here. “Barren Ground,” by Andy Diggle and Ben Templesmith is a comic story about cultural adjustment for demons in the face of those crazy kids these days, with their secularism and tolerance. It’s a one-note joke, but Diggle’s dialogue is sharp and funny, and Templesmith’s art has good facial expressions. “Freedom From,” by Howard Chaykin and Sina Grace is a didactic, political piece about American values and the power of the press. It’s heavy-handed and humorless, but Grace draws a fun parody of the Monopoly Man. “Free,”