Dean Trippe
Dean Trippe

5 Most Interesting Comics of the Week

Dean Trippe
Dean Trippe

Every Wednesday, I preview the 5 most interesting new comics hitting comic shops, Comixology, Kickstarter and the web. These aren't reviews, just brief highlights. If there's a release you're excited about, let's talk about it in the comments.

1. Something Terrible

By Dean Trippe

Superhero comics are often labelled "escapist fantasy" but sometimes the therapeutic power of reading (and making) comics can be underestimated. In this incredibly personal comic, Something Terrible, Dean Trippe reveals his own struggle growing up as a victim of sexual abuse and how the stigma and the often cited statistics of abuse victims growing up to be abusers themselves had caused him to live with an invisible gun pointed at his own head for most of his life.

Trippe is one of the biggest fans of Batman (and the inherent goodness of the character, which often gets lost today) that I've ever met. He draws in an immaculate, kid-friendly style that is very much inspired by the look of Bruce Timm's Batman animated series from the '90s. In Something Terrible he recounts just how important the character of Batman and other fictional, heroic characters have been to him over the years as he tried to deal with his own dark secret.

This is a really moving comic that, in the span of just 14 pages, is both agonizing and triumphant. I can only imagine how difficult it was for Trippe to confront these memories through the act of making this comic. I can also imagine how helpful it could be for people who have been through a similar situation to read his account, especially when Trippe dispels the myth of the abuse cycle and shows how he himself has overcome it. 

Trippe is selling Something Terrible for only 99¢ as downloadable PDF and CBZ files.

2. Fairy Tale Comics

Edited by Chris Duffy
First Second/Macmillan Books

For art fans, you can't beat the lineup on this new anthology: Gilbert and Jaime Hernandez, Jillian Tamaki, Luke Pearson, Emily Carroll, Craig Thompson, David Mazzuchelli, Raina Telgemeier, Karl Kerschl, Emily Carroll, Vanessa Davis, and more. Also, that wonderfully fun cover by Eleanor Davis. A sequel of sorts to 2011's Nursery Rhyme Comics also published by First Second and edited by Chris Duffy, Fairy Tale Comics takes 17 classic fairy tales like "Hansel & Gretel" and "Little Red Riding Hood" as well as lesser known stories like "The Bremen Town Musicians" and "Give Me The Shudders" and lets the artists put their own spin on them.

Though it's hard to pick just one of these great cartoonists to highlight, it may be most noteworthy to call out the presence of David Mazzuchelli, who is contributing his first new comics work since his groundbreaking 2009 graphic novel Asterios Polyp. Mazzuchelli, who has proven in the past to be able to work in a variety of styles, channels early newspaper strips similar to Winsor McKay in his contribution, "Give Me The Shudders." 

In addition, The Abominable Charles Christopher's Karl Kershl gets to draw animals in a different style than we've seen on his award-winning webcomic. Craig Thompson, fresh off his 700 page graphic novel Habibi, tackles an 11th century Spanish tale originally called "The King and His Story-teller." And Emily Carroll applies her rich, watercolor approach to an array of medieval costumes and gowns in The Brothers Grimm's "12 Dancing Princesses".

Read more about the book here and read some in depth interviews and reviews focusing on individual contributors like Emily CarrollGilbert HernandezDavid Mazzuchelli and Craig Thompson.

3. Fantomex Max #1

Written by Andrew Hope; art by Shawn Crystal; covers by Francisco Francavilla
Marvel Comics

It's hard to believe that the character Fantomex has been around for over 10 years now. Originally created by Grant Morrison during his run on New X-men in the early 2000s, he's gained more popularity in recent years thanks to being a team member of the popular Uncanny X-Force. He's now getting his own four-issue mini-series in Marvel's mature readers MAX line, which is a big moment in the spotlight for this character. 

Fantomex is an anomaly in many ways. Not only are there not a whole lot of new characters getting their own books from DC or Marvel these days (or being created in the first place for that matter), but Fantomex's origin and character traits are just hard to explain. He was created by the Weapon Plus program (the same people who brought us Wolverine) as a result of impregnating a human woman with nano-machines, and was then raised in a synthetic micro-environment dubbed The World. He believes himself to be French and speaks with a "faux-French accent" (what that actually sounds like is up to the reader's imagination). He also believes himself to be a mutant although Weapon Plus created him to be a "super-sentinel" meant to kill mutants. His power is misdirection which means stories with Fantomex often involve events that may or may not be really happening to those who cross paths with him (including us readers). He's very Morrisonian in a lot of ways.

Derived from the Italian comic book and film character Diabolik and the early 20th century detective from French crime novels Fantômas, Fantomex is a fun, weird, stylish character with a growing cult following. This new series is a sexy, violent thriller with a '60s, secret agent vibe, as the cover by Francisco Francavilla suggests. Marvel's MAX line allows creators to go heavy on the violence, cursing and sexual situations, so expect plenty of that here.

Read an interview with artist Shawn Crystal including some preview pages.

4. In The Dark

Edited by Rachel Deering

By the time this article is posted, In The Dark will have easily reached its Kickstarter goal with many days still to go. It doesn't take long to scroll through the main project page and realize that this is going to be a high quality horror anthology with a great lineup for writers and artists involved.

Rachel Deering is no stranger to horror or to Kickstarter. She writes a comic called Anathema which has three issues available through Comixology's Submit program and was originally funded through as successful Kickstarter. She was also a writer and letterer for the Womanthology project which was a huge crowd funding success a few years back. As the editor for this new anthology she has recruited an array of writers and artists that are all either new stars in the comics world (like Cullen Bunn, Paul Tobin, Tradd Moore, Tim Seely) or just on the cusp of stardom (Christopher Sebela, Andy Belanger, Christian Wildgoose, Thomas Boatwright). 

At over 250 pages, this hardcover book will contain 20 short stories with each creative team telling the type of horror story they want to tell. Deering is a vocal cheerleader for horror in comics and with the rise in popularity of that genre in comics today, this Kickstarter is hitting a good time. In addition to the comics there will be a historical piece, about the rise and decline of horror comics from the EC days to today, written by historian Mike Howlett.

Although In The Dark will easily reach its funding goal and IDW Publishing is helping out with the printing and distribution, the creators are working on this with no money up front and any money that exceeds the goal will be divvied up among them.

Read more about the In The Dark anthology and pledge your support.

5. The Witching Hour

By various
DC Vertigo

It's anthology week it seems. But wait, it's even another horror anthology. The Witching Hour is an 80 page one-shot published by DC's Vertigo line featuring 9 stories of supernatural "Vertigo-ness." The lineup for this one includes some big names like Kelly Sue Deconnick, Fables' Mark Buckingham, the highly underrated Tula Lotay and Emily Carroll (who we just mentioned in one of this week's other anthologies, Fairy Tale Comics). Perhaps most notable is a story called "Mars To Stay" illustrated by Cliff Chiang and written by Brett Lewis who we haven't seen enough in comics since his highly acclaimed mini-series The Winter Men about former decommissioned super humans in post-Cold War Russia. 

There are some preview images here and Cliff Chiang recently posted a preview page from his story with Lewis here.

Why a Major Error in 'A Wrinkle in Time' Was Never Corrected

Madeleine L'Engle's A Wrinkle in Time was published in 1962, and thanks to the recent release of a big-budget Disney adaptation, the book is just as popular as ever. The book has earned its status as a modern classic, but according to the Daily Beast, there's something hiding in the text of every copy that is rarely seen in titles that have enjoyed such a long print run. The book features an error that's been reprinted millions of times, and unless you read Greek, you would likely never notice it.

The mistake falls on page 59 of the new Square Fish edition that was published to tie in with the new film. On that page you'll find a quote from Mrs Who, one of the three mystical beings that guide the protagonist Meg and her companions across the universe. Because verbalizing in her own words takes a lot of energy, Mrs Who communicates strictly by quoting great writers and thinkers from history. In this case, she's quoting the playwright Euripides in his original ancient Greek. She follows it with the English translation, "Nothing is hopeless; we must hope for everything," but Greek speakers will notice that the two quotes don't match up. The original line in Greek includes words that don't make sense together or don't exist at all.

How was such a glaring error able to go unnoticed in a major work for so long? The answer is that it didn't: L'Engle was made aware of it by a friend of Greek heritage in the 1990s. According to L'Engle's granddaughter, the writer could trace the typo back to the Dictionary of Foreign Phrases and Classical Quotations, the book she pulled all of Mrs Who's quotes from. While transcribing the Euripides quote by hand she must have omitted a letter by accident. The quote was further removed from the original when the typesetter chose the Greek characters from her manuscript.

Even after hearing about the mistake, L'Engle didn't make fixing it her top priority. Instead she invested her energy into tackling other copyediting issues for the 1993 reprint, like removing all the periods from Mrs Who's, Mrs Which's, and Mrs Whatsit's names. When L'Engle died in 2007, the mangled quote was still standard in new copies of A Wrinkle in Time.

To date, only one English-language edition of the book contains the corrected quotation: the 1994 audiobook narrated by L'Engle herself. But the publishers of A Wrinkle in Time at Macmillan are apparently aware of the error, so the next printing may finally be the one that gets it right.

[h/t Daily Beast]

iStock // Heinrich Hoffmann/Keystone Features/Getty Images // collage by Jen Pinkowski
When German Scientists Tried to Rename Bats and Shrews, Hitler Threatened to Send Them to War
iStock // Heinrich Hoffmann/Keystone Features/Getty Images // collage by Jen Pinkowski
iStock // Heinrich Hoffmann/Keystone Features/Getty Images // collage by Jen Pinkowski

In The Art of Naming (The MIT Press), Michael Ohl, a biologist at the Natural History Museum of Berlin, delves into the art, science, language, and history of taxonomy. There are some 1.8 million known species—and scientists estimate that 100 million more await discovery. Every one will need a name. How does the process work? 

Ohl takes us into the field with the explorers and scientists at the forefront of naming the natural world, including Father Armand David, a French priest who was the first to describe the panda to the Western world; American paleontologists Edward Dinker Cope and Othniel Charles Marsh, who bitterly battled in the Bone Wars; and Polish biologist Benedykt Dybowski, whose unique naming system for crustaceans called gammarids (a.k.a. "scuds") resulted in tongue-twisters such as Cancelloidokytodermogammarus (Loveninsuskytodermogammarus) loveni.

In the excerpt below, Ohl tells the story of one of the little-known footnotes to World War II: When Adolf Hitler threatened the German biologists who wanted to rename bats and shrews. And, read on for the best bat nickname of all time: "bacon mouse."

—Jen Pinkowski


On March 3, 1942, a brief item with a rather peculiar headline appeared tucked away in the Berliner Morgenpost newspaper. "Fledermaus No Longer!" the bold letters proclaimed. The following short text was printed underneath:

"At its 15th General Assembly, the German Society for Mammalogy passed a resolution to change the zoologically misleading names 'Spitzmaus' [shrew] and 'Fledermaus' [bat] to 'Spitzer' and 'Fleder.' Fleder is an old form for Flatterer [one that flutters]. The Spitzmaus, as it happens, has borne a variety of names: Spitzer [one that is pointed], Spitzlein, Spitzwicht, Spitzling. Over the course of the conference, several important lectures were held in the auditorium of the Zoologisches Museum […]."

To this day, despite the problems announced by Germany's leading specialists on mammals on the pages of one of the capital's daily papers, fledermaus and spitzmaus remain the common German names for bats and shrews. Neither dictionaries nor specialized nature guides contain entries for fleder or spitzer (provided one disregards the primary definition of spitzer, which is a "small implement used for the sharpening of pencils").

Indeed, a swift response to the item in question arrived from an unexpected source. Martin Bormann, Adolf Hitler's private secretary, sent a message on March 4, 1942, to Hans Heinrich Lammers, head of the Reich Chancellery. The missive contained remarkably unambiguous instructions from Hitler:

"In yesterday's newspapers, the Führer read an item regarding the changes of name ratified by the German Society for Mammalogy on the occasion of its 15th General Assembly. The Führer subsequently instructed me to communicate to the responsible parties, in no uncertain terms, that these changes of name are to be reversed immediately. Should members of the Society for Mammalogy have nothing more essential to the war effort or smarter to do, perhaps an extended stint in the construction battalion on the Russian front could be arranged. Should such asinine renamings occur once more, the Führer will unquestionably take appropriate measures; under no circumstance should terms that have become established over the course of many years be altered in this fashion."

There's no question that the "responsible parties" understood and responded to the injunction, which could hardly have been misinterpreted. On July 1, 1942, at least, a notice was printed in the Zoologischer Anzeiger—at that time, the "organ of the German Zoological Society"—that comprised a scant five lines. The notice has no byline and can most likely be attributed to the journal's publishers:

"Regarding the discussion [in earlier issues of the Zoologischer Anzeiger] about potential changes to the names 'Fledermaus' and 'Spitzmaus,' the Editors wish to make public that terms that have become established over the course of many years are not to be altered, following an announcement by the Reich Minister of Science, Education, and National Culture, as per the Führer's directive."

It's conceivable that Lammers forwarded Hitler's instructions (which had reached him by way of Bormann) to Bernhard Rust, the Reich Minister of Science, Education, and National Culture. Rust will then likely have ordered one of the "parties responsible" for the unpopular initiative to publish the retraction in the appropriate platform. The Zoologischer Anzeiger fit the bill, considering the fact that by 1941 it had already featured two articles debating whether the name spitzmaus should be changed.

What is the problem, though, that veteran scientists have with spitzmaus and fledermaus, those innocuous terms for the shrew and the bat? And how could it come to pass that Adolf Hitler—preoccupied as he was in 1942— should personally join in the campaign for the correct classification of these small mammals?


The common thread in these two unremarkable and familiar terms is of course the second word component, maus, or "mouse."

Fledermaus and spitzmaus … are (linguistically) first and foremost mice. By referencing certain characteristics in these compound words (fleder comes from flattern, "to flap"; spitz, or "point," refers to the shrew's pointy nose or rather head shape), it becomes possible to provide a clear name—or almost clear, at least, because there are many bat and shrew species, but more on that later.

Both names, of course, imply affiliation with mice, and that's the sticking point. In zoological terms, mice are a group of rodents known at the higher level of classification as Muroidea, "muroids" or the "mouse-like." The group includes quite the mix of animal groups, with occasionally curious names like zokor, blind mole-rat, spiny tree mouse, and Chinese pygmy dormouse, not to mention our pet hamsters and those domestic but unwelcome mice and rats. Common to all muroids are sundry and complex structural features in the skull, coupled of course with the oversized, continually growing incisors typical of rodents. Beyond that, although endless evolutionary gimmickry can revolve around this mouse theme (long or short legs, different fur colors and tail lengths, and much more), and even without biological expertise, most muroids tend to be identifiable as mice, if only vaguely.

Zoologically speaking, a mere mouse-like appearance is insufficient to denote a muroid. Instead, the specific anatomical features of the skull must be in evidence.

Field, house, and deer mice are familiar to many North Americans, although they typically live hidden away, and we don't often encounter them. These animals with the "mouse" base in their name are truly mice in the zoological sense.

The same cannot exactly be said for the bat and shrew—the fledermaus and spitzmaus—despite their names. Neither of them is even a rodent or, consequently, a muroid. Then what are they?

In the classification of mammals, a whole series of groupings is traditionally distinguished, usually assigned the rank of order within the class of mammals. Depending on scientific opinion, there are 25 to 30 of these orders of mammals. Rodents comprise one of these orders, to which muroids and several other groups of mammals belong.

Bats, meanwhile, are typical representatives of the order of flying mammals. Their scientific name is Chiroptera, from the Greek words chiros (hand) and pteros (wings). Chiroptera, then, means "hand-flier," which is a fitting name for bats and their closest relatives, flying foxes.

The systematic placement of the shrew, or spitzmaus, is determined in much the same way. They, too, fail to possess the mouse characteristics in question, although they do share traits with moles and hedgehogs, as well as with the solenodon (meaning "slotted tooth"), which is a venomous critter native exclusively to the Caribbean islands. They are now situated under the wondrous designation Eulipotyphla, but only since 1999. How they are related—along with ties to an array of other mammal families, such as tenrecs, desmans, and golden moles—has not been conclusively explained.

Experts have known for a long time—since Linnaeus's Systema Naturae at the latest—that neither bats nor shrews are related to mice, to which common parlance pays no heed. The fledermaus and spitzmaus comfortably maintain their spots in the lexicon.


One of the first mammal biologists to campaign for the standardization of German mammal names was Hermann Pohle. Born in Berlin in 1892, Pohle remained faithful to the city until his death and spent a large part of his life working at the natural history museum there. His career as a mammal biologist started early, when as a university student he worked as an unpaid hireling in the museum's famed mammal collection. Through diligence, endurance, and scientific acumen, he worked his way up to head curator of mammals. He thus held one of the most influential positions, of both national and international significance, in the field of systematic mammal research.

In 1926, Pohle—along with Ludwig Heck, the former director of the Berlin Zoo, and a number of other colleagues—founded the German Society for Mammalogy, of which he was the first head. Pohle thus had his finger on the pulse of mammal research, as it were, and he followed the history of the society over the next five decades "with keen interest," as one biographer noted.

In addition to his work as a researcher and curator of the mammal collection at Berlin's Museum für Naturkunde (Museum of Natural History), Pohle's interests also lay with German mammal names. Not only did he push for standardization of names, Pohle also campaigned to have existing names assessed for scientific plausibility and changed, should they not pass (his) zoological muster.

In 1942, Pohle published a summary article addressing the question, "How many species of mammals live in Germany?" He appended a comprehensive list of all German mammals, each with its correct "technical name," as Pohle called it, as well as its corresponding German name. When it came to the various species of spitzmaus (of which the Germans have eight, incidentally, despite the long-standing impression that there is "the" one and only shrew) and the 16 species of bats that have the base word "fledermaus" in their name, Pohle consistently uses alternative terms. The eight shrew species thus became waldspitzer, zwergspitzer, alpenspitzer, wasserspitzer, mittelspitzer, feldspitzer, gartenspitzer, and hausspitzer. For the bats, the base of their compound name was changed to fleder: teichfleder, langfußfleder, wasserfleder, and so on, all the way to a term of particular elegance, wimperfleder.

Pohle's article, which predates the society's 15th General Assembly and Hitler's emotional veto by more than a year, is a particularly interesting source because he also shares his actual motivations for the suggested changes. His emphatic objective is to see "the term 'Maus' disappear, responsible as it is for laypersons' wont to lump the animals together with actual mice."

In the estimation of these laypersons, mice are something "ugly and destructive that must be fought, or ideally exterminated." Shrews and bats, harmless as they are to humans, are thus subject to the same brutal fate. Pohle hopes for a "shift in perspective" to occur, once the endangered animals are no longer referred to as mice.

What to do, then? Pohle would prefer the term spitz for spitzmaus, but it's already been assigned to a dog breed. Rüssler could also work, only it already applies to some other insectivore. That leaves spitzer, a name that emphasizes the pointy head as a distinguishing characteristic and is still available.

Pohle wants a name for bats without "maus" but happily with a nod to the animals' flying ability. Most names of this kind are already employed for birds, and "flatterer" or "flutterer" could only logically be used for a certain population of bats, namely, those bad at flying. "Flieger" or "flyer," another hot candidate, is also in use by various other animal groups.

But why, Pohle asks the reader, would one even need to say "fledermaus," when "fleder" actually makes perfect sense? Pohle mentions that the original meaning of "fleder" was different, but few people were aware of this fact anymore.

On the off chance that he was correct in this assessment, let it be noted that fledermaus can be traced back to the 10th century, to the Old High German "vledern" or "flattern" (the infinitive form of "flatterer"). The image of the bat as a "fluttering mouse" has existed since this time in many languages, including "flittermouse" in English. A number of other German terms exist for bats. In some regions of Germany, such as Rhineland-Palatinate and Southern Hesse, the Old High German "fledarmus" is said to have been used to describe nocturnal creatures, such as moths. There, bats were apparently called "speckmaus," instead of fledermaus, because while hibernating, they could be seen hanging like pieces of bacon (speck) in the smoke.

Pohle's dedication to promoting the protection of bats and shrews through a bold name change reached its temporary culmination a year later, when—at the 15th General Assembly of the German Society for Mammalogy in Berlin—a resolution was passed on a universal and binding adoption of the spitzer- and fleder-based names Pohle had suggested. The results are known: Hitler was not amused.


We can only guess at what Hitler's actual motive was in issuing such drastic threats to prevent the name alterations proposed by the German Society for Mammalogy. It could have been his outrage that in 1942—hard times because of the war—leading German intellectuals were concerned with something so unimportant and banal as the appropriateness of animal names. Perhaps this anecdote is just a further example of Hitler's hostility toward intellectuals.

It is ultimately unclear, even, to what extent Hitler was the driving force behind this directive or whether this is a case of subordinates "working towards the Führer," as historian Ian Kershaw describes it. Conceivably, after reading the Berliner Morgenpost, Hitler may have remarked negatively regarding the zoologists' plans. His circle—in this case, Bormann—may have immediately interpreted this as "the Führer's will" and sprung to action accordingly. As for Pohle and his colleagues, it can't have mattered much whether the "invitation" to the Eastern Front came directly from Hitler or was communicated in an act of premature obedience.

Whatever the case may be, Pohle's suggested name changes did not fail because of Hitler's intervention, which presumably resonated as little with the German-speaking public as the original notice. Pohle failed because he wanted to take the basic idea of a standardized naming system out of the scientific context and transfer it into the realm of vernacular. Everyday German is not formally and officially regulated, and like every other vernacular, it follows different rules than scientific speech. It is shaped by a multitude of factors and influences that have their own unpredictable dynamic, which leads to some word usages changing while others stabilize.

In kindergarten, we learn that small, furry four-legged animals with a tail are "mice." This act of naming fulfills the exact function expected of it. It "tags" specific linguistic content—a meaning—that is generally understood. The difference between muroids and insectivores, which is important to zoologists, has no application in everyday confrontations with "mouse-like" animals and makes no difference to most people. A mouse is a mouse, whether a striped field mouse or a shrew.


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