MICROWAVE REVIEW: “Quantum and Woody #11″ Tastes Like Giving Up On Life, And It’s Delicious

Writer: James Asmus

Artist: Wilfredo Torres

Cover Artist: Wilfredo Torres, Kano

Valiant Entertainment


Warning: SPOILERS for the issue follow.

"Quantum And Woody #11" (W) James Asmus (A) Wilfredo Torres Valiant Entertainment $3.99 - See more at: http://webcache.googleusercontent.com/search?q=cache:http://capelesscrusader.org/microwave-review-quantum-and-woody-11-tastes-like-giving-up-on-life-and-its-delicious/#sthash.pHswzcPy.dpuf
“Quantum And Woody #11”
(W) James Asmus
(A) Wilfredo Torres
Valiant Entertainment

Quantum and Woody is one of the most consistently funny books out there, one that has actually made me laugh out loud. James Asmus has a sharp sense of humor that is quite bold and clever, and his crafting and use of characters and dialogue is well done throughout this issue as well. 

The relationship between Eric and Woody is obviously the most important in the series, and the opening montage of the many times in which woody has gotten Eric into trouble leads very well into their current situation, with the Henderson brothers in jail for the Smithsonian robbery. Woody’s sentiment, that without him Eric wouldn’t know how to have a good time, is perhaps somewhat correct, as Eric might really secretly enjoy the adventures Woody takes him on. Even if they have their drawbacks. 

Quantum and Woody works best, in my mind, when one or both of the brothers steps a bit outside of their traditional role. Sometimes that means Eric being more like the humorous and irreverent Woody, engaging and agreeing with his brother’s view of certain topics or situations. Other times it means the wild Woody drops his jokey defense mechanism and has a serious moment, as happens here with him confessing to Sixty-Nine that he’s been unfaithful, and then vocalizing to himself that he loves her, after the heartbroken Sixty-Nine leaves the room. We’ve seen before that while Woody looks careless, he’s really a man who’s been through some rough times. Here’s hoping he can fix his relationship with the charmingly innocent clone-woman (who is used as a mouthpiece for Asmus in one of the issue’s panels; delivering a stiff jab at the contemporary comic book trends of putting a strong emphasis on dark and brooding characters and plots and over-sexualized female characters. By far one of the issue’s funniest moments).

The major revelation of Derek Henderson being alive in the form of Vincent the super-goat is an interesting one, but one does wonder why he’d wait so long to reveal this to his sons. Presumably he could have done it sooner, so why would he choose to delay it?

One thing “Quantum And Woody #11″ does suffer from is a problem that’s a bit common with Valiant’s books, and that’s the inconsistent presence of artists. I don’t want to disparage Wilfredo Torres as an artist in any way, he does a fins job here, but the fact that he has a notably different style from Kano, who penciled issue #10 makes for a jarring experience at first glance. Also – and again, this is not a knock on Torres’ abilities as an artist – I think that Kano and original Quantum And Woody artist Tom Fowler’s styles match the book’s vibrant, lively tone more than Torres’ style of sharper lines that create a rougher feel for the book.


“Quantum And Woody #11″ is another solid issue of one of the funniest, wittiest comic books on the stands. The carousel of artists is a bit of a downer, but James Asmus’ humor and character work shine through.

“Quantum and Woody #11″ earns a 8.8 / 10