If there’s a trap that ought to be maligned more in American comics, it’s the bait-and-switch cover. I know it’s good business sense to make covers the most attractive part of your comic, but all too often shitty books are graced with the shiniest exteriors.

A few months ago I read the first few issues of The New 52 Deathstroke purely on the basis of Simon Bisley’s amazing cover art. Eventually my enthusiasm for the covers was outpaced by my disappointment in the book’s writing, and I had to tap out.

It happens in every genre, including fantasy comics. Some of those covers look stunning, going so far as to incorporate Frank Frazetta paintings, but you’d be hard pressed to say anything nice about the art or stories contained within.

These sorts of infractions are why I neglected Orc Stain for so long. The seemingly universal abundance of terrible fantasy comics caused me to ignore what looked like something potentially interesting. I’m glad to have dug deeper, because this book turned out to be great.

The excellent coloring of Orc Stain is what initially caught my attention. It posesses a masterful palette of purple, green and red gradients, which makes everything blend together cohesively, while also adding depth to the detailed and frenetic linework. Since comics began to be colored digitally, gradients this conspicuous have defiled what are often serviceable pencils and inks, a tell-tale sign of heavy handed colorists rushing to make their deadlines. Here, the coloring is nothing short of breathtaking, adding balance and actually elevating the already impressive line drawing. I wouldn’t be surprised if coloring is the most time-consuming part of creating Orc Stain.

Luckily, Orc Stain isn’t an exercise in style over substance. Its plot, which follows a thoughtful one-eyed orc trying to keep a low profile as an explosive paradigm shift overtakes society, is grounded in an unpredictable world filled with unusual beasts, weapons, and magic. Orcs are a race of obstinate, single-minded brutes, constantly engaged in fickle tribal warfare which accomplishes little. Most humorously, orc economics is based entirely around the gronch, the orc penis. It’s both amusing and disgusting to read about orc currency and how it’s generated. This is a book where you’re just as likely to turn the page to see what happens to the protagonist as you are to learn one of the weird quirks of the world he inhabits.

Great-looking book. Unique and compelling milieu. What’s the catch?

The closest thing to a catch is that it takes James Stokoe a long time to release each issue, because he writes, draws, inks and colors them himself. I don’t have a problem with this. In fact, I would embrace an alternative model of American comics closer to what you see in Europe, where 45-60 page chapters are released annually in high-quality hardcovers. There are talented comic book artists suited to the monthly format, but a lot aren’t. Put shortly, this book is worth the wait.

Okay, there’s one more catch, and I’m surprised I’d ever say it: this comic looks better digitally than in print. I have the Orc Stain trade paperback (which collects issues one through five), and Orc Stain #6, the most recent issue. Both are printed on an uncoated paper that greedily absorbs the rich tapestry of ink that makes up an issue of Orc Stain, reducing its contrast and vividity. Would it raise the price-point too high to print the comic on glossy paper? I can’t say.

I can tell you with confidence, however, that when you compare two-page spreads that run across both a comic book page and the inside back cover, it’s the half on the coated cover that looks best. The other side appears limp and demure by comparison. When you read the comic digitally, you don’t have this problem. It’s bright and beautiful, exploding off the screen. Good thing it’s available on comiXology for 2 bucks an issue.

Orc Stain is an artist’s compelling vision of brazen weirdness, a genuine labor of love carefully crafted. In North America, people deserve more credit for creating comics in this fashion.

(If you have any conception of Jonah Hex based on the 2010 film, try to forget it before considering this article.)

With a site that aims to cover exemplary hotbloodedness wherever it may lurk in pop culture, you’d think I would have written about Westerns by now, but I haven’t. Not for a lack of interest, mind you. Not at all.

DC Comics recently unveiled their new megacomic promotional event meant to drive sales with a mildly sad obsession over continuity, The New 52. The idea is to have 52 DC Comics titles restart at issue #1. You know, because renumbering comics grabs peoples’ attention. 52 times, even.

One DC relaunch that stands apart from the superhero fair is All Star Western, a Western comic anthology that hasn’t hit the presses since 1972. Western comics, in 2011?! They’re not as popular in the United States as they once were. But there is a 70 issue run of Jonah Hex ending this year, which is being retooled into the All Star Western revival.

Justin Gray and Jimmy Palmiotti’s 7 year run on Jonah Hex is excellent. Just flipping through the first few volumes I’m reminded of how badly I need to catch up. Jonah Hex is a “hard Western,” sticking to the traditional elements of the genre without resorting to extremely quirky characters or the ham-fisted spinning of archetypes on their head in such a way to appear uniform with all other modern things that ham-fistedly spin archetypes on their head. It’s a comic that didn’t pull incredible sales numbers or get inundated with critical acclaim, but it was silently respected, a little engine that could chugging along and consistently delivering the goods. Face Full of Violence contains the first six issues of Jonah Hex. It’s a trade paperback I highly recommend.

You may be wondering: is the new All Star Western promising? I don’t know, not really. It retains the same writers who’ve dutifully stuck with Jonah Hex since 2005, but a lot of what made that comic great is now gone. Instead of having self-contained issues which subtly build up a larger story, the format has shifted to more traditional long-form storytelling. In addition, Jonah Hex goes to the 19th-century equivalent of Gotham City, future home of Batman, where he awkwardly “teams up” with the doctor who will be the founder of Arkham Asylum. One of the best things about Jonah Hex is how off the beaten path it was from everything else DC Comics was putting out at the time, and now it seems the game plan is to parlay its success into something that both feeds off of and feeds into DC Comics’ superhero IP. So far, I can’t see beyond the crass marketing behind that creative decision.