Landroid's Basement

First reviews of the new year! Hello, 2012!

2012-01-08T12:56:00.000-05:00

We're almost going on four years here at the Basement. It's still

American Vampire #22Written by Scott SnyderArt by Rafael Albuquerque and Dave McCaigLettering by Jared FletcherPublished by VertigoReview by Lan Pitts'Rama Rating: 9 out of 10Twenty-two issues in and almost two years later, American Vampire is still one of my go-to books that I recommend to a person looking to get into reading comics, and this issue is a prime example on why that is.If you haven't been following the book since it came out, there's nothing to really stop you here. It's the beginning of a new arc, new characters, but adds to the mythos of what the American vampire really is. Here, we have Travis Kidd, a greaser-type nineteen-year-old that just happens to be quite adept at killing vampires. Of course his past comes to light and a certain vamp has wiped out his family and everyone he loves. Travis is a bit different from the slayers we've seen before. He's quick, agile, and a slight bit eccentric. He's a troubled youth, but his narration shows he is wise beyond his years.Set in the 1950s, which is almost where I thought a book like this would thrive as it was the beginning to American pop culture. There are some minor clichés here, but the set up is so clean, you can't help but root for Travis in the other three issues to come in the arc. Agent Hobbes sneaks in and his presence is the one thing that ties everything mostly together. There's no Pearl, Henry, Skinner or Felicia, but there doesn't need to be. Snyder has taken the concept of vampires here and taken them nationwide, and not just pigeonholed into any one part of the country. Everything in this issue feels self-contained and would be easy on a new reader's brain.Having Rafael Albuquerque back in the artistic driver's seat is like watching one of your favorite movies and falling back in love with it. While Jordi Bernet effectively did his thing and worked out some of the best visuals the book has had during its run, Albuquerque almost seems like he was born to recreate Smalltown, USA with a slice of macabre. His art has never been more kinetic here as the level to detail on everything from hot rod game of chicken to an old-fashioned rumble in a diner, nothing comes across as mundane. Dave McCaig's colors here with his usual pallet, but concentrates more on blues and purples, rather than the warmer choices he's more prolific with. It adds a certain layer of moodiness that fits right in Albuquerque's heavy shadows.With the original dream team that first made this book the hit it is back together, it makes you wonder how comics could get any more perfect. As mentioned, if you've heard all the buzz about this book but not sure where to start and intimidated by books in their double-digits, fear not. American Vampire #22 reads just as good and strong as it were a first issue. So hop in, buckle up, and enjoy the ride.

Witchblade #151 (Published by Top Cow; Review by Lan Pitts; 'Rama Rating: 6 out of 10): Imagine you're going to see a sequel to a movie, and you're hyped. You loved the first one and even though there is a different director, you remain hopeful that the vision and characters stay intact. However, you notice that the characters you've cared about have a different voice and direction and it deviates from what you had expected, leaving you slightly deflated. That's how I felt after I put down Witchblade #151. Having molded Sara Pezzini and the Witchblade galaxy into something mature and intelligent for the past six or so years, Ron Marz has left the book, and in his place step up writer Tim Seeley (Hack/Slash) and artist Diego Bernard (know from his work on Dynamite's The Man With No Name). I'll give it to Seeley, as he does play to his strengths with a throwback to the Michael Turner-era of Witchblade, but it felt very by the numbers. I think the first-person narrative is a bad idea; it's overwritten, and at times almost comes off as parody of hard-boiled narrative. The story's direction isn't bad, but it feels overcomplicated, like a completed puzzle that still has a few extra pieces. Bernard's art, though, is top notch. It's still weird to see Sara in this light again, but his attention to detail is strong and Sara's new world looks pretty good. I know it will probably take a while for Seeley to find Sara's groove, but this wasn't the first impression I had wanted.

Best of the Year: 2011

2011-12-27T20:40:00.003-05:00

Every year the Best Shots team over at Newsarama put their heads together and individually list their thoughts on the best books/creators/titles/publishers/etc of the year. I had a difficult time narrowing my choices to a solid three, but I'm satisfied with my selections here. It's a mix of the best of what 2011 had to offer in the comic book medium.

Bronze — Artifacts (Published by Top Cow): A maxi-series like this doesn't happen every day. While you do have your Blackest Nights and your Sieges and your crossovers and your tie-ins, things can get convoluted and scattered fairly quickly. Here, you have Ron Marz being the architect of one fine story that spans throughout the Top Cow universe. There's Cyber Force, Hunter-Killer, Witchblade, Darkness, Angelus... the whole schmear! What started as Sara getting her daughter back has turned into an emotional and dangerous roller coaster for all involved. While Marz has been the voice of the story, he's had great assistance from artists on the visuals, starting with Michael Broussard, who continues to be a powerhouse, to Whilce Portacio and Jeremy Haun. It was announced that Artifacts would be now an ongoing with Marz still at the helm, it gave me hope that people that have been missing out on the series will eventually pick it up and realize they have indeed been missing out.

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Silver — Jim Henson's The Storyteller (Published by Archaia): Simply put, if you have not had a chance to read Archaia's adaptation of Jim Henson's The Storyteller, I dare say that is a crime. Showcasing a vast array of fresh faces and seasoned vets, this assortment of stories is sure to be the delight of any reader, of any age. When you have talents such as Evan Shaner, Tom Fowler, Katie Cook, Nate Cosby, Ron Marz and many more, what is there not to like? It's an eclectic group of creators and individuals that I'd love to see more work from, especially if it involves a project like this. Archaia has been on a roll with the Henson licenses and Storyteller exceeded all my expectations and gave me a reading experience I haven't had in a long while. A book like this shows the world what non-superhero comics are really capable of: a true work of art, and one of the best books of the year.

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Gold — Daredevil (Published by Marvel Comics): Yes, True Believers! The Man Without Fear has made quite the comeback this past year with a classic take on the fan favorite and Marvel staple. Brought back from the deepest depths that the character has been in since Frank Miller's run by the incredible Mark Waid and a dynamic rotating art team of Paola Rivera and Marcos Martin. After the events of Shadowland left Matt Murdock in the most depressing state I think I've ever read, the road to redemption began here. And it's just plain, old-fashioned cool. Bringing Ol' Hornhead back to his swashbuckling roots, Waid has crafted a hero that doesn't do anything radical to the character, but builds on what has been established and it's actually fun! Rivera and Martin are dynamite and creative with the visuals and it's how a hero like Daredevil should look. When you have the first issue having DD go up against classic E-lister, the Spot, and a few issues later having him outsmart his way out of a shootout, you realize this isn't the Daredevil from last year. This is what superhero comics should achieve to be like, and hands-down the best book Marvel is producing at this time.

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Item To Watch In 2012 — Justin Jordan: Image's The Strange Talent of Luther Strode has been making strides and gathering tons of buzz over the past couple of months, putting creative team Justin Jordan and Tradd Moore on everybody's radar. Recently though, USA Today named Jordan the Best New Writer, and I have to agree. While Luther is still gaining momentum, one can be sure to keep your eyes peeled on what this bright newcomer has in store.

It's been a couple of moons since last time.

2011-11-23T13:27:00.005-05:00

Yeah, it's been a while. Everybody have a good Halloween? Ready for Thanksgiving tomorrow? Yeah, me neither.

So I guess a quick update is what would be the best thing right now.

I interview Polly and the Pirates team, Ted Naifeh and Robbi Rodriguez.

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My Top 10 Favorite episodes of Batman: The Brave and the Bold.

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Here's some "new" art. I say that because they're all from September on.

Hope everybody has a Happy Thanksgiving and a killer holiday season!

250th mega post! DCnU and other goodies!

2011-10-07T20:00:00.001-04:00

Swamp Thing #2 (Published by DC; Review by Lan Pitts; 'Rama Rating: 9 out of 10): It's only understandable that since the DC universe is in the middle of a quasi de-Alan Mooreification, that Swamp Thing would receive a new origin. What Scott Snyder has done here is explain the origin of ole Swampy and how one actually becomes a Swamp Thing. It's again, mystical in nature, as is the antithesis of the Swamp Thing, and the threat of the story: Sethe. The best way I can describe Sethe is decay incarnate. It looks like a force of pestilence and rot, in the shape of a dead bird. It warps the minds of the inhabitants of the town where Alec Holland is presently residing and it quickly turns into a horror movie. Holland is saved by a mysterious biker, though the identity of who it is is not really a shocker, but I'm okay with that and ends on a proper cliffhanger. Snyder definitely has a niche for horror comics and even does a nod to Bernie Wrightson. His take on the character is really inspiring, and I can't wait to see how this all unfolds. Yanick Paquette does some incredible work here. How he uses vine-like constructs to do panel breakdowns and the way he handles the sheer macabre of it all is a break from the norm. I do fear this title won't be given the proper chance, but in the waves of Lanterns, Bats, and Super titles, give this one a read.

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Stormwatch #2 (Published by DC; Review by Lan Pitts; 'Rama Rating: 8 out of 10): The second issue of Stormwatch is a little tricky. Paul Cornell introduces Apollo and Midnighter's first meet up as well as their invitation to Stormwatch. The book continues to push sci-fi boundaries in comics these days, even with just two issues in. The imaginative feel and imagery here almost feels like Morrison's JLA. I mean, you have our moon becoming self-aware and on the offensive. The art takes a leap of improvement in this issue with Al Barrionuevo taking on most of the pencils, with Miguel Sepulveda strictly on the moon scenes. Barrioneuvo does a great job giving the roster a more refined shape with his line work and Sepulveda carrying on a more tenuous look. I just wish it didn't feel like Cornell had put aside most of the first issue's plot developmnt and this one feels overcrowded. I'm sure he'll remedy that in future installments, but this book continues to impress me, I just don't want to get a little loss along the way.

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I, Vampire #1
Written by Joshua Hale Fiaklov
Art by Andrea Sorrentino and Marcelo Maiolo
Lettering by Pat Brosseau
Published by DC
Review by Lan Pitts
'Rama Rating: 9/10

Vampires have always been a staple of horror and fiction. No surprise then, that when DC relaunched their universe, there was this book in the mix. Originally published as backup feature in House of Mystery in the early 80's, Andrew Bennett is back once again fighting his former lover, Mary Seward, who is assembling an army to kill all of humanity. While the concept in I, Vampire is the same as it was almost thirty years ago, the look here is completely different and easily the most distinguished book of the new 52.

Let's start off by looking at the creative here. Josh Fiaklov became an indie sensation this year with the release of Echoes, published by Top Cow. His no-nonsense approach to the macabre is still in place here. His writing prowess is more or less the most engaging out of the newly relaunched books. He gives you a sense of the characters and their relationship in such few pages, the rest of the story sinks its teeth you and doesn't let up. Andrew is afraid of becoming a monster, while Mary has embraced the feral nature of the vampire, yet he still loves her.The narration between the two goes in and out of the timeline of the book, presenting it in a way that makes the readers think and caught me off guard. You get a hint of the big reveal in the beginning, but might not really understand it at first. Above all, it is accessible to new readers.

Andrea Sorrentino's art is unlike anything out there right now, especially at DC where it's practically against the grain with their house style. It's moody, stunning, and reminds me of early Mignola with the heavy use of shadows. Or the likes of Jae Lee, but with a more minimalist edge. There's not a real concentration on facial expressions or anything like that, but you still get the idea of what is going on and nothing is lost.

The superb colors by Marcelo Maiolo truly soar here. They're presented in a bold way that captures the feel of the book. The shades of red and blue indicating present time and flashbacks are a little helpful, but it's the way the colors reflect the eeriness of this world. Though a minor setback, the coloring on the caption boxes that has the dialogue between Andrew and Mary is so similar, it's difficult at times to understand who is saying what. I think red on black would have been suited better for one of the characters just for the sake of distinguishing the captions. Again, a minor setback as the the art team on here is an extreme breath of fresh air.

I'm sure a lot of readers are sick of vampires, but the presentation here is just jaw-dropping that it's hard to ignore. Nearly flawless in its execution and in company of supermen and masked vigilantes, I, Vampire has a look of its own and should not be overlooked.

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Artifacts #10
Written by Ron Marz
Art by Jeremy Haun, Sunny Gho, Ryan Sook, and Tom Feister
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts
'Rama Rating 10/10

Wow. Just wow.

Just when you think you can breathe again when Ron Marz lets up, Jeremy Haun puts the peddle to the metal and goes full blast here. Taking a look back at the nine previous issues, Marz just doesn't let up. Here, we have a more relaxed pace as we're Ji Xi's origin and a brief family reunion. It plays as more as the aftermath of the big Aphrodite IX/Cyberforce throw down, and Haun gets to really shine here, right as Marz revs the engine for the next installment.

Since Artifacts was originally planned for thirteen issues, Marz has allowed the story to take its time. Yes, it was a matter of time before Sara and Jackie saved Hope, and every new character had their chance to get a little of the lime light. Though now almost a year into it, we get some pay off, which is just a thrill for longtime readers I'm sure. What Marz has done here is nothing short of good ole classic storytelling. The pacing has been solid and comprehensive, and all the while actually leading up to something that doesn't feel it was thrown together at the 11th hour.

I've found Jeremy Haun to be hit or miss in the series, but here, he's the star of the show. I can't put my finger on it, but everything just comes across as more polished and a cleaner look than before. The layouts are more dynamic than what he's done previously and it just looks great. I do think that Sara and Jackie's reunion with Hope felt a little flat and almost cavalier, but the action and Ji's origin just nailed it. Props to Sunny Gho as he proves again that he is Top Cow's go-to king of colors and can adapt to anyone's style.

Without a doubt, Artifacts has shaped up to be everything I had hoped for and then some. It's the event in comics now and still remains strong without relying on tie-ins and I'll be there to see how this all plays out. You should pick this up and join me.

Gatling gun series of reviews

2011-09-29T21:41:00.003-04:00

Voodoo #1 (Published by DC Comics; Review by Lan Pitts; 'Rama Rating: 9/10): This book, much like many of other DCnU titles was covered in controversy before it was even released. The notion that a "stripper" could have her own book and when a single splash page was released, it caused quite a storm of frustration from certain bloggers and raised a few eyebrows. Well, I guess it's much easier to have an opinion BEFORE reading something. Truth be told, I liked Voodoo. A lot. Ron Marz makes a splash here as he re-enters the DC universe once again. Yes, the main character is an exotic dancer, as she was in her previous incarnation. Though, Marz doesn't pander here, he sets up a solid story. The girls backstage talk about their dreams and hopes and how stripping is just another job. It's playing dress up and pretend, that's all. There's an aura of empowerment and how women own their sensuality here. Marz has made a career of writing kick-ass female leads for quite some time, and he doesn't stray from that pattern in Voodoo. Priscilla Kitaen, aka Voodoo, herself is a brutal force to be reckoned with and definitely not what she appears to be. To top it off, you have Sami Basri and Jessica Kholinne on art. Basri's line work is quite fine and simplistic. It reminds me of Joe Eisma, with a hint of Cliff Chiang. I found it not too over-rendered and gets the point across. Panel layouts are neat and clean and easy to comprehend. Kholinne's colors do the book justice and fits Basri's style. Marz rarely lets me down, and his book is no different. I wouldn't let a few naysayers get in the way of a good read, and you shouldn't either.

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Robert Jordan's The Wheel of Time #13
Written by Robert Jordan and Chuck Dixon
Art by Marcio Fiorito and Nicolas Chapuis
Lettering by Bill Tortolini
Published by Dynamite Entertainment
Review by Lan Pitts

Without going into a tirade or a gushing love letter to the Wheel of Time novel series, I have to say I am quite disappointed here. Dynamite's adaptation to the beloved fantasy series has been hit or miss, and mainly misses during the run. The rotating art team is inconsistent and here we have art that comes across as a really well put together high school project rather than work for a published comic.

Chuck Dixon does his best to adapt Jordan's style and pacing, and it shows. The book's dialogue comes out strong and in your face. You get the characters and their voices and the situation they are up against. I guess my big complaint here is that since he's straight adapting from the source material, there is a lot of telling and not showing. But that's a minor complaint in comparison to the art here. I can't exactly pinpoint the exact problem, so it might be a mixture here that rubbed me the wrong way.

Artist Marcio Fiorito has a moment or two of solid layouts and properly conveys the suspense of a high-action fight scene. The rest of the time, the line work is inconsistent going from broad to thin every other panel. On top of that, it just seems like pages of talking heads. Now, coming from a WoT fan I understand Jordan can get a bit wordy to say the least, but the artist's job is to break up the monotony of it and present some dynamic visuals. As I mentioned, there are some moments where he does let Moiraine the Aes Sedai ("wizard" for you non-WoT readers) shine and display her power accordingly. However, the next page begins a series of shoulder and headshots. It's just unfortunate. Even more so when you add the flat colors and awkward shading. It ages the characters tremendously as Mat goes from seventeen to forty-five in a single panel, and overall doesn't do the book any favors.

I had been hoping that once the action picked up, the comic would improve as well and this has not been the case. Dixon's script sums up the action pretty well, but the art side of things are still lacking. And with a series with such rich imagery, you'd think they'd turn it up a notch.

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Justice League: Dark #1 (Published by DC Comics; Review by Lan Pitts; 'Rama Rating: 8/10): This is the book I've anticipated the most since its announcement. I'm a huge fan of the supernatural cast of the DC universe and a book that spotlights the supernatural superstars is just the thing I'm looking for. What we have here is Madame Xanadu, Enchantress, Shade, Zatanna, Deadman, and John Constantine in a magical alliance that acts as the last line of defense when one of their own goes out of control. Peter Milligan has scripted some eerie imagery and Mikel Janin brings that to the page. I was big fan of both Madame Xanadu and Zatanna's solo series, so it's good to see these staples of DC's more arcane side do their thing. It's good to see Milligan acknowledge that the JLA isn't the only solution to a threat by having Superman, Wonder Woman, and Cyborg get taken down by a swarm cloud of teeth. Yes, you read that right. I have to admit, I was a bit thrown off at first when their costumes had been revealed. I still believe that Zatanna's new outfit is too "Criss Angel" for my tastes, but I've been assured she still has her classic attire when performing. It's a great first issue and doesn't give you all the answers, making you want to come back next month.

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Magdalena #8 (Published by Top Cow; Review by Lan Pitts; 'Rama Rating: 7/10 ): It's Magdalena on Magdalena violence in this latest issue. Not having the church on your side and thinking you've gone rogue isn't the best way to start your week. Patience goes up against another Magdalena, and the impostor even manages to steal the Spear of Destiny. The issue is mainly a fast-paced fight scene between the two with church politics sprinkled in. But if you're going to come back after a slight delay, come out swinging. Keu Cha's art is pretty solid, but really could have used an inker here. The background assists by Jacob Grippen add that extra bit of detail, but I think Bill Farmer is the real artistic hero here. He does his best to paint over Cha's pencils and make everything come to life, but the pencil shading is still visible and is very distracting in some places. Ron Marz continues giving Patience a voice unlike any other character out there, I just wish the art was more put together.

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Chopper #1
Written by Martin Shapiro
Art by Juan Ferreyra and Chandran Ponnusamy
Lettering by Troy Peteri
Cover by Chris Ortega
Published by Asylum Press
Review by Lan Pitts

The best way I can describe this is as "urban horror".

It's part bad girl comics, mixed with Sleepy Hollow lore set in modern day Daytona Beach. Asylum Press is hardly a stranger to these type of horror books and have made a name for themselves in the genre. We're not quite sure what is going on here, as this issues sets up the character, Christina and her bad girl ways. There's also a hint that she could be tied to Satan himself.

The panel construction is pretty basic here, but the actual panels themselves are quite elaborate. You get a sense of environment and it's never a case of talking heads. There's always something going on and it isn't stale. Juan Ferreyra has a good eye for action and lays it out well. Chandran Ponnusamy's coloring compliments Ferreyra style using a very textured pallet. You can see the added detail that Ponnusamy brought to the table. A lesser colorist could have really mishandled the linework.

The script itself isn't bad, per se, but comes across as somewhat dated. Yes, it leans toward the more mature reader as there are a couple of decapitations by a headless biker and a grizzly scene involving a disembowelment, but it's the dialogue itself that carried that impression. You can obviously see Shapiro's influences in the script, ranging from 70's horror to contemporary classics. Christina, the main character, is the typical "bad girl cheerleader" and almost cliche in her actions, but nothing too out there that I haven't seen on The Shield or Weeds.

Halloween is right around the corner and I can definitely say there is an audience for this type of work. I'm sort of interested in why she's connected to the Satantic figure and what this has to do with a headless biker. Chopped has set the ground work for a serious horror series.

Velma by Robbi Rodriguez

2011-09-28T20:40:00.003-04:00

Haven't done an art post in a while. Then again, I haven't gotten any serious pieces since my birthday so there hasn't really been a point here. So, I thought I'd update this blog, as well as do a bit of art talk here. I'm sure you won't mind.

Velma by Robbi Rodriguez. Robbi's been in the indie scene for years and you'll see him this December in Uncanny X-Force and recently in New Mutants. Marvel has been picking up the indie guys as of late. I mean CB definitely knows talent and this recent pick up is no surprise.

I already have a geek girl and a Zatanna from him so I thought I'd go with a Velma this time around. I've mentioned I like the minimalist approach here. He nailed her hair and freckles and gave her a sort of serious tone. I dig it and he's happy I did so since he's happy with the piece as well.

Anne Hathaway on Conan

2011-08-17T10:37:00.003-04:00

That sounded dirty. Last night, Oscar nominated actress Anne Hathaway was a guest on Conan and discussed various projects, but of course the big discussion was her upcoming role as Selina Kyle/Catwoman.

She also raps.

It Has Ended: Harry Potter and the Deathly Hallows Part 2

2011-07-16T13:20:00.005-04:00

A movie franchise that has spanned 10 years and that has kept primarily the same casting which consisted of 8 movies is quite a rarity. The Harry Potter series is genuinely one of a kind and have defined a generation. It has had an impact on pop culture and quite simply, something we may never see again in our lifetimes. The final installment of the movie series, one that was split into two parts, was released in theaters this past weekend and it certainly conveyed the emotion from the novel with epic battles and some heartbreak.

David Yates starts the movie without a recap or a "previously on..." deal here. Just a reminder that Voldemort has robbed Dumbledore's tomb and is now possession of the Elder Wand. That works best here and doesn't bog the pacing down and we can just jump right in. One thing I noticed off the bat was the lack of music. Yes, there is still music in the film and John Williams' unforgettable tune that is now forever associated with Harry and Hogwarts is there, but it's mostly faint and unassuming. It's not drowning in music like the Star Wars prequels, but I felt at times like I was at a funeral, it seemed that quiet and a bit awkward. It does pick up, of course, during the battle for Hogwarts and damn is it good.

It's interesting to see Daniel Radcliffe with the heroic stubble that is almost cliche now, but here he stands a man ready to face his mortal enemy, so I think it's fair that he looks the part. I've been on a bit of a re-watching spree as of late, and to have seen Daniel, Emma and Rupert grow up before our eyes. Their characters no longer have that glimmer of wonder and magic in their eyes, but the sunken visage of despair and fatigue. When the series started, it was filled with new magical worlds full of whimsy and discovery, now the once shiny pillars of Hogwards lay in ash and ruin and even I shed a tear as the Quiddich field burned and crumbled.

There is a lot going in this film, mainly because the second half of the book is where the action was while the first part set everything up accordingly and pulled no punches. Part Two continues that trend and allows proper time to give the battle for Hogwarts to play out and not be rushed and leave ample time to see pivotal parts of the book played out. I shudder to think what would have happened should this have been crammed into a single film. This really did get the treatment it deserved.

While it's certainly Harry Potter/Daniel Radcliffe's story, the minor characters really take the center stage, especially during the last half of the film. Maggie Smith who has played Prof. McGonagall throughout the series is a domineering force inside the body of an elderly woman. The fact that she was going through chemo treatments for cancer and still managed to work through this rigorous shoot displays what courage really is and does her character justice as she has in the past decade. Matthew Lewis who started out as awkward and clumsy Neville Longbottom, has become something of what embodies a Gryffindor. Neville shows bravery and even has a moment in defiance towards the Dark Lord himself. He's come along way from being bullied by Draco while practicing broom riding.

The scene-stealer here is Alan Rickman. Rickman, the legendary British star, was Rowling's first choice to play Prof. Severus Snape and does so here again as he has in the previous installments, gives Snape a voice and a performance that truly shows how complex the character is. I won't give away spoilers for those have yet to seen the movie or read the book, but it goes to show you in the world of Harry Potter, nothing is what it seems.

The final showdown between Harry and Voldemort actually comes across as anti-climactic. It's a bit of a breather since the Hogwarts battle just took your breath away with the special effects and tension you're feeling, especially for the fans of the series who knew what was coming. Ralph Fiennes once again dons the sans nose make up of Lord Voldemort and truly captures what a great villain can be. The scene with Snape in particular demonstrates his capacity for evil and his ruthless aggression.

Harry Potter and the Deathly Hallows Part 2 wraps everything up as Rowling intended, but should she continue on the legacy of the Potter stories, there is room to do so for another generation. The epilogue from the book is there as well, but I feel it would have been better with actual older actors instead of the current cast with just make up. I fear it doesn't translate well and we still get the impression they are early twenty-somethings instead of people almost forty. That is a small knit-pick out of a flawless adventure that concludes a story that will be enjoyed for generations to come.

HeroesCon 2011 Art Haul

2011-06-14T18:43:00.006-04:00

Between my birthday and HeroesCon, I have to admit, I got a good haul this year.

Shinku #1

2011-06-01T19:35:00.002-04:00

Shinku #1
Written by Ron Marz
Art by Lee Moder, Matthew Waite, and Michael Attyeh
Lettering by Troy Peteri
Published by Image Comics
Review by Lan Pitts

Vampires.

They've been a staple of folklore for centuries, and in pop culture for almost a hundred years. They've been perceived anywhere from noble monsters, to inhuman abominations, to even teen heartthrobs. Ron Marz, Lee Moder and company strive to bring vampires out of their sparkling image and back into the consensus that vampires are demonic creatures that will maim and kill you with Shinku.

The story follows young Davis Quinn as he wanders into the world of an ancient blood feud between the last of a Samurai clan, the titular Shinku, and the vampire warlord Asano. Shinku saved Davis' life when a local vamp takes a certain, shall we say, liking to Davis and took her head before she could get to third base. Davis is a witness to the existence of the vampires and the ongoing struggle Shinku's ancestors have had with them. His purpose is still unknown, but here's hoping he can survive because the glimpse we get of Lord Asano is disturbing enough.

Marz has been hyping this book for a while now. I have one of the ashcan sketchbooks when he was first promoting it, and that was at least a year ago. It is good to see this finally come into fruition. While Marz handles more mature themes in Witchblade, it's interesting to see him able to really cut loose and let the blood flow. He's also no stranger to the supernatural and Samurai stories, so this almost like a "duh" for him to write.

I haven't been too familiar with Lee Moder's work outside Wonder Woman and Dragon Prince (another creator-owned book which he teamed with Marz), but boy, this stuff is just excellent. The layouts are key here, as they feel natural and not cramped at all. Even when you have a lot thrown at you, it is still cohesive. Great use of colors here, too, by Michael Attyeh. His pallet meshes well with Moder's style, especially with Shinku's origin story. It just comes across very well put together.

If there was one complaint is I feel that Marz showed his hand too soon. I would have been more intrigued had I known less about Shinku, and more about Davis, besides him being a fish out of water guy in Japan looking to get laid. Marz can build a mystery, he's done it for decades, but I don't really feel anything for Davis, but I'm still interested in why he's so important to Shinku's quest, so Marz succeeded on that front.

Summer is here and with the big two flexing their event muscles, this was a nice break from that. I just wanted a bit more, so I'll be sticking around to see if I get my fill.

Mid-May update. Reviews and interview, ahoy

2011-05-21T20:21:00.005-04:00

Last Mortal #1 (Published by Top Cow; Review by Lan Pitts): When an opening scene for a comic is a man committing suicide, it really sets the stage for the rest of the issue. The story is told through the point of view of Alec King, a good for nothing hoodlum that takes a job with his friend, Brian, to assassinate a mayoral candidate, Robert Callahan. However, when the job gets botched, Brian is killed and Alec is on the run. Faced with the guilt of Brian's death, Alec tried to kill himself, only finding out he can't die. Written by John Mahoney and Top Cow publisher Filip Sablik, Last Mortal comes across as one part noir, and one part mystery. The black and white art by Thomas Nachlik, gives off an Alex Maleev vibe that seems fitting for the story. I liked the gritty, etchy look to it. The story itself has me intrigued, but sometimes the dialog felt a bit flat, but provided a proper set up that left me wanting to be around for the second helping.

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The past year and a half has not been kind to Daredevil, having been possessed by a demon and manipulated by the Hand in the Shadowland event, and turning away from his friends. Leaving Hell's Kitchen in the hands of the Black Panther and recovered, he is trying to find himself again, as a man and as a hero. Back in March, it was announced that Daredevil was slated for a relaunch in the summer. Little has been announced with what direction the title will take, besides having Matt Murdock getting back to his roots.

Along with contemporary legend Mark Waid, it was revealed that Paolo Rivera he would be part of the creative team with the relaunched title. Paolo Rivera has built quite the name for himself in the past few years. Having worked on numerous Marvel projects in the past (Mythos, Amazing Spider-Man, Fear Itself, The Twelve). Newsarama sat down with Rivera to talk about what lies ahead for Matt Murdock and what's like working on such a classic character.

Newsarama: You've worked on Spider-Man, produced some Daredevil covers, an original story Mythos that was published by Marvel, so who made the call to put you on Daredevil?

Paolo Rivera: That would be Steve Wacker. He was my editor since about 2007, we started working together on Mythos, and Amazing Spider-Man and he mentioned Daredevil to me about last year, but we weren't sure when everything was going to fall into place with everyone's schedules. As soon as he told, I said I was in. Just say when and where and I'll be there.

Nrama: On Andy Diggle's recent run on Daredevil, you did most of the covers. In this new volume, will you deviate from what you've done before?

Rivera: Well at least for the first three issues, the covers will be fully-painted as I usually do. As for the interiors, I will just be penciling while my dad will be inking, and I believe Javier Rodriguez on colors. As for the actual art work, I don't have a particular goal, except do what I normally do and try to make the best comic book I can. I've done some character sketches of Daredevil that I'm going to redesign, like his billy club, I also have a extra surprises in store that I was talking to Mark Waid about the other day and he seemed to like them...so I'll leave it at that.

Nrama: The other individual on the art team is Marcos Martin, what is it like collaborating with him?

Rivera: I've been a fan of his work since the first time I came across his stuff for The Oath. The second time I came across his stuff was on Amazing Spider-Man just before I started working on it myself. His issue with, what I think is, the Paperdoll, I saw that on the stands, thought that was a beautiful cover and he quickly became one of my favorite artists. So when Steve came to us and said it's going to be you two doing three issues on, three issues off it was perfect. I mean I couldn't ask for anything better. I love his work and it's a bit of some friendly competition [laughs].

Nrama: Were you always a big Daredevil fan growing up?

Rivera: I wasn't a huge Daredevil fan, but I slowly came around to him. I was a big fan of Joe Quesada and when I came across his "Guardian Devil" story with Kevin Smith, that is when I think that was the first book I ever read with Daredevil in the starring role. Other than that I haven't read that much, but I have read the big ones so to speak. "Man Without Fear" and "Born Again", with "Born Again" being the main thing when I think of Daredevil.

Nrama: Mark Waid has mentioned that Daredevil has gotten a little too dark and he wants to try and bring Matt out of the darkness a bit to have some old-fashioned Daredevil adventures. Do you think this direction will effect how you present your story artistically?

Rivera: I think automatically between me and Marcos we already sort of have a, I don't want to say "cartoony" feel-

Nrama: [laughs] I think "cartoony" is completely okay to say.

Rivera: [laughs] Good! We love cartoons and our styles are more conducive to the type of story we're going for. Steve knew that and knew what Mark's take on Daredevil was going to be. I mean, it's still going to have crime with a noir edge with him fighting the mob and drug dealers, in addition to that, we're going to have him fight supervillians, and major ones at that. You know what? Superheroes, too. In issue 2, he'll fight a major superhero as well. A famous one.

One of Mark's things is with Matt coming back to New York is that he needs to get past [Shadowland] and so he's just going through his life he needs to and whatever is necessary. However, not all of his friends and colleagues in New York are ready to let him do that. He did some pretty bad stuff and not everybody is ready to forgive him.

Nrama: Shadowland took Matt to a dark place, some say as far as he has ever been, which reflected in Billy Tan's style with the heavy inks and lots of shadows. How will your story differ from that?

Rivera: We're not going to do full left rudder here, just slightly in a different direction from where he is now, but still having the classic stuff in there as well. We're bringing Matt back to basics. You know, when talking to Mark and we want to make it our own book and at the same time, we don't want to completely change Daredevil. We just want make a solid book month after month. It's going to be the Daredevil you know and love, but it's also going to be our book.

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Starborn #6
Written by Chris Roberson
Art by Khary Randolph, Matteo Scalera, and Mitch Gerads
Lettering by Ed Dukeshire
Published by BOOM! Studios
Review by Lan Pitts

I never thought I would see the words "Space Hitler" in a comic, yet here we are.

I've been feeling that Starborn has needed a little something plot-wise to really detour what has been almost the same thing in each issue, though I have been praising the pace that Roberson has had. I was more than just surprised as the story takes a slight dark turn here with the ambiguity of the Benjamin's quest. The issue primarily consists of Benjamin fighting off aliens and learning more about the oversuit's abilities, and what the symbol behind what he actually possess.

While Roberson may have hinted something isn't exactly benevolent about Benjamin's suit and gauntlet, Benjamin himself obviously has been fighting the good fight, at least in his mind. It adds another level of characterization to him as to see that even not knowing the full story, he wants to be the good guy. I guess the real challenge here is how the rest of the series will play out, now that Benjamin knows his family history and what his proclaimed destiny is all about.

Roberson sticks to his use of narrative that has been used since the beginning, but it's lessened since and I feel that's a good thing as we finally have a sense of who Benjamin is. Roberson has also set in motion another subplot with, what looks to be, an invasion angle on Earth. Khary Randolph and Matteo Scalera really dive into their full potential here and just all around solid. Randolph's angular style really heightens the fight scenes and goes perfectly with the alien technology. The panel layouts are strong and intense that really use different points of perspective, and he's really hit his stride. Mitch Gerads is another part of the equation here as he adds great depth to the background that adds so much to the environment. I love the use of warm colors and how he puts a little something extra here and there that makes the alien technology feel real.

Starborn started off reminding me of The Last Starfighter that is turning out more than what I think anybody thought it would be. Benjamin Warner and company have been a great cast thus far, and as I mentioned I'm curious on where this where lead next. For those who have been thinking it's been lacking action, give this issue a peep.

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Witchblade #144
Written by Ron Marz and Filip Sablik
Art by Stjepan Sejic and John Tyler Christopher
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

This issue takes a step back from the current Artifacts event and goes back in time to take a peek inside what it was like working with Sara Pezzini, via her old partner, Jake McCarthy's point of view.

This is actually a layered issue, with the main story featuring Lieutenant Phipps, the troublesome IA officer who has been looking into Sara for a while now, finally has access to Jake's lock box, which contains a detailed note explaining what it is like working with Sara, and the Witchblade. Considering this is Witchblade's 15th year anniversary, it's nice to see a bit of a refreshing course in Witchblade 101.

Jake's memo is sweet and enduring. He gives the impression that before she took the possession of the mystical gauntlet, she was still a kick-ass cop, who did not take any garbage from thugs, to her captain at the time. Which, let's face it, she's still the same person. I've often compared Sara at times to Vic Mackey from the Shield, only less corrupt. This issue had me reminiscing about the show and I found it on par with the tense drama of Sara's secret being found out, and the cliffhanger at the end.

Stjepan Sejic really rolls out the memories here. Even taking on her infamous red dress. The layouts are impressive, if a bit subdued, since this feels more like a one-shot, but still gives us a glimpse of the bigger picture. Sejic never really draws Sara and Jake's early years, so this was fun to see him do something a bit different.

The best thing about this issue is that Marz has crafted a great jumping on point. Sara's background is explained and a brief history of the Witchblade itself is mentioned. One thing holding it back, I feel, is the back up feature by Filip Salbik and John Tyler Christopher. It's a short story involving Sara's current boyfriend and partner, Patrick Gleason. I guess it's only relevant since the book covers Sara's former partners and it seems fair to talk about where she's from to where she's at. It just wasn't clear it was Gleason until his name was mentioned.

Witchblade #144 opens the doors for new fans with a sense of understanding of the world of Sara Pezzini, and at the same time gives them a story to follow up on. Sounds like a good anniversary gift to us fans.

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Courtney Crumrin Tales: The League of Ordinary Gentlemen
Written, illustrated and lettered by Ted Naifeh
Published by Oni Press
Review by Lan Pitts

It's been a while since we've seen a story from the world of Courtney Crumrin. Creator Ted Naifeh recently collaborated with Spiderwick Chronicles author Holly Black to create the young adult graphic novel series, Good Neighbors, he had a brief stint on the Teen Titans back up featuring the Black Alice, Traci 13, and Zach Zatara, as well as wrote another chapter to his series Polly and the Pirates. So needless to say, he's had a lot going on, and its good to see him return to this macabre world.

Like the previous installment of Courtney Crumrin Tales, this too, is a story involving a young Aloysius Crumrin's, Courtney's uncle, early years. This explores more of his relationship with Alice Crisp, as well a bit of the history of the town of Hillsborough. We see Aloysius, undercover for the Anti-Sorcery Society, working with Alice Crisp, who soon finds out his secret. We also see a bit more of Aloysius' heritage and how magic works in this world.

Naifeh's art is distinct and you can definitely see he his back to what he knows best. Scenes with elaborate gowns, and goth architecture. Characters who just seem and look out of this world. His use of facial expression is different from what I'm used to seeing from him in the past. Fans of the series, now almost a decade old, will enjoy a delightful cameo from a certain goblin.

I thoroughly enjoyed "League", as it added another chapter to a series, and explored a bit more of the world. Naifeh really hit his stride here, and was able to be a bit darker than earlier stories. Portrait of a Young Warlock, the previous issue to this story came out about six years ago, so new fans who are trying to jump on to this, might want to hold off. It's not necessary, but even the title comes from "Portrait," and they may want the whole story. I know I would.

Moriarty #1

2011-05-11T18:45:00.000-04:00

Moriarty #1
Written by Daniel Corey
Art by Anthony Diecidue
Lettering by Dave Lanphear
Published by Image Comics
Review by Lan Pitts

I am sure almost everybody knows of Sherlock Holmes and James Moriarty: one of the greatest literary rivalries of all time. Yet, what is a villain without a hero? Moriarty takes a peek at what happened when the fateful death to both Homles and his arch-nemesis, turned out to just end Holmes and left Moriarty wandering for a purpose. In his travels and life without an adversary, the legendary professor has evolved into something that mirrors Holmes. The idea intrigued me and was immediately sucked in.

The book starts has an interesting timeline, and is set during pre-WWI, around the time of the assassination of Arch Duke Franz Ferdinand, and talks of his killing and the association with the Black Hand are the talk of the nation. We see Moriarty, now under the alias of Trumbold, working as a somewhat businessman that still carries some ties to the criminal underworld. Without Holmes, Moriarty has become complacent and a little bored.

It's not long before the government comes around and asks for his services to find Sherlock's brother, Mycroft. Who is he to refuse the chance to hunt down another Holmes? Better yet, they are aware of who he is and what he is capable of. This is where the story picks up its stride. We see inside the mind of Moriarty, we see his tactics, his self-imposed rules of getting things done. Doyle wrote Moriarty as the equivalent to Holmes and now we see why that is. The hung for Mycroft leads the reader and the old professor into a series of events that hint at a bigger picture, and the fact he soon as a shadowy figure of his own to conquer.

I do love the touch of knowledge Daniel Corey brings to the script, however, where I think the story falters, and this is me nitpicking here because I did rather enjoy it, is the actual narrative. To quote a line from Amadeus, "there are too many notes". While Dave Lanphear executes the lettering layout wonderfully, I think somethings just did not need to be said as they were specifically shown via Anthony Diecidue's art. While I do understand that this is Moriarty's story, but at the same time, I think most readers could deduce what is going on.

Speaking of Anthony Diecidue's art, this is a perfect example of a great collaboration of story and artist. Even in the slower parts of the issue, Diecidue elevates the bits with his mysterious tone with heavy sketch lines and rendering that give this early Guy Davis vibe. The layouts and scenery in old London town have an edge of macabre with lots of shadowy effects that perfectly set the stage for a mystery.

Moriarty is a great example of something that is for people who are not really into superheroics or mega-events. With the Big Two both with event-heavy series, this could be the one for people who want to try something a bit different from the norm. I can't wait to see where this goes.

Playing catch up

2011-04-14T18:10:00.002-04:00

I've been on the road quite a lot so here are some reviews from THE PAST. (Insert dramatic music here).

Starborn #5
Written by Chris Roberson
Art by Khary Randolph and Mitch Gerads
Lettering by Ed Dukeshire
Published by BOOM! Studios
Review by Lan Pitts

Have you been missing out on this series? The same series that is turning into one of my new favorites? Perfect! This is a great jumping on point for new readers out there. The way how Chris Roberson writes the fish-out-of-water/accidental hero with Benjamin Warner has that classic 60's Marvel feel to it, then again, this does have Stan Lee's name attached so I shouldn't be that surprised by now.

When we left off from the last issue, Benjamin and his shape-shifting bodyguard, Tara fled Earth on the run from the alien collective, the Hive. They now are in the presence of General Cur Talon, a fierce war hero that reminds of Han Solo on steroids. The tension between Tara and Talon is apparent, as the two don't exactly trust one another. The trio soon are engaged in a dogfight and have to land on a nearby planet, where more of the mystery grows thicker.

The thing about Starborn is that it really is unlike anything that BOOM! puts out. I think Roberson's grasp for the more alien, and fantastical concepts are a good fit here. I've compared this to The Last Starfighter before , but here it branches off into almost Star Trek territory with even more alien worlds and characters. Khary Randolph choreographs a terrific dogfight sequence with his kinetic style and interesting use of perspective. Mitch Gerads' colors are not as dynamic as they have been in previous issues, but still does a great job with the space environments and alien textures.

The major complaint I've had of the series is the pacing, but here it really starts gaining momentum. Part of me wishes the narrative wasn't so heavy, but the other part enjoys learning about these far off civilizations as Benjamin learns as well. As I mentioned, this is a perfect jumping on point for new readers as it begins a new arc. There is a small paragraph in the beginning of the book that briefly catches you up. If you're looking for a sci-fi kick in your longbox, look no further than Starborn.

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Axe Cop: Bad Guy Earth #1 (Published by Dark Horse; Review by Lan Pitts): I am still not quite sure what I read here. I just know it was pretty damn fun. Then again, what does one really expect from the imagination of a 6 year old? I've heard ramblings of this comic for a while but never really investigated it on my own. After finding it online and going through the archive all I can say is God bless comics. In a transition from the web to actual mini-series, we get more of the same randomness and weirdness that fans of the series have come to love. We have Axe Cop and Dinosaur Soldier out on a mission to save the Earth from a Bad Guy planet that is about to collide with the planet. Along the way we encounter brainless chickens, gun fights, rocket cars, Good Guy Machines, a professor with a unicorn, and so, so much more. The fact that the artist and letterer are in on the absurdness just heightens the overall experience. There were some pages where I laughed so hard I had to move away from the book for a minute just so I could recompose myself. Malachi Nicolle is, to my knowledge, the youngest comic writer out there and I hope his imagination never gets too old for him. I feel the best way to describe this book is that it just shouldn't be read, but it should be enjoyed. And not just by fans of the series, just by about anybody that can pick up a book and read.

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Zatanna #10
Written by Paul Dini
Art by Cliff Chiang and John Kalisz
Lettering by Pat Brosseau
Cover by Stephane Roux and Karine Boccanfuso
Published by DC Comics
Review by Lan Pitts

Oh, Zatanna, you are a bit too trusting at times.

In the previous issue, a possessed puppet had you tied up while threatening you with a knife. Now you're giving him a tour in your ancient family home in Shadowcrest? Oh my. This will not end in your favor.

Paul Dini continues the story of troubled puppeteer Oscar Hampel, who swore up and down that Zatanna's father, the famed magician Zatara, transformed him into a puppet all because of a misunderstanding. Zatanna is down for finding the truth and reversing the curse, until she finds out a lot more than she bargained for. Hampel's origin from a renegade youth, to a murderous vagabond is unveiled, which has led him to this current predicament. However, what do you get when a vengeful puppet dabbles with a ton of magical artifacts? You get Zatanna getting played for a dummy.

Paul Dini is finally hitting his stride again with this issue. The thing I love about Dini is that when he does an arc he takes his time, and the payoff is worth it. The arc's past two issues were good, but when things come around we finally find the good reason why Zatanna should have her own book; because you certainly won't find a story like this elsewhere in DC. It's enchanting fun, but still with an edge to it.

Truth be told about this issue, while Dini gave a slightly predictable, if still interesting cliffhanger here, Cliff Chiang is this story's show-stealer. The way he handles Zatanna, with a definite style and grace, is just stunning. This isn't Chiang's first time with the character and each time he draws her she becomes more and more dynamic. He gives Zatanna a sort of personality that some artists seem to leave at the wayside while they favor her other physical characteristics. Chiang's imagery seems to fully match the image that Dini has in mind. The page presents no confusion or conflict, but rather a vision from a team working in flawless cohesion. The splash page of John Zatara's private sanctum, as a prime example, simply exudes wonder and charm.

Readers that might have dropped the book in the early going should give this issue a returning try. Readers that have never picked up the book before could find this arc , which began with issue #9, to be a book hitting its stride. You get a sense, not only of who Zatanna is, but also what it was like to grow up in the Zatara household and the magic that this book inhabits.

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Charismagic #1 (Published by Aspen; Review by Lan Pitts): I am a fan of magic shows and the whole shebang. Charismagic is written by Vince Hernandez and illustrated wonderfully by Khary Randolph, who shows off a completely different style here than seen in his Starborn work. It tells the story of an actual magician that may have stumbled onto something bigger than Harry Blackstone magic kit could offer. Nothing is what it appears to be is the strong message this work conveys, and its good cliffhanger will keep you interested for the next issue. As a former magician's assistant myself, I can appreciate a book like this, and I hope you manage to find it and give it a try.

The Stuff of Legend Volume 2: Part 4 (Published by Th3rd World Studios; Review by Lan Pitts): What started off as pretty simple idea has evolved into a world that I hope to pass along to my children. In the final part of "The Jungle" arc, we see an explanation of Max's betrayal, an unexpected return, and the story take a somewhat darker path with a murder that at least I didn't see coming. Mike Raicht and Brian Smith's story has taken a life of its own, becoming something more than I ever imagined it to be. You combine that with illustrations by Charles Paul Wilson III, who keeps setting his own bar higher and higher, you get more than a read, you get an experience. Is it too soon to ask for Volume 3 already?

Let's get dangerous with Darkwing Duck Annual #1

2011-03-02T20:50:00.000-05:00

Darkwing Duck Annual #1
Written by Ian Brill and Tad Stones
Art by Sabrina Alberghetti, James Silvani, Lisa Moore, and Andrew Dalhouse
Lettering by Deron Bennet
Published by BOOM! Studios
Review by Lan Pitts

Not every villain starts off as a villain. There comes a time when a man, or duck, must make his own path and either walk down the road of virtue and heroism or the more sinister and villainous path. In the first Darkwing Duck Annual, we dive into the origins and psyche of Darkwing's comical criminal, Quackerjack.

As most kids who grew up in the early 80's to early-to-mid 90's, I watched some of the best cartoons. Disney was putting out some of their best work in a while ranging fromTalespin, Ducktales, the more "grown up" Gargoyles, and of course, Darkwing Duck. Being the only direct Ducktales spin-off, it was different from the other shows as it was a completely different character. Other shows at time had characters that had been around for a while, but Darkwing was new, cool, and just fun. The Darkwing Duck comic that BOOM! has been putting out is exactly everything a DW fan would ever want and then some.

There are two stories inside this annual. Unconnected, of course, but nonetheless fun, smart, and almost a bit heavy for the characters. The ending of the first story, "Toy With Me," which deals with Quackerjack's origin, is kind of sad, and I found very unexpected, but still very smart for what is considered a "kids' book." Again, the same with the second story, "The Untimely Terror of the Time Turtle," — it is smart, inventive, and just plain fun. The fact that Drake Mallard (DW's alter ego) is just as befuddled with the physics of time travel as the next guy, shows that it still doesn't take itself too seriously. Also, the fact that Tad Stones, the creator of Darkwing Duck penned the second story is just a real treat all by itself.

While both Sabrina Alberghetti and James Silvani deliver classic Darkwing imagery, I found that Andrew Dalhouse's colors popped just a bit more on the page, in comparison to Lisa Moore's. Nothing too drastic, but just something with an added oomph, as it were. Both put down creative panel layouts that were never boring and were actually quite dramatic in some instances. Great use of angles, especially on Alberghetti's half.

Darkwing Duck Annual #1 reminds me what it was like being that kid again who rushed home to make sure he didn't miss an episode of the TV show. It's good to see that the adventure lives on.

Three times the interviews

2011-02-20T12:47:00.004-05:00

I’m not sure if you’ve noticed but there’s this little event going over at Top Cow now called “Artifacts”. Ring any bells?

Sarcasm aside, one of the great selling points on Artifacts isn’t just the fantastic story (so far) that’s being architectured by Ron Marz, but he’s working on a rotating team of artists. Recently it was announced that Jeremy Haun (Detective Comics, Berserker) will join the rotation, picking up where Whilce Portacio leaves off.

Blog@ spoke briefly with Marz about the artists he’s been working with and the great chemistry between story and art, as well as working with Jeremy Haun.

Blog: Okay, so, first it was Michael Broussard, then Whilce Portacio, and now Jeremy Haun — who approached who about working on Artifacts? You or Jeremy?

RM: Top Cow publisher Filip Sablik was the matchmaker here. When he knew Jeremy was signing an exclusive with Top Cow, Filip called me up and asked what I thought of Jeremy taking the last on the third arc of Artifacts. Took me all of two seconds to say yes, as Jeremy is somebody I’ve been wanting to work with for a while. We actually talked about working together last year, but I don’t think either of us expected it to fall into place this quickly.

Blog@: Some say Whilce Portacio is doing some of his best work in a long time working on Artifacts, what is it about this story you think that elevates these artists to a whole other level?

RM: I certainly agree, I think this is some of Whilce’s strongest stuff ever, but I’m a bit biased obviously. Whoever I’m working with, whatever project I’m working on, a big part of my job is to play to the artists’ strengths and give them something they’re excited about drawing. Comics are a visual medium, so the scripts need to be as visual as possible. Otherwise, what’s the point? I also think you have to mention Joe Weems on inks and Sunny Gho on colors. They’re both bringing their best as well, so they make a great team with Whilce.

Blog@: Who’s on your shortlist of the artists you’d love to have on the final installment of Artifacts? Or do you already have somebody in mind?

RM: My shortlist has one name on it for who should draw issue #13, and that’s who’s drawing it.

Artifacts: Volume 1 is on sale now.

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It’s been a while since Ted Naifeh has dabbled in the world of his series Courtney Crumrin.

Over at Naifeh’s site, he presents a few preview pages for the upcoming for the upcoming Courtney Tales 2. Newsarama has got the exclusive interview with Naifeh, as well as the first look to the cover, as well as the official name: Courtney Crumrin Tales: The League of Ordinary Gentlemen.

Blog@: You’ve written another Aloysius story before, what made you want to write another about Courtney’s mysterious uncle?

Ted Naifeh: The first one was really part one of a two parter. I wanted to resolve that story, and this book does exactly that.

Blog@: Without giving too much away, where does this story take Aloysius?

Naifeh: The story explores the roots of my little magical world, where it came from, why it’s there, and what Aloysius’s role is in it. Aloysius is a pretty mysterious character in the main series, and I wanted to reveal some of his secrets. I’d like to think this story addresses why he’s such a lonely old man.

Blog@: Does this tie into any of Courtney’s adventures?

Naifeh: It will in the next Courtney adventure. I start digging more deeply into the back story of Courtney’s world, the community of witches and warlocks in the town of Hillsborough. Some of what comes up will have direct bearing on Courtney’s life.

Blog@: Who are some of the new characters we’ll get introduced in this tale? Any old favorites coming back this round?

Naifeh: One of the characters I had fun with in the last story was the pulp hero Goose Daniels. But since he was transformed into a goose at the end, I needed a replacement. So he has a confederate that comes looking for him, and ends up getting press-ganged by the Anti-Sorcery Society to take his place. Another character that shows up is Aloysius’s grandmother, who was briefly mentioned in Courtney vol 3 as the first witch in Hillsborough. It’s through her that some of the world’s back-story is revealed.

Blog@: Do you feel your style has evolved since last dabbling with Aloysius?

Naifeh: I tried to make it as similar as possible, but I’ve acquired new influences, and I can’t help it if they shine through a bit. It’s not a jarring difference, at least. Just a bit better.

Blog@: Tell us about some of those new influences.

Naifeh: In my promotional trips to Europe, I had had the honor of being exposed to some truly amazing artists. Sergio Toppi is a real artist’s artist. He’s been around forever, and you can see his influence on Bill Sienkiewicz as well as french artist Phillipe Druillet, who I used to adore back in the early Heavy Metal Magazine days. The new one is named Roger (which sounds much more romantic with a French accent), artist of Jazz Maynard (ditto). His lines are so incredible, so elastic yet under precise control.

Blog@: You took a break for a while doing Good Neighbors with Holly Black, how does it feel coming back to the world of Crumrin?

Naifeh: Like returning home, really. Courtney’s world is as comfortable to me as my own bedroom. I’m looking forward to adding some new flourishes. But I really had a ball working on Good Neighbors, trying out some Toppi-style line work (which was ill-advised, but I eventually got some really nice results out of it), and getting to do real fingers instead of Courtney’s spikes or Polly’s nubs.

Blog@: Do you foresee an end to Courtney and Alyosuis’ tales?

Naifeh: I foresee a stopping point. But that doesn’t mean I’m done with them forever. In this new volume, I added a single story element that completely changes their world, and that makes me want to explore the world a bit more. I have a definite conclusion for the Courtney Crumrin series, which is pretty final. But it’s not like Courtney’s going to die or anything. So we’ll see. As for Uncle Aloysius, this second volume concludes the Anti-Sorcerer Society storyline. I’d love to continue his adventures if I have time. But I want to explore new worlds as well. Princess Ugg is calling to me, demanding that her story be told. And there are others.

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Whoa.

Recently over at Jill Thompson’s twitter, the famed cartoonist and comic artist posted this painting of Wonder Woman that she had done. But what does it mean? Blog@ had the chance to speak with the acclaimed creator on her thoughts about the design and could this be the beginning of something?

What some people might not realize is that Thompson’s first gig into mainstream comics was actually on Wonder Woman in the early 90’s. “Well, getting to work on an iconic character right off the bat, with a comics legend like George Perez writing the story is a pretty great memory,” Thompson stated. “I remember tackling a page that had something like 19 panels on it. I doubt if I’d be able to do that now!”

I love Thompson put a little Greek homage into her design here. I think it’s a good balance of armor and a bit of the flair from the original design. “I think Wonder Woman is a strong, sexy warrior,” she said. “A hero. But also very regal. I was doing a character design to go along with a pitch I’ve had in for a OGN at DC for a while, so it’s not a redesign because I was trying to say something current costume – it was one of the ways I’d approach it in the story I want to tell.”

In addition to Thompson not deviating from the famous color scheme, she adds a bit of practicality to the costume. “If you’ve ever worn a bustier [author's note: I have not, but I can imagine what it is like] and moved your torso in it, you’re not going to be able to do much practical fighting if there aren’t any straps. I love to design clothing. I’d give her lots of variations on a theme. Nothing drastic, but focus on her as the costume and not just the costume as the costume.”

Another thing I really dig is how she incorporated a bit of might and magic into this design. She then states what and who Wonder Woman is to her. “I think she’s someone who is sure of herself. She’s a warrior who operates on her own set of rules. She’s been raised by warriors, and she’s royalty, so I think that gives her an air of superiority that maybe hasn’t been addressed. She’s commanding. I’d love to do that.” She continues with “I showed her having slain the creature because I love mythos, magic and adventure, and my story has a good deal of that in it.”

I can’t be the only one out there that thinks this would be a great idea. Jill Thompson is hardly a stranger to magic and myth. Add an Amazonian super heroine in the mix, and you’ve got gold. What do you think, readers?

Two helpings of Flash Gordon plus some Marvel-ous books

2011-02-17T19:47:00.003-05:00

Hawkeye: Blindspot#1 (Published by Marvel Comics; Review by Lan Pitts): In many Avengers fans, Clint Barton, aka Hawkeye has always been "the man". He's brash, cocky, has one of the best costumes in comics, and in a world of high-tech machinery and sorcery, he's still manages to take bad guys down using a bow and arrow. Though what happens when the world's greatest marksman learns he is losing his sight? That's what we dive into in this mini-series. Jim McCann has been striking gold with these Hawkeye minis as of late. He captures the glory days of the Hawkeye series back in the 80's with bold adventures that remind somebody like me why I still love comics. McCann backtracks a little with some of Barton's circus days as we see the Swordsman and Trickshot and Barton learning the ropes, so to speak. We see his reformation and joining the Avengers, which leads to another encounter with an old ghost from the past. Pico Diaz is just marvelous here. I'm not too familiar with any previous work of his, but I'm officially a fan. He has that 70's vibe in the vein of Neal Adams and Gil Kane, with a slice of George Perez in his rendering. I just wish Tomeu Morey's colors wouldn't have dampened the art. IT's not bad per se, but everything seems to have an extra bit of orange to everything and just looks not as sharp as it could be. Hawkeye: Blindspot hearkens back to a simpler age of storytelling, but is hardly "simple". If you're itching for something that the current Avengers books might not be scratching, look no further than this.

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New Avengers #9 (Published by Marvel Comics; Review by Lan Pitts): These days I tend to lean towards more Vertigo and independent titles, but I found it hard to turn down a chance to read something with Howard Chaykin's name attached to it. Especially when his art pertains to Nick Fury hunting Nazis in the 1950's. Going back and forth between Nick's backstory and present day with the Avengers surveying a small remainder of HAMMER are looking to make more trouble. As usual, Bendis gives a solid read with bits of humorous dialog that he's known for that always gives the impression that these people aren't just team mates, but actual friends. It's an interesting contrast to see Chaykin and Mike Deodato work together because of their contrasting styles, but nothing distracting that takes one out of the story. Since this is the beginning of a new arc, it's not quite clear on what to expect, but I am sure Bendis and company will deliver

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The Wheel of Time #8
Written by Robert Jordan and Chuck Dixon
Art by Andie Tong and Nicolas Chapuis
Lettering by Bill Tortolini
Published by Dynamite

Review by Lan Pitts

"Whatever the Dark One wants I oppose , so hear this, and know it's true -- before I let the Dark One have you, I will destroy you myself." -- Moiraine Sedai

Nothing spoils an adventure more than pesky Draghkar following you.

Leaving their home of Emond's Field, after it was destroyed by a Trolloc invasion, Rand al'Thor and his friends Mat Cauthon, Perrin Aybara and his somewhat unofficial girlfriend Egwene head towards the to mystical nation of Tar Valon, guided by Moiraine, and her Warder, Lan. Along the way, the boys learn how to use a bow as Lan trains them to fight Trollocs and other shadowspawn. Rand finds himself in a sort of adventure he has only read about in stories or told as tall tales. The realization really hits home is when Egwene decides she wants to become an Aes Sedai.

I think it would be helpful for anybody unfamiliar with the franchise, for Dynamite to include a glossary. Then again, these books are made for the fans, and I feel at times, would be hard to get into, especially if you look at the sheer volume of the actual books themselves. Then on the other hand, I'm sure that is how it is with most comics these days. I digress.

Dynamite was fortunate enough to nab this title from the Dabel Bros line, and from what I've read, have done a good job with it. Chuck Dixon's years of experience guides the story well and doesn't throw too much of you at once. I love how he includes excerpts from the books themselves, giving that feeling of the books and you can see how true to the source material he's making it.

As long as the book has been around, I've been a critic to Chase Conley's style and how he handles the characters. Here, we have artist Andie Tong (Tangent: Superman's Reign, The Batman Strikes!) and I find his style more suiting and appealing on how the "Rand Band" look. You can definitely see an almost-anime influence with how the characters stand and talk, but Tong reels it back just when you think he's gone too far. I guess the odd fact of the matter is that, when I think "Wheel of Time", I think high-concept fantasy, not just comic art. The thing is though, Tong can be really good. I don't think he's there yet with these characters.

I guess my biggest complaint are the colors. Half the time, Nicolas Chapuis soaks you up in this realm with it's lovely shades of green and other miscellaneous earth tones, but when he works on the purples and darker colors, it looks muddy and rushed. I'm not saying you need a Laura Martin-like coloring job on the book, but the separations towards the end come across as incomplete and flat.

The Wheel of Time series means a heck of lot to this reviewer, and while I am grateful that there is a comic adaptation, the art department needs to kick it up a notch.

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Flash Gordon: The Mercy Wars

Written by Brendan Deneen

Art by Paul Green

Lettering by Richard Emms

Published by Ardden Entertainment

Review by Lan Pitts

"Please...enough. I've had enough. There's only one person who can find Zarkhov...a professor at Yale...Gordon..."

Now before I continue, I need to make something clear: I know very little about Flash Gordon. I know there was a movie made in the 80's about him, he was in a cartoon with the Phantom and Mandrake (Defenders of the Earth), and that he was once a comic strip. That being said, I can honestly say I am open to any interpretation of the character since I have seen him handled in a few ways. Ardden's take is something more up my alley, playing up the sci-fi/fantasy angle and making Flash not so muscle-bound and unintelligent, though Flash still appears as athletic as ever.

Other characters appear from Flash mythos, including sometimes love interest Dale Arden and Dr. Zarkhov, the latter having gone missing and is being looked for by the former as he is suspected to be building a WMD. The story goes back and forth between Flash and the rebellion on Planet Mongo against Ming the Merciful (yes, there was a time he called himself that). Eventually, Flash, Dale, and Zarkhov become separated. Dale is seduced by Ming's wiles, Flash lands in the jungle and befriends Eldun, a jungle warrior who is not who she appears to be, while Zarkhov is taken prisoner by Ming. The three stories culminate to a fierce battle with all allied forces standing together for Mongo.

At first, Paul Green's style seems like J. Scott Campbell, but a bit more rounder and not as sharp. You can see the influence definitely, especially in the way Green constructs women's eyes and heads. While the art is easy on the eyes, some conversations seemed boxed in and restrained. Panels are made to where it feels as though it's constantly made of close up shots of eyes and mouths and soon becomes pages of "talking heads". It doesn't start off this way, in the beginning there is a sense of being open, but later while more characters are introduced, it just feels claustrophobic.

Green's use of colors and designs are something great as well. The colors have that perfect level of saturation that gives everything a smoother and polished look. Ming reminds me of Mr. Sinister from the X-Men, but with a more gothic flair (if that's possible). Though, going back to the Campbell influence, I kept doing a double take for Dale as Sydney Savage from Danger Girl.

Brendan Deneen has taken a classic character and relaunched it for a new generation. Some of the dialog comes across as bit cliche at times, but isn't too far out there to not warrant a read. He handles Flash like I've always seen him, and put a nice twist on Ming. For some reason I heard Jason Isaacs when I read Ming's dialog in my head. This is my first real foray into the world of Flash Gordon, and I can easily say I'd check out more. This mini-series is a few years old, but finally collected into one trade, and for Flash fans, a new way to experience and old favorite.

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Flash Gordon: Invasion of the Red Sword #1
Written by Brendan Deneen
Art by Eduardo Garcia and Jok
Lettering by Richard Emms
Published by Ardden Entertainment

Review by Lan Pitts

Flash Gordon is not having the best of days.

When a planet Mongo's Universal Translator goes out, it's up to Flash Gordon and Professor Zarkhov to repair it. Too bad Dale Arden's former commandos have the idea to strike a rebellion against the kingdom. And just when you think Flash and CO. have figured it out, Ming comes along to spoil it.

With Flash Gordon and the Mercy Wars fresh on my mind, I didn't mind a second helping of what Brendan Deenan brought to the table. Now while, Deenan does mention past adventures and occurences, I feel as though a "Previously On..." page would have been helpful. I can see where a new reader might feel lost or confused on things. Especially character relationships. While it's obvious of Flash and Dale's connection, other relationships might not be so understanding.

Eduardo Garcia brings the best of what Paul Green did in Mercy Wars. There's definitely still a J. Scott Campbell vibe, but not as much here. The panels aren't so concentrated on close ups and allows the page to breathe. Garcia still has a cartoonish look to the world, yet definitely has a strong grasp of action shots and motion.

Deenan still the same problems that he had in Mercy Wars which is concept of pacing. The pages come across as very busy at times and I feel it would have been slightly better if there wasn't something happening everywhere. While the dialog is still strong and interesting, I found myself just rushed the entire time. The last few pages of the book is where it finally got to a better speed and not crammed. Flash Gordon: Invasion of the Red Sword was a strong crash course in the world of Flash Gordon and company, and it is a good read. Though some parts of the story, I feel, could have been executed better.

X-Men: First Class trailer

2011-02-12T13:24:00.005-05:00

I am sure you've seen this by now.

It is the first bit of a teaser trailer of the upcoming X-Men: First Class, which comes out this June. Fanboy rage and concern could be heard around the world when an unauthorized image was leaked, which pissed director Matthew Vaughn to no end. I have to admit, I'm still a bit skeptical to say the least. If there's one thing that Fox knows how to do, it is cut a trailer to make the most blandest and outright worst thing look like gold dipped in mithril. Perfect example of this is X3.

Of course, that is what a trailer is supposed to do. It's supposed to lock you in and make you WANT to see the movie. Does it work here? Absolutely. However, I don't simply ignore the following facts:

- Why are we now seeing Beast transform here into his blue fur? Yes, it was hinted he was an X-Men earlier on in X3, but in X2, he is still Hank McCoy. Human, but a guy with a stocky build.

- There are two Emma Frosts? January Jones is playing the White Queen, Emma Frost, who also makes an appearance in X-Men Origins: Wolverine. I didn't think it was the same character, but imdb confirmed that so it's not just simply a girl with the same name and the same powers. Nope. Same character. Different timeline.

- While I do like the blue and gold costumes (though they were originally black and gold, much like how Spider-Man is red and black), it still looks a bit too modern for having taken place in the 1960's. Vaughn has stated on more than once occurrence that this film will have homages and have a certain "early James bond vibe". I'm just not feeling it or seeing it here. I do like the fact that there is a missile crisis, similar to X-Men #1.

- I only wished they had just rebooted the franchise and given us an original 5 X-Men first class movie. Jean Grey in an a-line dress? Yes please. Instead we get lesser-known characters I really could care less about? Darwin? Possibly Pixie? Azazel? I guess that's okay. I just think there are going to be a lot of leftover figures from this lot on toy shelves.

I mean, nitpicking aside, it does look great and as an X-fan, I am genuinely curious, but I'm going in with a cautious mind. I love the music they chose for it, it's not in your face and over the top dramatic, but still caries a subtle dramatic tone.

Thoughts on the first trailer?

2011-02-07T19:37:00.000-05:00

Ivy
Written and art by Sarah Oleksyk
Published by Oni Press
Review by Lan Pitts
Click here for preview

"I just imagined all the best parts of you...wish I could do that for myself."

Nobody ever said adolescence was easy.

Highschool student Ivy Stenova lives in a small town in Maine and dreams big of becoming a famous artist. She excels at painting and would be considered "alternative". There's no real time setting to this, but I would assume sometime in the early to mid-90's. There are no cell phones, and people still used cassettes. Though the time period is insignificant to the story, as this is really a timeless story. Rebellion, troubled relationships with one's parents, the longing to just run away and never return...all of those things I'm sure most people deal with sooner or later.

Ivy isn't popular, but has a couple of friends: Brad and Marisa. whose friendship goes through an evolution throughout the story and tested. On a visit to Boston to check out local art colleges, Ivy meets a young man named Josh, who appears to be a kindred spirit. Like most teens, she falls head-over-heels in love with him and they become pen pals (another indicator this is a time before email). It is also here that the strands of friendship begin to wear with Marisa. It's also where Ivy get a taste in reality as art school after art school rejects her portfolio and offers advice. She's finally given an application into an art school and could not be happier about that. One problem: her mother isn't too keen on her going to an art school. That's putting it lightly.

Ivy's mother does not approve of her daughter enrolling into an art school and supposedly wasting her life. Of course, Ivy responds with shutting her mother out of her life even more and vents her frustration into her art. While her infatuation and relationship with Josh becomes more intimate, other aspects of her life begin to crumble, namely her friendships with Marisa and Brad (whose father is an abusive drunk).

The interesting part for me was seeing Ivy lose herself after meeting Josh. He is, what could be defined as, the catalyst for her transformation. She starts using drugs and her friends start to leave her behind. When she is accepted into her school, which her mother finds out about. Both frustrated, a fist fight ensues with Ivy running away to Josh. Of course this is where her life takes a turn for the adventurous, and somewhat dangerous. With hardly any money the two runaway together and hitchhike to Georgia, but being turned away by Josh's brother, since Josh isn't exactly a saint and had stolen some money to get as far as they did. Desperate, the two hide out in an abandoned house.

Around Chapter 5 is when Ivy realizes her mistake. She can runaway from her friends and family, but she can only blame so much of her anger and outlook on life on them. The rest lies within her. We see what Josh is really made of, or should I say what is lacking as companion and partner for Ivy. He cheats on her, doesn't care about her, he seems just to have this cavalier attitude about everything. All the while reading this, you want the best for Ivy, for her to find peace. Josh is certainly not the answer to that.

Ivy finally does find her way back home and mother and daughter are reunited. It's endearing as you can see the emotion through the characters, even with Oleksyk's simplistic style. The thing that I loved about Ivy was the fact I saw a lot of myself in her. That might sound a bit odd, but I had similar experiences that almost mirrored Ivy's story. The art and panel construction are sincerely incredible. From the way Ivy's imagination takes flight, to the last few pages with Ivy saying goodbye to a part of her life, it's all handled in a form of grace and sincerity that doesn't come along often.

While the central character is shy of 18, there are a few moments that are more mature. I'd easily recommend this from anybody who enjoyed such young adult stories as Speak by Laurie Halse Anderson or even Juno. Ivy Stenova and her world might be a work of fiction, but in actuality, come across as very real and possibly real for those who have "been there".

Streets of Gotham #19 review

2011-01-24T18:28:00.001-05:00

Streets of Gotham #19
Written by Paul Dini
Art by Dustin Nguyen, Derek Fridolfs, and John Kalisz
Lettering by Steve Wands
Published by DC Comics
Review by Lan Pitts

"Remember what Aristotle says, 'a common enemy unites bitter enemies.'" -- Tom Elliot, aka Hush

For the past twenty years, Paul Dini has more than penned great Batman stories; he's added to the overall mythos of the character. His and Dustin Nguyen's Heart of Hush arc from three years ago, remains one of my favorite Bat-stories of the decade. Dini and Nguyen and company may have caught lightning in a jar once again with the ongoing House of Hush arc.

The thing about this particular issue is that there is so much character depth added, that it makes the overall story that much enjoyable and lively. From Hush's past, to his ties with the Wayne's and the rise of his criminal factions, to even a scene that ties Thomas Wayne and John Zatara together, it's more fleshed out than how most comic writers handle Batman and company. Batman just isn't Bruce Wayne, Prince of Gotham. Batman is also about the city he protects and how each denizen has a thread that weaves a bigger web.

Streets of Gotham #19 gives a good deal of insight to the Anthony Marchetti character as Dini establishes more of the character's past and tells the story of a one-time encounter with Gotham's favorite clown, the Joker. Truth be told, this issue is more of a character piece that explores a little-known character and expands what we should know, adding to the criminal underground, and also adds to what we already knew: the Joker is bat-nuts crazy. There is not a single fight scene or action sequence. Just a story of a child that grew up in the crime business in Gotham, but still somebody who Hush considers valuable to align himself with. Batman (Bruce Wayne) doesn't show up until almost at the end, where the Thomas Wayne/Zatara scene comes into play.

This creative team is one of the best working in comics today. Dini never disappoints, and Dustin Nguyen is a workhorse that knows no limits. His use of painted art-deco backgrounds adds that extra bit of beauty that certainly makes it stand out. Derk Fridolfs inks over Nguyen's pencils are superb. I've seen others try to handle Nguyen's style, but none quite capture the angular look that Nguyen brings without looking jagged or too sharp. John Kalisz adds the perfect color pallet that complements both Nguyen and Fridolfs, but that's exactly breaking news, as he's another colorist who is always on top of his game.

With Streets of Gotham coming to a close soon, I'm sure the finale will deliver the proper curtain call that this book has deserved.

The Devil and the Witch: Daredevil: Reborn #1 and Witchblade #141 two-for

2011-01-18T17:50:00.003-05:00

Daredevil: Reborn #1 of 4
Written by Andy Diggle
Art by Davide Gianfelice and Matt Hollingsworth
Lettering by VC's Joe Caramagna
Cover by Jock
Published by Marvel Comics
Review by Lan Pitts

"Doesn't take a genius to figure this town has secrets, but it's not my problem. I can't help them. I can't help anybody." -- Matt Murdock

Matt Murdock is a man without a city. Possibly without a purpose, but trying to find one.

It's interesting to see Matt Murdock in a more "waffle house" sort of environment, and taken out of the urban jungle of Hell's Kitchen. It seems very en vogue to have super heroes on nomadic journeys of self-discovery, though, if anybody really needs a sabbatical, it's definitely Matt Murdock. The Shadowland event took its toll on Murdock's soul as he found himself fighting against other heroes and losing himself to the darkness that was the Hand. I guess after making myself the jerk of the year, I'd want to leave town as well. In the vein of the Incredible Hulk television series, we find Matt struggling with his past and figuring out the next move, like an author who just finished the last chapter of a long book, and has no clue what to write next.

Of course, even in a small backwards town, it doesn't take long for trouble to find Matt. After he takes a beating from a few white trash hoodlums, Matt figures something isn't right when even the police don't help him out and try to get him out of town. Being the detective that he is, Matt decides to investigates, and the shocking mystery about the town has just begun. When the police shrug off Murdock as not being a threat, they are in for quite the surprise.

Andy Diggle threw me for a loop in Shadowland, and in the worst way possible. I had enjoyed his run on the main Daredevil title, but for all the hype and my personal excitement invested, I was left, for a lack of a better word: bored. Boredom turned into complacency, and then borderline resentment. Daredevil: Reborn is another story. It's the Matt Murdock I enjoy reading. He's not Marvel's answer to Batman, he's not trying to be. He's not trying to be the hero he once was, but the man under the costume. Diggle provides the right words, and a great set up.

Now, I'm new to Davide Gianfelice's art, but I have to say, I am more than impressed. His line work lies somewhere between Cully Hamner and a hint of Scott Kolins and Chris Samnee. His figure construction is solid and use of facial expressions and body language complete the storytelling along with Diggle's dialog. Matt Hollingsworth rejoins the fray as colorist, and is in a class all by his own. The desert landscape seems barren and adds the depth of Murdock's solitude. Hollingsworth meshes with Gianfelice well as he doesn't step over his inks, and Gianfelice doesn't over ink the pages, giving Hollingsworth room to breathe.

We've seen "rebirths" before in comicdom. Some of them haven't been rebirths as much as they have been rehashing. Daredevil: Reborn (so far) seems like a restructuring of the character, and I'm not sure where this will lead. Black Panther may be the man without fear for the time being, but Matt Murdock will always be fearless.

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Witchblade #141
Written by Ron Marz and Saurav Mohapatra
Art by Stjepan Sejic
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

Some children just have to have a good spanking to keep them inline. The Nuemann children, Monica and Tripp, has Sara Pezzini after them, and that's more startling than anything my parents threatened.

Last issue we found out the two Nuemann younglings have the power to create whatever Trip would put on paper into the real world. Unfortunately, Trip's imagination mainly concentrated on demonic beasts that would dismember unlucky doormen. When Sara and Gleason approached the children, they wasted almost no time in trying to get rid of them by creating a small horde of monsters.

From the start of the issue, it's an almost non-stop massacre of Sara just laying waste to these oragami-gone-wrong creations. The chemistry between her and Gleason is still in top form, even in the heat of battle. When Gleason pulls out his pistol, Sara quips, "Really, Gleason? That's going to help?" "Can't hurt, right?" The two eventually split up, with Sara handling the creatures and Gleason out to stop the children from making the situation worse. The resolution came to bit of an interesting twist, and works in the situation. Though I wonder what Ron Marz's thing is with demonic children, as there is one haunting around in Magdalena.

As is the usual scenario, Marz, with assistance from Saurav Mohapatra, and Stjepan Sejic deliver a great read that doesn't contain too much backstory to get bogged down in. Sejic really does a wonder on a two page splash and panel construction splitting up the adventure with Sara and Gleason's own confrontations. Sara's armor looks great and the monsters are incredibly rendered and come out horrific. I mean that in the best possible way.

"Paper Monsters" developed into a pretty good read, that I'm sure almost anybody can get into.

New reviews! Starborn! Jake Ellis! etc!

2011-01-13T12:41:00.002-05:00

Who Is Jake Ellis? #1
Written by Nathan Edmondson
Art by Tonci Zonjic
Published by Image Comics

"No, it's more serious than that. They waited for the train to start so they would have you trapped. They were waiting for you." -- Jake Ellis

Having grown up loving the James Bond movies, my favorite being GoldenEye, and classic TV shows like The Saint and The Avengers, the spy genre holds a very special place in my life. Also, having said that, I went on a recommendation and jumped into Image's Who Is Jake Ellis?. With the opening scene actually being showed twice, you get a grip on what the story is dealing with, but at the same time you don't. Jon Moore barely escapes with his life after a deal with Spanish mob dealers goes sour. His one defense? A shadowy figure named Jake Ellis that only Jon can see and hear. The Al Calavicci to Jon's Sam Beckett.

From the start, Tonci Zonjic's (Marvel's Heralds) art leaps at you. The minimalist style reminds me of Chris Samnee, with flashes of Cliff Chiang. Heavy use of shading really captures the suspense and feel of the book. I kept on having flashbacks of Powers and Chase. Keep in mind that Zonjic is a one-man-band here, doing pencils, inks, colors, and the cover. In today's atmosphere that is becoming more and more uncommon.

Nathan Edmondson certainly sets the stage here, but for what? Is Moore a spy, or a crook? Why are the Americans after him? I suppose the big question should, of course, be who is Jake Ellis and what is his relationship with Moore? You feel as though you've walked right in the middle of a movie that's been going on for about thirty minutes, but the rest of it is so enjoyable, you really don't mind it. I'm sure that is the point, to build the mystery and fill in the blanks later. Works for me, because the first issue is properly executed.

This book isn't for anybody who likes their stories fully explained to where there is no story, but narration. I found it something interesting and rather unique. I'm not that too familiar with either writer or artist's full bibliography, but I'll definitely keep an eye out for this one. If you dug Archaia's The Killer or a fan of Jason Bourne, I would easily recommend this to you.

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Starborn #2 (Published by BOOM! Studios; Review by Lan Pitts): With the previous of this series setting the stage, this issue expands the world and gives you truly an idea of what kind of threat Benjamin Warner is now facing. On the run from creatures from the Hive. A civilization that Benjamin had thought he had created for a novel he was writing. As it turns out, his novel may be closer to fact than science fiction. Everything in his novel, the one that had been rejected on numerous occasions, is appearing before him. It is hinted on why that is, but I don't think Warner still gets it. His childhood friend is more than meets the eye as she unveils herself as his guardian and serves as the guide to the more alien scenarios and terminology. While it does sling a bit more information and out-of-this-world jargon at you, you can relate to Warner as he is just as lost and confused. The story is still coherent with Chris Roberson's direction, and the slow revealing of the mystery has great pacing. Khary Randolph is nothing short of amazing here. From layouts to use of shots, nothing is what I would call "mundane". There's a sense of energy and excitement pouring from every page. Mix in Mitch Gerad's colors and it's just stellar on the eyes. With Roberson, Randolph, and Gerad's stock on the rise, be sure to check this book out.

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Robert Jordan's The Wheel of Time #1.5 (Published by Dynamite; Review by Lan Pitts): As the resident Wheel of Time fan in these parts, I have to say, this series has been hit and miss, and sad to say mostly misses. While it has been a thrill to see characters I've been enjoying since my pre-teens leap on to the page, sometimes it just falls flat. I can't really blame Chuck Dixon, or the late Robert Jordan here. This issue was just a bit odd though. While it introduced the gleeman (read: bard) Thom and the peddler (read: traveling salesman and news bearer) that's basically it and while this issue takes place in between issues 1 and 2, it almost seems like it didn't need to be there at all. Props to Chase Conely for stepping up his game. His backgrounds look incredible and the extra bit of detail really sells the imagery. The only real complaint here is Nicolas Chapuis' colors. They go back and forth from being pretty good, to down right annoying. There are instances here where he does do a great job, but in the same page there will be a panel that is so over-saturated, it's just not pleasant. I'm sure the WoT fans out there are checking this out as I am, but I just wish it was a tad bit better.

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Echoes #1
Written by Josh Hales Fiaklov
Art by Rahsan Ekedal
Lettering by Troy Peteri
Published by Top Cow

True, it's only day three of the New Year, but I think I've read my first favorite issue of it. Echoes, not to be confused with Terry Moore's Echo, tells the story of Brian Cohn, diagnosed schizophrenic who makes the most out of life despite his condition. His father is dying and has had complications with Alzheimer's. On his death bed, Brian's father tells him a secret and what Brian finds is earth-shattering and disturbing. Of course the experience is even worse when our protagonist has missed a dose of his anti-psychotics.

Right off the bat you'll notice Rahsan Ekedal's almost watercolor/inkwashed pages. The decision to just go with grayscales enhances the mood and atmosphere the book is trying to convey. It reminded me of Hotel Dusk with it's noir approach, though Echoes has more of a horror edge.

Being the first issue out of a planned five issue series, there is a lot of set-up, I mean, this is primarily all there is here. However, the ending is the hook that will reel you in. Josh Hales Fiaklov has set this up where this could go in a multitude of directions. You can sense the paranoia and confusion going through Cohn's brain. The panel construction is dynamic that utilizes an interesting layout that gives the book the horror feel I mentioned early. With a comic, the wandering eye can spoil pages, but how this is set up, there is still a sense of danger and suspense lingering in the air.

Fiaklov excels at exploring the human brain and how it process such tragedy, even a confused one like Cohn's, which is easily the selling point on something like this. If you're looking for something new, give this a gander. I'm sure you won't be disappointed.

What will 2011 hold?

2011-01-02T17:27:00.002-05:00

So 2010 was a bit rough to say the least. It wasn't my most shining example on how I wanted things to go, but here I am. Alive, somewhat sober, and still creating. When I look back on the two years or so it's hard to imagine I was in a different city and state. I've certainly earned my nomad badge, but I feel things are where they need to be now in my life, at least living situation-wise. Now that might change sometime, but I'm happy where I am.

On a professional level, I don't see that much of a change, and that's really unfortunate. I will say that this year I've been to the most cons I have in my entire life with MegaCon, HeroesCon, DragonCon, and Wizard World Atlanta, I've definitely done my share of rubbing elbows and putting my name out there. There's something about surrounding yourself with creative people that you can't help but see the big picture in your life which gives you a more positive outlook. It does for me at least.

This year I am venturing off to the West Coast for the first time in almost 6 years. I'm sure nothing has changed that much since I last went there, but still. I'm off to WonderCon, which I hear is a good show. Laid back, but still pretty massive. HeroesCon of the West Coast? We shall see. I'm excited. I miss traveling. Well, I've done plenty of traveling, but in a more nomadic sense, so I mean more in the way of vacationing and actually experiencing the world instead of just being tossed around by it.

So, here's to the New Year. Hope it brings out the best in everybody.

Red: Eyes Only

2010-12-29T22:27:00.000-05:00

Red: Eyes Only
Written by Cully Hamner
Art by Cully Hamner and Val Staples
Lettering by Wes Abbott
Published by Wildstorm
Review by Lan Pitts

"The only thing that ever let me sleep was that we do it for a greater purpose. And now that's gone." -- Paul Moses aka Bruno Frank

No doubt it's been a good year for Red and its creators. The movie adaptation was a hit at the box office, and garnered a Golden Globe nomination for Best Picture. The comic itself got more attention than it has in a while and reached a new audience. Red: Eyes Only adds another layer to the story as it is the prequel to the Warren Ellis and Cully Hamner original.

It's been a minute since I've read Red, but lucky for me, you can easily enjoy this story without having to scratch your head on what is going on. Paul Moses wants out of the job. His family has practically disowned him and has he carries a sense of loneliness and just doesn't care for the line of work. When Moses tells his employer that he wants out, it's not as simple as he thought. There's a process that slowly takes him out of the circuit, but that only leads to even more disaster and a revelation that Moses was not expecting.

Cully Hamner is taking the reins as writer and artist on this one as Warren Ellis did not participate. The violence is still there and the action is plenty, but there are still good character moments. I like Hamner's wink to giving Paul the alias of Bruno Frank, a nod to Bruce Willis. Hamner has solid panel construction and honestly some of his best work to date. The amount of detail put into every panel looks clean and crisp, the level of attention to the backgrounds is terrific. Even the detail of the Atlanta skyline and downtown Vienna just looks great on the page.

Colorist Val Staples joins in on the action. Usually, you'll find Hamner being colored on by Dave McCaig or Laura Martin. Staples has a more muted and softer pallet than what I'm used to seeing from him. Especially compared to his work on X-Men: First Class Finals. Though the colors do the suit the story, especially the more subtle moments.

Whether you're a new acquaintance or an old fan of Red and possibly weary that Ellis' exclusion will hinder the overall story, don't be. Hamner and company will satisfy your need for action, suspense, and quite a solid read.

Best of 2010

2010-12-27T20:33:00.010-05:00

Gold Medal: The Unwritten (Vertigo) Deja vu, much? Yes, I'm aware I gave this book my gold medal last year, but the thing is, there is not a single book on the market that has captivated me as much as this one. Mike Carey and Peter Gross's creator-owned title has earned its place as Sandman's heir, and I feel set the standard for contemporary, mature storytelling. It's been quite the year in the world of Tom Taylor, Lizzie Hexam, and Savoy including Joseph Goebbels' phantom, vulgar rabbits, the return and sudden death of Tom's father, Wilson, and the revelation of the final Tommy Taylor book - suspense, drama, genuine humanity, and an engaging story that has me wrapped out it's finger.

Silver Medal: Strange Tales II With the first issue opening up
with a Wolverine as a lucha libre wrestler in a deathmatch-style
arena, all the while the narration of a letter written by a lost love
echoes throughout the story you realize, this isn't the normal Marvel
fanfare. Nope, this is Strange Tales II, the second collection
of stories that takes popular independent creators and artists like
Kate Beaton and Jhonen Vasquez, and let's them play in the Marvel
sandbox. The stories range from touching, to downright hilarious. I
missed out on the first series, but I made sure to check this one out.
I mean, how could you not purchase the second issue of this series
based off the cover alone?

Bronze Medal: Scotty SnyderTalk about one hell of a year. I had

seen promotions for American Vampire at my LCS leading up to it

coming out. I didn't pick it up atfirst, just because I was worn out from the whole vampire genre basically being shoved down my throat. It wasn't until I found myself reading, and enjoying, Iron Man: Noir that I decided to take the gamble with a new title with a relative unknown. Vertigo titles rarely lead me astray, and I fell head over heels for the new envisioning of what the American vampire is and Snyder's own theories and spins on the myth and folklore of the ancient creature of the night. Soon after buzz surrounds AV, Snyder becomes a DC exclusive writer, and soon after that, is announced as the writer for Detective Comics. Though, at press time only one issue of 'Tec under his direction, I just have a feeling Snyder will give the title some of its best stories yet. Quite an impressive year indeed.

What to watch for in 2011: Artifacts With only four issues out,
I couldn't really give this a place on my list, however, I am certain
this is the mega-series we will be talking about next year. With Hope
still missing, and the bearers of the Artifacts coming closer together, the end of the world draws nearer and nearer. While Ron Marz and Michael Broussard have given most creative teams a run for their money, I cannot wait to see what the remaining nine issues hold for the Top Cow characters and the universe at large.

Quick post-holiday reviews

2010-12-26T11:53:00.008-05:00

The Stuff of Legend: The Jungle #3
Written by Mike Raicht and Brian Smith
Art by Charles Paul Wilson III
Published by Th3rd World Studios
Review by Lan Pitts

"So you suggest they are idealists? Believers in the old ways, or coexisting, and yet these humansss bring tools to hunt us. Like the Boogeyman'sss army! The days of unity amongst us died long ago. It is best they accept their new home...and being discarded." -- The Serpent King

If you haven't been following the adventures of Max, Jester, Percy, and the rest of the gang in The Stuff of Legends, then you are missing out. When our brigade of heroes wander into the clutches of the misfit toys of the Jungle, they aren't treated to the warmest of welcomes. Soon both sides realize that they have a common fiend in the Boogeyman and make a momentary alliance. Also, a bit of the origins of the Dark are revealed in a touching way. For being "just toys", Mike Raicht and Brian Smith has given these characters have some of the most sincere dialog I have read all year.

There is only one more part until the conclusion of Volume 2, and while that is reassuring I don't have to wait until the third volume for the rest of the story, the end of this issue caught me off guard. Part Four cannot come soon enough.

For those of you unfamiliar with the style of how these books are layed out, again, I cannot express this enough: Charles Paul Wilson III is a bonafide genius. The panel composition and colors use are nothing else out there. The action scenes, particually the ones feature Jester, are intense and still carry a certain weight of drama, you forget the characters are playthings.

With Christmas/the Holiday Season around the corner, a series like this is perfect for your little reader. The series showed promise a year ago and has not let me down. It's beyond captivating and highly recommended.
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Witchblade Annual #2
Written by Ron Marz, Matthew Dow Smith
Art by Tony Shasteen, Matthew Dow Smith, Matt Haley, J.D. Mettler, Jason
Gorder, Michael Atiyeh
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"This gift came to me so that I could serve our people. So that I could
protect our people." -- Tatiana, Witchblade bearer

The second Witchblade annual just isn't a standard monthly comic, it's quite
the event. Three stories, three creative teams. All of them showcase
different traits on what defines a Witchblade bearer, though they share that
mystical nexus and some terrific stories come from it.

First story in the issue is "Stalingrad", featuring Witchblade of the era,
Tatiana, who we have seen before in past back stories and whatnot. Like Sara
Pezzini, Tatiana is a soldier in her own right. A protector and sentinel who
puts the people she defends first, even if it is the fate of a nation that
needs her and her "gift". The first thing you'll notice is Tony Shasteen and
J.D. Mettler's stunning photo-realistic art. It's not as gritty as, say,
Alex Maleev as it comes across as smoother and natural. Mettler's muted
pallet gives the pages a certain look that is rather unique this day and age
in comics. It works for the story and is a perfect match for Shasteen's
pencils and inks. The backgrounds and environments are jaw-dropping with the
sense of detail. The buildings seem towering, the facial expressions convey
genuine emotion from concern to rage that has you sucked in. Marz sheds a
bit more light on Tatiana that brings a bit of closure to the character.

The interlude of the annual, features another former Witchblade wearer, and
people of the hero, Joan of Arc. It's a bit brief, but connects the bearers
of the Witchblade as Sara has dreams of Joan using the weapon in war against
the English. At four pages long, it is there as a reminder that duty comes
before anything to the women who have been anointed to wear the relic. The
art is standard, but it's something that doesn't have that much time to
really go off and do its thing. Again, written by Marz, but with art by Matt
Haley and Jason Gorder. The detail on the hair and armor isn't over done and
gives a sleek look to Joan in battle. It's a sharp contrast to the previous
story, but serves as a perfect in-between story.

Final story of the issue is something quite unique in how it's presented.
It's mainly written as like an actual novel with bits of splashes of art
here and there: character busts, or items being talked about, or an actual
scenario. Written and illustrated by Matthew Dow Smith, "The Devil's Due" is
practically what you think of when you think of Witchblade, at least
when you think of Sara Pezzini adventures. As told through
an omnipotent point of view, Smith tells a story that shows all sides of who
Sara is, and how she thinks. She's a woman, a mother, a cop, and a
supernatural defender. The dialog is sharp, clever and insightful. The art
is poignant and moves the story along with its use of the red, white and
black splashed upon the pages.

Witchblade Annual #2 is a rare creation these days that packs a punch
and brings depth to characters that sometimes get the cold shoulder from
comic fans. It's refreshing and definitely worth a check out if not outright
buy.
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Black Panther: The Man Without Fear #513
Written by David Liss
Art by Francesco Francavilla
Lettering by VC's Joe Caramagna
Published by Marvel Comics
Review by Lan Pitts

"I will have to learn these streets, to understand their denizens as an
ordinary man. You kept in touch with Hell's Kitchen as a lawyer...I have
something a bit more humble in mind." -- T'Challa

As a Daredevil fan, the announcement that Black Panther would be the heir to
the Man Without Fear mantle I was a bit concerned. Not to say T'Challa is a
boring or mundane character that would not be worthy or anything of that
nature. It was mainly because it had just seem like a weird fit at first
thought. However, as the issue progressed, it seemed more and more that the
man formerly known as Black Panther is the proper guy for the job.

What it cuts down to is old school superhero stories with secret identities
and a job that isn't really a job, but a front. With papers forged and
created by Foggy Nelson, T'Challa becomes Mr. Okonkwo, from the Congo. He is
the new manager for a local diner and immerses himself into the alter ego,
but still prowls the streets kicking all sorts of criminal scum all over the
place.

David Liss delivers promise to what make come from the former king
with a great look at the character, but sometimes the words get in the
way of the actions. Case in point, I don't need to know about what
Vlad the Impaler can do while he is doing it. It's old school
in nature, I'll give him that, but with a book like this, less should
be more. The conversation between Matt Murdoch and T'Challa that opens
the book is interesting in the aspect of why T'Challa chose to take up
the mantle of guardian of Hell's Kitchen. What lies ahead for Matt
Murdoch still remains a mystery.

Francesco Francavilla comes on the book like a pulp hurricane, with
his angled panel construction that shows the Panther's movements and
definetly feels right for the character. I mean, he is an artistic
powerhouse in this issue holding down the fort with pencils, inks, and
colors. It's something that I am looking forward to see more of.

First impression of this new "series" is good, but something still
felt missing from the story. It still holds a lot of promise, don't
get me wrong, but those weary fans need to give the book a chance and
I'm sure they'll be won over in time.
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Magus #1
Written by Jon Price
Art by Rebekah Isaacs and Charlie Kirchoff
Lettering by Ed Dukeshire
Cover by Fiona Staples
Published by 12 Gauge Comics
Review by Lan Pitts

What would happen if magic was real, but locked away as a secret that very few people knew about much less use? That is the concept of 12 Gauge's new mini-series Magus.

I'm a fan of the more supernatural characters in comics. From Hellboy, to Witchblade, to Dr. Fate and Zatanna. I've always been attracted to the more mystical side of things, and when I saw a preview of this at HeroesCon this year past year, I knew it was going to be something to watch out for. How right I was.

Our central character, Lena Cullen, is one of those people who can use magic, but cannot control it well since magic has been sealed. It's a bit reckless. I mean, the issue starts with the display of the destructive forces she can summon. She goes on the lam and run into the rest of our supporting cast, including Father Swain. Swain is a minister that has magic of protective and healing properties, as well as a history of looking after people like Lena, the "Wilds". There are people after Lena, to stop her from disrupting reality with powers to make sure no more harm is done.

Plot aside, Jon Pirce's creativity for this story is intriguing, especially concerning the mechanics of magic and how it is used and created. The type of the person's soul, transfers externally to what sort of power they have. In the case of Lena, she is wild and unpredictable, therefore, her pyromancy comes natural. Father Swain's case is the same thing, like I mentioned, has healing properties because he is a kind soul with a protective nature.

Rebekah Isaacs has been on the indie seen for years, and Magus showcases her talents well. The world is like ours, mundane and average, but when magic comes into play, that's when the art really soars. The use of facial expressions from joy to outright panic comes across as genuine. The use of angles and landscapes are great, too, giving Magus a solid pace that never bores you.

This first issue sets things up rather well, and I plan on catching the rest of the action. It's creative, bold, and is simply unique.

Christmas from Top Cow

2010-12-26T11:49:00.001-05:00

Suh-weet haul.

Strange Love (Zatanna/Dr. Strange)

2010-12-19T13:58:00.003-05:00

I met Mark Robinson last year in New York where George got a very majestic Aquaman by him and the imagery just stuck with me. So, when George went back this past year, he got his contact information and I emailed Mark when I got a chance about any time he could do a commission. Well, it turns out, he was doing them right then, and having a special, too.

So I commissioned him a piece, and I was beyond blown away by the results and it surpasses anything I had in mind when I first envisioned it.

Review Haul

2010-12-19T13:26:00.005-05:00

The Darkness: Four Horsemen #2
Written by David Hine
Art by Jeff Wamester, Jason Martin, and Felix Serrano
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"I can feel it. The hunger, the rage, the burning fire of terminal disease running through my veins. The awful emptiness of death, opening a void in my soul...and the Darkness screams.

I guess I should make it clear that going into this, I was a bit weary. I am not David Hine's biggest fan. I found his recent arc on Detective Comics to be a bit stale. However, him taking Jackie Estacado's reins and running wild with them had me floored. Essentially, Jackie is up against the Biblical Four Horsemen of the Apocalypse, who are re-interpreted as Hell's Angels biker types. Jackie isn't sure at first if these guys are the real deal, but soon gets a taste of their medicine.

The Darkness that is one of those characters that few writers "get", in my opinion. Either he sounds like the Punisher on steroids, or Batman possessed by Satan. He is neither of those things. He is a hitman who is cursed by his birthright. Hine gives Jackie the proper voice here, with a sarcastic tone in his voice, but somebody who understands that he is the embodiment of shadow. He comes across as the anti-hero he is billed as and not some demonic jerk.

Hine's dialog for the Horsemen is just as sharp as Jackie's. They play games with hostages and curse people randomly. The idea behind Famine, or Ronnie as his name is here, is interesting. Usually Famine is envisioned as a frail individual, but here he's loud, boisterous and quite rotund. The thing about Famine here is not that you are starved to death, it's that he controls your hunger and you never stop eating and you eat yourself to death. The imagery alone was something I wasn't expecting.

Speaking of imagery, Jeff Wamester soars on art. He handles the Darkness armor with precision and doesn't over-render the look or ruin it. It comes across as slick, but still gives the impression it offers protection. The Horsemen's designs are superb and they come across as a valid threat. How Wamester shows each of the Horsemen using their abilities is horrific and doesn't come across as pointless. The violence displayed is their big "hello, world, we've arrived" message to the population.

Darkness: Four Horsemen is one of those books where anything can happen. The Top Cow universe has seen apocalyptic scenario after the other, but can Jackie fight off the heralds of the end of the world by himself? I'm not the world's biggest Darkness follower, but this series has me hooked.

--------------------

Okko: The Cycle of Air #3 (Published by Archaia; Review by Lan Pitts): I went into this book blindly, knowing little to nothing about the franchise. As a fan of Avatar: The Last Airbender, I knew I'd be drawn to something of this nature. Boy, was I right. While there's no way to tell what's been going on in previous installments and the book just sort of happens, but once it gets going, it gets going. Some parts of the dialog seem a bit forced and out of place. The villain of the story, the demon hunter Kubban Kiritsu, is the most fleshed-out by comparison. The art by Hub and Emmanual Michalak is absolutely gorgeous that flows wonderfully on the page. There's an intense battle scene that just moves as smooth as a Japanese ink brush and the colors are just dynamite. If you can find the other two previous installments, please do, because if you're anything like me who is enamored with oriental mysticism and Samurai history, you'll love this series.

-------------------

The Incredibles #14 (Published by BOOM! Studios; Review by Lan Pitts): If you aren't picking up this book for yourself, or for a young reader trying to get into comics, for SHAME! Landry Walker's snappy character work and dialog is pure aces. While there is typecast as a mere "kids" book, it packs a lot of punch. Ramanda Kamarga and Marcio Takara give us some amazing art, with a minimalist style that delivers time and time again. The visuals come across as crisp and clean as you can get and convey each of the characters' powers and abilities. A great book that is a mix of adventure, fun, and a hint of danger.

--------------------

The Green Hornet: The Golden Age Remastered #3 (Published by Dynamite Entertainment; Review by Lan Pitts): Color me enthusiastic on this novel idea. Take some old Green Hornet comics from the 40's, dust them off, re-master them and publish them for this and future generation to enjoy. The original art is intact, with the coloring spruced up. Four classic tales that anybody who is an old-school fan of the Green Hornet or somebody just getting into the character can easily enjoy. Any fan of old style pulp comics will surely get a kick out of this as well. The Fran Striker stories have never looked better.

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Vampirella #1 (Published by Dynamite; Review by Lan Pitts): Vampirella has one of those iconic comic book looks. Whether you know little or a lot about the character herself, her costume is easy recognizable. That being said, I guess Dynamite is in the business of pulling a Wondy and deviating from the popular bathing suit design to something a bit more contemporary, or as I like to say, TV-friendly. The thing about it though, is that the wardrobe change doesn't phase me in the slightest or hinder the story. Writer Eric Trautman (DC's Mighty Crusaders) gives Vampi here a Batman-like voice. Lots of inner dialog that moves the story along, while getting an idea of who this revamped (pun not intended) Vampirella is. The real star in this book is Wagner Reis. His panel layout reminded me of older Batman books and the George Perez era of DC. It's not crammed to the teeth with panels, and he keeps things interesting with great use of angles and such. I love the heavy inking in the book and the play with shadows. If you're looking for a flat-out origin story, don't look here. If you're looking for an entertaining read that's also pretty to look at, check out Vampirella #1.

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Magdalena #4 (Published by Top Cow; Review by Lan Pitts): It looks like Patience has gotten herself in one hell of a pickle yet again. While following the trail of the so-called Antichrist, Patience and Kristof are ambushed and tricked by demons, and the young Antichrist, Anton. Of course things get even worst for our heroine as her spear is taken from her. The cover for the next issue looks incredibly foreboding. It's no secret that Ron Marz wanted to get on this book the moment he got into Top Cow, and in his patience (pun intended) we are rewarded with one fine book. Nelson Blake II does an excellent job showing Magdalena's fighting skills while expressing her grace that I think a descendant of Christ would possess. Also, great detail on the architecture around Paris. Marz's style has always been show and not tell, there's not that much inner dialog as usual and you get a sense of realism with the characters with their vernacular. Top Cow just keeps churning out with these great titles and if you're checking them out, you are REALLY missing out.

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Witchblade #140
Written by Ron Marz and Saurav Mohapatra
Art by Stjepan Sejic
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"Come on, Gleason...like we didn't see this coming." -- Sara Pezzini, Witchblade

I'm sure it's been said that nothing is more powerful than an imagination of a child. Or something along those lines. However, it's hardly said that a child's imagination could form the horrors that Sara and Gleason end up facing in Witchblade #140. If you haven't been following the events of Artifacts, first of all, for shame, and second of all, no worries. This issue concentrates more on the standard operations of two of New York's finest solving unknown mysteries and dealing with strange occurrences. So you won't be left out of the dark when you pick this up.

The issue starts off pretty standard from what we've seen before: Sara and Gleason investigate a brutal crime scene of some nightmarish creature and nothing but question marks emerge. A night doorman was horribly slaughtered, which is found unusual since the part of town was quite lavish. Sara and Gleason have a viewing of the security camera footage and it's not pretty what they find. Eventually they take to door-to-door questioning and run into a pair of some very, very odd children. The children like to draw and Gleason finds a comparison of one of the children's pieces to the creature that slaughtered the doorman. Of course we find out the real origins of the creatures and the two detectives find themselves surrounded.

From beginning to end, it reads like a classic set up. I love the little winks and nudges to fans. The paper the doorman is reading has hints of Dragon Prince. Also, the children's art work were really done by children, including two of Marz's kids. Marz delivers more of the police side of Sara, and a bit of her humanity in a sincere moment in an elevator. While she admits it's not easy being her partner to Gleason, Marz shows that Sara needs him in her life. Stjepan Sejic conveys that emotion through his great use of facial expressions.

It is still a mystery to me on why Witchblade is not on everybody's pullbox. This is a good jumping point for new readers that have been curious about the buzz. It's engaging, accessable, and feeds that supernatural need that you might not be getting elsewhere.

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Starborn #1
Created by Stan Lee
Written by Chris Roberson
Art by Khary Randolph and Mitch Gerads
Lettering by Ed Dukeshire
Covers by Gene Ha, Humberto Ramos, Khary Randolph, and Paul Rivoche
Published by BOOM! Studios
Review by Lan Pitts

Imagine The Last Starfighter, meets the Never Ending Story, and you get Starborn.

Benjamin Warner appears to be your average wannabe hard sci-fi author that just can't seem to catch a break. His first book was rejected as it was too close to an existing author's work he was unaware of. I can't even tell you how many times that has happened to me. Yet, he continues to strive and write and do his best to get noticed in the world of literature. When he gets rejected again, that's when story starts really coming into motion. Benjamin comes face to face with one of his own creations at work and one of his childhood friends comes to his aid, for she is not what she appears as well.

Immediately, the striking style of Khary Randolph will hit you Not quite Humberto Ramos or Eric Canete, but his art represents the best of what I love about both of those artists. The way the characters move across the page from the simple motion of checking the mail, to dodging a would-be knock out punch, it just comes at you. And fast. The character design for the aliens and other out-worldy creations look stunning and unique. Adding the colors of Mitch Gerads to it and it's kicked up to another level. The look to creatures' skins or the wonders of the majesty of outer space look tremendous. Seriously, a great combination.

The script itself hearkens back to classic Stan Lee stories of the everyman thrown into a not-so-everyday situation. Chris Roberson excels here as I can empathize with the character and has set up an intriguing story, that I hope get its time to tell.

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Rainbow in the Dark #1 and 2 (Published by KaBlam!; Review by Lan Pitts) Talk about a do-it-yourself project. Written, art, and lettering by indie sensations Comfort Love and Adam Withers comes another one of their unique tales that is a mix of fantasty, with Bohemian philosophies with a drop of Rainbow Brite. Donna White is your average teen, who lives in a normal world of black and white, that's not bad, or really exciting. That changes on her way to school when colorful creatures break through into her world, as well as even a more colorful band of freedom fighters that take rescue Donna and take her back to their world, full of feelings and emotions she hasn't felt before. Or dangers she's ever faced. At first readthrough, it feels a lot like the Wizard of Oz meets the forementioned Rainbow Brite. The character designs resemble rock and roll and rave fashions, and one of the characters even reminds me of Andre 3000 from OutKast. The story is intriguing enough to where I felt hooked and fell into the second issue where the world and the "Gloom" is explained. The dialog is thought out and sincere and the art truly fits the story being told. You might have seen this couple at numerous conventions across the country, and Rainbow in the Dark can be available online at their site, with .99 per issue. So if you're looking for something really different, I can easily recommend this title.

19th season! Power Rangers Samurai

2010-11-28T10:04:00.001-05:00

Haters gonna hate, but I'm excited!

a few reviews up in here: Zatanna #7 and Streets of Gotham #17

2010-11-23T09:24:00.004-05:00

Streets of Gotham #17
Written by Paul Dini, Fabian Nicieza
Art by Dustin Nguyen, Derek Fridolfs, Szymon Kudranski, John Kalisz, and Nick Filardi
Lettering by Steve Wands
Published by DC Comics

"Selina. It's me."

Those three words tell the whole story.

I guess it's no surprise now that Bruce Wayne is back as Batman (or one of them at least) and trying to re-emerge himself in the daily aspects of being Batman. While I enjoyed Batman, Inc, Paul Dini's Batman is the one I favor the most of the past five years or so. He's collected, intelligent, cool, and always makes time for his favorite feline fatale. He just comes across as more human, than the almost quasi-deity I've seen him elsewhere.

The issue is split in half with Bruce having his moment with Selina and Tommy Elliot, aka Hush, on the loose. While Batman (Bruce) is on the case on who is causing people to sleepwalk via tiny insects. The villain, the Bedbug, is seen briefly, but I'm sure will be back. Elliot, who is still being mistaken for Bruce Wayne, gets taken hostage and his kidnapper retells a story about Bruce's father and Leslie Thompkins. There's quite the flashback on a failed assassination where we see an amazing Alfred scene that invokes his days in RAF. Of course, Elliot's kidnappers are dealt with pretty easily and he actually offers them a position to align themselves with him. Bruce has only been back a few days and already the cards are stacking up against him.

The Ragman story, who I always considered DC's answer to Ghost Rider, isn't all that bad. Fabian Nicieza is one of my all-time favorite comic writers because his style adapts to the situation, especially with this haunting dialogue. There's an interesting use of colors here that give it an anime-like look to it. It might turn some people off, but I think it works for the story.

It's no secret that I love the combination of Dini, Nguyen and Fridolfs. They are what made Detective Comics so incredibly good two years ago with the Heart of Hush arc (which I gave my Silver Medal to at our end of the year awards). It just always seems like when this team is good, they are the epitome of what I want in a Batman story. I have to admit, I've been slacking in picking this book up like I should since I've been overwhelmed by Bat-mania v.2.0. It's good to see Bruce back.

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Zatanna #7
Written by Adam Beechen
Art by Chad Hardin, Wayne Faucher, and John Kalisz
Lettering by Pat Brosseau
Cover by Jesus Saliz
Published by DC Comics

"Hollywood. Where the curtain never comes down."

My love for the character aside, I think Zatanna is one of the best ongoing that DC has to offer these days. The simplest reason for that is that it is self-contained. In the world of the market adapting a trade-ready format, this book is pretty easy to pick up, have a coherent idea of what is going on, and enjoy Zee fighting mystical forces. Ta da!

Now, Paul Dini is DC's, and probably the world's, biggest fan of Zatanna. It's no secret he married a stage magician, and just loves writing her, so I'm always a bit skeptical when there is somebody else's name in the writer credits. Though to Adam Beechen's credit, I've seen his name pop up around a lot more these days, even on a Mystery, Inc episode recently. The scenario is Zatanna is attending magical museum opening where a lot of artifacts from mystics from the DCU will be showcased. Of course, some of the artifacts take a life of their own and Zee is face to face (sort of) with an old rival of her father's. A quick fight with magical fisticuffs and problem resolved, with a little assistance from the spirits of the former bearers of the artifacts, including Zee's father, John Zatara.

The thing that is most notably different from the first few issues of the series is the art team. Stephane Roux and Karl Story made one hell of a team. Roux's sultry version of Zee is one I most harken back to, that and Adam Hughes'. So, not to belittle Chad Hardin here, but something about it hasn't clicked with me. This issue is far better than his previous ones. You can tell his improvements in panel construction and just how Zee moves. She has that grace she was lacking before. I love Faucher's inks. I think him and Hardwin make for a good comic team, but there is still room for improvement. It's not boring by any means. Just the bar was set a bit too high, I suppose. That happens from time to time.

If you're not already picking up Zatanna, I have to ask why not. It's fun storytelling that doesn't require purchasing eight tie-ins and whatnot. While I prefer Dini to Beechen's style, it's still worth a read through if not outright buy.

Artifacts #3 review

2010-11-16T17:42:00.000-05:00

Artifacts #3
Written by Ron Marz
Art by Michael Broussard, Facundo Percio, Stjepan Sejic, Paolo Pantalena, Sheldon Mitchell, Nelson Blake II, Sal Regla, Rick Basaldua, Joe Weems, Sunny Gho, and IFS
Lettering by Troy Peteri
Published by Top Cow

"There is a war coming. Between those who embrace the future and those who resist it. My master will win that conflict." -- Aphrodite

Thou shall not covet Ian Nottingham's sword.

Ladies and gentlemen, it probably isn't much of a spoiler to know that Ian Nottingham is back (he's on the cover) and kicking ass with his best feet forward and doesn't have time to take names. Well, frankly, he just doesn't care. The prison guards knows he's dangerous, we as readers know he's dangerous, but it's still good to have a scene as we do in the first few pages as a simple reminder at how lethal this man really is.

Last issue, Sara, Gleason, Dani, Jackie and Tom Judge get ambushed by a small horde of demons. It's not a huge part of the story, but makes them realize that somebody/thing is after them and it's over before you know it. It's a good scene to show readers what these characters as a whole and as a unit can accomplish. I love Broussard and company's attention to detail from the Darkness' armor and darklings, to Sara's armor and facial features. While we get more of an idea of the major players and Artifacts, as told by Tom Judge, this isn't really the heroes' story. No. This issue belongs to Aphrodite IV.

If there is one thing we've learned from the Top Cow Universe is that this cybernetic she-devil is beyond a force to be reckoned with. While she's low-key on the action here, her cunning ways are in full force as she makes a trek around the world to gather a resistance to Sara's alliance. Familiar faces abound, as lines are drawn in the sand. A war is indeed coming and you would have to cut the tension with diamond-edged chainsaw. The thing here is that twists are still coming. Three issues in, and some of the Artifacts are already changing hands in a sort of mystical, murderous, musical chairs sort of way.

Ron Marz has crafted an engaging series thus far. There are many players coming and going, but you get a sense of who they are and what purpose they serve to the overall story. For the more forgetful fan, or somebody who is not as enriched in Top Cow lore, there is an index of some of the characters that were highlighted in the issue. Just something to make the experience more accessible, and in turn, enjoyable. After last issue, I felt it was more set up, but in the process lost a bit of steam. Then again, with a strong first issue as Artifacts did, it came across as lighter in comparison. I feel as thought we've regained some of that lost momentum and back on track with this third issue.

Michael Broussard is aided by a complementary team that still keep the feel of his style, but there are parts here and there that you know were all Broussard and when they weren't. It's not a distraction by any means, and still held up a solid pace to the story.

Thirteen issues might seem a lot to tell a story, but with the pacing and plot developments, it's the story that Top Cow has been needing and is long overdue.

Happy Halloween

2010-10-31T10:58:00.003-04:00

Dan Brereton's Halloween Girl by Tiny Titan's artist Franco!

A few more Zees I haven't added yet

2010-10-03T15:10:00.001-04:00

Adam Hicks

Stephane Roux

Ted Naifeh

Interview with Ted Naifeh about his Bat-love

2010-09-29T14:13:00.001-04:00

Ted Naifeh, like most artists, loves drawing Batman. Much like how almost every artist has that one character they get sheer joy out of drawing, Naifeh's is definitely Gotham's Dark Knight. Recently, on his website, he displayed some mock covers of Bat-books. Now, he's already done some redesigns of Bats' rogues gallery and other miscellaneous Gothamites, but what he's done here is completely different, and truly amazing. Naifeh spoke exclusively to Blog@ about Batman and his thoughts on the character's legacy.

Blog@: What does Batman mean to you?

Ted Naifeh: That's a tough question for anyone, because he means so many things to so many people. But I guess I like to think that more than anything else, he represents to me the desperate desire to force a senseless world into making sense. And doing it with a great deal of style. He's turned himself into a force of nature, an avenging angel that can impose this immense fiction called justice on a chaotic world. Who doesn't dream of doing that? Only cynics and sociopaths.

Blog@: When you touch pen to paper with an intent to drawing Batman, what is it that you want to evoke?

Naifeh: I'm trying to find a perfect balance of heroism and monstrousness, between Superman and the Shadow. Batman works best when his contradictions complement each other. For instance, you can't gloss over the monstrousness for the sake of the heroism. That leaves him incomplete. Which is why, as much as I like Batman: Brave and the Bold, I don't feel like it's the true Batman. He's just not frightening. He really ought to be frightening. Otherwise, what's the point of the pointy ears?

Blog@: Out of Batman's cronies and criminals, who do you like drawing the most and why?

Naifeh: Well, I'll be honest, I'm going to have to go with Catwoman, cause, ya know, she's hot. She's Batman's femme fatale.

Blog@: Who are some of your Bat-influences?

Naifeh: Neal Adams always blew me away. My first Batman comic was a giant-sized collection of old Bob Kane, Bill Finger stories (including one of the original Two-Faces, Harvey Apollo, the actor) but the cover was clearly so much cooler than the interior art, with a sleek, sensual Batman by Adams, as opposed to the earlier boxy Batman. After that, it wasn't till I discovered Frank Miller's take that the character caught my attention again. That first issue of Dark Knight Returns, with its tight cropped panels, its generous use of black, and it's willingness to hide Batman rather than showing him off, really captured the true visual potential of Batman, lurking in shadows, transforming from a man in a costume to a force of nature.

Blog@: What is it about Batman that draws people to him in pop culture?

Naifeh: It's everything at once. Everyone picks and chooses their favorite aspects of the character, and leaves the rest. Some people like the campyness, the sheer ludicrousness of the idea turned into the point of the character. Some people like the idea of this perfect man that's good at everything, James Bond in a Dracula costume. But I think at the end of the day, what people most respond to is the contradiction of the man who dresses like the devil and fights for justice. He's such a simple icon, both conceptually and visually, that it's easy to fit him into the psyche. In our modern world of twisty contradictions, he corkscrews straight through into our hearts.

Blog@: Tell us about those mock covers you did.

Naifeh: When I did my first wave of Batman concept and character art, James Sime at Isotope said that my next step should be to do cover designs. He said if I stick a Batman logo on it, it'd make a world of difference. It'd look official. I'd always wanted to do my own Batman logo. That first one is a bit wonky, but It's coming along. The second one (shown above) is more along the lines of a fifties pulp novel. What I'm trying to do is capture some of the retro flavor of Batman without taking the campyness with it.

Artifacts #2

2010-09-28T21:08:00.001-04:00

Artifacts #2
Written by Ron Marz
Art by Michael Broussard, Rick Basaldua, Joe Weems, Sal Regla, Sunny Gho, and Dulce Brassea
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"And I will find our daughter, and I will kill whoever took her. Because that's what I do." -- Jackie Estacado, the Darkness

To be blunt, Artifacts displays how mega events in comics should be done. With revealing the plot with a solid pace and not dumped in your lap, it becomes easy to access and enjoy without worrying or scratching your head in confusion. Last month's first issue of the thirteen-part series, Ron Marz set up his characters like one would on a chess board, with Artifacts #2, he really gets moving. With Marz having shaped or created most of the characters involved, they all have one solid voice. Nothing seems static or incohesive. The best part? You actually care.

The mystical nature of the Top Cow characters plays second fiddle to the characters themselves. The Angelus, Darkness and Witchblade may be the ultimate embodiment of their realms, but here they are Dani, Jackie and Sara, who all are worried about Hope's safety. Let's not forget about Tom Judge here. The priest who isn't so saintly. Again, it all goes with a natural, progressive flow. You aren't assailed vigorously with characters and meaningless dialog, but rather with moments and purposeful storytelling.

Michael Broussard's pencils and layouts are something to behold. He has a keen eye for detail and angle. For some reason, I hearkened back to how John A. Alonzo shot Chinatown. Every panel contains enough drama, intrigue, and emotion that once you see it, you can't help but pore over it and admire what he's done. Somewhat new on the scene, he's quickly becoming my favorite Sara Pezzini artist. From how he does her eyes, to her hair, just everything seems, for a lack of a better word, right. Sunny Gho has proven time and time again, he can handle Top Cow artists with the more kinetic styles, and his colors over Broussard set the tone perfectly.

Honestly, no offense to the other big events going on in comics, but something like Artifacts needs to come out to show an example of how independent books that are flooded with great talent can pull off an on par show, and at times exceed expectations.

Mike Carey talks about Unwritten and things to come

2010-09-18T09:34:00.000-04:00

Mike Carey and Peter Gross' Vertigo series, The Unwritten, has swooped up numerous award nominations and has found itself on the New York Times Best Sellers list twice already. It is a tale of intrigue, fantasy, father-son relationships, and finding your purpose in life. Tom Taylor has been on quite an adventure in the past year and a half and with the revelations of issue #16, it's really only begun. Blog@ spoke to the author of the series, acclaimed writer Mike Carey about the ambitious undertaking he took with the most recent issue and what's in store for Tom, Savoy and Lizzie. Caution, there are spoilers for those of you not caught up.

Blog@: So Mike, would you mind catching up on what is going on in the world of The Unwritten?

Mike Carey: Well, we've just come out of an arc that brought all our core cast together in London. Tom had come there, with Lizzie and Savoy, in the hope of meeting up with his father, Wilson, who was rumoured to be showing up for the launch of the fourteenth and final Tommy Taylor novel. But the novel was a forgery, designed to flush Wilson out of hiding, and so the cabal were there too, in force, to catch him and dispose of him if he did show. And just to make things even more complicated, Tom's fictional nemesis, Count Abrosio, was also waiting in the wings, having apparently possessed the French prison governor, Chadron, after the death of his children at Donostia.

Havoc of various kinds was duly wreaked, and when the dust settled, Wilson was dead - but not before he was able to meet Tom one last time and give him some hints as to his true intentions. The fourteenth book was published as planned, but it wasn't the cabal's fake fourteenth book - it was a book written by Wilson and substituted for the cabal's text by a very complex sleight-of-hand.

This month's issue, #17, has Tom and his little posse dealing with the fall-out from these events - and particularly with Lizzie's trauma. Lizzie had tried to get back to what she thought was her home, in the Dickens novel OUR MUTUAL FRIEND, only to find that there was already a Lizzie Hexam in residence. Now she's apparently in a coma, her mind having shut down from shock.

Blog@: The Unwritten #17 has an unusual format, something you don't really see in comics. Can you tell us about this?

Carey: The format is Choose Your Own Adventure. We decided that since Lizzie's back story actually isn't just one story but several mutually contradictory stories that actually would be very cool to tell all the different versions of her past. The one that she actually believes is her past, the other possibilities that were raised in the course of the series and to allow the reader to experience all of them and to then reach their own conclusion on who or what Lizzie really is.

Blog@: What made you want to do an issue in this style?

Carey: It was because of Lizzie's back story, or origin if you like, is confused and very unclear. What we wanted to do is tell her story without flattening the probability weight. Without letting the cat out of the box, so that the other Lizzies are still possible.

Blog@: This feat must have taken some considerable time to do. In comparison to a regular issue, how long did this take to write and plan out what you wanted to do?

Carey: It took, I would say, about three times as long as a regular issue [laughs]. It was fiendishly complicated. I wrote out all of the narrative strands out, sequinstially, and then we went through an edited draft of that. I submittted it to my editor, we talked it through, I revised that, and then we started to work on restructing it so that the narrative strands were woven. We put the choices in and tried to make the stories play off each other in interesting ways so that the various narratives are actually visually presented to you. So as you are reading one strand, you're glimpsing bits of the others, seeing other possibilites. That was what took ages.

There is a photograph online on the Vertigo blog of Pornsak [Pichetshote], our editor, with all of the pages spread out across the floor of his apartment. I was doing something here and Peter [Gross] was doing something similar in Minnesota. We were talking on the phone and we were haggling on what would work, and I think what we came up with works really well.

Blog@: So it's safe to assume you're not planning anything similar with Tommy or Savoy?

Carey: No, we're going to have to raise the stakes next time [laughs].

Blog@: How many more issues are left in this particular arc?

Carey: Well the Choose Your Own Adventure was a [one-shot], issue #18 will also be a [one-shot] about Pullman and the cabal and then we have a new arc starting with issue #19 which will be a five-parter. That's called "Leviathan".

Blog@: You've compared this story to, not so much the mystical backdrop of Harry Potter, but A. A. Milne's son, Christopher Robin Milnes who was not happy with his father using his name. Even with Wilson gone, will the two still have a connection as the series progresses?

Carey: Certainly we have some major revelations coming up about Tom and his relationship with Wilson, about what Wilson's done to him, about what's at stake, and his struggle with the cabal. In "Leviathan", Tom is following a clue that Wilson left for him which promises to take him "the source". The source of what, it's not quite clear. It's something essential to Wilson's plan and Tommy's identity.

Magdalena #3 and Green Hornet Annual #1

2010-09-10T11:24:00.001-04:00

Magdalena #3
Written by Ron Marz
Art by Nelson Blake II, Sal Regla, and Dave McCaig
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview

"The boy's not here. Most of the cult is gone. They just left behind some goons...and that thing. Need a hand?" -- Patience, the Magdalena

I have to be honest here, this issue doesn't really move the plot along as it is a sort of boss battle out of a video game. Kristoff passes as a lost traveler and finds a luxurious manor with a not-so angelic hostess. Though, as you might have guessed it, he was prepared as the mistress of the house, Anichka, shows her true demonic form and pumps several rounds into her. Lucky for him, he is quickly joined by Magdalena. They do their best to make quick work of the situation and still try to get information concerning Kid Anti-Christ, who is already a few steps ahead.

From the first page you'll notice a simplistic layout, but Nelson Blake II's use of sharp angles keeps the story at a nice pace as well as engages the reader. Showing how Magdalena moved around the building a la Batman, was a change of pace and I just wonder how easy it was to creep around with that armor on. Blake's action shots are drawn beautifully with a high impact feel. When somebody is shot, stabbed, or punched, you can sense the impact he was going for. His demonic designs are creative and feel they impose an actual threat, without them being over done. Sal Regla's inking style compliments Blake's pencils exceedingly well. The first six pages of Mags prowling around is evident of that. Dave McCaig's colors are brilliant as always. The use of reds and yellows is still dominant, but he has a chance to work with blues and purples.

Ron Marz is no stranger to the realm of supernatural superheroes having done stints on Thor, and of course the characters at Top Cow for the past five years or so. He's put more than this stamp on these characters, he's breathed new life into them and expanded so much of their world. So, naturally, he excels in telling this sort of story. While Patience has a job and duty to withhold as the Magdalena, she is still having to kill a young boy. Then again, who better to take down Satan's kid than Christ's daughter? The dialog is sharp and Patience has a unique voice that comes across as militant with a feminine edge.

To be truthful if you're not picking up this book or any of the great stuff Top Cow is putting out, you're sorely missing out. Magdalena is no exception.

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Green Hornet Annual #1
Written by Phil Hester
Art by Carlos Rafael, Josef Rubenstein, and Carlos Lopez
Letters by Troy Peteri
Published by Dynamite Entertainment
Review by Lan Pitts
Click here for preview

"Our war is on crime, Kato, not people." -- the Green Hornet

As a big Green Hornet fan I am, I've been underwhelmed by Dynamite's efforts, save for the Green Hornet: Year One mini-series earlier this year. Nothing has been popping out at me or agreeing with the collective idea of what the Green Hornet is in my mind. Green Hornet Annual #1 fills that void nicely, but not in the way I would have thought.

Green Hornet Annual #1 isn't really a Britt Reid, jr story, nor is it an actual Green Hornet story. While there are flashback sequences featuring the original Green Hornet, Phil Hester really gives you and idea on who Britt is. He's tortured, but not in the same vein as say Batman or Dick Grayson. He decides to become a hero because in his heart, he feels it is the right thing to to do. Though being a hero isn't always the easiest of things, as Britt gets his ass handed to him by friend and mentor "Coach" Pollard. We learn that Britt was an already good fighter, he just lacked the discipline and had a cavalier attitude about life.

Speaking of which, on top of Britt's father being murdered, his home life isn't the best at the moment. His love interest, Julie, has moved out and he's trying to find himself within this shattered world. We know where this is all headed, but still, it's nice to see the beginnings of the new Green Hornet come across like this. We know he'll never be the man his father was, just the hero his father became.

There are two different styles going on here. One being the art used in the flashbacks showing Hornet and Kato with chiseled jaws and Adonis-like physiques. It comes across as classic 60's comic style, even the coloring has the old dotted-look to it. While in the "present", the art is clean and the facial expressions come across precise and proper. Carlos Lopez's colors comes across as too dark at times, but nothing too distracting or awful.

The Green Hornet franchise can be confusing at times for fans of the character, but not quite sure where to begin or even start. If you haven't started, I strongly suggest this issue.

Angelus #5

2010-09-10T11:21:00.000-04:00

Angelus #5
Written by Ron Marz
Art by Stjepan Sejic
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview

"It was always going to end like this, wasn't it?" -- Dani Baptiste, the Angelus

When we last saw Dani, she was caught in a rather awkward situation with her father walking in on her and her galpal, now official girlfriend, Finch. We also witnessed former Angelus warrior Sabine bond her self to the Artifact known as the Shadow Wheel, granting her powers of time manipulation. Sabine is focused on regaining the Angelus and it's going to be quite the showdown between herself and Dani.

Okay, let's get something straight (ironic choice of word) and out of the way here. Dani's and Finch's relationship has been blossoming for several years now. This is not just some sort of realization about their sexuality. No. Ron Marz has crafted their rapport carefully and naturally. So, naturally, two consenting adults who have strong romantic feelings for each other eventually having some sort of sexual experience. Mind you, this is also Top Cow. They have a mature content warning and they mean it. The thing is though, if you really break it down, it's nothing we've seen in comics before, but what really strikes home is the talk Dani has with her father about Finch. It's endearing, sincere, and above all, handles the situation well.

Of course the express of their love doesn't last long as Dani's "friends" show up. Talk about bad timing. Sabine reveals herself as the new wielder of the Shadow Wheel, as well as her intentions to fight Dani for the Angelus force. What Dani didn't see coming is Sabine stealing time away from Finch and making her old. I mean, Gandalf old. Dani easily decapitates her former minions who served Sabine. Now all that is standing is a pissed-off Dani and a power-crazed Sabine. I'm sure the conclusion is going to be out of this world.

I have to give props to Sejic here. I have, at times, criticized his lack of facial features that leave some of his figures cold and stoic. Here though, he breaks through and lets his talent speak for itself. The passionate scene between Dani and Finch comes across as real, well as real as things can be in the comic world. It all just seems very human. The design of Sabine possessing the Shadow Wheel is something to behold as well. It has a sort of Eternity and Starman vibe and is just visually striking.

This mini-series has excelled in showcasing Dani as a stand-alone kind of character and out of Sara Pezzini's shadow. The action is terrific, the dialog is clever and crisp and the art is beyond superb. Anyway we can get this into an ongoing, Top Cow?

Ani-Max One Shot

2010-08-25T20:02:00.000-04:00

Ani-Max One-Shot
Created by Sharad Devajaran, Gotham Chopra and Jeevan Kang
Written by Ron Marz
Art by Jeevan Kang
Published by Dynamite Entertainment and Liquid Comics
Review by Lan Pitts
Click here for preview

"It was like this wave washed over me. I could sense every animal in the jungle. I had this connection to them, I was in tune with them. I understood every growl and chirp and grunt. I understood everything." -- Max Duncan

Imagine if you will, a hero that is Ben 10 meets DC's Vixen, and what you get is twelve year-old Max Duncan, aka Ani-Max. While on a vacation to the rainforest, Max becomes lost and is confronted by a panther who passes the mystical object known as the Animus Stone to Max. The panther transforms into an old man who informed Max of an impending danger and runs off. Max now possesses the ability to become part animal he touches, and his duty is to protect the Earth Spirits.

Marz hasn't touched anything all-ages since his Dragon Prince two years ago, and while the story may be as old as time (or at least as old as Dial H For Hero) it still has an underlining message of environmental consciousness. The message conveying is that the youth can be responsible for the planet they will inherit, so it's not exactly a Ben 10 rip-off story-wise. Max is someone who is willing to accept his responsibilities as the new guardian, in somewhat of a Harry Potter mentality. We don't know much about Max's main threat, the Locusts, as they were just mentioned by the former protector and hinted at the end of the issue.

Jeevan Kang's art is pretty standard for something like this. It's Sean Galloway mixed with Bruce Timm with a slice of Mike Kunkel for good measure. Layouts are simple and easy to understand. As this is a one-shot, I've heard that this is merely an introduction to the character in preparation for a venture into an animated project, which could easily work since the world is thinking more "green" these days. As a comic, it easily stands on it's own merits and I would recommend this to any Elementary School who are adding more and more comics to their library.

Influence Map

2010-08-22T18:21:00.003-04:00

Self-explanatory.

1. Clash of the Titans
2. The Sandman
3. Iron Man
4. Natalie Portman
5. Velma
6. Ted Naifeh
7. Quantum Leap
8. Wheel of Time
9. Matt Groening
10. Oscar Wilde
11. Star Wars
12. Little Red Riding Hood
13. Atlanta
14. The Riddler
15. Dr. Strange
16. Daredevil
17. Alice in Wonderland
18. Old School Magicians
19. Zatanna

The Sixth Gun #3

2010-08-21T21:46:00.003-04:00

The Sixth Gun #3
Written by Cullen Bunn
Art by Brian Hurtt
Published by Oni Press
Review by Lan Pitts

"Did he look alive to you?" -- Drake Sinclair

Three issues in and little by little the world of The Sixth Gun is opening up. Oni's supernatural western is quickly becoming one of my must-have books. Not only are we treated to General Hume's origins, but more of the mystery revolving around the guns is revealed along with a secret about Sinclair's past.

Waking from a dream, Becky noticed the mythical (and titular) sixth gun is eerily glowing and she goes to find Sinclair and O'Henry, but stumbles upon them deep in conversation. The two men are discussing incidents from the first issue as well as something to do with Becky. Now the issues goes back and forth with our trio of heroes and General Hume and his demonic cronies. As I previously stated, Hume's origin and his ties to the guns are revealed. I see the guns as sort of Four Horsemen/One Ring of Power-type weapons. Each one possesses a different power and purpose. One summons the dead, another deals out disease and plague, etc. Becky's gun, formerly her father's gun, shows her the past and the future, which explains Hume's success. The only problem about the gun working is that Hume can feel it's presence, a la Darth Vader to Luke, and knows where she is. Slightly problematic. The possibility of Native America mysticism excites me since that is fairly unexplored ground in comicdom.

Bunn has done a good job here of keeping the pace solid, not throwing everything at you at once. There are not that many main characters, yet they all are entwined by the legacy of the guns. It's almost as if the guns were characters themselves, especially Becky's, as it acts like a fortune teller and passes along information. Hume talks to his almost like a lover. That makes sense, especially if you consider somebody like him and his bloodlust. I love the mysterious nature of Sinclair, and the secret he's hiding. Everybody has a distinct voice from the our heroes to the bad guys. It's just really solid storytelling. Brian Hurtt's art doesn't hurt the book either (bad pun intended). His character designs is creative and creepy. The action scenes are well put together and his style still has that flair he had working on Skinwalkers. His colors have a dusty pallet to them, and lots of reds and golds. You have to love how Sinclair stands out being a man in black.

Fans of this book will not want to miss this issue. I can't really recommend this one to people who want to jump on board without saying you have to buy the first two. I still insist that most comics should come with a "previously on..." page. That note aside, it's still a solid read and one of my favorite new titles.

BPRD Hell on Earth #1, Time Bomb #1, Wheel of Time #4

2010-08-12T23:43:00.001-04:00

BPRD: Hell on Earth - New World#1
Written by Mike Mignola and John Arcudi
Art by Guy Davis and Dave Stewart
Letters by Clem Robins
Published by Dark Horse
Review by Lan Pitts

Monster on the loose! People are vanishing in this small town! Time to call Scoob and the Gang! Wait, no, that's not right. We need the BPRD. Mike Mignola, arguably the biggest name in supernatural comics, and this top notch team of John Arcudi, Guy Davis, and Dave Stewart once again take us for an exciting ride with the BPRD gang. Though, this time around, there's something a bit different. It is indeed a new world and a new direction for these characters. After the conclusion of BPRD: King of Fear, the BPRD is reconstructed and overseen by the United Nations. Oy.

Now, this isn't a deviation from what we've come to expect and love from these creators and characters. It's interesting to see how the BPRD is dealing with the massive amounts of red tape and litigation. The first issue doesn't really build a plot as it does play catch-up, but there are hints of something big to come. I love how Mignola and Arcudi established the fear of Americans over the funding of BPRD by the U.N., again just whispers and nudges of what we can expect later on.

Guy Davis is one of my favorite artists of all-time. His comic style is distinguishable and animated and has been the image that I have in my mind whenever I see or talk about Hellboy and such. Dave Stewart's colors over Davis' art just plain works. It's a more laid back style compared to say his work on Detective Comics, but more in tune with what he did on New Frontier. The city scape is bright and busy, and the woods Abe's wanders into have a spooky and macabre vibe.

If you're a fan of the series, go ahead and pick this up. However, if you're rusty on these adventures or characters, I'd recommend checking out previous installments because it doesn't really feel like a good pick-up point or is as accessible despite the dossier in the front. What this issue really needed was a full-on first page of "Last Time on BPRD..." sort of deal. I just worry that fans who want to get into it will feel lost.

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Robert Jordan's The Wheel of Time #4
Written by Robert Jordan
Script by Chuck Dixon
Art by Chase Conley and Nicolas Chapuis
Lettering by Bill Tortolini
Published by Dynamite Entertainment
Review by Lan Pitts

"I don't know that you are worth it, sheepherder, no matter what she says." -- Lan Mandragora

Reading these comics reminds me why I fell in love with The Wheel of Time in the first place, especially around this time in the books when the action starts to unfold. Coming back to Emond's Field with an injured Tam, Rand discovers that his village was attacked by Trollocs. When Nynaeve, the Wisdom (read: healer) of the village sees to Tam, she informs Rand there is nothing she can do. Despair takes over Rand, but finds hope again when he discovers the mysterious Moiraine is actually an Aes Sedai and can cure his father.

As much as I love the actual novels, I want to like this comic more. Then again, it's hard to replace the images you've had in your heard for more than half your life with Chase Conley's art. Some character still aren't quite there, but if there is one character Conley has down pat it is Moiraine. The way she stands, her face, the way she channels the One Power, it's all very, for a lack of a better term: Moiraine-like. Now the layout of some of the pages still bother me, but it isn't so much a diversion that I want to cast baelfire on the book (that's an in-joke). I feel the main thing is that his inks are inconsistent, but his image of a charred Emond's Field was pretty spot-on and just a great shot. Nicolas Chapuis' colors are another thing. While it was exciting to see Moiraine channel and fight back with lightning, the rest of his art just comes across as boring and shallow. I just think with a rich tale like the Wheel of Time, there ought to be richer colors as well.

Chuck Dixon continues to take Jordan's story and get the best parts of the story without taking much out, if anything, because it's just how I remember it. The scene with Rand and Egwene comes across as honest and emotional. And I think Dixon understands the characters as well as the fact that he is dealing with material that is considered the Lord of the Rings for this generation.

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Time Bomb#1 (Published by Radical; Review by Lan Pitts): Talk about genuine creativity here. Essentially, in the future, an underground city was discovered in Berlin where a hand-selected members of the Third Reich were going to stay, while a missile was activated and spread the mother of all viruses. Well, of course nothing goes according to plan, but I guess if the Nazis had it their way, better late than never I suppose. So, the missile is accidentally launched and the virus is spread and will destroy all life in an estimated three days. The solution? Go back in time to warn the government about the missile and the threat. What actually happens is that the small time-traveling team is sent back too far and they are now in WWII during the Nazi regime. Fully equipped to the T with modern day weaponry. So the question is, will they pull a Sam Beckett and change history for the better? It brings up a lot of questions, and I'm a sucker for a good time travel story. With fifty-four pages and NO ads, this book just can't be beat. If you know anything about Jimmy Palmiotti and Justin Gray, you know they make a dynamite team. Paul Gulacy's art is exquisite, adding to the serious tone for the book with proper inking that gives it the action movie feel. Rain Beredo's color also mesh well with what's going on, using lots of dark colors. Time Bomb is a fine example of compelling story telling and I would easily recommend this to anybody looking for something a bit out of the ordinary. It is for a more mature reader, but nothing to the degree of say anything out of the Vertigo line. If you're a fan of history, twist-ory, time travel and adventure, give this mini-series a shot.

Pocket God #1

2010-08-09T14:42:00.000-04:00

Pocket God #1
Written by: Jason M. Burns and Jim Hankins
Art by: Rolando Mallada and Lucas Ferrerya
Colors by: Paul Little
Published by Ape Entertainment
Review by Lan Pitts

Licensed property comics are nothing new and are becoming more and more frequent these days. If you haven't heard of this game, I wouldn't worry, you can still enjoy the misadventures of immortal islanders in Pocket God. Based off of the popular game, that is only available through the Apple app store (and is currently the number 11 top-selling item in said store) Pocket God follows six primitive islanders who are called pygmies. Now in the game, you play their omnipotent being and you can do whatever you'd like to them from earthquakes to hurricanes, to just plain levitating them. In keeping with the theme that these pygmies go against the worst scenarios, that is what the comic is all about: a vengeful deity who is constantly killing them, or so they believe.

Jason M. Burns has proven time and time again, that he has a knack for fun, all-ages type stories and this book continues that trend. While it may seem pretty brutal with the notion of killing these characters over and over, it's no more violent than a Roadrunner and Wile E. Coyote cartoon (and who doesn't love those?). All six pygmies have different personalities, but have minor differences in appearances which, I admit, was confusing at first. Ronaldo Mallada has a great style and captured the essence of the game with his environments, and the pygmies themselves. He can also draw one mean laser-shark. The layouts are easy to read and is nothing avant-garde, but still enjoyable. Paul Little's colors are simplistic, yet not overbearing and suits the story. The back-up feature by Jim Hankins and Lucas Ferrerya gives us a hint at what might be exactly causes the pygmies to have their disasters and such. The art is more non-traditional, yet still cute and easy on the eyes.

For fans of the game, there are several in-jokes, probably even more than I realized. The Pocket God game has constantly been in the top-rated and this comic is on the fast track to follow suit (it's already number twenty-one on the top-sellers). Ape will release an actual hard copy of the comic in September, so be on the look out for that. I think while licensed comics are around, Ape is exploring new options with the app market. Now, I'm not saying there should be a Bejeweled comic out there, but I'd easily browse through a PandaMania comic.

Artifacts #1

2010-07-27T20:08:00.002-04:00

Artifacts #1
Written by Ron Marz
Art by Michael Broussard, Rick Basaldua, Sal Regla, and Sunny Gho
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview

"...One of the thirteen. Listen to me. You must know this. Separately each artifact is an immense power. All have bearers, chosen by fate to carry those burdens." -- the Curator

This is it.

For months now, Top Cow has been giving us hints, teasers, and even a #0 issue that came out on Free Comic Book Day this year, and it's all lead to Artifacts #1, and by George, it is glorious.

Much like with most things he does with Top Cow, Ron Marz has made it accessible to new readers without them worrying about who's who and what's what. It's right there, in black in white. Well, not exactly black and white, but you get the gist. There is a character dossier, a two-page origin of the Witchblade (written by Marz and drawn by Marc Silvestri), and so much more. With all of that, you would never feel lost even in the slightest.

The story itself is dramatic and heavy. Then again, when you're dealing the notion of a possible apocalypse, it damn well better be. With a strong opening scene, new readers could grasp who Sara Pezzini is and what she is about. We already have some of the major characters in action: Sara Pezzini, the mysterious Curator, fallen priest Tom Judge, and android assassin Aphrodite IV, as well as a peek of the rest in a wonderful two-page spread displaying all the artifact bearers. All the while Marz's narrative keep steady and never overwhelming. It's a big first issue, but it doesn't feel heavy. It reads wonderfully and is quite effective in conveying the danger and emotion of the Top Cow universe.

The artist on board, Michael Broussard, definitely has a visually striking style. Sort of in the vein of Neal Adams with his cross-hatching and layouts. The inking duo of Basaldua and Regla keep the lines small, thus keeping Broussard's great level of detail intact and brings these characters and events to life.

With the Artifacts event being thirteen issues long, this is the most ambitious event for the Cow to date. I'd like to think such an event like this will make new believers out of fans who have dismissed this publisher as nothing more than soft-core porn. True, while it is more "adult" it's not anymore so than what you're seeing in the Big Two. If you've been curious about getting into Top Cow, I advice you consider this issue.

Green Lantern costume revealed

2010-07-15T12:33:00.001-04:00

My thoughts on this:

This could just be the suit that all of the corps members use, also it could just be his shell that he uses in space. I like how it looks like it's made of light. And alien and eerie, and not spandex or something man-made. I'm sure by the end of the movie, Hal will put his sort of stamp on his costume. The costume really isn't a "costume" as it is more like military regalia. It looks like it's created from the ring and not just something he made in his garage. The lights indicate that it's a powerful instrument and I like how the mask just looks like it's there. No edges, just something to conceal the identity. They could have just had his eyes green or something,but it looks organic, and they kept the symbol as is so for right now, I really dig this.

Teaser Image

2010-07-14T20:58:00.002-04:00

Something I've been working on...

I didn't draw this, but I sure as hell wrote it. I didn't design the costume either.

I have some of the most creative people as friends. Word.

Zatanna by Adam Hughes

2010-07-09T09:03:00.003-04:00

This is Hughes' typical quick Zatanna sketch. I got it at MegaCon this past year and is probably the closest I'll get to a superb piece anytime soon. I still enjoy it.

First reviews of July. Mainly indie titles!

2010-07-08T11:06:00.003-04:00

Velocity #1
Written by Ron Marz
Art by Kenneth Rocafort
Colors by Sunny Cho
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for the preview

"My name is Carin Taylor. Carin with a C instead of a K and an I instead of an E in case you were wondering. Or you can just call me Velocity. I run fast."

There are very few mainstream books out on the market that features a hero without a city to save, without a love interest, without a sidekick, without having to worry about a secret identity, without worrying about holding a job outside your superhero one...yeah, you get the picture. Yet here is Velocity in her own mini-series, and in this first issue at least, it truly is a solo book. It's her against the bad guys. No back up from Cyberforce (not to say they won't show up later in the series) and you really get the feeling it's her against all odds.

Right off the bat, you'll notice Kenneth Rocafort's stylish and kinetic style with a glorious spread at the beginning. that pretty much sets the bar for what you are to expect in this issue. It's fast, fun and exciting. Now, I have little to no knowledge of the character, I think I may have one or two Cyberforce comics somewhere, but writer Ron Marz excelled in giving me a good idea who Carin/Velocity is and her purpose, all the while setting up the frame of the five-issue mini-series. Essentially, take an episode of "24" and put it in the world of Top Cow superheroics, and there you have it.

Since Velocity isn't exactly a household name or even that well-known, Marz uses heavy inner monologue to get the character across. We get a sense of who she is and what she's about. Also, because of her lacking a supporting cast of any kind, all of our attention is on her and her thoughts. Of course with lots of inner monologue boxes on the page, you would think it would a distraction, but letterer Troy Peteri does an amazing job of making sure nothing gets lost or buried and goes with the flow of Rocafort's art. Sunny Cho's colors are striking but again, not distracting from what is going on in the story.

Simply put, pick this up. Top Cow has a slew of talent in their ranks and this book proves they can hang with the best of them.

Angelus #4 (Published by Top Cow; Review by Lan Pitts: Four issues in of a six-part series, Angelus #4 delivers so much and continues to build at the same time. There is romance, the continuing bloodfeud of light and shadow, betrayal, and an Artifact revealed. All the makings of a compelling story with characters I quickly have come to love in a span of over two years. Ron Marz as usual has an engaging story with depth, and gets the reader excited for Top Cow's upcoming "Artifacts" mega-event. There is some seriously good dialog going on that has weight and sets the tone of "Artifacts" and how it truly is going to be a war. Now Stjepan Sejic runs hot and cold to me. He's great when he's good, when he fumbles, it shows loud and clear. In this issue, you can really see his talent and imagination shine through. There's beauty in the environment and facial expressions come across clean and tight and convey genuine emotion. Especially with a touching scene with Finch and Dani. I recommend this comic for readers who are interested in some great fantasy and wonderful storytelling and any and all Top Cow fans.

Alice In Wonderland TPB (Published by BOOM! Studios; Review by Lan Pitts): This past Spring, Disney released a live-action "Alice In Wonderland" feature with Johnny Depp, Ann Hathaway, Helena Bonham Carter, and Mia Wasikowska as the titular Alice, but I hadn't realized that BOOM! put out a graphic novel adaptation to the movie. I have to say I enjoyed the book more than the movie. Nothing knocking Tim Burton or his crew, but Massimiliano Narciso's art is something between Ted Naifeh and Jill Thompson and is simply amazing. It has a sort of dreamscape feel to it (as it should) and I hope to see more works from him in the future. Allessandro Ferrari does a fine job adapting the movie, which I'm aware is it's own story (though I would recommend The Looking Glass Wars by Frank Bebbor if you enjoyed this version, if you haven't already found that series). It also includes a behind-the-scenes sort of sketchpages where you can see the art progress which I found fascinating because I'm always curious on an artist's thought process.

Jim Butcher's The Dresden Files: Storm Front Vol 2 #2
Written by Jim Butcher and Mark Powers
Art by Adrian Syaf and Brett Booth
Inks by Rick Ketcham
Colors by Mohan
Letters by Bill Tortolini
Published by Dynamite Entertainment
Review by Lan Pitts

"Useless. It had all be useless. I was going to die in the next two days." -- Harry Dresden

The problem with adapting material, especially one that has a cult following like The Dresden Files does, is that there is already an audience for you to either get praised by or to piss off. In the case of this book, I'm leaning more towards the latter. For those of you unfamiliar with Jim Butcher's book series of the same name, it centers around an adult wizard named Harry Dresden, who is used by the Chicago PD to deal with supernatural situations and beings such as, but not limited to, fairies, vampires, demons and devils. Simply put, very cool stuff. I recently got into the book series via a good word from a friend and was surprised myself when I had not gotten into them sooner once I dove in.

A recap page would have come in handy as well since we are about halfway done with the first novel at this point, so that would make it difficult for non-fans to enjoy something that they otherwise might have. So for those out there, Harry has taken a missing persons case with a client whose husband has been missing for three days, he was also dabbling in magic. On top of that, he is investigated a double murder with the victims whose hearts had been removed. Of course this opens the gates to Dresden and his magical world.

The main problem I have, isn't with the script or the adaptation, though Harry's inner monologues do become cumbersome and make the pages seem cluttered. Very cluttered. Mark Powers' script holds up to the book series and didn't deviate the plot from what I can recall. My main gripe, and it's one hell of a gripe, is the inconsistency of the art. Adrian Syaf, who can be seen working on Brightest Day comes off strong, yet his inks fall by the wayside. Ketcham takes a page out of what is essentially 90's Image style. Too much feathering and cross-hatching in some places that it became distracting. There are three different artists on this book, all with different styles, and it looks choppy. Also, the last pages of the book are strictly done by Brett Booth, who has is probably the most radical in style, but he's also the only one that added text to Harry's shirt that appears out of nowhere since it's not in any other part of the book. Oy.

Dresden File fans, we simply deserve better.

Random reviews

2010-06-21T09:34:00.001-04:00

Magdalena #2
Written by Ron Marz
Pencils by Nelson Blake II
Inks by Sal Regla
Colors by Dave McCaig
Published by Top Cow

“The Church has been sacrificing my ancestors for a thousand years. If you truly think that’s going to change…you’re more gullible than those people taking Communion down there.” — Patience, the Magdalena

Talk about hating your job, huh?

The Magdalena team (or as I call them in my head: Team Mags) are two for two with the second issue of Top Cow’s newest ongoing series, Magdalena. Ron Marz continues the story of Patience, this generation’s Magdalena, as she is trying to find her place and destiny in a world and Church that she’s at constant odds with. Meanwhile the Son of Satan, no, not that one, is planning another demon summoning since Patience just wiped the floor with the one he had sent earlier.

The plot doesn’t advance that much, but what this issue really showcases is Patience’ relationship with Kristoff and the Cardinal. Kristoff wants her to do what is right and her birthright, while the Cardinal sees her as more of subservient and merely a tool similar to one you could buy at a Home Depot should the one you have breaks. Though, at the end, Patience accepts her mantle but will no longer work for the Church, but rather with them. I’d like to see how long that notion lasts.

Nelson Blake II’s art is good. Great action shots with the demon slaying, great layouts for the more subtle moments, with terrific character design and is on par with Marz’s story. Sal Regla’s ink also add an additional visual layer and topped with Dave McCaig’s exquisite colors just make the whole package that much cooler.

If you don’t know by now, the previous issue started a firestorm of rave reviews and positive nods all around, eventually selling out. Don’t be left out of some good times and pick this book up.

Joker's Asylum: The Riddler -- One Shot
Written by Peter Calloway
Pencils by Andres Guinaldo
Inks by Raul Fernandez
Colors by Tomeu Morey
Letters by Patrick Brosseau
Cover by Ethan Van Sciver
Published by DC Comics
Review by Lan Pitts

"Were you born with the ability to make an entrance at the worst possible time, or is that a skill you've honed?" -- Edward Nygma, the Riddler

Much like first Joker's Asylum series, this continues the idea of Joker as a sort of Cryptkeeper character, and narrates a story featuring one of Batman's rogues gallery. Now, of all the issues in the last Joker's Asylum, I felt the Penguin spotlight by Jason Aaron and Jason Pearson was the strongest. Riddler is one of those guys that I've always felt drawn to (my tattoo on my calf speaks for that), and always seems to be lost in the shuffle. He's been portrayed as a sniveling twerp in such works as Long Halloween, to a mastermind in Hush, to now a private detective that could be walking down the dark path once more. In this one shot, he's definitely striding down a darker road than I've seen him in a long time, if ever.

The issue comes across as a character study for Nygma, especially the notion that he suffers from an extreme case of OCD. He falls in love with an art student and tries his best to win her over. Nygma goes the usual route with trying to woo her from flowers, chocolates, jewelry, etc, however the young woman returns all of the items. So, something clicks in Nygma's mind, basically him trying to solve the riddle of her love. However, when he finally gets her attention and admiration, it's under interesting circumstances, but the twist is...the "riddle" is solved, and Nygma doesn't care anymore.

From there, it starts to fall apart. I've never figured the Riddler as a killer and while Calloway is a great talent, I think he's trying too hard here and thinks it's a bit more cleverer than it actually is. We've known Riddler might have a sort of Tyler Durden situation going on here, and this story eggs that idea even more. I don't know if Nygma would just give up that easily. He's too obsessed for that. Plus, I've always seen him as sort of asexual, since the puzzles of the world, and money would be all he ever wanted.

Character disagreements aside, I think Calloway did a great job here in capturing Nygma's obsession and dialog. The Joker's narration gets distracting at times and in some places, not really needed. Guinaldo's art doesn't blow me away, but is still pretty excellent with a great panel construction and easy story flow. I wanted to like this issue more because I'm a huge Riddler fan, but it just fell flat.

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The Unwritten #14 (Published by Vertigo; Review by Lan Pitts): WWE Hall of Famer and wrestling legend "Rowdy" Roddy Piper has famous catchphrase: "Just when you think you have all the answers, I change the questions." That sums up this issue of my favorite series. The new Tommy Taylor book release is right around the corner, and it's a slow build to what is about to go down. A trap has been set, and it just gets crazier by the moment. We see a little hint of behind the scenes of the forces out to get Taylor and company. Calling it "weird" is an understatement. Mike Carey and Peter Gross continue this series that leaves the reader wanting more, yet never wanting the mystery to end.

New Zatannas on the collection? Sure I do!

2010-06-20T00:39:00.007-04:00

By Dustin Nguyen, Karl Story and Laura Martin

By Jamie Cosley

By Anthony Clark, aka Nedroid

I decided to just bite the bullet and get a Zatanna-themed sketchbook. My sketchbook that I started two years ago on FCBD is almost filled up. It was a good choice.

Man Without Fear...

2010-06-15T14:51:00.002-04:00

and full of cheer.

This was done by Jaime Cosley (http://jamiecosley.blogspot.com/), and check out his awesome stuff. This is possibly the most fun sketch I've gotten in a while. I got this at HeroesCon this year (I guess I need to post up all the art, huh?) and this guy is just super nice. Follow him and give him a holler!

Finally, some Guy Davis goodness.

2010-06-10T19:30:00.001-04:00

Review 4-pack

2010-06-01T09:56:00.006-04:00

Mystery Society #1
Written by Steve Niles
Art by Fiona Staples
Letters by Robbie Robbins
Edits by Bob Shreck
Cover by Ashley Woods
Published by IDW Publishing
Review by Lan Pitts

"Origin stories are so boring. It's not like we were exposed to explosive radiation or born on another planet...we were just exposed to hidden truths that bound us as a couple and that gave our lives purpose." -- Nick Hammond, aka Nick Mystery

With a title like "Mystery Society", you'd think it would be an assembly of villains of supernatural origin from the Golden Age of comics. Or at the very least, a gang who would fight Hanna Barbara's "Birdman". Well, if you thought either of those, I'm not sorry to disappoint because what the Mystery Society is, is way more imaginative and not at all sinister.

To sum it up, an eccentric couple come into a lot of money and form their own club that hunts out the mysteries of the world and expose them as either fake or fraud. Though in the first issue, we see something went wrong and Nick is tried for his actions which leads into a quasi origin story dealing with a Area 51, a new addition to the Mystery Society, and just some really cool gizmos and action. All of it make for a good read on a book that already had so much buzz and didn't disappoint.

Right off the bat, you'll notice the thrilling, stylish art of Fiona Staples. Her style has changed dramatically since we her work on Wildstorm's Hawkmoor series. Believe me, it's for the better. There's an angular style to it that's not too polished, but not overly rough. There's a dynamic sense to the world she's drawn, from the character design, to the spygear, to her page layouts that do wonders for the flow of the story. Speaking of story, here is Steve Niles simply at his best. Both Nick and his wife, Anastasia have a distinct voice and you get a real sense of who they are as individuals and as husband and wife with their flirting and nonchalant towards the macabre, ie how somebody could steal Edgar Allan Poe's skull.

This mini-series is sadly that, just a mini-series. I hope the creative team has its chance to tell the story they had envisioned because it has unlimited potential to become one of the books to talk about. I'm hearing the first printing has sold out, so hopefully you got your hands on this one. I'm looking forward to what this book can really do.
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Teen Titans #83 (Published by DC Comics; Review by Lan Pitts): I can't wrap my head around how awful this book is. I guess it's because I don't understand how a title that is centered around teen superheroes, with some having been around for almost twenty years or more, yet they seem to have just lost their voice that made them distinct. There doesn't seem to be a direction for the team, especially Superboy, who just comes across a lot more arrogant as usual. It is as if Felicia Henderson watched "The Hills" and decided this is what teens act like and should be. The art is pretty standard, nothing really to write home about or talk about. I have to admit, the saving grace of this book is the co-feature with the Coven (Black Alice, Traci 13, and Zach Zatara) by Rex Ogle and Ted Naifeh (of Oni's Courtney Crumrin). I wonder why the Coven are the co-feature of this particular book since those three don't really have anymore Titan's business going on. I guess it's because that they are all teenagers as well. I'm not sure if Naifeh is holding back or whether he's adapting his style to be a bit more "mainstream", but it's different from anything he's worked on. Rex Ogle has worked on comics for a few years now, but hasn't really made his mark, so hopefully this co-feature will get his name out.
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American Vampire #3
Written by Scott Snyder (co-feature by Stephen King)
Art by Rafael Albuquerque
Colors by Dave McCaig
Letters by Steve Wands
Published by Vertigo
Review by Lan Pitts

"You know, I was gonna burn you alive that wreck, but on second thought...why don't you come out and play!" -- Pearl Jones

Color me entranced by this book. You have to admit that Scott Snyder takes very little time with getting with the action, yet still manages to move along the story. There's no "talking at a table" scene here, you just get to witness newly-made vampire Pearl following her instincts and getting the job done. She still has a hint of humanity in her, but when it comes down to going after her own kind (or at least another species), she doesn't even blink. Snyder has some creative ways on the old vampire on vampire violence and it's extremely entertaining.

With Stephen King handling the Skinner Sweet backstory, and Snyder doing the main story, we see how both Sweet and Pearl handle being so-called creatures of the night. The interesting part here is how Sweet is depicted by both authors. While Snyder has him come across as a malevolent mentor, King has him sort play the bad ass. An amalgam of Wolverine, Batman, and Freddy Krueger. Essentially, somebody who you wouldn't want to cross in a dark alley. I sort of see him as the Vic Mackey of comics: somebody who you wouldn't want to be friends with, but you end up rooting for him anyways.

Rafael Albuquerque and Dave McCaig are masterminds, plain and simple. Two parts of the issue, two stories, with two completely different styles. On Pearl's feature, we have a more polished, traditional look with lovely hues of red and desert yellow to diamond blues, all looking marvelous. With Sweet's tale, McCaig uses a more painted vision, almost dreamlike and it paints an entirely new picture of the world Snyder has conceived. All the while, Alburquerque's pencils still hold the tone and visceral feel of the book.

I can't help but wondering where this book will go from here. It's a great concept, with wonderful visuals. If you're not reading American Vampire, you have my sympathy, because you are truly missing out on some bloody good times.
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Iron Man: Noir #2 (Published by Marvel Comics; Review by Lan Pitts): Second issue in of this four-part series, I find it interesting we've only seen the Iron Man suit of this universe only once and it wasn't even utilized. The cover comes across as misleading since it's not even in this issue at all, so I can understand if some people feel let down. I, on the other hand, am enjoying this adventure that really wouldn't qualify as "noir" as it comes across more as a 1930's serial, or as an Indiana Jones-like tale. Nazis, mysticism, Atlantis, and all. Where previous installments of Marvel's "noir" line have more to do with the artistic approach, this take on Iron Man is definitely more writer-centric. Not to say there's anything wrong with Manuel Garcia's style, it's rough and fits the story, but nothing to really write home about. This has been my favorite in the "noir" series since the first X-Men: Noir run and looking forward where Tony takes us next.

Zatanna #1! About time, right?

2010-05-25T09:03:00.001-04:00

Zatanna #1
Written by Paul Dini
Pencils by Stephane Roux
Inks by Karl Story
Colors by John Kalisz
Letters by Pat Brosseau
Published by DC Comics
Review by Lan Pitts

"The world's a scary place. If I can show people a friendlier aspect of magic, it benefits everyone, mystic or mortal." -- Zatanna

Created over four decades ago by Gardner Fox and Murphy Anderson, Zatanna has been a somewhat A to B-list character, having a few mini-series and one-shots sporadicly through the years, but never has had her own ongoing series. I find that a bit odd, but thankfully Paul Dini has remedied the situation and brings us everyone's favorite sorceress to center stage with her first series, simply entitled Zatanna.

Having moved away from the dark shadows of Gotham City, Zatanna has found a new home in San Fransisco with a steady gig, but of course a normal day goes awry when she's confronted by Detective Dale Colton who needs her assistance in a mass murder investigation. A very particular investigation. Reading a witnesses mind, the culprits are revealed to be led by well-known mystic by the name of Brother Night (no relation to Mother Night). The horrific acts of violence and sorcery play out while we get a feel of the villains at large and who they are. Zatanna decides to take matters in her own hand and pay Brother Night a visit to confront him on the situation and she easily takes on his cronies. Dini has supplied some great dialog between Night and Zatanna, including a bit on why she aligns herself with teams like the Justice League and doesn't look down on the human world. Though we also see that Night may not be the big picture and something more sinister and darker lay in nightmares and shadows.

As a Zatanna fan, I loved how Dini presented Zatanna in this issue. It shows her life as a super-hero, a stage show performer, and a protector of the human realm. She's many things to the DC Universe and this series could be one to watch for with Dini penning a character he has adored for years. If anybody was going to bring Zatanna into an ongoing series, I'm glad it's him.

The art team assembled on this book is astonishing. When I heard Stephane Roux was on board on the art, I was a bit concerned since I had only been aware of his cover work and wonder how his style would transfer to actual page layouts. Yeah, no worry here. Roux's construction and flow make it a real page-turner and just fun to look at. Of course since Roux is aided by the incredible talent of Karl Story on inks, it's sharp, clean and dare I say flawless. John Kalisz's colors fit everything just right as well. From the opening page with the spotlight, to how Night's den appears. You get a real sense of the world right down to the feel of Zee's cape to Night's skin.

Dini has set up numerous things in this first issue, and I love how easily accessible it since because it doesn't bog down with continuity and we get an idea of who she is, as I mentioned earlier. It's a great start to what I hope will be a fantastic read for years to come. It's been a long time coming and it was worth the wait.

This week in trite reviews.

2010-05-18T09:25:00.005-04:00

Daredevil: Cage Match -- One Shot
Written by Antony Johnston
Pencils by Sean Chen
Inks by Sandu Florea
Colors by Matt Hollingsworth
Letters by VC's Joe Caramagna
Published by Marvel Comics
Review by Lan Pitts

"You and me, Fogwell's Gym, tomorrow night. A grand each, winner names a charity. What do you say?" -- Matt Murdock, Daredevil

This issue harkens back to some nice 1970's nostalgia, so readers who aren't reading the current series under Andy Diggles direction, fear not. Though saying that, this isn't the brooding rooftop hopping, ninja clan-leading Daredevil now, the one in Cage Match is bit more fun-loving, but still street tough.

So, on a nightly routine, Daredevil and Power Man Luke Cage quickly take down a gang of street kids, but Luke feels Daredevil has lost a certain edge and feels like he needed the help. Daredevil being on the defensive, challenges Luke to a boxing match and the loser pays the winner's charity of choice. Matt confides to his partner Foggy about the deal, as Luke tells Iron Fist (in the middle of a brawl no less) about the situation and both partners agree it's a bit odd to do that, but Luke and Matt understand there's a bit of pride at stake.

The notion that these two heroes would duke it out paints both characters as something different from what they are perceived now, especially Daredevil. It's nice to see his portrayal as not just a Batman archetype but as something not so brooding and to see him do an act like this is a nice change of pace. It's neither better or worse than what Diggle is doing on the main Daredevil title, it's just great to see what the character can also be.

Sean Chen does a great job with the posing and showcases old Hornhead's flexibility and agility and makes Luke Cage come across as the powerhouse he is. Sandu Florea's inks are touch and go, but for the most part excels in making Chen look good with crisp clean lines. Matt Hollingsworth is on coloring duty and adds a playful tone to the book by using a brighter pallet in contrast to the main title. Even in the night scenes, nothing is overshadowed and feels like a breath of fresh air.

All in all, it's a it's a solid book, but nothing outrageous. It would be a good introductory book for a young reader to the characters since Daredevil is a bit heavy at times. Johnston shows us that a man without fear isn't exactly a man without some fun.

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Robert Jordan's The Wheel of Time #2
Written by Robert Jordan
Script by Chuck Dixon
Art by Chase Conely
Colors by Nicolas Chapuis
Letters by Bill Tortolini
Published by Dynamite Entertainment
Review by Lan Pitts

"A locked door. No one in the Two Rivers had ever locked their doors. There had been a need...until now at least." -- Rand al'Thor

Coming from a perspective as a "Wheel of Time" fan, I'm really liking the series so far, especially with Chuck Dixon gets to do his stuff and is just let loose. This issue sheds a bit more light on Rand al'Thor's and his father's, Tam, home life. In addition to things to come, such as the revelation of Tam's heron-marked blade and how he uses it so well against a talking Trolloc.

How this read in the book is again pretty close to what happens in this issue. Dixon might have added a bit of dialog here and there to expand the events, but nothing outrageous where fans will cry foul. I think Dixon improved a few things, especially when trying to paint a picture on Rand and Tam's relationship, as not just father and son, but how they have just each other. Especially when their house is destroyed by hellish beasts and monsters. Nothing says father and son bonding like endangerment.

I'm still not sold on the art. The page layout reminded me of somebody just dropping random photographs on the ground and just traced the design from there. It's a bit scattered. In addition to the fact that I feel that sometimes the facial expressions were a bit either over done and cartoonish, or just too flat and boring. In contrast, the backgrounds are great, and the coloring detail is the perfect partner for Conley's style. Also, as a fan, I have to praise Conely for nailing down the imagery I've had in my mind for the past sixteen years of my life.

I'm enjoying the book so far, and since it's just the beginning of the series it might seem slow, but it's about to get into some good stuff.

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The Unwritten #13 (Published by Vertigo; Review by Lan Pitts): What can one say that hasn't already been said about this series? Hell, what can I say that I haven't already said? In my opinion, page for page, it is the best series on the shelves these days, and after a year it still holds true. I've questioned Mike Carey's direction of the story from time to time since it seems to be going multiple places at once, but in fact he's just layering like a club sandwich. So, in this issue we have Tom, Liz, and Savoy hiding out at an apartment downtown so they can keep an eye out for Tom's father who may, or may not, appear at the debut of the new book...that he did not write. It's all a trap and Tom and Co. are none the wiser. New revelations are revealed, a cliffhanger ending, and a trap set in motion. Simply put, the story never stops until you put it down. Peter Gross is back on full art duties, colors aside of course. The layouts remain sharp and with a dialog-heavy book like this can be at times, Gross always makes sure the pages are still interesting and never boring. It's creative and inspiring without being avant garde. Chris Chuckry does a great job on colors, as usual, with his muted tone that adds a layer of realism to a fantasy story that makes it all that more intriguing and captivating. Everything is lining up for this book to be the stuff of legend and is already my "must-read" book.

Slacking off here. Yes, I said slacking. Tons o'reviews!

2010-05-11T13:08:00.003-04:00

Detective Comics #864
Written by David Hines (Co-feature by Greg Rucka)
Pencils by Jeremy Haun (Co-feature by Cully Hamner)
Inks by Jeremy Haun and John Lucas
Colors by David Baron (Co-feature by Dave McCaig_
Letters by Todd Klein (Co-feature by Jared K. Fletcher)
Published by DC Comics
Review by Lan Pitts

"I know you want the best for Gotham. You always have." - Batman

Over the past three years or so, Detective Comics has been my quintessential Bat-book. I find that it has had some of the best collaborations we've seen all decade. I fear a lot of people will be dropping this book, and sad to say I think I might be one of them. Where as Hines and Haun succeeded with Arkham Reborn, something here just fell sort flat.

After Dr. Jeremiah Arkham is revealed to the new Black Mask, he's sentenced to time in Arkham Asylum, where Batman can keep a watch on him. Where he can be monitored, and so forth, as well as give Batman information since Jeremiah has been diagnosed as a "genuine schizophrenic", which means there is some doubt he is indeed the new Black Mask. Consider Batman on the case.

Now this is where the book begins to fall apart. I wouldn't consider Jeremiah a schizo, as much as multiple personality, or something in that field. From there, we get a hint of Jeremiah's madness as he's confronted by his other inner-villains: No Face, the Mirror Man, and the Hamburger Lady. Enraged, by their visages, Jeremiah slashes them to pieces, but apparently they were real, and the cliffhanger confused me as much as the first time I watched "American Psycho". I understand it's a two-part arc, and my answers will (hopefully) be revealed in the following installment. The truth is,though, between the mediocre dialog and uninspiring art, I didn't care.

I believe Hines was trying to paint a sympathetic, yet malicious picture of Jeremiah (and there is one bit of okay dialog) but it comes off as trying too hard. I didn't feel his threat level, or believe Batman's intensity on getting answers.

Onward to the Greg Rucka, Cully Hamner and David McCaig Question and Huntress co-feature, in which the ladies take on Vandal Savage. Now at first you wouldn't suspect two urban-centric heroes to take on somebody like Savage, but Rucka has some clever moments and in doing so, the feature that is usually over-shadowed really gets to take centerstage. Hamner continues to do some of the best line work of his career, and McCaig does a great job making it look even better.

Now, the mentality of dumping a book because of Rucka making his exodus just on principle is, for a lack of a better word, silly. Though if you found Hines' style as lacking as I did, that's understandable.

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In Case You Missed It...

American Vampire #2
Written by Scott Snyder (co-feature by Stephen King)
Art by Rafael Albuquerque
Colors by Dave McCaig
Letters by Steve Wands
Published by Vertigo Comics
Review by Lan Pitts

"You, Pearl Jones, are a different kind of vampire." - Skinner Sweet

Talk about a series you can sink your teeth into. Yes, I started off with a cheesy pun. I've seen ads for a while and after a few recommendations, I checked it out. Glad I did. With the vampire craze at a fever pitch, I guess it was only a matter of time before we saw them back on our comic shelves. I honestly can't remember a vampire-themed comic I read since Crimson. Since it carried the Vertigo imprint, I wasn't sure on what to expect. Add to the fact I was not too familiar with Scott Snyder's work, save for Iron Man: Noir.

Now, I wasn't blown away by the concept, but more intrigued. Snyder has woven an interesting story about an inspiring actress named Pearl who is turned into a vampire and gets a bit of revenge in this issue. It's not glamorous. It's gutsy, it's gory, and with Raf Albuquerque, it's glorious. From Pearl's metamorphosis from human to vampire to the desert landscapes, everything seems in place and nothing is wasted. On top of that you, Dave McCaig does another stellar job, but doesn't take away from Albuquerque's work. You can feel the heat of the sun, and the cold of the morgue.

One of the best things I love about this book is that it's a double header. Yes, it has a co-feature, but unlike most of the DC co-features, the b-story is intertwined with the main story and acts as a prequel. It's also not everyday such a feature is written by one of the most prolific authors in the horror genre: Stephen King. King touched on the vampire lore with "Salem's Lot" decades ago, and it seems he hasn't lost his touch. Albuquerque and McCaig are on art duties on this one as well, and while the style is slightly different, it's just as good.

The dynamic of Pearl and her mentor of sorts, Skinner Sweet (who is the main star in the co-feature) is going to be fun and bloody, I can tell. So if you like your vampires with a little bit more balls and less sparkles, be sure to pick this up.

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X-Force #26
Written by Craig Kyle and Chris Yost
Penciled by Mike Choi
Colors by Sonia Oback
Lettered by VC's Cory Petit
Cover by Adi Granov
Published by Marvel Comics
Review by Lan Pitts

"I believe in you."

If you've been following the teasers Marvel has shown about Second Coming, you're aware that a death is on the horizon, and a major one at that. This is where it all happens. If you have NOT read this issue, consider this a warning shot, because things are about to get spoiled.

With mutant teams scattered over the country, you would think the book would seem scattered yet Kyle and Yost focus the issue mainly on Hope, Rogue and Nightcrawler trying to tackle a juiced-up Bastion to try to reach Utopia. Rightfully so, since one of those X-Men die, though if you've seen the teasers and just rationalized it all, you would know that all signs point to one person. Though, I'm getting ahead of myself.

Since this is usually considered Wolverine's team book, they play a minor part in the story, which I guess is to bring focus more on an X-Man's sacrifice and death. I love how Bastion is considered a real threat this time around. I do this his design is a bit overcomplicated, but not crossing the border as silly. The combination of Choi and Oback is one of my favorites in comicdom. I know some fans have a problem with photo-realism, but I think their style really captured the emotion of a story that is supposed to weigh heavy on a reader's heart. You have Cyclops looking speechless, Wolverine on the verge of tears and doesn't seem to believe the news of, wait for it, Nightcrawler's death. The issue feels light on dialog, but the art speaks for itself.

Kyle and Yost did what was promised, but I wish it was handled differently. Not the fact that he wouldn't have died, his death had a purpose and without vain. Just perhaps the panel direction and construction of it. It didn't feel as dramatic. I will say the imagery of Kurt with Bastion's arm sticking out of his chest is brutal, but Kurt was a man of God, and we know that he is in a much better place.

What will be the fallout from this? I can only imagine how the X-teams are feeling after losing a member that embodied their beliefs so well. Bastion received another upgrade at the end of the issue, so if you thought the slugout was brutal before, I'm sure we have another barn-burner on our hands.

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The Killer: Modus Vivendi #1 (Published by Archaia; Review by Lan Pitts): You know, this is my first experience with this character, but after reading this issue, I want to go back and try the rest out. Essentially, The Killer centers around a nameless assassin with a murky and mysterious past, whose crimes and sins are catching up with him. Some moments are intense, and reminiscent of television shows like "The Shield" and some parts even echo "The Departed", with it's gritty dialog and violence. Alex Nolent, aka Matz, has such a way of telling the story that you know everything the Killer is thinking. There is hardly any page, much less a panel, without some sort of dialog or narration. The layouts by Luc Jacamon are exquisite and reflect the serious tone of the story when it needs to be, and lets up ever so slightly when the mood changes. Yet the color selection isn't noir-ish at all and is more bright and warm, and really make the pages pop with such a bold presentation I wasn't expecting. Faithful fans of the series will want to give this a try, but readers looking for a certain edge to add to their pullbox, I strongly recommend this one.

Triple threat: Firestar-One Shot, Brave and the Bold #33, and Land of Oz #5

2010-04-26T21:57:00.005-04:00

The Brave and the Bold #33
Written by J. Michael Straczynski
Art by Cliff Chiang
Letters by Rob Leigh
Colors by Trish Mulvihill
Cover by Jesus Saiz
Published by DC Comics
Review by Lan Pitts

"I'm putting together a girls' night out, and I'd like to invite you. Because I want this night to be special. Very special." -- Zatanna

Let me just start off by saying, I was mislead by the cover. I was hoping for some romp and stomp with three of DC's most notable heroines. Maybe a fight with the Riddler, Kadabra, and Dr. Psycho. Or perhaps team together to take on one notorious threat. It was fun for a while, but I just found myself almost heartbroken.

Since it's relauch, The Brave and the Bold has found itself to be one of the most consistent titles I've recommended to people who want to start reading DC books, but feel intimidated by continuity. It's for the reader out there who thinks that current books aren't for them and want to sit back and enjoy a fun adventure. While this issue had it's fun and cutesy moments, in typical JMS style, things take an emotional turn and punch you where it hurts, though true comic fans will see what's coming when the Oracle of Delphi is dropped into a conversation.

Cliff Chiang handles the art in his usual cartoonish style, yet still holds a level of energy with the girls and them having their fun. His use of facial expressions is spectacular that nothing feels wasted and even the most minor background character looks as if they have a story to tell. I loved how he handled Babs here and her level of inebriation without making her look dumb or, dare I say, slutty. As a fashion enthusiast, I also enjoyed how each of the girls outfits for the night reflected who they are (even shy little Barbara). In the end, how Chiang handled the "big reveal" is clever and all that much more terrifying. Trish Mulvihill does an excellent job of coloring over Chiang's work and compliments his simplistic style by not over-saturating the pages.

While I did have fun with the issue, I thought somethings felt a bit off. Mainly how JMS handled Diana. Her range of emotions are too extreme and seem almost out of place for a character who is the idea of perfection and grace in DC lore. Now while some readers might construe the ending as malicious, I thought of it as more in the vein as "what will be, will be". Barbara's legacy is so much more than just Batgirl, since I think she serves more of a purpose as Oracle and how she came out of her tragedy stronger than before.

Brave and the Bold #33 isn't perfect by any means, but I'm always ready to read something that showcases three of my favorite characters, even if it did almost make a grown man teary.

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Firestar#1 (Published by Marvel Comics; Review by Lan Pitts): Again, another book not really having any other purpose but to springboard another soon-to-launch ongoing series. Now, if this issue was to entice me on getting on board the other book it's connected to, then color me unenthusiastic. Sean McKeever does a great job with the script in the beginning, but then it opens up a sort of Lifetime movie that doesn't seem to end. I admire how McKeever adds a bit of scientific knowledge to Angelica's (aka Firestar) powers, but the rest just seemed heavy-handed. In addition to that, I don't remember her being this young or looking as such. Then again, last time I read anything relevant with Firestar in it was "Maximum Carnage." Oh, that's right. I went there. Emma Rios delivers in her usual style, but the anime-esque appearances look to have been pulled back a tad, at least compared to her Strange series a few months back. If you're a fan of Firestar, I know you're going to at least browse through this, but there's nothing to write home about, but I'll give credit for Marvel to start putting out some female-centric books.

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The Marvelous Land of Oz #5 (Published by Marvel Comics; Review by Lan Pitts): If you haven't been picking up this series for you, a young reader you know or love, or just a fan of the world of Oz, shame on you! The collaboration of Eric Shanower and Skottie Young is one of this generation's greatest, especially in the field of literature for the young and young at heart. I've mentioned numerous times how Shanower is a known Oz fan and knows the world left and right and up and down. Young's style incorporates everything you would want to see in a book aimed at young readers with it's animated look and storybook charm. Accompanied by coloring mastermind Jean-Francois Beaulieu this series is one of the best all-around titles out there. Now, I know some of you might want to wait for the trade, but once you give one issue to a child, I'm sure their patience won't run as deep.

Magdalena #1 review

2010-04-22T00:22:00.002-04:00

Magdalena #1
Written by Ron Marz
Pencils by Nelson Blake II
Inks by Sal Regla
Colors by Dave McCaig
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"I've given it all the thought I need to. I've accepted what I am. What my bloodline makes me. But I'm done being used by the Church. Magdalenas have been disposable commodities for centuries. That's NOT HOW I'm going to end up. Nothing is going to make me change my mind." Patience, the Magdalena

I went into this debut issue knowing little about the character and her history, besides some notion of Magdalena being a warrior nun. I know she's made appearances in other Top Cow titles, but other than that, I have very limited knowledge. So I went into this book without expectations, except for the expectation that Ron Marz rarely disappoints. If you're a fan of what he's got going on over in Top Cow's flagship title, Witchblade, you're in for a treat.

If, like me, you're not familiar with Magdalena and her background, no worries. The plot is pretty straightforward, and any backstory is explained through narrative, yet without slowing down the actual story. I got the gist and ran with it. Marz has handled not one, but three (now including Magdalena) titles that have strong, female leads that deal with supernatural forces since signing with Top Cow, so trust me when I say he's in top form. While Marz may have a common theme now with female characters with mystical weapons, each have their own voice, and the Magdalena of this generation, Patience, is no exception. There's a strong opening and it doesn't let up. You have Church politics, demonic brawls, a murder mystery and that's just first ten pages. You want your demon-hunting warrior woman doing what she does best? You got it. You want a set up with Patience and a kid Anti-Christ? You got it.

I am surprised Top Cow didn't pursue the usual route and do a sort of "Year One" take on the character. But after reading issue #1, I realized there wasn't really a need for that. Marz just picks up Patience in her own series as she is in current Top Cow continuity, which makes it easier to get to the action, which is wonderfully rendered by penciler Nelson Blake II. Blake captures the intensity of the fight scenes, and just as easily nails the "talking head" moments. The inking of Sal Regla (Ultimate Fantastic Four, Fathom) compliments Blake's style. Regla's inks aren't too heavy or overbearing, and give everything a clean, crisp look that is easy on the eye. On top of that, you've got Dave McCaig coloring his guts out and Ryan Sook on cover duty.

With other companies go from big events, to tie-ins, to more big events, it's refreshing to be able to enjoy a book without having to worry about buying back issues or confusing continuity. There's even a timeline of the women who have been called Magdalena in the past, which expands the world and I enjoyed a bit of each backstory. The issue is there from the get-go to enjoy, so if you've been wanting an accessible title, Magdalena #1 answers your prayers.

The Unwritten #12

2010-04-20T00:45:00.001-04:00

The Unwritten #12
Written and layouts by Mike Carey and Peter Gross
Finishes and Colors by Kurt Huggins and Zelda Devon
Letters by Todd Klein
Cover by Yuko Shimizu
Published by Vertigo
Review by Lan Pitts

"You're a very bad rabbit. And you're looking for a spanking."

My first read-through of the issue, I wasn't really sold on the concept and thought it more of a determent of the main story. It wasn't after my third or fourth time reading it, all the elements hit me. I felt devoured by the depth of it all, and quite frankly now that I get it, it's quite possibly the best book of the month if not of the whole series thus far. While at first it seems like a sort of children's tale in the vein of Peter Rabbit, until you realize the level of profanity that is used by the central character of the issue, a rabbit that has the most unusual name of Pauly Bruckner. Interesting name for a rabbit, right? Only problem is, that's no ordinary rabbit.

I don't mean in the Hoppy the Marvel Bunny sort of sense, no, this rabbit is actually a human. In addition to that, he's in a world that reminds me of the 100 Acre Woods and is surrounded by all sorts of children's book cliches and characters. It's only realizing the true nature of Paul's existence in the story has to deal with him botching a job and in return, Wilson Taylor (Tom's dad) put him there. Now, we know Wilson had the ability to take people and characters out of stories, but to put them IN one is a horse of a different color.

This issue reminds me of the earlier issue, and now Eisner-nominated "The Whale", as it takes a slight detour from the main plot with Tom, Liz and Savoy. Yet, it still expands their world indirectly with this revelation of Wilson's power. Of course this just built the suspense on what is going on with the trio and I have to wait another month.

The most beautiful thing about this issue is the ye ole story book art style. Huggins and Devon really soar here with the antique look of the pages. It's fresh and could be deserving of another award come next year. Unwritten #12 doesn't haven't any resemblance of the previous issues, but still has the originality and creative spirit of Carey and Gross.

If you haven't heard by now, this book picked up a few Eisner nominations and, in my opinion, rightfully so. Don't be the only reader at your shop not picking this book up.

Iron Man: Noir #1 & Angelus #3

2010-04-14T00:47:00.004-04:00

Angelus #3
Written by Ron Marz
Art by Stjepan Sejic
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"See, that's where you're wrong. I don't have any friends...just victims." -- Jackie Estacado, the Darkness

We're half way through the Angelus mini series that explores Dani Baptiste's role as the embodiment of light, and things are picking up down in 'Nawlins when Jackie Estacado shows up with murder on his mind. Then again, he is a hitman, so that's probably nothing out of the ordinary. Now, I love the Witchblade/Angelus/Darkness chemistry, especially since Ron Marz has enhanced each of the titles without it feeling like a crossover. The books complete each other, yet still remain their own separate entity.

Angelus #3 touches on a few things that really showcase Marz's ability to engross you in the characters as well Sejic's art having some subtle moments that he's had problems with in the past, but really nails these exquisitely. Sejic also displayed great skill in color dynamics when Jackie and Dani face off whilst in their supernatural alter-egos. The dichotomy of the Darkness and the Angelus is shown well in the last few pages, really allowing for some gripping panels and great action scenes.

There's the continuation of romance that happens to be between two females, but it isn't heavy-handed and handled like any budding romance. Dani and her girlfriend, Finch, are taking it slow and their moment with Dani's father was the best part of the book because it seemed so real and human. The action scenes are wonderful as I noted, but really take backstage to the character development that is unfolding here.

Angelus continues to deliver on what comics should be like. Though you shouldn't feel discouraged or intimidated from feeling lost since it's the third issue. There is a recap page that breaks it down right as you crack the book open. It's wonderful story-telling without having to rely on shock factors with beautiful art that makes you pore over every panel, so sit back and enjoy a great read.

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Iron Man: Noir #1
Written by Scott Snyder
Pencils by Manuel Garcia
Inks by Lorenzo Ruggerio
Colors by Marta Martinez
Letters by Dave Sharpe
Cover: Mike Fyles
Published by Marvel Comics
Review by Lan Pitts

"No the bottom line is I like adventures, Jarvis, and the rest of the country likes adventures, too. Times are dark. Depression, war on the horizon. People want stories they can escape to." -- Tony Stark

I have to admit, this might be my favorite Iron Man story ever. I also realize that this is the first issue of a mini-series so this reaction may be a bit premature, but I had so much fun with it, mainly because I didn't know what to expect. I've been digging this "Noir" line from Marvel since it debuted, though it's had it's hits and misses, Iron Man: Noir is more like a slam dunk, home run, and touchdown rolled into one. I'm not familiar with any creators involved in the project, but this makes me want to see other work from them.

How Snyder takes Stark and sort of transforms him into an Indiana Jones-with-money-like adventurer is enjoyable and when you think about it, not that far from what you would envision Stark in the 1930's to act like. He's charming, funny, adventurous and of course, has a heart defect. Other characters from the Iron Man universe make an appearance here, including an interesting twist on Pepper Potts that I really enjoyed. Snyder captures the world of yesteryear quite well with the analogies to comics and Stark's magazine, and just the "feel" of the world.

The art team is just as fabulous here. Going from deep jungles to metropolitan scenes, all the while keeping a steady pace the action heavy. Solid panel construction, lush environments, and great figure construction gives the book a first-rate look that I hope doesn't stop here. I like the design of the suit, and reflects the imagination of the decade and looks like something out of a sci-fi serial.

With the Iron Man movie coming out in less than a month, I'm sure Ol' Shellhead won't have a hard time selling books, but be sure to check this one out.

Work throughout the week.

2010-04-09T09:46:00.002-04:00

Avengers: The Origin #1
Written by Joe Casey
Art by Phil Noto
Published by Marvel Comics
Review by George Marston and Lan Pitts

Avengers: The Origin is a decent re-telling, that fits nicely into Joe Casey's previous "classic Avengers" mini-series (Earth's Mightiest Heroes 1 & 2, and Iron Man: Enter The Mandarin), offering some alternate views of the classic tale. The biggest complaint is that, at times, it gets a little too verbose for my taste. Lots of word bubbles scattered around. I like the art, but I feel like Noto fails to capture the essence of most of the Avengers. His Hulk looks too civilized, his Thor is too slim, and his Iron Man feels out of proportion. There is a possibility that Noto slimmed Thor to make Hulk look like a viable thread and not the muscle-bound god that Kirby once envisioned. On the other hand, if he wanted to make Hulk more of a threat to Thor, he should've made Hulk bigger instead of making Thor smaller.

Phil Noto's art has improved and isn't as stoic as his earlier works, and how he presented Iron Man and Thor's alter egos just seems less radical. I do like how Casey handled Jan and Hank and does a great job on that front.

The panel construction could have been fixed as well because it felt like there was a lot of things being blocked and cluttered at times. Casey should have just let the art speak for itself at some moments and pull back a bit.

The pacing needs to pick up a bit as well. Though it's intriguing to think how they will amp up the threat. In the original comic, the formation of the Avengers took place over a single issue. Though how much of the pacing issues are to be blamed on turning a single comic into several.

Obviously they're going to add more to the story, but will it be a matter of improving on it or just deviated to the point where it's just ridiculous and completely unbearable? Joe Casey is trustworthy on that end because he's done well with similar concepts in the past.

The update to Rick Jones, making him part of a counter culture group is interesting. It seems like they are revolutionaries...or Young Repbulicans, because that is a lot of fire power.

Overall, it's solid, but it has lots of room to grow by the end of the mini.

-------------

Robert Jordan's New Spring #8 (Published by Dynamite Entertainment; Review by Lan Pitts): Now here's something I thought I'd never see, the finished product of New Spring, which is the prequel to Robert Jordan's famed "Wheel of Time" series, yet here it is. Now I know that Dynamite means business with it's products and won't let the ball drop. This mini series just seems like ancient history to me, it's a shame Jordan can't be around to see it FINALLY in the fan's hands. Some of the art looks like it was done over and there's a sense of inconsistency to it in some places, but other than that, it's pretty standard stuff. Chuck Dixon again nails the adaptation of the book and I can't wait to see what else he has in store for us WoT fans. Now, I hope Dynamite reprints the rest of this mini because it is that hard to find and a bit pricey. The first issue alone goes for around $25 online.

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Vengeance of the Moon Knight #7 (Published by Marvel Comics; Review by Lan Pitts): Tan Eng Haut is not Jerome Opena. And I mean that in every way possibly, besides the fact that they have both worked on this title. Where Opena had more of an action movie-oriented style, Tan has a more grounded and dare I say vanilla style. Perhaps maybe three panels out of the entire issue stood out. What a shame, too. Gregg Hurwitz does a great job again of spinning MK, as a street avenger, but the story is bogged down by a Deadpool appearance. I'm not a hater without merit, but it seems more like a product placement with DP in it than an actual first part of an arc. Just annoys because the book has had a good streak so far, but the art just took me out of the story. Hopefully, Tan will adjust his methods and not be so stiff.

Guess what I'll be playing soon...

2010-04-05T08:09:00.001-04:00

I wish they'd release this beast on the DS.

Blackest Night #8 Firing Range

2010-04-01T19:25:00.003-04:00

So, the Best Shots team and I rounded up some reviews for DC's big even Blackest Night.

Blackest Night #8
Written by Geoff Johns
Art by Ivan Reis, Oclair Albert and Joe Prado, Alex Sinclair
Published by DC Comics
Reviews by the Best Shots Firing Range

David Pepose:

The rings are bared. The universe is at stake. The dead have risen. And as the millions of the Black Lantern horde threatens to annihilate us all --

Let there be light.

A series that harkens back to the past even as it glows with potential for the future, Blackest Night #8 takes many of the flaws of previous issues and transcends them, going pound-for-pound with more memorable moments than any other book on the stands. It isn't perfect, but its humanity and its enthusiasm -- and its sheer craftsmanship -- make me wish that more event books ended like this.

While this series has examined the weaponization of emotions, one of the big concerns I've had with the trajectory of Blackest Night has been whether or not the characterization would be consumed by multicolored costumes and power-sets, and whether Hal Jordan would be overshadowed by the weight of the DC Universe even in his own book. From the very first page, I'm pleased to say that Geoff Johns has stuck the landing and proven us wrong -- he effectively sets up not just who the important players are in this book, but successfully melds together his disparate themes of fearlessness, companionship, and not going quietly into the night.

Ivan Reis, meanwhile, comes back with a vengeance after last month's issue. Even when Johns' balloons get a bit overwhelming, Reis always picks the right shot, with his panels of the various Lantern corps firing their rings reminding me almost of Alan Davis. Sometimes, of course, the sheer weight of the characters can be a bit much, but when it comes to Hal and the Green Lanterns, Reis makes everything sing. And let me say something that you will likely hear, again and again and again -- there are two splash pages that the story really hinges upon that Reis sells with absolute craftsmanship. Indeed, there's a real manic pace to how quickly Johns throws out ideas, and the fact that Reis can make them look so epic is the secret to Blackest Night #8's success.

Certainly this book has its flaws -- namely, how certain non-visual ideas like whether or not Nekron "allowed" the heroes to come back from the dead is a little distracting, and there will be those who find the denouement to be a little jerky or episodic. But when the chips are down and the world is coming down on our heads, Geoff Johns' mythology keeps the hulking enterprise from crashing down on this summer blockbuster book. In its own way, this issue is as ambitious a comic as I have ever seen -- even when it stumbles, it comes back up and rises again, always ready to take another chance and shoot for the stars.

And at the end of the day, there's nothing that represents Green Lantern better than that.

Brendan McGuirk:

In the end, Blackest Night was a story that used death as the means by which it celebrated life.

Death in comics, as so metaphysically and metaphorically illustrated by this series, is not the same as death in life. In our lives, death is a random, unstoppable force that humanity struggles to reconcile and understand. It is one of the few things people can universally acknowledge as more powerful then themselves. Death in serialized comics awkwardly mirrors its counterpart, used as a empathic tool that brings emotional weight and resonance to the sustained fiction. Death can be personified, and it can be undone. For superheroes, death is but a development.

Those were the stakes of Blackest Night; life versus death. All parts of life banded together, from the virtuous aspects of it to the indefensible ones, in the common interest of sustaining. Their opponent was not only the singular avatar of death, but also his fleet of resurrected foot soldiers. The Black Lanterns were perversions of life, creatures that bastardized the legacies of all that rose. They not only took up arms against their former allies, but perverted the memories of those they loved.

But life persists. In Blackest Night #8, the Lanterns, the lights of the universe, make their last stand.

It is as inevitable as the sunset; death conquers life. But not in comics. In comics, death represents a sort of finality; a structural beat used to convey a sense of commonality between a fictional world and our own. It is how you say “The End,” in a medium without endings.

The superheroes of Blackest Night emerge victorious because comicbooks are not reality. Death is not the supreme power of the DC Universe- the inspirational might of its heroes is. That is why they conquer death. That is why they cannot be permanently undone, either villain or editorial mandate. Their very purpose is to achieve the impossible. And as long as characters have the capacity to inspire, or be remembered, the door will be open for their return.

That's why, in comics, dead doesn't mean dead. Dead means sadness. It means conclusion. It means, 'This story counts.' Because in life, we really don't know what death means. It's for that very reason that we construct worlds in which we do. We struggle to understand death; to internalize, rationalize, and accept it. We try to give it meaning, or find ways to give our lives meaning as we race towards our own inevitable expiration dates. Death is impermanent in comics because we fundamentally reject finality until we are given no choice in the matter. Fiction is the only way we can control it.

There are things in our world we cannot conquer. We have superheroes because there is no feat to great for them, and that is why they inspire our imaginations.

Geoff Johns and Ivan Reis have collaborated since the debut of the latest Green Lantern series to bring Hal Jordan into the esteemed ranks of DC's icons. They have retold his origin, retooled his villain set, and now told of his crowning victory. Johns deserves accolades for writing a story that featured almost the entire DC Universe, but remained a Green Lantern story. Reis earned his round of applause for fully delivering both on intricate splash page crowd scenes and impossibly cluttered, but narratively clear, panel sequences. Blackest Night looks to invert the paradigm of “event comics,” by ending with returns instead of farewells. It is a new era, a Brightest Day, and one that promises not only hope, or love, but also to bring more rage, more avarice, more fear, more of all of life's components. As common a theme as humanity has, its conclusion is not simply an end, but a beginning.

THE Rev. O.J. Flow:

”Great. The more the merrier.” -- Hal Jordan

Nothing beats a story when you think you know what’s going to be the ultimate outcome and you still find yourself positively moved at the twists and turns found in the conclusion, even when you find you were pretty much right! As Blackest Night #8 addresses life and death one last time, what was truly restored was my faith in the companywide crossover. Having shown no sophomore slump coming off of the popular Sinestro Corps War, Geoff Johns and Ivan Reis (and all due credit to a crew of inkers who kept things humming and made Dick Giordano proud) absolutely delivered for this longtime comic book reader. The overall series was a smash hit in my book, and it was as exciting in the end as it was in the debut issue that had me going “WTF??”

In political terms, I’ve been a “moderate independent” in my stance on the returns of the likes of Hal Jordan and Barry Allen to the DC Universe. While I was right there alongside Geoff Johns in being the key demographic who grew up with these characters (Challenge of the Superfriends, Super Powers, etc.), I always respected the creators at DC who managed to make success stories out of Kyle Rayner, Wally West, and even Connor Hawke (Green Arrow), Jason Rusch (Firestorm) and Jaime Reyes (Blue Beetle), and I feel that there can be a place for all of them to coexist. Time will tell, along with “Brightest Day,” whether that will be the case, but in the meantime Johns & Co. have set the table for a great new era in the DCU. I did find it intriguing that when all is said and done, and Nekron and Black Hand meet fates most appropriate, it’s quite clear in Blackest Night #8 that they did not take the easy way out and simply hit the reset button on the last 25 years worth of stories. Better yet, what the creators did succeed in doing is opening up a treasure trove of tales for years to come!

Back to the main story, not a page is wasted (and big ups to how economical DC is in the use of ad space in this extra-length finale), and the pace never lets up. Even when things pause for just a second more to keep the reader up to speed than anything, the dialogue is sharp among every character, and the exposition never weighs down the action. Again the seemingly mismatched brothers in avarice, Larfleeze and Lex Luthor, get the book’s best comedic moments, and Agent Orange surprises all including himself in showing a side of which he never knew capable. Green Lantern, with the help of the Flash and his color guard in arms (Star Sapphire, Sinestro, et al.) proves that the DC Universe does not necessarily revolve around Superman, Batman and Wonder Woman. The pedestal that editors (and some writers, artists, and even critics) had placed on them over the last few years was showing much wear, and that’s underscored here by the virtual lack of contribution made by any of those three in Blackest Night’s resolution. Hal Jordan and Barry Allen don’t even so much as suggest something along the lines of “What Would the Trinity Do?” and it serves the overall landscape for this publisher well along with readership.

As for the expanse of the artistic creative team, I can’t think of one aspect of this book that doesn’t deserve an A for its contribution. Ivan Reis only went and produced the highlight of his résumé. My goodness, the virtual explosion of characters he works with here are endless, and not once does it feel like corners were cut for the sake of expediency. I could pretty much state the case for that in every issue. By the way, words cannot express my gratitude over the fact that from issue #1 to now, the production credits (save for inking, I believe) remained untouched throughout. No ringer brought in to salvage the last couple issues, this was a Reis masterpiece from start to finish. Even when the prerequisite double-page spreads are rendered, they are kept spare for maximum effect and never are they superfluous. Letterer Nick Napolitano does a marvelous job conveying the distinctive voices of the varied mix of alien races and species. In a mere eight issues colorist Alex Sinclair only went and compiled a career portfolio. Producing a vibrant body of work, this series should be turned into a manual on professional comic book color artistry. Inkers Oclair Albert and Joe Prado were reliable throughout this series, and here for sure, in maintaining the integrity of Reis' widescreen visuals.

For all of the excellence found in Blackest Night #8 and the chapters prior, it by no means redefines the crossover series concept. But thanks to Johns, Reis and everyone else involved in this series, it only took inventively articulating the concept of death in superheroics to breathe new life into a genre that, regardless of publisher, was all but gasping for air. It’s not easy to jump into a new story when the conclusion of another suggests that it’s not quite done, but this series also came up victorious in that respect.

”Life doesn’t give us purpose, Black Hand. We give life purpose.” -- The Flash (Barry Allen)

Lan Pitts:

Blackest Night. This has been DC's big event of the past year, but the building up to and formation of the event has been going back almost six years -- and through it all, it had people talking, it had people buying and reading... getting into it. Whether people were angry, happy with it, or whatever, this story has really evoked emotion out of its fan base to an extreme level.

It's no secret that Geoff Johns has taken us on a dark journey these past few months. From the darkness of space, to the darkness that lurks within men's hearts, we've seen it all. I felt burnt out by the time I had read the seventh issue of this major event, but damn if the finale didn't give me all that I wanted and them some.

As far as the story here goes, there isn't a real sense of closure since it paves a way for Brightest Day, but I knew that going into it. What I didn't know was that I would be looking forward to the possibilities of the DC Universe this much. Is this a "game changer"? Absolutely. Has it lived up to it's hype? I do believe so. Both Johns and the art team consisting of Ivan Reis, Joe Prado, Oclair Albert and colorist Alex Sinclair bring home their "A+" game as well as something a little extra that leaves you thankful you went along for the ride.

And I do mean "A+" game. There is so much going on, but this is the first time I didn't felt cluttered or overwhelmed by the art -- I just pored over the spread pages, just in case I missed anything. There's one spread where DC's heavy hitters and big names go after the Black Lantern threat that conveyed a level of energy and action that I can only describe as a very "George Perez" thing for Reis to pull off. I do think some fans might be polarized about the "big reveal," but I'm sure fans might have cause for a celebration or two.

Will Blackest Night have a place among such classics as Long Halloween, Crisis on Infinite Earths, or Emerald Twilight? I do not possess fortune-telling abilities as of this write-up and cannot say, but as for a good read and a hot topic with your fellow comic readers, this one will sure deliver in that aspect.

George Marston:

It is no secret that Blackest Night, as an event, has left me cold in numerous respects. Truth be told, I have been contemplating getting away from DC Comics entirely for a little while once this and the New Krypton storylines wrapped up. Well, allow me to eat my words. Blackest Night #8 doesn't necessarily make up for the shortcomings of the event as a whole, nor is it perfect, but it is a great issue that provides a meaningful end to a story that was beginning to feel tedious.

Geoff Johns is a master storyteller, there's no question, but perhaps the biggest star of Blackest Night has been Ivan Reis, who has shown a willingness to stretch the traditional nine-panels of a comic page to their breaking point. Here, there are a few missteps; occasionally a face seems a little distorted, or things get a little crowded, but the majority of this issue is solid, if not fantastic. The double page spread of basically every lantern ever is to die for, and the gatefold spread at the story's climax is a great piece as well. Finally, it is to his credit, and my admiration, that Reis put out eight great issues of solid comic art in a row on time. Getting back to Johns himself, he manages to squeeze in little bits of solid, gripping characterization for almost everyone who has been wrapped up in the main throughline of the event. He proves why he is now Creative Director of the entire DC line: he gets these characters. At least he gets the broad strokes, and the big picture.

Some of the end-game plot points are quite surprising, while others are no-brainers. What matters is, every big change immediately flooded my head with ramifications, possibilities, and excitement. They all have one thing in common though; they signal the rebirth of the lighthearted fun stories that I still crave, and the end of the "blood 'n' guts" era of DC Comics. Maybe my enthusiasm for the DC line was given its own rebirth, or maybe Hal Jordan's impassioned speech on the value of life turned not only the tide of battle, but my own jaded attitude. Maybe the white light filled not only these pages but my shrunken, Grinch-like heart as well. Whatever it was, I am now truly looking forward to what's next, and I honestly hope that Hal Jordan's positivity in this issue is reflected throughout the DCU. Whatever happens, I honestly have some hope that it will indeed by the Brightest Day that we have been promised.

Legendary Talespinners #2

2010-03-30T22:25:00.002-04:00

Legendary Talespinners #2
Written by James Kuhoric
Art by Grant Bond
Letters by Bill Tortolini
Covers by Nick Bradshaw and Grant Bond
Published by Dynamite Entertainment
Review by Lan Pitts

"You don't know what you're talking about. I'm not a legendary anything. I'm just a student who is apparently having freaky hallucinations."

Having really enjoyed the first installment of Legendary Talespinners, I eagerly waited the next chapter and it continues to "spin" a pretty wonderful story. When we last saw our protagonist, Abby, she was falling into a magic mirror with the unknown on the other side. We see that on the other side is a fairy tale kingdom that has gone to ruin. The legendary Baron von Münchhausen, along with Tinkerbelle (who looks like her best friend Tina) and one of Snow White's dwarves explain to Abby what has happened to their homeland. From there the adventure goes on and ends on quite the cliffhanger much like the previous issue.

This story touches on principles about losing a childhood, regaining your imagination, and having that place in your heart for such stories on many levels. While Abby faces the difficult reality of her being washed away to a make-believe land, it's up to her on whether that realm withers away, much like how most stories disappear if not passed on to a younger generation. A good message to send in such a format that could be given to young readers since this book is a fantastic middle road between Tiny Titans and X-Men.

Again, Grant Bond's art compliments the story and fits with James Kuhoric's imaginative world. Fans of Stuff of Legend, Fables, and The 10th Kingdom (does anybody else remember that?) are sure to be delighted by this tale. My one complaint is that this is the second part of three issues, so I still have this lingering annoyance that it's almost over, but hopefully the creative team would come back to this world if given the chance. There should always be room on the shelves for these sort of books.

Dick Giordano: 1932-2010

2010-03-27T17:39:00.002-04:00

News has spread fast that legendary inker, artist, and editor Dick Giordano has passed away at the age of 77. When one thinks of legendary personalities in this business, Giordano quickly pops up in the top three. Hired by Carmine Infantino in the late 60’s as an editor and if not for him, we would not have had the Charlton Comics characters over at DC, and some may theorize without that, we may never have had Watchmen since Giordano also had a helping hand in creating the Vertigo imprint.

His style defined the Bronze Age of comics and served as mentor to some of the greats we have today such as Terry Austin and Bob Layton. His team ups with Neal Adams are stuff of legend and, to some, helped create the definitive Batman of that time.

I had the pleasure to have met Giordano on a handful of occasions at several conventions in Florida. And honestly, could not have been nicer.

Rest in peace, sir.

Green Hornet: Year One #1

2010-03-18T16:25:00.003-04:00

Green Hornet: Year One
Written by Matt Wagner
Art by Aaron Campbell
Colors by Francesco Francavilla
Letters by Simon Bowland
Covers by Alex Ross, Matt Wagner, John Cassaday, Stephen Segovia
Published by Dynamite Entertainment
Review by Lan Pitts

"Oh. Well, uh...that is a rather unique and aggressive African species. Trust me, Britt, what I just told you is true! But...if you ever encounter one of those...you'd be wisest to run in the opposite direction!" -- Daniel Reid

Having read Kevin Smith's Green Hornet and finding myself not wholeheartedly given a great first impression, this book here took the sting off a bit. This is the Green Hornet book I was expecting and will more than likely get more of. It's the character that pops out of Hornet fans' collective memory that seems to come alive once again through Matt Wagner's voice and Aaron Campbell's eyes. Needless to say, you won't find any racial epithets or jokes concerning male genitalia here.

I like how Wagner pulled a sort of "Godfather Part II" here, going back and forth between events in Britt's life that showed him walking the path that would eventually lead him wearing the fabled (and redesigned) mask. Wagner also uses the same technique with Kato's early life and decisions that are somewhat different from what I had expected and I can't wait to see how it all unfolds.

All the characters seem to be in great care with Wagner, from the Hornet, to his father, to even the thugs that are taken down. Nothing seems out of place. Wagner is aided with Aaron Campbell's very noir-ish style that fits the tone of the book perfectly. He's taken his style that he had from the Trial of Sherlock Holmes and just ran with it. It's not over rendered or over simplified, and elevates the story that much higher.

One of my first comics I read as a kid was NOW Comics' version of the Hornet, which led to my obsession with Zorro and Batman that continues today. Matt Wagner seemed like an almost too perfect choice for handling this character and his world. Any Hornet fan would seriously miss out on a fantastic read, should they not get this. The stage has been set for a great adventure ahead, and you'll find me going along for the ride.

My mind is slipping. I forgot to share these.

2010-03-18T09:01:00.002-04:00

So for a sort of payment and thanking me for letting him stay at my place, my buddy Chris gave me these. It's Nick Bradshaw doing what he does best. They are a weird shape, but unique and very cool. It's a news strip style, but how it's presented like a personal autograph was a nice touch. Thanks, guys! And Chris, you know you're welcome back anytime, my friend.

Making Magic with Stephane Roux AND some new pieces.

2010-03-18T00:14:00.005-04:00

Stephane Roux might not be a house hold name, but is a star defintely on the rise. Having done primiarly covers in his career, he's finally in his first ongoing series with Paul Dini, Zatanna!

Earlier last week, Newsarama talked to writer Paul Dini about the upcoming Zatanna series. This past weekend at MegaCon, we had a chance to talk to the famed artist about the project, his insights, and what lies ahead for DC's Mistress of Magic.

Newsarama: Who approached you first about doing the Zatanna series? How did you get involved?

Stephane Roux: I was at a convention, I can't remember which one, but I was talking to Dan [Didio] and he was approaching me about another project they had at the time and later he had said "you know we have Zatanna" and I just jumped for it.

Nrama: What drew you to her? I mean, she doesn't have a lot of merchandise and is relatively unknown to most non-comic fans, why her?

Roux: First of all, she's not one of the prominent characters, but there's something cool about a magician that is also a superhero. I always felt the character was a bit underexposed. Now, I'm not saying this character would have a long of run as say Wonder Woman has, but every character at DC should have that sort of chance to be put in the spotlight for a while. I also think the character has the potential to be the next Dr. Strange for all I know [laughs].

Nrama: What exactly will the series showcase? What's in store?
Roux: So far with the issues I've worked on, she's dealing with mystical forces with something that anchors through the real world because some of the bad guys are trying to take over, and there will be new characters and villains, and she's there to stop them from doing so. She's not alone, there will be a cop that goes to her because they have a case where mystical forces are involved. So that's how the book starts.

Nrama: What is it like working with Paul Dini, who is such a Zatanna enthusiast?

Roux: I actually just met him a few days ago, before then we had been exchanging emails. First of all, let me just say I'm a huge Paul Dini fan, you know, the Batman animated series and everything. Coming from animation, it was a shock to me what he had written and a few years later I'm working on a book with this guy and on his favorite character, it's just great. He's a guy that is very exciting to work with and I hope I can be as efficient and inspiring as he is with the scripts.

Nrama: What's it like going from a cover artist to constructing panels and pages, is there a different mentality?

Roux: Oh, there's definetly a different mentality. You know coming from animation and doing a lot of storyboards and just warming up so many times on personal projects over in France, so the storytelling aspect is not new or strange to me, it's just now we are doing it for a purpose. Working on pages is a different process because you have different filters to make sure you get it right, but it's not just my story to tell. I will say working on covers is something exciting to do because you get to tell a story and sometimes it's just your own. Pencils, inks, colors, etc.

Nrama: You have a great inker on the Zatanna team: Karl Story. You have to admit, he makes everybody look good.

Roux: Oh yeah, definetely. I'm so happy to have him on board. When it was asked who I would like as an inker, his name came first and they told me I can have him. He does justice to the pencils and I'm more than happy with his work.

Nrama: You've only got three issues planned so far, has there been ideas been tossed around for the future? Or are you taking your time because you do feel new to page construction?

Roux: Exactly, just taking it one step at a time. I need to talk to Paul about the villain we are introducing in the first arc, but will come back sometime later and it's a very exciting thing. It's all in the process of creation right now, but it's only going to get bigger and better.

--------

I've been waiting for this piece for a while. Since like, November. Finally got a scan and will hopefully will be sent here soon. Matthew Dow Smith, ladies and gentlemen.

Lousy Smarch weather.

2010-03-04T09:20:00.001-05:00

Seriously. What IS going on here?

(My fantasy) Avengers Assemble! Fourth reveal!

2010-03-02T11:15:00.002-05:00

"Gamma is a girl's best friend"

- Jennifer Walters aka She-Hulk

Talk about brains and brawn in the right package. Not many people have been a part of the Avengers, Fantastic Four, SHIELD, Fantastic Force, Heroes for Hire, AND Lady Liberators. Oh, on top of that, a lawyer with a degree from UCLA.

Given her powers from a blood transfusion from her cousin, Bruce Banner, aka the Hulk, Jennifer came to appreciate the confidence and assertiveness that had come with being She-Hulk. For a long time, she felt more comfortable in her form as She-Hulk than in her "normal" form as Jennifer. She eventually became comfortable in both forms, and realized that she has much to offer the world in both her forms and went off to become a hero in her own name.

I know I have Thor on the team, but you need more than one muscle-bound hero and She-Hulk fits that bill. She doesn't have the cosmic powers or the magic that Genis-Vell and Thor possess, but what she lacks in those fields, she more than makes up in wit, intelligence, and charisma.

Gotham City Sirens #9

2010-03-01T22:17:00.001-05:00

Gotham City Sirens #9
Written by Paul Dini
Art by Guillem March
Colors by Tomeu Morey
Letters by Steve Wands
Published by DC Comics
Review by Lan Pitts

"For you Selina? Anything.." -- Edward Nygma, The Riddler

You know nothing makes being the Riddler more difficult than coming to your office and seeing some old friends and your secretary tied up with vines...then asking for your help. Cest la vie, Eddie.

The Sirens show up and play a game of catch up with Riddler which also acts as a sort of recap of what's been going in the lives of the women (Ivy becoming a legit scientist for S.T.A.R. labs, what happened to Selina with Hush, and Harley being Harley). They recruit Riddler to help them find out who murdered this girl that has all signs pointing to them. It is too bad something is going on inside Riddler's head that is a puzzle of its own. Riddler actually takes center stage in this issue, which I enjoyed being a huge fan of the underutilized character. I wouldn't actually mind Eddie boy joining the book and it turning into a Charlie's Angel-type of series. However, like I said, something is amiss in the Riddler's psyche.

I feel as though I've misjudged this book. I had read a previous issue where the Joker had returned, but it was in fact an old henchman looking for revenge. Don't get me wrong, I think Dini does a wonderful job here with the characters, I just haven't read anything that has ignited immense interest for me to buy it monthly, though I may have to start now. It wasn't just the story-telling that repelled me (though repel is such a strong word, so let's say, turned me off) Guillem March's artwork was a tad too cheesecake for my tastes, but in this issue he's really more expressive than what I've seen in the past, almost as if he's channeling ole Kevin Maguire in some instances. There's a scene in which Selina explains how she went in for some "physical therapy", and by that she means "hits the gym"...with Ted Grant, aka Wildcat. It's a two-page spread that is flawless on all accounts.

Dini has me intrigued with this issue and I'll follow up to see where this leads. It satiated my Batman need for now and proved that a female-centric cast shouldn't be so easily discarded by male fans, as I had done previously with this series. If you were like me and previously ignored this series, thanks to the recap this issue is a good time to give it another shot.

(My fantasy) Avengers Assemble! Third reveal

2010-02-24T07:48:00.002-05:00

"I'm strictly a bow and arrow type."

-Hawkeye

Ladies and gentlemen, my third reveal: Clint Barton, the original Hawkeye. While not an original member, he is considered one of the essential Avengers by many. He started out his comic career as a villain until he reformed and had Iron Man back his sponsor and was elected to the team. I'm a big fan of this character and while he's taken a few detours from his purple and blue moniker (Ronin), he'll be back when the Avengers reform in Marvel's Heroic Age.

He's a skilled marksman, tactician, and personality up the wazoo. He's a great team member and asset to whoever's flag he's bearing.

Welcome aboard, Clint.