First reviews of the new year! Hello, 2012!

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

American Vampire #22 Written by Scott Snyder Art by Rafael Albuquerque and Dave McCaig Lettering by Jared Fletcher Published by Vertigo Review by Lan Pitts 'Rama Rating: 9 out of 10 Twenty-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.

Review 4-pack

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.

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

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.