Anne Hathaway on Conan

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.

Bunch o' reviews here!

Lola: A Ghost Story
Written by J. Torres
Art by Elbert Or
Published by Oni Press
Review by George Marston and Lan Pitts

Lola: A Ghost Story is a simple story that shoots for a high emotional response, and though it often falls short of that goal, it is expressive and subtle in an easily relatable way. Its opening pages promise a story frought with the bittersweet trials of growing old enough to understand the true nature of death, and the honesty of life. The art immediately invokes a dreamlike quality that, coupled with the cathartic nature of the story, is reminiscent of the work of Hayao Miyazaki. Unfortunately, the book rarely reaches the heights set by its first impression again. The story concept often feels like more than the sum of its parts. While accessible, it is curtailed by moments that seem designed to widen its scope, but more often detract from the central narrative.

The story focuses on a young Filipino boy named Jesse. He and his family travel from Canada to their ancestral home in the Philipines to mourn the passing of his "Lola," which is the Tagalog word for grandmother. Of interesting note is that author J. Torres is, himself, a Filipino born Canadian. Upon returning to the Philipines, Jesse finds that he is closer to his Lola than he ever knew, and through a series of twists that some may spot immediately, becomes embroiled in a ghost story of the most classic form. Throughout the story, we are treated to bits of Filipino culture, and blurbs explaining and translating the numerous Tagalog words and expressions used by Jesse and his family. Often, these bits bring us closer to the family and their heritage, but many times the scenes incorporating Filipino folklore simply feel as though they are included only to showcase the unique mythology of the Philipines, and not to serve the central narrative. One would not think that space would be at a premium for a simple story in a 98 page graphic novel, but many scenes feel as though they could easily be excised to provide more room for the sweeping emotional backdrop that lies at stake.

The art incorporates the best elements of the cartoon form, using the simplest lines to convey the basest emotions and characterization. It falls flat only when it ignores the scope of the story, and the surreal texture of the of the spiritual backdrop. Often times the sepia tones that serve as the only depth to the black and white form feel too ordinary. A full color treatment may have proved more suitable for matching the tone of the story, or, failing that, more full panels that strayed farther from the mundane. The stark ending, while a bit baffling, promises more to come in Jesse's story, and perhaps the further adventures of our main character will provide a glimpse at some of the vast world promised by this inaugural chapter.

All in all, Lola: A Ghost Story is a worthwhile read, and easily accessible to anyone who chooses to crack the cover. As a coming of age tale, it is relatable for anyone who grew up to realize that the life ahead of them was both more and less fantastic than they were lead to believe, and serves as a fine precursor to anyone for whom that revelation may yet be years in the making. Lola: A Ghost Story often struggles to make the most of its ambitions, but then, isn't that what the story is truly about?




The Unwritten #8
Written by Mike Carey
Art by Peter Gross
Colors by Chris Chuckry
Letters by Todd Klein
Cover by Yuko Shimizu
Published by Vertigo Comics
Review by Lan Pitts

"Tommy Taylor belongs in a children's story. It's hard for him to get his bearings in a three-act tragedy." -- the Inside Man

I have reviewed this book for quite some time now, and one would think I would have adjusted myself by to Mike Carey and Peter Gross' compelling style of storytelling, but I was somehow proven wrong and once again, as I turned to the last page I found myself saying "oh, crap". Though not the way you would after finding a parking ticket on your car, but more of the "oh my God, this is great. Please, sir, can I have some more?" sort of way.

I found myself a little agitated last issue when Tom's story wasn't continued and sidetracked for the subplot dealing with the Governor's children, but I understand now that story had to be told for the sake of the tragic events in this issue. With mercenaries on the loose and gunning for Tom and company, a Warden who wants them dead, and a pair of Governor's children trying to save the "real" Tommy Taylor, you have a tension-filled issue that has its moments of fun and excitement, but ultimately turns to horror.

I found it weird I felt loss after what transpires at the end of the issue, especially knowing these characters for such a small amount of time, but as I mentioned, I was caught off guard. That is the magic of Mike Carey. On the art side of things, Peter Gross truly captures the chaos of the situation quite well within the 22 pages provided without cluttering up pages and in turn making them an eye sore.

You may remember I gave this book my "Gold Medal" for 2009, and it really is a gem of a book. The trade of the first five issues is currently out now, so I encourage you to pick that up, get yourself caught up, and see what you've been missing out on.


Catwoman #83 (Published by DC Comics; Review by Lan Pitts): It's been a little over a year since we've seen Ms. Selina Kyle, aka Catwoman, in her own solo series. Tony Bedard takes a crack at her whip with this issue, but I'm a bit confused on some elements going on here. It felt more like a "Gotham City Sirens" issue rather than Catwoman, but Bedard excels at all the femme fatals characterization. For the follows of the book where #82 had left off, or for readers who had no idea what had happened, there is a quick summary of the past events and gets that out of the way for the rest of the story. I love the art style of the book, but why was there a need for a slew of them? I didn't notice any difference between who was who. Just seemed a bit weird to me. The ending was a bit of a twist, and hopefully they continue this on "Sirens", which I'm sure they will. Top notch all around.


The Anchor #4 (Published by Boom! Studios; Review by Lan Pitts): Damn, this book is just plain cool. I could just stop right there, but what sort of review would that be? This issue ends the current arc, but seamlessly sets up the next one to come. I'm liking Brian Churilla's style, but this issue seemed sort of weaker in comparison to the previous installments. Phil Hester's knowledge on the supernatural really comes out and some of the imagery is horrific, but creative and unlike anything on the market right now. I know you may think the $3.99 is a bit weird for an indy title, but you get a solid story from beginning to end and it's ad free. It really doesn't get any better than that. Also, the Volume 1 trade is available which might come in handy when you want to catch up since these issues are selling out. And fast.

Batman Rogues a la Ted Naifeh

How awesome are these?

They have a slight slight deviation, but he's put your own spin on the characters, but still kept their collective vibe. Everybody wants to do a Joker story, but how would he put his imagery to that character? It's not about going outside the box to get noticed, because then he risks the backlash of the die hards. Personally, I'd love how he'd handle Mr. Freeze or Poison Ivy.

But Ivy is a bit tricky. What route do you go with? I personally hate how Jim Lee did her and how she's green. She looks like She-Hulk or she's seasick. Just, really hate that look and disagree on how that represents her. I do love how Alex Ross and Tim Sale have done with her.

Freeze though? He was a scientist, with a tragic story, not some body builder. I hate it when artists give him this hulking silhouette, but that's just me.


I'd love to see him take on the Batgirl book. It's fun, and there is a lot of interaction between the Bat family, so there's a chance to draw Batgirl, Babs, Robin, Batman, and maybe a Bat-villain (Scarecrow just popped up).

Blog@ interview with Adam Hughes via Blog@Newsarama

One year later…

While the Catwoman title may have been cancelled last Fall, Adam Hughes’ covers are hardly forgettable. He continues to exhibit the talent for which he is most known for. Newsarama briefly spoke to Adam Hughes on what it was like, literally, going back to the drawing board.

Blog@: So what was it like drawing Ms. Selina Kyle on her “resurrected” book? Bring back some fond memories?

AH: Yeah, and some regrets. I felt like I was finding my ‘zone’ in that last year on CATWOMAN; I was having ideas that were outside my usual box. Doing this cover reminded me of them. But it’s always great drawing Selina; she’s one of my favorite characters to draw. T’ain’t nothing like a bad girl gone good!

Blog@: How many drafts did you have before this particular one was selected?

AH: Just the one. I have an extremely subtle and streamlined work process with DC Comics Art Director Mark Chiarello, thanks to my years of doing covers for him. He said to me “Dan (DiDio) wants this certain vibe to the piece…” and explained the vibe, and I knew exactly what they wanted. It’s like an old-marriage where you can finish each others’ sentences. And eat their leftovers from the fridge.

Blog@: I guess you can’t give away any specific plot points, but what exactly is going on here on the cover?

AH: That’s OK: I don’t KNOW any specific plot points…! Basically, the feeling that DC wanted was akin to that moment in the 1925 Phantom of the Opera when the girl takes the mask from Lon Chaney’s head, and reveals his gruesome face. I didn’t want to ape that shot exactly, so I switched it so that the girl is in the front. Selina is finding a bloody face and is holding it up in a WTF?!? moment of dawning horror and the owner of the face is grasping at her from the shadows. Spooky stuff! Also, it’s my first zombie I’ve ever gotten to draw. Thanks, DC Comics, whee!!

You can get your paws on Catwoman #83 this January, ‘Rama readers.

End of the line. Catwoman #82.

Catwoman #82 – Final Issue
From DC Comics
Writer: Will Pfeifer
Pencils: David Lopez
Inks: Alvaro Lopez
Colors: Jeromy Cox
Cover: Adam Hughes
Editor: Nachie Castro

For almost 70 years, Selina Kyle, aka Catwoman, has been a pop culture icon. She's been portrayed by half a dozen women (animated and live-action) and is probably Batman's second most well-known character is his rogue's gallery. Though, in the past decade, she's transformed from just a cat burglar with daddy issues into an anti-heroine (rather than a supervillainess) with her own title...and a mother (who still had a streak of kleptomania). However, now is the end of the line for her monthly book. While it wasn't the most grandest of send-offs in comicdom, it was simple, but an issue that any Cat-fan could appreciate Basically, Catwoman leads Batman on a chase through the streets of Gotham, during which time she steals his utility belt. He doesn't understand why she's doing what she's doing, nor does she. Selina finally realizes that she was meant to be Catwoman. In the end, she and Batman reach an understanding, but she reinforces her mischievous nature by stealing the Batmobile.

I'd be lying if I said I wasn't sad to see this title go. For so long, it has been one of the most consistently enjoyable books in DC's output. Pfeifer has demonstrated a thorough knowledge of Selina's character as well as a confident and sure handle of her voice, all the while proving she's one of the DCU's richest and most complex characters. However, I'd also be lying if I said I'm not happy to see Selina return to a life of full-blown villainy. I just wish she could do so in her own book. I've said it before, and I'll say it again – one of these days, DC is going to realize there is an audience and a market for a series that focuses on a villain protagonist. DiDio really screwed the pooch on this one. There doesn't really seem like there are any strong, female lead characters with their own book. Oh wait, I'm sorry, there are two: Supergirl and Wonder Woman. I've heard rumors of Zatanna getting her own book, and I'm aware of Vixen's mini-series coming up and Batwoman's series still in limbo, unless new developments have occurred and I'm just not in the know.

There was still so much potential with Selina. While I enjoyed her going to her roots, it felt rushed. Quite honestly, there is not a whole lot of issue in this one. It's touching and we know she's not going anywhere, but she deserved better. Lopez's pencils took some time to rub off on me, though I still prefer the bolder style of Pete Woods. I'm hoping for a revamp in the near future, or possibly on Vertigo (where I hope they take Zatanna). It's almost as if this title was too good for us, as consumers. We took Selina for granted. Always on-time, Well-drawn, well-written. Something that is far and between in the industry.

Thanks for the ride, Ms. Kyle. Hasta la vista!