Two helpings of Flash Gordon plus some Marvel-ous books

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

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?

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

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.

Quick post-holiday reviews

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.

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.

This week in trite reviews.

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!

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

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.

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



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.

Iron Man: Noir #1 & Angelus #3

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.

Doctor Voodoo #4

Doctor Voodoo: Avenger of the Supernatural #4
Written by Rick Remender
Art by Jefte Palo & Alessandro Vitti
Colors by Jean-Francois Beaulieu
Letters by Dave Lanphear
Cover by Marko Djurdjevic
Published by Marvel Comics
Review by Lan Pitts


But I am sure of one thing. To end this madness -- I must die at the hands of my brother. -- Daniel Drumm

Thank, God. It's been a slow burn, but this was the issue I've been waiting for in this series. Finally Doctor Voodoo relieves himself of the self-doubt and turmoil to accept his new role and I can't wait to see what transpires out of this. So, what we have here is the Doctor and other various magical Marvel characters such as Ghost Rider, Magick, and I'm sure I saw the Living Mummy, under the influence of Nightmare, hunting Daniel who has possessed the Son of Satan's body for the time being. There's a backstory on how Daniel actually died and the beginning to Jericho's pursuit in the supernatural, and of course a team up I didn't really see coming. What's the old saying? The enemy of my enemy is my friend.

Rick Remender has crafted this character for readers unfamiliar with him, and I loved how this issue turned out. He gave Drumm layers and it was about time he shed the layer of "uncertain of his position" next issue has potential to be one hell of an all-out supernatural slugfest. Just as previous issues, we have Jefte Palo on art, assisted by Alessandro Vitti, and outstanding color crafting by Beaulieu. My main disappointment is the confusion I had about this series. At one time, I read it was an ongoing. Then, a mini. Then again ongoing...but it does appear to be a mini that ends next issue. I guess I should have taken a hint when no other Marvel books were affected by Nightmare's Hell on Earth. Funny how that works.

Calling this a misstep is about right. I've had fun with this book and feel shafted now that I'm sure this was just something to get Voodoo over with the fans so he can be a member of a new Avengers team. That's my guess anyways. Visually, the book is one of my favorites on the market, Nightmare's hair aside. Palo and Vitti really shine not only with the superheroics, but with the flashbacks as well. I wished the character had been allowed a full series, but then again, when the former Sorcerer Supreme only got a four-issue mini, I guess I was expecting too much.

Spider-Man Noir: Eyes without a Face #2

Spider-Man Noir: Eyes Without a Face #1
Written by David Hine and Fabrice Sapolsky
Art by Carmine Di Giadomenico
Letters by David Lanphear
Cover by Patrick Zircher
Published by Marvel Comics
Review by Lan Pitts

"You'll notice my boys aren't using their cannons. I want you alive when I split you open and your guts spill out on the floor." -- the Crime Master

This series just became a bit more intense, while keeping the action to a minimal, but heavy on the set up and great climax. Spider-Man continues his hunt for the Crime Master, all the while keeping a close eye on Felicia Hardy, and eventually having to find his friend Robbie who has gone missing. Spider-Man also sweats out a minor player who was a Don Moretti associate and closes his shop. For good. Things don't look well for Robbie as he was kidnapped by the Dr. Octavius (who, in case you missed it last time, is a Nazi scientist in this universe), who is experimenting on the "inferior races".

There is a lot of plot going on here, but Hine and Sopolsky does a fine balancing act without taking any bumps. They've taken the noir idea, but I think the word "pulp" really defines this sort of story more accurately. This issue really concentrates on Octavius' origin and just briefly touches on a bit of the Crime Master's back story. Of course, Hine and Sopolsky are aided by a visually gifted talent like Giadomenico, and everything looks and feels solid. His kinetic style captures Spider-Man's movements and really knows how to panel a fight scene and even handles the subtle moments with an easy touch.

I've had fun with the "noir" series Marvel has put out thus far and, pardon the pun, but this team has really spun a creative web and sucked me in, even if it is weird to see Spider-Man holding a gun. Even if you haven't given this a try, I suggest you should. It's fun and exciting, even if it does take place during one of America's darkest times.

Spider-Man Noir: Eyes without a Face #1

Spider-Man Noir: Eyes Without a Face #1
Written by David Hine and Fabrice Sapolsky
Art by Carmine Di Giadomenico
Letters by David Lanphear
Cover by Patrick Zircher
Published by Marvel Comics
Review by Lan Pitts

"There's an odor. The last time I smelled it was the night Uncle Ben died. I know what it is...the stench of a slaughterhouse." -- Peter Parker, the Spider-Man

Three months after the events in first Spider-Man Noir and the death of the Goblin left a void of a crime boss and there is a new kingpin on the rise trying to ascend that throne. No, not the Kingpin, actually the writers took a different approach and went with a much lesser-known Spider-villain. The book takes place in a pivotal point in history as FDR was just elected, and the New Deal is slowly, but surely working to help people recover from the Great Depression.

When the "Noir" titles hit, I devoured them and this issue is no exception which sets up a multitude of things to come. As a history buff, I really appreciate certain things and love the look of it all. The use of coloring is superb and Carmine Di Domenico's style is somewhere between Tim Sale and Eric Canete, both of which I am huge fans of. The first issue introduces some old-school Spider-villains to the "Noir-world" including Doctor Octopus and the Sandman. The tone is a bit darker than the previous installment, but you can't help but dig these sort of stories that take familiar characters and put them in this kind of pulp-styled universe.

The dialog is smart and characterization can't be beat. I especially love what Hine and Sapolsky have done with Robbie Robertson here and it really works without deviating too much. Felicia Hardy returns, with her and Peter drawing the lines of their relationship. And what they did to Doctor Octopus? Genius, though I'm pretty sure I know where this is headed.

With the darker concepts and more violent elements, it might stir some Spider-Man fans away, however, I don't possibly think I could recommend something like this enough. If you're a fan of the Sandman Mystery Theatre stories or if you read any of the "Noir" books before, check this one out.

triple feature yet again! Moon Knight, Dr. Voodoo and Zenescope's Little Mermaid

In case you missed it...

The Little Mermaid Collection
Written by: Raven Gregory & Linda Ly
Pencils by: Claudio Sepulveda
Colors by: Nei Ruffino
Letters by: Alphabet Studios
Published by Zenescope Entertainment
Review by Lan Pitts

This ain't your baby sister's Little Mermaid. Not by a long shot.

In the spirit of Zenescope's style of reimagining fairy tales and such, comes The Little Mermaid. Now, this isn't the story you may know unless you're familiar with the Hans Christian Anderson version of the story. It starts out the way most remember it, a shipwreck with a prince going overboard and rescued by a mermaid princess. Ah, nautical love.

Well, I'm sure you know how the story goes from there: mermaid princess falls in love with prince, makes deal with Sea Witch, becomes mute, gets her heart broken, and...gets ripped in half by the Sea Witch and her remains eaten by sharks? Oh right, this is Zenescope. Meanwhile, there is another story that parallel's the Mermaid's tale going on featuring the same themes as love, lust, betrayal, and of course Grimm Fairy Tales' recurring antagonist, Belinda. Belinda approaches Lucy, a woman who lives with her young daughter Sara, who is trying to get out of her mother's white trash shadow. Both the mermaid and Sara take some ill advice and both pay the price in their own way.

Originally published as Grimm Fairy Tales #25 and 26, it is now collected into this 56-page issue. There is some really good stuff in here. Claudio Sepulveda draws some amazing landscapes and the opening sequence with the shipwreck is phenomenal. Of course, being aided by Nei Ruffino on colors doesn't hurt either. While Sepulveda does need to improve on his facial constructions, I wasn't turned off or taken out of the story. Speaking of the story, I feel it was too loose in some parts, mainly the motivation of Lucy to use Sara the way she did and why she was listening to Belinda of all people.

All in all, with this collection, you can really see that Zenescope is attempting to step up their game with fantastic visuals and layered stories worth reading.




Doctor Voodoo: Avenger of the Supernatural #1
Written by Rick Remender
Art by Jefte Palo
Colors by Jean-Francois Beaulieu
Letters by Dave Lanphear
Cover by Marko Djurdjevic
Published by Marvel Comics
Review by Lan Pitts

At first, when Brother Voodoo was announced as the new Sorcerer Supreme, I was taken aback a little. I was really pulling for Wiccan to assume the mantle, or hey, even Dr. Doom (just because he is Marvel's greatest super villain). Though, flipping through the pages at my local comic store, purchasing it and actually reading it when I got home...yeah, Marvel chose wisely. I wasn't too familiar with the character, so my impression was open-minded when it came to how Rick Remender worked the Jericho Drumm character and I have to say, he's a bona fide bad ass.

This issue picks up after Jericho Drumm's cameo in New Avengers #53 earlier this year, where the legendary Eye of Agamotto chose him for the role of new Sorcerer Supreme. I love how Remender got down to some serious supernatural business from the get-go with the Doc confining old school Dr. Strange arch-nemesis, Dormammu, and we can see the different types of magicks that Voodoo relies on in comparison to Strange's. It's truly eeriely colored and drawn. One can really sense the feel of the type of power he now possesses. Of course you have Strange in an Obi-Wan-like role, but you can almost hear the doubt in his voice over Agamotto's choosing. Strange understands though that the Eye chose Jericho for a reason and he has to live with that.

Of course, Strange isn't the only one questioning the Eye's choice in new Sorcerer Supreme. Enter: Dr. Doom. The two have a mystical throwdown of serious proportions with Doom dominating until the very end. When he thinks the Eye is now his for the taking, Doom gets a rude awakening by showing him something that makes him do a hasty retreat. I love Remender's vernacular for Voodoo and his use of Vadou terminology. It provides a sense of faithful representation of the character and his world.

Jefte Palo's art is something else, too. I love Dr. Voodoo's new costume and how he interrupts the outlandish scenarios and creatures. It is almost as if he was meant for a book like this. Doctor Voodoo works great as a premiere issue for various reasons, but there are plenty of unanswered questions and I'll be sure to be around to find out.





Vengeance of the Moon Knight #2
Written by Gregg Hurwitz
Art by Jerome Opena
Colors by Paul Mounts
Cover by Leinil Yu with Jason Keith
Letters by VC's Joe Caramagna
Published by Marvel Comics
Review by Lan Pitts

"As Moon Knight, Spector prowls the night, meting out brutal justice to those who would prey on the innocent." Really? If that was the case, how come in the last issue, it was mainly in broad daylight and in this issue, again, it's mostly taken place during day time hours?

With that out of the way, I do want to express how much this series is off to a great start. Coming off the conclusion of the last issue, Sentry confronts Moon Knight and basically tells him can empathize what it is like to have inner demons and dealing with borderline insanity. The dialouge is well-paced and great introduction to the issue with Sentry flying all around, averting numerous disasters, all the while explaining to Moon Knight that if he goes back to his psychotic ways, he'll put him down.

Later, Norman Osborn is disappointed in the Hood and wants Moon Knight by any means. So, naturally, Hood brings in some additional help by means of the Profile. At first, I have to admit, the way the coloring works I thought it was the Purple Man. I always liked reading what the Profile was thinking, even if it was only for comedic value. Hiring the Profile, we also see that Osborn and the Hood will do whatever it takes to bring Moon Knight down, however, there is doubt they actually can. He's composed and seemingly at peace with the role of playing the hero again...though of course there's the end of the issue where, I'm pretty sure, the next issue will be insane and Spector's first real test on holding his madness at bay.

Hurwitz also does a fantastic job at reintroducing Moon Knight's supporting cast and does it in a way that makes you feel he's been doing it for ages, though for some of you new fans, it may seem a little confusing, but a quick browse through MK's history would remedy that. He handles Marlene, Frenchie, and Crawley with ease. Each of them have their own level of tension with Marc (or Jake) and it's wonderful character development to watch unfold. Hurwitz's script is paired well with Jerome Opena's art, that once again shines beautifully. This dynamite pair bring their own vision of action and character to the book and is easily one of the titles to watch out for. I know it may seem strange to some to say that with only two issues in, but rest assure, if you're not picking this up or having this in your pull box, you might want to rethink that.

Quasar!!

I guess with the love DC is getting from Green Lantern, Marvel wanted to bring back it's old school Quasar character. As the image above notes, Quasar’s return will be touched upon in November, in Realm of Kings, written by space maestros Dan Abnett and Andy Lanning.

DnA killed off the wielder of the Quantum Bands a few years back in Annihilation, but he has since had some play in the pages of Nova.

Since their design is very similar, I wonder if they will play that off somehow.

Dark Reign:Daredevil:The List

Dark Reign: The List - Daredevil #1

Written by Andy Diggle
Pencils by Billy Tan
Inks by Matt Banning
Colors by Justin Ponsor
Lettering by Joe Caramagna
Published by Marvel Comics
Review by Lan Pitts

"Bullseye was right. The game has changed...we send him a message." -- Daredevil

The events in this issue occur shortly after Daredevil #500 with Matt Murdock, a.k.a. Daredevil, assuming the mantle as leader of the ninja assassin group, The Hand. With such a title, it gives reason for Norman Osbourne to set his sights on Hell's Kitchen and the continuation of executing his list.

Dark Reign: The List - Daredevil #1 (what a mouthful) isn't really as much a stand-alone issue as it is more of a bridge between #500 and #501 (in which you can see seven preview pages of in this issue). We see why ol' Hornhead is on Osbourne's list as well as movement of the plot in the ongoing series. It's effective, I'll give writer Andy Diggle that, but it puts that little extra strain on the wallet. This is a classic Daredevil story, with DD going toe-to-toe with Bullseye for the upteenth time, and we get to see Bullseye's coldhearted maliciousness that makes him one of the Marvel Universe's best villains.

This is also a great character study for Daredevil himself, especially since The Hand doesn't make just anybody their leader, and we get a hint of the sort of trials Matt went through to earn their respect. Of course, nothing helps you earn brownie points more than fighting off HAMMER units in a well-choreographed fight scene in their hidden sanctum. At first I was turned off by Billy Tan's style and his construction of Daredevil since I had always figured him a slightly more muscular version of Spider-Man, but the psychology behind it is that he is after all, a boxer's son.

I got back into Daredevil a few years ago, and in Diggle's hands it's proving to be one of the consistently great books on the shelves these days. Justin Ponsor's colors are great as well. They add a sort of real world texture over Tan's work, and it's a great combination.

With twenty-six pages of story, seven pages of preview from Daredevil #501 and three pages of sketch material, this makes Dark Reign: The List- Daredevil #1 a solid read with an effective glimpse of the things to come.

Sorta old news. Kirk's dad is Odin's son.

It has been officially announced: Chris Hemsworth, who recently portrayed James Kirk's father, George Kirk in the box office smash "Star Trek" is the one worthy enough to wield the hammer of Thor. The 25-year-old Australian hunk is a virtual unknown here in the United States. However he played the character of Kim Hyde on 171 episodes of "Home and Away", the successful TV series chronicling the lives and loves of the residents of Summer Bay, a small Aussie coastal town. He also just snagged the lead in the "Red Dawn" remake for United Artists on Thursday and currently filming Joss Whedon's horror flick "Cabin In The Woods" for UA. I'm surprised Hemsworth is the one, he beat out fan-favorite Alexander Skarsgard for the role, who I also wanted to wield the hammer and armor. Director Kenneth Branagh had announced that his Thor's casting was close to be being called earlier this month, so it was only a matter of time. Marvel Studios has scheduled Thor for a May 2011 release.