Sunday, November 28, 2010
Tuesday, November 23, 2010
a few reviews up in here: Zatanna #7 and Streets of Gotham #17
Streets of Gotham #17
Written by Paul Dini, Fabian Nicieza
Art by Dustin Nguyen, Derek Fridolfs, Szymon Kudranski, John Kalisz, and Nick Filardi
Lettering by Steve Wands
Published by DC Comics
"Selina. It's me."
Those three words tell the whole story.
I guess it's no surprise now that Bruce Wayne is back as Batman (or one of them at least) and trying to re-emerge himself in the daily aspects of being Batman. While I enjoyed Batman, Inc, Paul Dini's Batman is the one I favor the most of the past five years or so. He's collected, intelligent, cool, and always makes time for his favorite feline fatale. He just comes across as more human, than the almost quasi-deity I've seen him elsewhere.
The issue is split in half with Bruce having his moment with Selina and Tommy Elliot, aka Hush, on the loose. While Batman (Bruce) is on the case on who is causing people to sleepwalk via tiny insects. The villain, the Bedbug, is seen briefly, but I'm sure will be back. Elliot, who is still being mistaken for Bruce Wayne, gets taken hostage and his kidnapper retells a story about Bruce's father and Leslie Thompkins. There's quite the flashback on a failed assassination where we see an amazing Alfred scene that invokes his days in RAF. Of course, Elliot's kidnappers are dealt with pretty easily and he actually offers them a position to align themselves with him. Bruce has only been back a few days and already the cards are stacking up against him.
The Ragman story, who I always considered DC's answer to Ghost Rider, isn't all that bad. Fabian Nicieza is one of my all-time favorite comic writers because his style adapts to the situation, especially with this haunting dialogue. There's an interesting use of colors here that give it an anime-like look to it. It might turn some people off, but I think it works for the story.
It's no secret that I love the combination of Dini, Nguyen and Fridolfs. They are what made Detective Comics so incredibly good two years ago with the Heart of Hush arc (which I gave my Silver Medal to at our end of the year awards). It just always seems like when this team is good, they are the epitome of what I want in a Batman story. I have to admit, I've been slacking in picking this book up like I should since I've been overwhelmed by Bat-mania v.2.0. It's good to see Bruce back.
--------------------
Zatanna #7
Written by Adam Beechen
Art by Chad Hardin, Wayne Faucher, and John Kalisz
Lettering by Pat Brosseau
Cover by Jesus Saliz
Published by DC Comics
"Hollywood. Where the curtain never comes down."
My love for the character aside, I think Zatanna is one of the best ongoing that DC has to offer these days. The simplest reason for that is that it is self-contained. In the world of the market adapting a trade-ready format, this book is pretty easy to pick up, have a coherent idea of what is going on, and enjoy Zee fighting mystical forces. Ta da!
Now, Paul Dini is DC's, and probably the world's, biggest fan of Zatanna. It's no secret he married a stage magician, and just loves writing her, so I'm always a bit skeptical when there is somebody else's name in the writer credits. Though to Adam Beechen's credit, I've seen his name pop up around a lot more these days, even on a Mystery, Inc episode recently. The scenario is Zatanna is attending magical museum opening where a lot of artifacts from mystics from the DCU will be showcased. Of course, some of the artifacts take a life of their own and Zee is face to face (sort of) with an old rival of her father's. A quick fight with magical fisticuffs and problem resolved, with a little assistance from the spirits of the former bearers of the artifacts, including Zee's father, John Zatara.
The thing that is most notably different from the first few issues of the series is the art team. Stephane Roux and Karl Story made one hell of a team. Roux's sultry version of Zee is one I most harken back to, that and Adam Hughes'. So, not to belittle Chad Hardin here, but something about it hasn't clicked with me. This issue is far better than his previous ones. You can tell his improvements in panel construction and just how Zee moves. She has that grace she was lacking before. I love Faucher's inks. I think him and Hardwin make for a good comic team, but there is still room for improvement. It's not boring by any means. Just the bar was set a bit too high, I suppose. That happens from time to time.
If you're not already picking up Zatanna, I have to ask why not. It's fun storytelling that doesn't require purchasing eight tie-ins and whatnot. While I prefer Dini to Beechen's style, it's still worth a read through if not outright buy.
Tuesday, November 16, 2010
Artifacts #3 review
Artifacts #3
Written by Ron Marz
Art by Michael Broussard, Facundo Percio, Stjepan Sejic, Paolo Pantalena, Sheldon Mitchell, Nelson Blake II, Sal Regla, Rick Basaldua, Joe Weems, Sunny Gho, and IFS
Lettering by Troy Peteri
Published by Top Cow
"There is a war coming. Between those who embrace the future and those who resist it. My master will win that conflict." -- Aphrodite
Thou shall not covet Ian Nottingham's sword.
Ladies and gentlemen, it probably isn't much of a spoiler to know that Ian Nottingham is back (he's on the cover) and kicking ass with his best feet forward and doesn't have time to take names. Well, frankly, he just doesn't care. The prison guards knows he's dangerous, we as readers know he's dangerous, but it's still good to have a scene as we do in the first few pages as a simple reminder at how lethal this man really is.
Last issue, Sara, Gleason, Dani, Jackie and Tom Judge get ambushed by a small horde of demons. It's not a huge part of the story, but makes them realize that somebody/thing is after them and it's over before you know it. It's a good scene to show readers what these characters as a whole and as a unit can accomplish. I love Broussard and company's attention to detail from the Darkness' armor and darklings, to Sara's armor and facial features. While we get more of an idea of the major players and Artifacts, as told by Tom Judge, this isn't really the heroes' story. No. This issue belongs to Aphrodite IV.
If there is one thing we've learned from the Top Cow Universe is that this cybernetic she-devil is beyond a force to be reckoned with. While she's low-key on the action here, her cunning ways are in full force as she makes a trek around the world to gather a resistance to Sara's alliance. Familiar faces abound, as lines are drawn in the sand. A war is indeed coming and you would have to cut the tension with diamond-edged chainsaw. The thing here is that twists are still coming. Three issues in, and some of the Artifacts are already changing hands in a sort of mystical, murderous, musical chairs sort of way.
Ron Marz has crafted an engaging series thus far. There are many players coming and going, but you get a sense of who they are and what purpose they serve to the overall story. For the more forgetful fan, or somebody who is not as enriched in Top Cow lore, there is an index of some of the characters that were highlighted in the issue. Just something to make the experience more accessible, and in turn, enjoyable. After last issue, I felt it was more set up, but in the process lost a bit of steam. Then again, with a strong first issue as Artifacts did, it came across as lighter in comparison. I feel as thought we've regained some of that lost momentum and back on track with this third issue.
Michael Broussard is aided by a complementary team that still keep the feel of his style, but there are parts here and there that you know were all Broussard and when they weren't. It's not a distraction by any means, and still held up a solid pace to the story.
Thirteen issues might seem a lot to tell a story, but with the pacing and plot developments, it's the story that Top Cow has been needing and is long overdue.
Written by Ron Marz
Art by Michael Broussard, Facundo Percio, Stjepan Sejic, Paolo Pantalena, Sheldon Mitchell, Nelson Blake II, Sal Regla, Rick Basaldua, Joe Weems, Sunny Gho, and IFS
Lettering by Troy Peteri
Published by Top Cow
"There is a war coming. Between those who embrace the future and those who resist it. My master will win that conflict." -- Aphrodite
Thou shall not covet Ian Nottingham's sword.
Ladies and gentlemen, it probably isn't much of a spoiler to know that Ian Nottingham is back (he's on the cover) and kicking ass with his best feet forward and doesn't have time to take names. Well, frankly, he just doesn't care. The prison guards knows he's dangerous, we as readers know he's dangerous, but it's still good to have a scene as we do in the first few pages as a simple reminder at how lethal this man really is.
Last issue, Sara, Gleason, Dani, Jackie and Tom Judge get ambushed by a small horde of demons. It's not a huge part of the story, but makes them realize that somebody/thing is after them and it's over before you know it. It's a good scene to show readers what these characters as a whole and as a unit can accomplish. I love Broussard and company's attention to detail from the Darkness' armor and darklings, to Sara's armor and facial features. While we get more of an idea of the major players and Artifacts, as told by Tom Judge, this isn't really the heroes' story. No. This issue belongs to Aphrodite IV.
If there is one thing we've learned from the Top Cow Universe is that this cybernetic she-devil is beyond a force to be reckoned with. While she's low-key on the action here, her cunning ways are in full force as she makes a trek around the world to gather a resistance to Sara's alliance. Familiar faces abound, as lines are drawn in the sand. A war is indeed coming and you would have to cut the tension with diamond-edged chainsaw. The thing here is that twists are still coming. Three issues in, and some of the Artifacts are already changing hands in a sort of mystical, murderous, musical chairs sort of way.
Ron Marz has crafted an engaging series thus far. There are many players coming and going, but you get a sense of who they are and what purpose they serve to the overall story. For the more forgetful fan, or somebody who is not as enriched in Top Cow lore, there is an index of some of the characters that were highlighted in the issue. Just something to make the experience more accessible, and in turn, enjoyable. After last issue, I felt it was more set up, but in the process lost a bit of steam. Then again, with a strong first issue as Artifacts did, it came across as lighter in comparison. I feel as thought we've regained some of that lost momentum and back on track with this third issue.
Michael Broussard is aided by a complementary team that still keep the feel of his style, but there are parts here and there that you know were all Broussard and when they weren't. It's not a distraction by any means, and still held up a solid pace to the story.
Thirteen issues might seem a lot to tell a story, but with the pacing and plot developments, it's the story that Top Cow has been needing and is long overdue.
Sunday, October 31, 2010
Sunday, October 3, 2010
Wednesday, September 29, 2010
Interview with Ted Naifeh about his Bat-love
Ted Naifeh, like most artists, loves drawing Batman. Much like how almost every artist has that one character they get sheer joy out of drawing, Naifeh's is definitely Gotham's Dark Knight. Recently, on his website, he displayed some mock covers of Bat-books. Now, he's already done some redesigns of Bats' rogues gallery and other miscellaneous Gothamites, but what he's done here is completely different, and truly amazing. Naifeh spoke exclusively to Blog@ about Batman and his thoughts on the character's legacy.
Tuesday, September 28, 2010
Artifacts #2
Artifacts #2
Written by Ron Marz
Art by Michael Broussard, Rick Basaldua, Joe Weems, Sal Regla, Sunny Gho, and Dulce Brassea
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
"And I will find our daughter, and I will kill whoever took her. Because that's what I do." -- Jackie Estacado, the Darkness
To be blunt, Artifacts displays how mega events in comics should be done. With revealing the plot with a solid pace and not dumped in your lap, it becomes easy to access and enjoy without worrying or scratching your head in confusion. Last month's first issue of the thirteen-part series, Ron Marz set up his characters like one would on a chess board, with Artifacts #2, he really gets moving. With Marz having shaped or created most of the characters involved, they all have one solid voice. Nothing seems static or incohesive. The best part? You actually care.
The mystical nature of the Top Cow characters plays second fiddle to the characters themselves. The Angelus, Darkness and Witchblade may be the ultimate embodiment of their realms, but here they are Dani, Jackie and Sara, who all are worried about Hope's safety. Let's not forget about Tom Judge here. The priest who isn't so saintly. Again, it all goes with a natural, progressive flow. You aren't assailed vigorously with characters and meaningless dialog, but rather with moments and purposeful storytelling.
Michael Broussard's pencils and layouts are something to behold. He has a keen eye for detail and angle. For some reason, I hearkened back to how John A. Alonzo shot Chinatown. Every panel contains enough drama, intrigue, and emotion that once you see it, you can't help but pore over it and admire what he's done. Somewhat new on the scene, he's quickly becoming my favorite Sara Pezzini artist. From how he does her eyes, to her hair, just everything seems, for a lack of a better word, right. Sunny Gho has proven time and time again, he can handle Top Cow artists with the more kinetic styles, and his colors over Broussard set the tone perfectly.
Honestly, no offense to the other big events going on in comics, but something like Artifacts needs to come out to show an example of how independent books that are flooded with great talent can pull off an on par show, and at times exceed expectations.
Saturday, September 18, 2010
Mike Carey talks about Unwritten and things to come
Mike Carey and Peter Gross' Vertigo series, The Unwritten, has swooped up numerous award nominations and has found itself on the New York Times Best Sellers list twice already. It is a tale of intrigue, fantasy, father-son relationships, and finding your purpose in life. Tom Taylor has been on quite an adventure in the past year and a half and with the revelations of issue #16, it's really only begun. Blog@ spoke to the author of the series, acclaimed writer Mike Carey about the ambitious undertaking he took with the most recent issue and what's in store for Tom, Savoy and Lizzie. Caution, there are spoilers for those of you not caught up.
Friday, September 10, 2010
Magdalena #3 and Green Hornet Annual #1
Magdalena #3
Written by Ron Marz
Art by Nelson Blake II, Sal Regla, and Dave McCaig
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview
"The boy's not here. Most of the cult is gone. They just left behind some goons...and that thing. Need a hand?" -- Patience, the Magdalena
I have to be honest here, this issue doesn't really move the plot along as it is a sort of boss battle out of a video game. Kristoff passes as a lost traveler and finds a luxurious manor with a not-so angelic hostess. Though, as you might have guessed it, he was prepared as the mistress of the house, Anichka, shows her true demonic form and pumps several rounds into her. Lucky for him, he is quickly joined by Magdalena. They do their best to make quick work of the situation and still try to get information concerning Kid Anti-Christ, who is already a few steps ahead.
From the first page you'll notice a simplistic layout, but Nelson Blake II's use of sharp angles keeps the story at a nice pace as well as engages the reader. Showing how Magdalena moved around the building a la Batman, was a change of pace and I just wonder how easy it was to creep around with that armor on. Blake's action shots are drawn beautifully with a high impact feel. When somebody is shot, stabbed, or punched, you can sense the impact he was going for. His demonic designs are creative and feel they impose an actual threat, without them being over done. Sal Regla's inking style compliments Blake's pencils exceedingly well. The first six pages of Mags prowling around is evident of that. Dave McCaig's colors are brilliant as always. The use of reds and yellows is still dominant, but he has a chance to work with blues and purples.
Ron Marz is no stranger to the realm of supernatural superheroes having done stints on Thor, and of course the characters at Top Cow for the past five years or so. He's put more than this stamp on these characters, he's breathed new life into them and expanded so much of their world. So, naturally, he excels in telling this sort of story. While Patience has a job and duty to withhold as the Magdalena, she is still having to kill a young boy. Then again, who better to take down Satan's kid than Christ's daughter? The dialog is sharp and Patience has a unique voice that comes across as militant with a feminine edge.
To be truthful if you're not picking up this book or any of the great stuff Top Cow is putting out, you're sorely missing out. Magdalena is no exception.
---------------
Green Hornet Annual #1
Written by Phil Hester
Art by Carlos Rafael, Josef Rubenstein, and Carlos Lopez
Letters by Troy Peteri
Published by Dynamite Entertainment
Review by Lan Pitts
Click here for preview
"Our war is on crime, Kato, not people." -- the Green Hornet
As a big Green Hornet fan I am, I've been underwhelmed by Dynamite's efforts, save for the Green Hornet: Year One mini-series earlier this year. Nothing has been popping out at me or agreeing with the collective idea of what the Green Hornet is in my mind. Green Hornet Annual #1 fills that void nicely, but not in the way I would have thought.
Green Hornet Annual #1 isn't really a Britt Reid, jr story, nor is it an actual Green Hornet story. While there are flashback sequences featuring the original Green Hornet, Phil Hester really gives you and idea on who Britt is. He's tortured, but not in the same vein as say Batman or Dick Grayson. He decides to become a hero because in his heart, he feels it is the right thing to to do. Though being a hero isn't always the easiest of things, as Britt gets his ass handed to him by friend and mentor "Coach" Pollard. We learn that Britt was an already good fighter, he just lacked the discipline and had a cavalier attitude about life.
Speaking of which, on top of Britt's father being murdered, his home life isn't the best at the moment. His love interest, Julie, has moved out and he's trying to find himself within this shattered world. We know where this is all headed, but still, it's nice to see the beginnings of the new Green Hornet come across like this. We know he'll never be the man his father was, just the hero his father became.
There are two different styles going on here. One being the art used in the flashbacks showing Hornet and Kato with chiseled jaws and Adonis-like physiques. It comes across as classic 60's comic style, even the coloring has the old dotted-look to it. While in the "present", the art is clean and the facial expressions come across precise and proper. Carlos Lopez's colors comes across as too dark at times, but nothing too distracting or awful.
The Green Hornet franchise can be confusing at times for fans of the character, but not quite sure where to begin or even start. If you haven't started, I strongly suggest this issue.
Written by Ron Marz
Art by Nelson Blake II, Sal Regla, and Dave McCaig
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview
"The boy's not here. Most of the cult is gone. They just left behind some goons...and that thing. Need a hand?" -- Patience, the Magdalena
I have to be honest here, this issue doesn't really move the plot along as it is a sort of boss battle out of a video game. Kristoff passes as a lost traveler and finds a luxurious manor with a not-so angelic hostess. Though, as you might have guessed it, he was prepared as the mistress of the house, Anichka, shows her true demonic form and pumps several rounds into her. Lucky for him, he is quickly joined by Magdalena. They do their best to make quick work of the situation and still try to get information concerning Kid Anti-Christ, who is already a few steps ahead.
From the first page you'll notice a simplistic layout, but Nelson Blake II's use of sharp angles keeps the story at a nice pace as well as engages the reader. Showing how Magdalena moved around the building a la Batman, was a change of pace and I just wonder how easy it was to creep around with that armor on. Blake's action shots are drawn beautifully with a high impact feel. When somebody is shot, stabbed, or punched, you can sense the impact he was going for. His demonic designs are creative and feel they impose an actual threat, without them being over done. Sal Regla's inking style compliments Blake's pencils exceedingly well. The first six pages of Mags prowling around is evident of that. Dave McCaig's colors are brilliant as always. The use of reds and yellows is still dominant, but he has a chance to work with blues and purples.
Ron Marz is no stranger to the realm of supernatural superheroes having done stints on Thor, and of course the characters at Top Cow for the past five years or so. He's put more than this stamp on these characters, he's breathed new life into them and expanded so much of their world. So, naturally, he excels in telling this sort of story. While Patience has a job and duty to withhold as the Magdalena, she is still having to kill a young boy. Then again, who better to take down Satan's kid than Christ's daughter? The dialog is sharp and Patience has a unique voice that comes across as militant with a feminine edge.
To be truthful if you're not picking up this book or any of the great stuff Top Cow is putting out, you're sorely missing out. Magdalena is no exception.
---------------
Green Hornet Annual #1
Written by Phil Hester
Art by Carlos Rafael, Josef Rubenstein, and Carlos Lopez
Letters by Troy Peteri
Published by Dynamite Entertainment
Review by Lan Pitts
Click here for preview
"Our war is on crime, Kato, not people." -- the Green Hornet
As a big Green Hornet fan I am, I've been underwhelmed by Dynamite's efforts, save for the Green Hornet: Year One mini-series earlier this year. Nothing has been popping out at me or agreeing with the collective idea of what the Green Hornet is in my mind. Green Hornet Annual #1 fills that void nicely, but not in the way I would have thought.
Green Hornet Annual #1 isn't really a Britt Reid, jr story, nor is it an actual Green Hornet story. While there are flashback sequences featuring the original Green Hornet, Phil Hester really gives you and idea on who Britt is. He's tortured, but not in the same vein as say Batman or Dick Grayson. He decides to become a hero because in his heart, he feels it is the right thing to to do. Though being a hero isn't always the easiest of things, as Britt gets his ass handed to him by friend and mentor "Coach" Pollard. We learn that Britt was an already good fighter, he just lacked the discipline and had a cavalier attitude about life.
Speaking of which, on top of Britt's father being murdered, his home life isn't the best at the moment. His love interest, Julie, has moved out and he's trying to find himself within this shattered world. We know where this is all headed, but still, it's nice to see the beginnings of the new Green Hornet come across like this. We know he'll never be the man his father was, just the hero his father became.
There are two different styles going on here. One being the art used in the flashbacks showing Hornet and Kato with chiseled jaws and Adonis-like physiques. It comes across as classic 60's comic style, even the coloring has the old dotted-look to it. While in the "present", the art is clean and the facial expressions come across precise and proper. Carlos Lopez's colors comes across as too dark at times, but nothing too distracting or awful.
The Green Hornet franchise can be confusing at times for fans of the character, but not quite sure where to begin or even start. If you haven't started, I strongly suggest this issue.
Angelus #5
Angelus #5
Written by Ron Marz
Art by Stjepan Sejic
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview
"It was always going to end like this, wasn't it?" -- Dani Baptiste, the Angelus
When we last saw Dani, she was caught in a rather awkward situation with her father walking in on her and her galpal, now official girlfriend, Finch. We also witnessed former Angelus warrior Sabine bond her self to the Artifact known as the Shadow Wheel, granting her powers of time manipulation. Sabine is focused on regaining the Angelus and it's going to be quite the showdown between herself and Dani.
Okay, let's get something straight (ironic choice of word) and out of the way here. Dani's and Finch's relationship has been blossoming for several years now. This is not just some sort of realization about their sexuality. No. Ron Marz has crafted their rapport carefully and naturally. So, naturally, two consenting adults who have strong romantic feelings for each other eventually having some sort of sexual experience. Mind you, this is also Top Cow. They have a mature content warning and they mean it. The thing is though, if you really break it down, it's nothing we've seen in comics before, but what really strikes home is the talk Dani has with her father about Finch. It's endearing, sincere, and above all, handles the situation well.
Of course the express of their love doesn't last long as Dani's "friends" show up. Talk about bad timing. Sabine reveals herself as the new wielder of the Shadow Wheel, as well as her intentions to fight Dani for the Angelus force. What Dani didn't see coming is Sabine stealing time away from Finch and making her old. I mean, Gandalf old. Dani easily decapitates her former minions who served Sabine. Now all that is standing is a pissed-off Dani and a power-crazed Sabine. I'm sure the conclusion is going to be out of this world.
I have to give props to Sejic here. I have, at times, criticized his lack of facial features that leave some of his figures cold and stoic. Here though, he breaks through and lets his talent speak for itself. The passionate scene between Dani and Finch comes across as real, well as real as things can be in the comic world. It all just seems very human. The design of Sabine possessing the Shadow Wheel is something to behold as well. It has a sort of Eternity and Starman vibe and is just visually striking.
This mini-series has excelled in showcasing Dani as a stand-alone kind of character and out of Sara Pezzini's shadow. The action is terrific, the dialog is clever and crisp and the art is beyond superb. Anyway we can get this into an ongoing, Top Cow?
Written by Ron Marz
Art by Stjepan Sejic
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview
"It was always going to end like this, wasn't it?" -- Dani Baptiste, the Angelus
When we last saw Dani, she was caught in a rather awkward situation with her father walking in on her and her galpal, now official girlfriend, Finch. We also witnessed former Angelus warrior Sabine bond her self to the Artifact known as the Shadow Wheel, granting her powers of time manipulation. Sabine is focused on regaining the Angelus and it's going to be quite the showdown between herself and Dani.
Okay, let's get something straight (ironic choice of word) and out of the way here. Dani's and Finch's relationship has been blossoming for several years now. This is not just some sort of realization about their sexuality. No. Ron Marz has crafted their rapport carefully and naturally. So, naturally, two consenting adults who have strong romantic feelings for each other eventually having some sort of sexual experience. Mind you, this is also Top Cow. They have a mature content warning and they mean it. The thing is though, if you really break it down, it's nothing we've seen in comics before, but what really strikes home is the talk Dani has with her father about Finch. It's endearing, sincere, and above all, handles the situation well.
Of course the express of their love doesn't last long as Dani's "friends" show up. Talk about bad timing. Sabine reveals herself as the new wielder of the Shadow Wheel, as well as her intentions to fight Dani for the Angelus force. What Dani didn't see coming is Sabine stealing time away from Finch and making her old. I mean, Gandalf old. Dani easily decapitates her former minions who served Sabine. Now all that is standing is a pissed-off Dani and a power-crazed Sabine. I'm sure the conclusion is going to be out of this world.
I have to give props to Sejic here. I have, at times, criticized his lack of facial features that leave some of his figures cold and stoic. Here though, he breaks through and lets his talent speak for itself. The passionate scene between Dani and Finch comes across as real, well as real as things can be in the comic world. It all just seems very human. The design of Sabine possessing the Shadow Wheel is something to behold as well. It has a sort of Eternity and Starman vibe and is just visually striking.
This mini-series has excelled in showcasing Dani as a stand-alone kind of character and out of Sara Pezzini's shadow. The action is terrific, the dialog is clever and crisp and the art is beyond superb. Anyway we can get this into an ongoing, Top Cow?
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