Playing catch up

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Let's get dangerous with Darkwing Duck Annual #1

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

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

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

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

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

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

Three times the interviews

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

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

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

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

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

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

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

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

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

Artifacts: Volume 1 is on sale now.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Whoa.

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

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

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

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

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

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

Two helpings of Flash Gordon plus some Marvel-ous books

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?

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

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

Nobody ever said adolescence was easy.

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

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

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

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

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

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

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

Streets of Gotham #19 review

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

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

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

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

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

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

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

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

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


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


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


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


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


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


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


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

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

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

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

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

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

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

New reviews! Starborn! Jake Ellis! etc!

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



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


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


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


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


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

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

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

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


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

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

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

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

What will 2011 hold?

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

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

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

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