Hello...is it me you're looking for?

So, I've noticed that it really has been a few months since I've done any work on here. Odd considering I do still review and interview, but just got lazy about adding it on here. Let's remedy that, okay? Polarity is a new mini-series by BOOM! and while I wasn't blown away by it, it's something to look for in the future. Full review after the image.

Polarity #1
Written by Max Bemis
Art by Jorge Coelho and Felipe Sobreiro
Lettering by Steve Wands
Published by BOOM!
Review by Lan Pitts
Robot Rating: 7 out of 10

There's a line from the film "Amadeus" in which Emperor Joseph when asked about what he thought about Mozart's opera, it was suggested to Mozart that it had "too many notes". While BOOM's latest mini-series Polarity isn't exactly Classical opera, it is an original take on a young artist finding himself as both a person, an artist, and someone who can headbutt a man's head, crushing it into oblivion. However, it suffers from the same problem: just too many notes.

Written by Say Anything's front man  Max Bemis, Polarity explores the world of the elitist, hipster New York art scene for most of the issue. It lays it out pretty well for anybody who is unfamiliar with that universe, even if there are some liberties with exaggerations, but not bad for a first foray into comics. Just when you think there's no action and you feel like you're watching "High Fidelity" for the nth time, the action kicks in and catches you off guard.

The big problem  is the fact that the main character, Tim's, inner dialog just clutters up the pages. Letterer Steve Wands does a great job at controlling the flow, but a lot of it just seems like unnecessary detail. We get the idea that he's with a girl that he doesn't want to be with, and has a thing for another girl right off the bat. The repetition of the detail stalls the pacing a bit. Bemis' banter can be witty at times, but much like the art scene described here, comes across as trying too hard.

Now the reason to really try this book out is artist Jorge Coelho. With layouts that just seem out of this world, Coelho takes Tim's bipolarity and runs with it. His figure compositions are sort of a mix of Tradd Moore and Rob Guillory. Characters have cartoonish anatomy, but still maintain a sense of reality. Every panel is bursting with detail, but not in the way a lot of mainstream artists handle things. Since the story takes place in Brooklyn, everything seems more active and captivating. The bar scene with Tim and Lily especially stands out as a scene where nothing is wasted. Add in some great coloring by Felipe Sobreiro, and you've got a great looking book in your hands.

Polarity's shortcomings don't outweigh the positive here, and it's something to keep your eye on in the coming months.  How Bemis handles Tim's dialog even before he became manic and off his meds makes for a less than stellar debut, but Polarity is visually appealing nonetheless.

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

Interview with the Five Ghosts creative team. 

Mid-May update. Reviews and interview, ahoy

Last Mortal #1 (Published by Top Cow; Review by Lan Pitts): When an opening scene for a comic is a man committing suicide, it really sets the stage for the rest of the issue. The story is told through the point of view of Alec King, a good for nothing hoodlum that takes a job with his friend, Brian, to assassinate a mayoral candidate, Robert Callahan. However, when the job gets botched, Brian is killed and Alec is on the run. Faced with the guilt of Brian's death, Alec tried to kill himself, only finding out he can't die. Written by John Mahoney and Top Cow publisher Filip Sablik, Last Mortal comes across as one part noir, and one part mystery. The black and white art by Thomas Nachlik, gives off an Alex Maleev vibe that seems fitting for the story. I liked the gritty, etchy look to it. The story itself has me intrigued, but sometimes the dialog felt a bit flat, but provided a proper set up that left me wanting to be around for the second helping.

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



The past year and a half has not been kind to Daredevil, having been possessed by a demon and manipulated by the Hand in the Shadowland event, and turning away from his friends. Leaving Hell's Kitchen in the hands of the Black Panther and recovered, he is trying to find himself again, as a man and as a hero. Back in March, it was announced that Daredevil was slated for a relaunch in the summer. Little has been announced with what direction the title will take, besides having Matt Murdock getting back to his roots.

Along with contemporary legend Mark Waid, it was revealed that Paolo Rivera he would be part of the creative team with the relaunched title. Paolo Rivera has built quite the name for himself in the past few years. Having worked on numerous Marvel projects in the past (Mythos, Amazing Spider-Man, Fear Itself, The Twelve). Newsarama sat down with Rivera to talk about what lies ahead for Matt Murdock and what's like working on such a classic character.

Newsarama: You've worked on Spider-Man, produced some Daredevil covers, an original story Mythos that was published by Marvel, so who made the call to put you on Daredevil?

Paolo Rivera: That would be Steve Wacker. He was my editor since about 2007, we started working together on Mythos, and Amazing Spider-Man and he mentioned Daredevil to me about last year, but we weren't sure when everything was going to fall into place with everyone's schedules. As soon as he told, I said I was in. Just say when and where and I'll be there.

Nrama: On Andy Diggle's recent run on Daredevil, you did most of the covers. In this new volume, will you deviate from what you've done before?

Rivera: Well at least for the first three issues, the covers will be fully-painted as I usually do. As for the interiors, I will just be penciling while my dad will be inking, and I believe Javier Rodriguez on colors. As for the actual art work, I don't have a particular goal, except do what I normally do and try to make the best comic book I can. I've done some character sketches of Daredevil that I'm going to redesign, like his billy club, I also have a extra surprises in store that I was talking to Mark Waid about the other day and he seemed to like them...so I'll leave it at that.

Nrama: The other individual on the art team is Marcos Martin, what is it like collaborating with him?

Rivera: I've been a fan of his work since the first time I came across his stuff for The Oath. The second time I came across his stuff was on Amazing Spider-Man just before I started working on it myself. His issue with, what I think is, the Paperdoll, I saw that on the stands, thought that was a beautiful cover and he quickly became one of my favorite artists. So when Steve came to us and said it's going to be you two doing three issues on, three issues off it was perfect. I mean I couldn't ask for anything better. I love his work and it's a bit of some friendly competition [laughs].

Nrama: Were you always a big Daredevil fan growing up?

Rivera: I wasn't a huge Daredevil fan, but I slowly came around to him. I was a big fan of Joe Quesada and when I came across his "Guardian Devil" story with Kevin Smith, that is when I think that was the first book I ever read with Daredevil in the starring role. Other than that I haven't read that much, but I have read the big ones so to speak. "Man Without Fear" and "Born Again", with "Born Again" being the main thing when I think of Daredevil.

Nrama: Mark Waid has mentioned that Daredevil has gotten a little too dark and he wants to try and bring Matt out of the darkness a bit to have some old-fashioned Daredevil adventures. Do you think this direction will effect how you present your story artistically?

Rivera: I think automatically between me and Marcos we already sort of have a, I don't want to say "cartoony" feel-

Nrama: [laughs] I think "cartoony" is completely okay to say.

Rivera: [laughs] Good! We love cartoons and our styles are more conducive to the type of story we're going for. Steve knew that and knew what Mark's take on Daredevil was going to be. I mean, it's still going to have crime with a noir edge with him fighting the mob and drug dealers, in addition to that, we're going to have him fight supervillians, and major ones at that. You know what? Superheroes, too. In issue 2, he'll fight a major superhero as well. A famous one.

One of Mark's things is with Matt coming back to New York is that he needs to get past [Shadowland] and so he's just going through his life he needs to and whatever is necessary. However, not all of his friends and colleagues in New York are ready to let him do that. He did some pretty bad stuff and not everybody is ready to forgive him.

Nrama: Shadowland took Matt to a dark place, some say as far as he has ever been, which reflected in Billy Tan's style with the heavy inks and lots of shadows. How will your story differ from that?

Rivera: We're not going to do full left rudder here, just slightly in a different direction from where he is now, but still having the classic stuff in there as well. We're bringing Matt back to basics. You know, when talking to Mark and we want to make it our own book and at the same time, we don't want to completely change Daredevil. We just want make a solid book month after month. It's going to be the Daredevil you know and love, but it's also going to be our book.

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

Starborn #6
Written by Chris Roberson
Art by Khary Randolph, Matteo Scalera, and Mitch Gerads
Lettering by Ed Dukeshire
Published by BOOM! Studios
Review by Lan Pitts

I never thought I would see the words "Space Hitler" in a comic, yet here we are.

I've been feeling that Starborn has needed a little something plot-wise to really detour what has been almost the same thing in each issue, though I have been praising the pace that Roberson has had. I was more than just surprised as the story takes a slight dark turn here with the ambiguity of the Benjamin's quest. The issue primarily consists of Benjamin fighting off aliens and learning more about the oversuit's abilities, and what the symbol behind what he actually possess.

While Roberson may have hinted something isn't exactly benevolent about Benjamin's suit and gauntlet, Benjamin himself obviously has been fighting the good fight, at least in his mind. It adds another level of characterization to him as to see that even not knowing the full story, he wants to be the good guy. I guess the real challenge here is how the rest of the series will play out, now that Benjamin knows his family history and what his proclaimed destiny is all about.

Roberson sticks to his use of narrative that has been used since the beginning, but it's lessened since and I feel that's a good thing as we finally have a sense of who Benjamin is. Roberson has also set in motion another subplot with, what looks to be, an invasion angle on Earth. Khary Randolph and Matteo Scalera really dive into their full potential here and just all around solid. Randolph's angular style really heightens the fight scenes and goes perfectly with the alien technology. The panel layouts are strong and intense that really use different points of perspective, and he's really hit his stride. Mitch Gerads is another part of the equation here as he adds great depth to the background that adds so much to the environment. I love the use of warm colors and how he puts a little something extra here and there that makes the alien technology feel real.

Starborn started off reminding me of The Last Starfighter that is turning out more than what I think anybody thought it would be. Benjamin Warner and company have been a great cast thus far, and as I mentioned I'm curious on where this where lead next. For those who have been thinking it's been lacking action, give this issue a peep.

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



Witchblade #144
Written by Ron Marz and Filip Sablik
Art by Stjepan Sejic and John Tyler Christopher
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

This issue takes a step back from the current Artifacts event and goes back in time to take a peek inside what it was like working with Sara Pezzini, via her old partner, Jake McCarthy's point of view.

This is actually a layered issue, with the main story featuring Lieutenant Phipps, the troublesome IA officer who has been looking into Sara for a while now, finally has access to Jake's lock box, which contains a detailed note explaining what it is like working with Sara, and the Witchblade. Considering this is Witchblade's 15th year anniversary, it's nice to see a bit of a refreshing course in Witchblade 101.

Jake's memo is sweet and enduring. He gives the impression that before she took the possession of the mystical gauntlet, she was still a kick-ass cop, who did not take any garbage from thugs, to her captain at the time. Which, let's face it, she's still the same person. I've often compared Sara at times to Vic Mackey from the Shield, only less corrupt. This issue had me reminiscing about the show and I found it on par with the tense drama of Sara's secret being found out, and the cliffhanger at the end.

Stjepan Sejic really rolls out the memories here. Even taking on her infamous red dress. The layouts are impressive, if a bit subdued, since this feels more like a one-shot, but still gives us a glimpse of the bigger picture. Sejic never really draws Sara and Jake's early years, so this was fun to see him do something a bit different.

The best thing about this issue is that Marz has crafted a great jumping on point. Sara's background is explained and a brief history of the Witchblade itself is mentioned. One thing holding it back, I feel, is the back up feature by Filip Salbik and John Tyler Christopher. It's a short story involving Sara's current boyfriend and partner, Patrick Gleason. I guess it's only relevant since the book covers Sara's former partners and it seems fair to talk about where she's from to where she's at. It just wasn't clear it was Gleason until his name was mentioned.

Witchblade #144 opens the doors for new fans with a sense of understanding of the world of Sara Pezzini, and at the same time gives them a story to follow up on. Sounds like a good anniversary gift to us fans.

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




Courtney Crumrin Tales: The League of Ordinary Gentlemen
Written, illustrated and lettered by Ted Naifeh
Published by Oni Press
Review by Lan Pitts

It's been a while since we've seen a story from the world of Courtney Crumrin. Creator Ted Naifeh recently collaborated with Spiderwick Chronicles author Holly Black to create the young adult graphic novel series, Good Neighbors, he had a brief stint on the Teen Titans back up featuring the Black Alice, Traci 13, and Zach Zatara, as well as wrote another chapter to his series Polly and the Pirates. So needless to say, he's had a lot going on, and its good to see him return to this macabre world.

Like the previous installment of Courtney Crumrin Tales, this too, is a story involving a young Aloysius Crumrin's, Courtney's uncle, early years. This explores more of his relationship with Alice Crisp, as well a bit of the history of the town of Hillsborough. We see Aloysius, undercover for the Anti-Sorcery Society, working with Alice Crisp, who soon finds out his secret. We also see a bit more of Aloysius' heritage and how magic works in this world.

Naifeh's art is distinct and you can definitely see he his back to what he knows best. Scenes with elaborate gowns, and goth architecture. Characters who just seem and look out of this world. His use of facial expression is different from what I'm used to seeing from him in the past. Fans of the series, now almost a decade old, will enjoy a delightful cameo from a certain goblin.

I thoroughly enjoyed "League", as it added another chapter to a series, and explored a bit more of the world. Naifeh really hit his stride here, and was able to be a bit darker than earlier stories. Portrait of a Young Warlock, the previous issue to this story came out about six years ago, so new fans who are trying to jump on to this, might want to hold off. It's not necessary, but even the title comes from "Portrait," and they may want the whole story. I know I would.

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.

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

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.

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

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.

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

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.

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.

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

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.

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


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.

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


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.

Review Haul

The Darkness: Four Horsemen #2
Written by David Hine
Art by Jeff Wamester, Jason Martin, and Felix Serrano
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"I can feel it. The hunger, the rage, the burning fire of terminal disease running through my veins. The awful emptiness of death, opening a void in my soul...and the Darkness screams.

I guess I should make it clear that going into this, I was a bit weary. I am not David Hine's biggest fan. I found his recent arc on Detective Comics to be a bit stale. However, him taking Jackie Estacado's reins and running wild with them had me floored. Essentially, Jackie is up against the Biblical Four Horsemen of the Apocalypse, who are re-interpreted as Hell's Angels biker types. Jackie isn't sure at first if these guys are the real deal, but soon gets a taste of their medicine.

The Darkness that is one of those characters that few writers "get", in my opinion. Either he sounds like the Punisher on steroids, or Batman possessed by Satan. He is neither of those things. He is a hitman who is cursed by his birthright. Hine gives Jackie the proper voice here, with a sarcastic tone in his voice, but somebody who understands that he is the embodiment of shadow. He comes across as the anti-hero he is billed as and not some demonic jerk.

Hine's dialog for the Horsemen is just as sharp as Jackie's. They play games with hostages and curse people randomly. The idea behind Famine, or Ronnie as his name is here, is interesting. Usually Famine is envisioned as a frail individual, but here he's loud, boisterous and quite rotund. The thing about Famine here is not that you are starved to death, it's that he controls your hunger and you never stop eating and you eat yourself to death. The imagery alone was something I wasn't expecting.

Speaking of imagery, Jeff Wamester soars on art. He handles the Darkness armor with precision and doesn't over-render the look or ruin it. It comes across as slick, but still gives the impression it offers protection. The Horsemen's designs are superb and they come across as a valid threat. How Wamester shows each of the Horsemen using their abilities is horrific and doesn't come across as pointless. The violence displayed is their big "hello, world, we've arrived" message to the population.

Darkness: Four Horsemen is one of those books where anything can happen. The Top Cow universe has seen apocalyptic scenario after the other, but can Jackie fight off the heralds of the end of the world by himself? I'm not the world's biggest Darkness follower, but this series has me hooked.

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

Okko: The Cycle of Air #3 (Published by Archaia; Review by Lan Pitts): I went into this book blindly, knowing little to nothing about the franchise. As a fan of Avatar: The Last Airbender, I knew I'd be drawn to something of this nature. Boy, was I right. While there's no way to tell what's been going on in previous installments and the book just sort of happens, but once it gets going, it gets going. Some parts of the dialog seem a bit forced and out of place. The villain of the story, the demon hunter Kubban Kiritsu, is the most fleshed-out by comparison. The art by Hub and Emmanual Michalak is absolutely gorgeous that flows wonderfully on the page. There's an intense battle scene that just moves as smooth as a Japanese ink brush and the colors are just dynamite. If you can find the other two previous installments, please do, because if you're anything like me who is enamored with oriental mysticism and Samurai history, you'll love this series.

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


The Incredibles #14 (Published by BOOM! Studios; Review by Lan Pitts): If you aren't picking up this book for yourself, or for a young reader trying to get into comics, for SHAME! Landry Walker's snappy character work and dialog is pure aces. While there is typecast as a mere "kids" book, it packs a lot of punch. Ramanda Kamarga and Marcio Takara give us some amazing art, with a minimalist style that delivers time and time again. The visuals come across as crisp and clean as you can get and convey each of the characters' powers and abilities. A great book that is a mix of adventure, fun, and a hint of danger.

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


The Green Hornet: The Golden Age Remastered #3 (Published by Dynamite Entertainment; Review by Lan Pitts): Color me enthusiastic on this novel idea. Take some old Green Hornet comics from the 40's, dust them off, re-master them and publish them for this and future generation to enjoy. The original art is intact, with the coloring spruced up. Four classic tales that anybody who is an old-school fan of the Green Hornet or somebody just getting into the character can easily enjoy. Any fan of old style pulp comics will surely get a kick out of this as well. The Fran Striker stories have never looked better.

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

Vampirella #1 (Published by Dynamite; Review by Lan Pitts): Vampirella has one of those iconic comic book looks. Whether you know little or a lot about the character herself, her costume is easy recognizable. That being said, I guess Dynamite is in the business of pulling a Wondy and deviating from the popular bathing suit design to something a bit more contemporary, or as I like to say, TV-friendly. The thing about it though, is that the wardrobe change doesn't phase me in the slightest or hinder the story. Writer Eric Trautman (DC's Mighty Crusaders) gives Vampi here a Batman-like voice. Lots of inner dialog that moves the story along, while getting an idea of who this revamped (pun not intended) Vampirella is. The real star in this book is Wagner Reis. His panel layout reminded me of older Batman books and the George Perez era of DC. It's not crammed to the teeth with panels, and he keeps things interesting with great use of angles and such. I love the heavy inking in the book and the play with shadows. If you're looking for a flat-out origin story, don't look here. If you're looking for an entertaining read that's also pretty to look at, check out Vampirella #1.

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

Magdalena #4 (Published by Top Cow; Review by Lan Pitts): It looks like Patience has gotten herself in one hell of a pickle yet again. While following the trail of the so-called Antichrist, Patience and Kristof are ambushed and tricked by demons, and the young Antichrist, Anton. Of course things get even worst for our heroine as her spear is taken from her. The cover for the next issue looks incredibly foreboding. It's no secret that Ron Marz wanted to get on this book the moment he got into Top Cow, and in his patience (pun intended) we are rewarded with one fine book. Nelson Blake II does an excellent job showing Magdalena's fighting skills while expressing her grace that I think a descendant of Christ would possess. Also, great detail on the architecture around Paris. Marz's style has always been show and not tell, there's not that much inner dialog as usual and you get a sense of realism with the characters with their vernacular. Top Cow just keeps churning out with these great titles and if you're checking them out, you are REALLY missing out.

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

Witchblade #140
Written by Ron Marz and Saurav Mohapatra
Art by Stjepan Sejic
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"Come on, Gleason...like we didn't see this coming." -- Sara Pezzini, Witchblade

I'm sure it's been said that nothing is more powerful than an imagination of a child. Or something along those lines. However, it's hardly said that a child's imagination could form the horrors that Sara and Gleason end up facing in Witchblade #140. If you haven't been following the events of Artifacts, first of all, for shame, and second of all, no worries. This issue concentrates more on the standard operations of two of New York's finest solving unknown mysteries and dealing with strange occurrences. So you won't be left out of the dark when you pick this up.

The issue starts off pretty standard from what we've seen before: Sara and Gleason investigate a brutal crime scene of some nightmarish creature and nothing but question marks emerge. A night doorman was horribly slaughtered, which is found unusual since the part of town was quite lavish. Sara and Gleason have a viewing of the security camera footage and it's not pretty what they find. Eventually they take to door-to-door questioning and run into a pair of some very, very odd children. The children like to draw and Gleason finds a comparison of one of the children's pieces to the creature that slaughtered the doorman. Of course we find out the real origins of the creatures and the two detectives find themselves surrounded.

From beginning to end, it reads like a classic set up. I love the little winks and nudges to fans. The paper the doorman is reading has hints of Dragon Prince. Also, the children's art work were really done by children, including two of Marz's kids. Marz delivers more of the police side of Sara, and a bit of her humanity in a sincere moment in an elevator. While she admits it's not easy being her partner to Gleason, Marz shows that Sara needs him in her life. Stjepan Sejic conveys that emotion through his great use of facial expressions.

It is still a mystery to me on why Witchblade is not on everybody's pullbox. This is a good jumping point for new readers that have been curious about the buzz. It's engaging, accessable, and feeds that supernatural need that you might not be getting elsewhere.

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

Starborn #1
Created by Stan Lee
Written by Chris Roberson
Art by Khary Randolph and Mitch Gerads
Lettering by Ed Dukeshire
Covers by Gene Ha, Humberto Ramos, Khary Randolph, and Paul Rivoche
Published by BOOM! Studios
Review by Lan Pitts


Imagine The Last Starfighter, meets the Never Ending Story, and you get Starborn.

Benjamin Warner appears to be your average wannabe hard sci-fi author that just can't seem to catch a break. His first book was rejected as it was too close to an existing author's work he was unaware of. I can't even tell you how many times that has happened to me. Yet, he continues to strive and write and do his best to get noticed in the world of literature. When he gets rejected again, that's when story starts really coming into motion. Benjamin comes face to face with one of his own creations at work and one of his childhood friends comes to his aid, for she is not what she appears as well.

Immediately, the striking style of Khary Randolph will hit you Not quite Humberto Ramos or Eric Canete, but his art represents the best of what I love about both of those artists. The way the characters move across the page from the simple motion of checking the mail, to dodging a would-be knock out punch, it just comes at you. And fast. The character design for the aliens and other out-worldy creations look stunning and unique. Adding the colors of Mitch Gerads to it and it's kicked up to another level. The look to creatures' skins or the wonders of the majesty of outer space look tremendous. Seriously, a great combination.

The script itself hearkens back to classic Stan Lee stories of the everyman thrown into a not-so-everyday situation. Chris Roberson excels here as I can empathize with the character and has set up an intriguing story, that I hope get its time to tell.

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

Rainbow in the Dark #1 and 2 (Published by KaBlam!; Review by Lan Pitts) Talk about a do-it-yourself project. Written, art, and lettering by indie sensations Comfort Love and Adam Withers comes another one of their unique tales that is a mix of fantasty, with Bohemian philosophies with a drop of Rainbow Brite. Donna White is your average teen, who lives in a normal world of black and white, that's not bad, or really exciting. That changes on her way to school when colorful creatures break through into her world, as well as even a more colorful band of freedom fighters that take rescue Donna and take her back to their world, full of feelings and emotions she hasn't felt before. Or dangers she's ever faced. At first readthrough, it feels a lot like the Wizard of Oz meets the forementioned Rainbow Brite. The character designs resemble rock and roll and rave fashions, and one of the characters even reminds me of Andre 3000 from OutKast. The story is intriguing enough to where I felt hooked and fell into the second issue where the world and the "Gloom" is explained. The dialog is thought out and sincere and the art truly fits the story being told. You might have seen this couple at numerous conventions across the country, and Rainbow in the Dark can be available online at their site, with .99 per issue. So if you're looking for something really different, I can easily recommend this title.

First reviews of July. Mainly indie titles!

Velocity #1
Written by Ron Marz
Art by Kenneth Rocafort
Colors by Sunny Cho
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for the preview


"My name is Carin Taylor. Carin with a C instead of a K and an I instead of an E in case you were wondering. Or you can just call me Velocity. I run fast."

There are very few mainstream books out on the market that features a hero without a city to save, without a love interest, without a sidekick, without having to worry about a secret identity, without worrying about holding a job outside your superhero one...yeah, you get the picture. Yet here is Velocity in her own mini-series, and in this first issue at least, it truly is a solo book. It's her against the bad guys. No back up from Cyberforce (not to say they won't show up later in the series) and you really get the feeling it's her against all odds.

Right off the bat, you'll notice Kenneth Rocafort's stylish and kinetic style with a glorious spread at the beginning. that pretty much sets the bar for what you are to expect in this issue. It's fast, fun and exciting. Now, I have little to no knowledge of the character, I think I may have one or two Cyberforce comics somewhere, but writer Ron Marz excelled in giving me a good idea who Carin/Velocity is and her purpose, all the while setting up the frame of the five-issue mini-series. Essentially, take an episode of "24" and put it in the world of Top Cow superheroics, and there you have it.

Since Velocity isn't exactly a household name or even that well-known, Marz uses heavy inner monologue to get the character across. We get a sense of who she is and what she's about. Also, because of her lacking a supporting cast of any kind, all of our attention is on her and her thoughts. Of course with lots of inner monologue boxes on the page, you would think it would a distraction, but letterer Troy Peteri does an amazing job of making sure nothing gets lost or buried and goes with the flow of Rocafort's art. Sunny Cho's colors are striking but again, not distracting from what is going on in the story.

Simply put, pick this up. Top Cow has a slew of talent in their ranks and this book proves they can hang with the best of them.



Angelus #4 (Published by Top Cow; Review by Lan Pitts: Four issues in of a six-part series, Angelus #4 delivers so much and continues to build at the same time. There is romance, the continuing bloodfeud of light and shadow, betrayal, and an Artifact revealed. All the makings of a compelling story with characters I quickly have come to love in a span of over two years. Ron Marz as usual has an engaging story with depth, and gets the reader excited for Top Cow's upcoming "Artifacts" mega-event. There is some seriously good dialog going on that has weight and sets the tone of "Artifacts" and how it truly is going to be a war. Now Stjepan Sejic runs hot and cold to me. He's great when he's good, when he fumbles, it shows loud and clear. In this issue, you can really see his talent and imagination shine through. There's beauty in the environment and facial expressions come across clean and tight and convey genuine emotion. Especially with a touching scene with Finch and Dani. I recommend this comic for readers who are interested in some great fantasy and wonderful storytelling and any and all Top Cow fans.

Alice In Wonderland TPB (Published by BOOM! Studios; Review by Lan Pitts): This past Spring, Disney released a live-action "Alice In Wonderland" feature with Johnny Depp, Ann Hathaway, Helena Bonham Carter, and Mia Wasikowska as the titular Alice, but I hadn't realized that BOOM! put out a graphic novel adaptation to the movie. I have to say I enjoyed the book more than the movie. Nothing knocking Tim Burton or his crew, but Massimiliano Narciso's art is something between Ted Naifeh and Jill Thompson and is simply amazing. It has a sort of dreamscape feel to it (as it should) and I hope to see more works from him in the future. Allessandro Ferrari does a fine job adapting the movie, which I'm aware is it's own story (though I would recommend The Looking Glass Wars by Frank Bebbor if you enjoyed this version, if you haven't already found that series). It also includes a behind-the-scenes sort of sketchpages where you can see the art progress which I found fascinating because I'm always curious on an artist's thought process.


Jim Butcher's The Dresden Files: Storm Front Vol 2 #2
Written by Jim Butcher and Mark Powers
Art by Adrian Syaf and Brett Booth
Inks by Rick Ketcham
Colors by Mohan
Letters by Bill Tortolini
Published by Dynamite Entertainment
Review by Lan Pitts

"Useless. It had all be useless. I was going to die in the next two days." -- Harry Dresden

The problem with adapting material, especially one that has a cult following like The Dresden Files does, is that there is already an audience for you to either get praised by or to piss off. In the case of this book, I'm leaning more towards the latter. For those of you unfamiliar with Jim Butcher's book series of the same name, it centers around an adult wizard named Harry Dresden, who is used by the Chicago PD to deal with supernatural situations and beings such as, but not limited to, fairies, vampires, demons and devils. Simply put, very cool stuff. I recently got into the book series via a good word from a friend and was surprised myself when I had not gotten into them sooner once I dove in.

A recap page would have come in handy as well since we are about halfway done with the first novel at this point, so that would make it difficult for non-fans to enjoy something that they otherwise might have. So for those out there, Harry has taken a missing persons case with a client whose husband has been missing for three days, he was also dabbling in magic. On top of that, he is investigated a double murder with the victims whose hearts had been removed. Of course this opens the gates to Dresden and his magical world.

The main problem I have, isn't with the script or the adaptation, though Harry's inner monologues do become cumbersome and make the pages seem cluttered. Very cluttered. Mark Powers' script holds up to the book series and didn't deviate the plot from what I can recall. My main gripe, and it's one hell of a gripe, is the inconsistency of the art. Adrian Syaf, who can be seen working on Brightest Day comes off strong, yet his inks fall by the wayside. Ketcham takes a page out of what is essentially 90's Image style. Too much feathering and cross-hatching in some places that it became distracting. There are three different artists on this book, all with different styles, and it looks choppy. Also, the last pages of the book are strictly done by Brett Booth, who has is probably the most radical in style, but he's also the only one that added text to Harry's shirt that appears out of nowhere since it's not in any other part of the book. Oy.

Dresden File fans, we simply deserve better.

Bunch o' reviews here!

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

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

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

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

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




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

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

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

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

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

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


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


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

The Anchor #1 review

The Anchor #1
Written by Phil Hester
Art by Brian Churilla
Colors by Matthew Wilson
Letters by Ed Dukeshire
Published by BOOM! Studios
Review by Lan Pitts

Now this is a dynamite premiere issue. I'm rarely disappointed with a Phil Hester story, and The Anchor is no exception to that rule. The story is pretty simple, yet layered in a supernatural tone that I am usually drawn to. The Anchor tells the tale of a colossal outcast who wanted refuge in the ruins of an ancient monastery and offered in return the one thing he had to give: his fists. Soon, he was transformed into an immortal warrior monk who stands gates of Hell itself to keep our world free from its invading armies. Later, he is mysteriously tricked into centuries of deep sleep, but is awoken to fight the creatures that escaped Hell while he slept.

Now the imagery is widely compared to The Goon or Hellboy, but I think Churilla has his own sort of style. He's more cartoonish than Mignola or Powell and it does a balancing act between cartoon so you can laugh at the funny moments, but doesn't take you out of the more serious, intense or violent ones. It's beautifully drawn and colored and strong composition.

I love how he is introduced to humanity, but he's so mysterious, I can't wait to read what happens next. Anchor or Clem has he is soon nicknamed (after St. Clement, whose symbol is, you guessed it: an anchor). Like I mentioned previously, some comparisons will be made between this and Hellboy. Well, let me put this way: Hellboy works for the United States government, while Clem here, answers to only God. Also, any human characteristics that HB has such as doubt, Anchor seems to be void of. He is a Divine punching machine and does a damn good job of it.

So, bottom line, give this a try. If you're into the more supernatural titles out there, this is definitely for you. It's a strong debut that doesn't let up and is a perfect addition to BOOM!'s already impressive character roster. It's poetic, intense and just fun. The Anchor has found a place in my pull box.

The Incredibles: Family Matters #1

The Incredibles: Family Matters #1
Written by Mark Waid
Art by Marcio Takara
Colors by Andrew Dalhouse; Letters by Jose Macasocal, Jr.
Covers by Michael Avon Oeming and Nick Filardi
Published by Boom! Kids

Modern master scribe Mark Waid takes the reigns of Disney and Pixar's hit The Incredibles and flawlessly translates it to the comic book page. The family's all here: Mr. & Mrs. Incredible, Violet, Dash, and even little Jack Jack (whose powers we still aren't quite sure of). Fans of the film and characters (and honestly, who isn't?) will hopefully enjoy his book as much as I did. The book doesn't give a time frame on how long ago the events in the movie took place from here, but the reader can assume it was probably either a few weeks to a few months since none of the characters show any sign of aging or slowing down. They make no mention of the adventure in the movie because the family is a superhero family: another day, another bad guy to beat. They seem well adjusted.

Debuting almost 5 years ago, the Parr family, a.k.a. the Incredibles, are still a household name. I can't even tell you how many times I've seen this movie, and yet I've discovered something new with every viewing. It was a layered cinematic achievement in animation that practically begged to be made into a comic book. Now I'm all for comics being in kids' hands -- and what kid would turn down a comic about a movie they love? This has been a long time coming, too. I remember when the movie came out, another comic company was planning on releasing the book, but then that feel through. All this time later, it was worth the wait.

Waid does not simply continue the story, but expands it. He opens their world a bit wider for the reader to explore. There are even nods to other Disney/Pixar characters (Dash and the new neighbor kid are seemingly playing "cowboy and space ranger"). Waid has worked on countless superhero teams before (JLA, the Legion of Super-Heroes, the Fantastic Four), yet he maintains these characters with their respective, unique voices and doesn't suddenly make Mr. Incredible sound like Superman or anything like that. The art is pretty stellar as well, never over-rendered or outrageous. The coloring is bright and simply striking.

Only the first issue of a 4-part miniseries, it ends with Mr. Incredible revealing to Frozone a secret that he has been keeping from his family. Waid has promised new characters and villains and, if Pixar would allow it, Waid wants to explore Mr. and Mrs. Incredible's past adventures, and that to me sounds like a worthy read. Rest assured, Incredi-fans, your favorite spandex-clad family is in good hands with The Incredibles: Family Matters.

Warhammer: Condemned by Fire (5-issue trade)

Warhammer: Condemned by Fire (trade)
Written by Dan Abnett and Ian Edginton
Art by Rashan Ekedal, Chad Hardin, and Anthony Williams
Colors by Fellipe Martin, Veronica Gandini, Lisa LuBera and Chris Summers
Published by Boom! Studios


This trade offered by BOOM! Studios has a little bit of everything. It's part Punisher, part Army of Darkness, and sprinkled with bits of Lord of the Rings. The people over at BOOM! Studios really put out the books that scratch my bored-of-spandex itch. This collection of issues has something for the hardcore Warhammer fan, or the hardcore fantasy reader. Though the latter may not get all the references, they will still get the gist. BOOM! has taken good care of their Warhammer franchise, both the 40k as well as the fantasy title, which is where this stories in this trade take place.

Our protagonist is Magnus Gault, a Witch Hunter and Templar of Sigmar who is on a quest to hunt down a heretic, Szymon Magister, across a fantastic and gothic landscape. Gault eventually finds Magister in a light-forsaken town of decay where the citizens have become rotten zombie-like creatures. Gault wastes no time in decimating the rotting townspeople and burns their town to cinder. And just as soon as he rides in, he keeps moving on to find the source of the evil that contaminates the land. His trek takes him to faraway lands and still he finds decay and rotting animals with no clue on why this is happening. Along the way, he is ambushed by creatures known as warhounds. During the skirmish his horse Asche is wounded and Gault puts her out of her misery. After setting the body on fire so she is not used as carrion for the beasts around, he continues on foot well into the night and finds himself in the town of Totenburg. There is he is greeted by what he thinks are humans, however he is quick to find out they are servants of the God of Stagination, Nergle.

Unlike in the previous town, he is succumbed and taken prisoner and placed with the other townsfolk that are used as sacrifices for Nergle. Among the prisoners is Franz Vogel, Greatsword of Averland. I would like to think I have read enough fantasy books to know that is supposed to mean something pretty important. Vogel shares his life story, which is a sad tale indeed. Conversing with Vogel more, Gault figures out that the contamination is coming from the spring water. Gault constructs a small explosive and frees them from their prison, then quickly goes to the armory and retrieves his weapons. Side by side with Vogel, the two kill a plethora of the undead townspeople and like before, Gault burns the city down.

Both Vogel and Gault venture on together to find the source of the taint and they finally find it. I won't reveal the giveaway, but yes, another battle occurs and all ends well. The art is pretty good, though in the fourth issue seems a little off and not as put-together as the previous issues. I wish I could recommend this trade to the casual comic reader, however the dialogue is hard to chew at times. I understand it is taking place in a fantasy realm, but those who aren't fluent in Shakespearean style talk may have a hard time understanding it. I DO want to recommend it for the fantasy readers out there who are used to the likes of Robert Jordan, Terry Brooks, and R. A. Salvatore and probably can get through that sort of speaking. The other complaint I have is actually an issue I have for all of these sorts of books. I think it would be helpful for the non-hardcore fans to have an index or glossary of sorts in the back so they can have somewhat of a clue on what's what and who's who. Also, I hate to nitpick, but there needed to be a finer tuned editing job. There were a few typos here and there, such as "looses" when it should have been "loses".

I'm a huge fan of fantasy books, and BOOM! is coming out with the better titles that I have seen on the market. Here's hoping they continue their streak of great stories and great use of the Warhammer name.