Catching Up Big Time. Batman, Saga, etc...

Saga #7 
Written by Brian K. Vaughan 
Art by Fiona Staples 
Lettering by Fonografiks 
Published by Image Comics 
Review by Lan Pitts 
'Rama Rating: 10 out of 10

After a month-and-a-half break, the creative duo of Saga brings it back and not a moment too soon as I was suffering from heavy withdrawals. If you've been missing out, there's no worry as you're brought up to speed in the first couple of pages with the backstory of the war between Alana and Marko's races.

When we left off, we had just been introduced to Marko's parents and needless to say the union between the main characters is more than frowned upon. Despite the alien worlds, the relationships and correlation among the characters is incredibly human. It's only seven issues into the series, and if feels as if I've known these people for years. That is Vaughan's magic at work. Though this issue concentrates on establishing Marko's parents' relationship (if you can call it that) with Alana, it also touches on the subplots of The Will in mourning from The Stalk's death and Prince Robot still trying to capture our heroes. It also adds dramatic tension to the story with Marko's father, Barr, who has a secret revealed at the end of the issue, making if very difficult to have to wait until next month.

While the pissed-off mother-in-law is a slight trope, Klara definitely has her reasons to be angry at her son for marrying someone who is involved with a bloodfeud with her race. Barr comes across as more level-headed, but with his secret revealed to Alana, it's understandable why he would want to make peace. Once again, Fiona Staples delivers compelling art that could tell the story all by itself. Staples puts emotion into her art and that's obvious here.

The use of facial expressions are spot-on and riveting. How she captures all the emotions of the initial encounter between Alana, Barr, and Klara should be commended. She breathes life into these otherwise 2-dimensional characters, and makes them seem so animated and real. Her flair for alien design is in full front and it's plain out ballsy at one point.

Saga is a rare kind of book these days with rich, imaginative worlds and solid character development. The pacing hasn't let up and yet there is still so much left to explore in this universe. Here's hoping there isn't another delay in the near future. My sanity almost depends on it.

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Batman #14 
Written by Scott Snyder and James Tynion IV 
Art by Greg Capullo, Jonathan Glapion, Jock, Dave Baron, and FCO Plascencia 
Lettering by Richard Starkings, Jimmy Betancourt, and Sal Cipriano 
Published by DC Comics 
Review by Lan Pitts 
'Rama Rating: 9 out of 10

This issue is heavy, and primarily shows two things: Scott Snyder's Joker is a force of chaos (if you didn't know already), and things are about to get so much worse. This issue basically acts as a set up for things to come, but we see more of the famed Batman and Joker dynamic, as well as a hint of Joker's plans in action with the back up by Snyder and James Tynion IV.

Snyder has been building up to this moment for the great Joker story of his career, and if this issue is any indication of what is to come, it could be his opus. The issue is non-stop chaos with the Joker having laid out his dominoes and now watching each one fall and crash into another setting up a chain of events that really tries Bruce as a person and hero. We find out Alfred's fate and it's not pretty. Bruce almost goes into shutting down so he can operate solely as Batman to get the job done and his father figure back from the clutches of his arch-nemesis. Joker is the boogeyman of the DC universe and in the hands of Snyder, he's molded into a walking nightmare.

The banter between Joker and Batman is something to behold and Joker seems to be the one that actually "gets" their relationship. There's a nice nod to Dark Knight Returns with Joker greeting Batman as "darling", but it also evokes Joker's Peter Pan analogue from the previous issue. The events of the issue make this a real page-turner and the pacing works great, even if a little verbose at times. The lettering on Joker is great, too, giving him a sort of cackle even when he talks normally.

What can be said about Greg Capullo, Jonathan Glapion, and FCO that hasn't already been said? Here they're just as dynamite and visceral as ever, with great detail going into every panel. Near the end, things get a little too cluttered with Batman and Joker's face off, but nothing that warrants more than a half shrug and you move on to the next page. The close ups of Joker are disturbing as ever. You can see the madness in the eyes and his body language. How Capullo uses Joker's posturing tells the whole story in a few panels: he is a sick, sick puppy. Even if you're a rare example of nerdom and have no previous experience with the Joker and his madness, you get the idea loud and clear.

Team Batman is setting up a DC event here and the first steps always hit the hardest. With Batman #14 there's a sure sign that what lies ahead might be Bruce's hardest and most dangerous fight since he donned the cowl. Joker has never been this complicated, and possibly psychotic. Snyder definitely has something to prove with handling the first Joker story of the new DCU, but if this is where things start, this'll join the ranks of some of the great Bat stories ever written.

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Shadowman #1 (Published by Valiant Comics; Review by Lan Pitts; 'Rama Rating: 5 out of 10): Shadowman was one of the old Valiant's top tier books and has an acclaimed team behind the title, yet it balances a fine line between great visuals and cliched moments that we've seen a dozen times elsewhere. The continuation of Jack Boniface being a legacy character is a nice touch; he's younger, not a jazz musician, but still a bright (no pun intended) young man trying to find himself. Justin Jordan handles the mythos of the character well enough, but it's weighed down by a lot of exposition and a choppy ending. Patrick Zircher and Brian Reber elevate the dialogue with some heavy gore and a great battle scene; definitely the stars of the show. There's enough here for me to take a second look, but it really has to start picking up from here.

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My Little Pony: Friendship Is Magic #1 
Written by Katie Cook Art by Andy Price and Heather Breckel 
Lettering by Robbie Robbins
Published by IDW 
Review by Lan Pitts 
'Rama Rating: 9 out of 10

Strange things are ahoof in Ponyville, and your favorite characters from the Hub's My Little Pony: Friendship Is Magic are on the case. The creative team of Katie Cook and Andy Price mesh together perfectly, and the comic adaptation captures all the wonder and fun of the series that doesn't stray too far.

Creator Katie Cook has captured fans' attentions with her webcomic Gronk, as well her famed "mini-paintings" and her unique, cartoonish style. Here though, she takes up the writer's reins for the most part (she does have her own short story at the end of the issue) and nails the world of Esquestria with a fine hammer. Her sense of humor plays well into this world. Not really having any laughing out loud moments, but did make me smile. Each pony has their distinctive voice, and Cook is pitch perfect with each one. The story itself plays like an Invasion of the Body Snatchers homage, and even takes a little continuity from the show (they mention the royal wedding of Shining Armor and Princess Cadance) as an old enemy reemerges.

It's difficult not to hear the ponies' voices from the show as you dive in reading. Cook certainly has a handle of each one's characteristics and nothing sounds off or different from what you'd expect. Near the end, it begins to get a little too wordy and artist Andy Price's pages seem to get cluttered with word balloons. Nothing too horrible, but definitely something to take down a notch further down the road. Speaking of Price, he excels here and compliments Cook's words magnificently.

For what is deemed a comic just for kids, there is a lot of detail into every page. Even the backgrounds look very well put together and if you look carefully, you can see Price and his wife, along with Cook in the midst of Ponyville Square. You have to appreciate the expressions going on here; a true sign of a highly skilled cartoonist. Heather Breckel's colors are impressive to say the least. Each page is just bright and makes the book all that much enjoyable. Price and Breckel's styles work together well here and neither overshadows the other.

The biggest fear adult fans are probably having is whether or not they'll "get" it. Is this geared towards them or the younger audiences? Simply put: both. Much like the nature of the show, it has comic sensibilities for the young and young at heart. Yes, there are mentions to other pop culture staples in here, but doesn't go overboard with them. Cook has made this first issue accessible to all sorts of readers. It's fun, magical, and captures your imagination. While I do think non-fans of the series would be a tad confused on who's who, fans of the show will love this to pieces, and with good reason.

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Courtney Crumrin #7 (Published by Oni Press; Review by Lan Pitts; 'Rama Rating: 8 out of 10): With Courtney and Calperina on the run from the Coven, things are looking pretty dim for them, especially having Courtney's uncle Aloysius' true colors apparently revealed. The tension is definitely building for a head-on collision at some point, but things take an interesting turn here. Ted Naifeh has always had a good eye for design for his creatures, and this issue is a primary example of the things rattling in his brain. Where colorist Warren Wucinich usually brought color and brightness to this series thus far, here, there's nothing really go on. The issue takes place at night and it's understandable to use darker colors, but it just feels overdone here and some character details are lost.

Saga #1 review. And it's THAT good.

Saga #1 Written by Brian K. Vaughan Art by Fiona Staples Lettering by Fonografiks Published by Image Comics Robot Rating: 10 out of 10 It's hard to not just revel in all the awesome that is Saga. As a contemporary sci-fi epic, it is truly set apart from anything else out there in tone and appearance. It's also like nothing else out there because it's not everyday, well these days, that Brian K. Vaughan puts something out. As it's being heralded as Vaughan's return to comics, there's already a certain level of hype to it and I'm here to tell you it lives up to any and all expectations. Trying to explain the layered story without going on and on about it, can be summed up as simple as "Romeo and Juliet in space". But even that doesn't even scratch the surface of the drama, the intensity of war, and political intrigue that gives the book its story. We're introduced to all the plot points, but nothing ever gets complicated or too tangled that we can't comprehend. It's all presented to us in a manner that isn't weighed down and easy to dive into. Vaughan's talent of establishing an emotional connection between characters and reader is in full swing here as even in the first handful of pages, you're already wanting our protagonists, Alana and Marko, to make it through all the hell that they're facing. It reminds me of A New Hope where you're thrown in this huge setting, but you're already rooting for the good guys and feel for them. Even though Marko's horns and Alana's wings set them apart from humanity, their struggle is relatable and easy to grasp onto. Their dialog and scenes together are sharp and poignant. It's nothing we haven't seen before, but doesn't wander into meaningless banter. The very basics of the story itself could easily have been told in a more realistic setting, but the sci-fi environment adds a certain level of majesty to it. Now with Vaughan's character development added to the beautiful vision that come from Fiona Staples, it's just jaw-dropping. The detail she gives the characters and their setting is inspiring on a Jim Steranko level. Everything has a sketchy feel to it, but not over-rendered and definitely has a Phil Noto-esque look in some of the composition, but definitely her own style and certainly left her impression here. I've been a fan of her work for years now and while her name was mentioned several times as a top talent missing from DC's relaunch, I would rather see her bring her talents here than to anything offered from the big two. You can see that her style has evolved to something nobody could have expected for it to go. Even her hand-lettering for certain bits of dialog adds that bit of Staples' vision of the characters matches seamlessly with the dialog, which in turn adds to the emotion of the story and gives us visual storytelling at its finest. With 44 pages and no ads and $2.99 pricetag, it's more than a steal; it's almost a crime if you don't pick it up. 2012 is almost a quarter done, but I'm certain that Saga #1 has already established itself as one of the best comics to have come out thus far. I predict this will rocket Staples to the top of the art scene, and usher in new readers for those who haven't been introduced to Vaughan's work already.

Invincible #89 review

Invincible is one of those books that are my go-to for recommending to new readers that want to get into comics. It's the perfect book for that. While I might have skipped an issue here and there, I think this one needs to be added again to my pullbox soon enough.

Invincible #89 Written by Robert Kirkman Art by Ryan Ottley, Cliff Rathburn, and John Rauch Lettering by Rus Wooton Published by Image Comics Review by Lan Pitts Robot Rating: 8 out of 10 I really need to get back into Invincible. I've always viewed this book as the best parts of Superman and the best parts of Spider-Man coming together to make something pretty amazing. I check in every now and then, but even with me out of the loop, Kirkman still can layout a comprehensive story that mostly anybody could follow along. I have no idea how Mark got infected with some sort of virus, but you get the idea it's serious and actually imposes a threat. He is in the care of a team of Viltrumites, and is soon aided by newly-made ally, Dinosaurus. Apparently in my reading absence, Mark established something called Invincible, Inc. It's briefly mentioned but the gist is that you pay for Invincible's protection and services. Kind of like a super-powered bodyguard and pest control, more than the actual police department. However, since he's in space it seems the business is on the verge of collapsing and Bulletproof dons Mark's costume as Invincible for a client in his absence. The last four panels give a pretty good summary of the setup for the things to come. This is the book where Kirkman still shines. This is a comic book that isn't afraid to be a comic book. Kirkman's brand of humor, edged with some dramatic flare he continues his tradition at being a great storyteller that's not bogged down by minuet details and captures what comics can do. He manages to concentrate on a few central characters, but Invincible's universe still seems large. Only a handful of characters actually have dialog in this issue, but the pacing keeps things along and it's never dull or unnecessary. The fact you have somebody besides Mark stepping into the Invincible costume is a milestone, but doesn't take itself too seriously or make a big deal about it. Bulletproof understands that Invincible has a job to do and he'll step in in the mean time. Ryan Ottley's still has that trademark modern day style that hearkens back to a simpler time in comics. Nothing is over rendered and everything comes out nice and polished. The layouts are solid and easy to comprehend. Though I'm curious on when Even became a lot more curvier. She looks great with them. I'm not too familiar with Cliff Rathburn's inking, though. He does a great job of fleshing out the details, without going crazy. Just adds more subtle layers to already great art. John Rauch on colors though? Man, this is just killer. I've been a big fan of his work for a long while, and his skills are in full effect here, without taking anything away from Ottley or Rathburn. It's layered accordingly, adding that extra pinch of oomph to the pages.

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".

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.

Red: Eyes Only

Red: Eyes Only
Written by Cully Hamner
Art by Cully Hamner and Val Staples
Lettering by Wes Abbott
Published by Wildstorm
Review by Lan Pitts

"The only thing that ever let me sleep was that we do it for a greater purpose. And now that's gone." -- Paul Moses aka Bruno Frank

No doubt it's been a good year for Red and its creators. The movie adaptation was a hit at the box office, and garnered a Golden Globe nomination for Best Picture. The comic itself got more attention than it has in a while and reached a new audience. Red: Eyes Only adds another layer to the story as it is the prequel to the Warren Ellis and Cully Hamner original.

It's been a minute since I've read Red, but lucky for me, you can easily enjoy this story without having to scratch your head on what is going on. Paul Moses wants out of the job. His family has practically disowned him and has he carries a sense of loneliness and just doesn't care for the line of work. When Moses tells his employer that he wants out, it's not as simple as he thought. There's a process that slowly takes him out of the circuit, but that only leads to even more disaster and a revelation that Moses was not expecting.

Cully Hamner is taking the reins as writer and artist on this one as Warren Ellis did not participate. The violence is still there and the action is plenty, but there are still good character moments. I like Hamner's wink to giving Paul the alias of Bruno Frank, a nod to Bruce Willis. Hamner has solid panel construction and honestly some of his best work to date. The amount of detail put into every panel looks clean and crisp, the level of attention to the backgrounds is terrific. Even the detail of the Atlanta skyline and downtown Vienna just looks great on the page.

Colorist Val Staples joins in on the action. Usually, you'll find Hamner being colored on by Dave McCaig or Laura Martin. Staples has a more muted and softer pallet than what I'm used to seeing from him. Especially compared to his work on X-Men: First Class Finals. Though the colors do the suit the story, especially the more subtle moments.

Whether you're a new acquaintance or an old fan of Red and possibly weary that Ellis' exclusion will hinder the overall story, don't be. Hamner and company will satisfy your need for action, suspense, and quite a solid read.

a few reviews up in here: Zatanna #7 and Streets of Gotham #17

Streets of Gotham #17
Written by Paul Dini, Fabian Nicieza
Art by Dustin Nguyen, Derek Fridolfs, Szymon Kudranski, John Kalisz, and Nick Filardi
Lettering by Steve Wands
Published by DC Comics

"Selina. It's me."

Those three words tell the whole story.

I guess it's no surprise now that Bruce Wayne is back as Batman (or one of them at least) and trying to re-emerge himself in the daily aspects of being Batman. While I enjoyed Batman, Inc, Paul Dini's Batman is the one I favor the most of the past five years or so. He's collected, intelligent, cool, and always makes time for his favorite feline fatale. He just comes across as more human, than the almost quasi-deity I've seen him elsewhere.

The issue is split in half with Bruce having his moment with Selina and Tommy Elliot, aka Hush, on the loose. While Batman (Bruce) is on the case on who is causing people to sleepwalk via tiny insects. The villain, the Bedbug, is seen briefly, but I'm sure will be back. Elliot, who is still being mistaken for Bruce Wayne, gets taken hostage and his kidnapper retells a story about Bruce's father and Leslie Thompkins. There's quite the flashback on a failed assassination where we see an amazing Alfred scene that invokes his days in RAF. Of course, Elliot's kidnappers are dealt with pretty easily and he actually offers them a position to align themselves with him. Bruce has only been back a few days and already the cards are stacking up against him.

The Ragman story, who I always considered DC's answer to Ghost Rider, isn't all that bad. Fabian Nicieza is one of my all-time favorite comic writers because his style adapts to the situation, especially with this haunting dialogue. There's an interesting use of colors here that give it an anime-like look to it. It might turn some people off, but I think it works for the story.

It's no secret that I love the combination of Dini, Nguyen and Fridolfs. They are what made Detective Comics so incredibly good two years ago with the Heart of Hush arc (which I gave my Silver Medal to at our end of the year awards). It just always seems like when this team is good, they are the epitome of what I want in a Batman story. I have to admit, I've been slacking in picking this book up like I should since I've been overwhelmed by Bat-mania v.2.0. It's good to see Bruce back.

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Zatanna #7
Written by Adam Beechen
Art by Chad Hardin, Wayne Faucher, and John Kalisz
Lettering by Pat Brosseau
Cover by Jesus Saliz
Published by DC Comics

"Hollywood. Where the curtain never comes down."

My love for the character aside, I think Zatanna is one of the best ongoing that DC has to offer these days. The simplest reason for that is that it is self-contained. In the world of the market adapting a trade-ready format, this book is pretty easy to pick up, have a coherent idea of what is going on, and enjoy Zee fighting mystical forces. Ta da!

Now, Paul Dini is DC's, and probably the world's, biggest fan of Zatanna. It's no secret he married a stage magician, and just loves writing her, so I'm always a bit skeptical when there is somebody else's name in the writer credits. Though to Adam Beechen's credit, I've seen his name pop up around a lot more these days, even on a Mystery, Inc episode recently. The scenario is Zatanna is attending magical museum opening where a lot of artifacts from mystics from the DCU will be showcased. Of course, some of the artifacts take a life of their own and Zee is face to face (sort of) with an old rival of her father's. A quick fight with magical fisticuffs and problem resolved, with a little assistance from the spirits of the former bearers of the artifacts, including Zee's father, John Zatara.

The thing that is most notably different from the first few issues of the series is the art team. Stephane Roux and Karl Story made one hell of a team. Roux's sultry version of Zee is one I most harken back to, that and Adam Hughes'. So, not to belittle Chad Hardin here, but something about it hasn't clicked with me. This issue is far better than his previous ones. You can tell his improvements in panel construction and just how Zee moves. She has that grace she was lacking before. I love Faucher's inks. I think him and Hardwin make for a good comic team, but there is still room for improvement. It's not boring by any means. Just the bar was set a bit too high, I suppose. That happens from time to time.

If you're not already picking up Zatanna, I have to ask why not. It's fun storytelling that doesn't require purchasing eight tie-ins and whatnot. While I prefer Dini to Beechen's style, it's still worth a read through if not outright buy.

Angelus #5

Angelus #5
Written by Ron Marz
Art by Stjepan Sejic
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
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"It was always going to end like this, wasn't it?" -- Dani Baptiste, the Angelus

When we last saw Dani, she was caught in a rather awkward situation with her father walking in on her and her galpal, now official girlfriend, Finch. We also witnessed former Angelus warrior Sabine bond her self to the Artifact known as the Shadow Wheel, granting her powers of time manipulation. Sabine is focused on regaining the Angelus and it's going to be quite the showdown between herself and Dani.

Okay, let's get something straight (ironic choice of word) and out of the way here. Dani's and Finch's relationship has been blossoming for several years now. This is not just some sort of realization about their sexuality. No. Ron Marz has crafted their rapport carefully and naturally. So, naturally, two consenting adults who have strong romantic feelings for each other eventually having some sort of sexual experience. Mind you, this is also Top Cow. They have a mature content warning and they mean it. The thing is though, if you really break it down, it's nothing we've seen in comics before, but what really strikes home is the talk Dani has with her father about Finch. It's endearing, sincere, and above all, handles the situation well.

Of course the express of their love doesn't last long as Dani's "friends" show up. Talk about bad timing. Sabine reveals herself as the new wielder of the Shadow Wheel, as well as her intentions to fight Dani for the Angelus force. What Dani didn't see coming is Sabine stealing time away from Finch and making her old. I mean, Gandalf old. Dani easily decapitates her former minions who served Sabine. Now all that is standing is a pissed-off Dani and a power-crazed Sabine. I'm sure the conclusion is going to be out of this world.

I have to give props to Sejic here. I have, at times, criticized his lack of facial features that leave some of his figures cold and stoic. Here though, he breaks through and lets his talent speak for itself. The passionate scene between Dani and Finch comes across as real, well as real as things can be in the comic world. It all just seems very human. The design of Sabine possessing the Shadow Wheel is something to behold as well. It has a sort of Eternity and Starman vibe and is just visually striking.

This mini-series has excelled in showcasing Dani as a stand-alone kind of character and out of Sara Pezzini's shadow. The action is terrific, the dialog is clever and crisp and the art is beyond superb. Anyway we can get this into an ongoing, Top Cow?

The Sixth Gun #3

The Sixth Gun #3
Written by Cullen Bunn
Art by Brian Hurtt
Published by Oni Press
Review by Lan Pitts

"Did he look alive to you?" -- Drake Sinclair

Three issues in and little by little the world of The Sixth Gun is opening up. Oni's supernatural western is quickly becoming one of my must-have books. Not only are we treated to General Hume's origins, but more of the mystery revolving around the guns is revealed along with a secret about Sinclair's past.

Waking from a dream, Becky noticed the mythical (and titular) sixth gun is eerily glowing and she goes to find Sinclair and O'Henry, but stumbles upon them deep in conversation. The two men are discussing incidents from the first issue as well as something to do with Becky. Now the issues goes back and forth with our trio of heroes and General Hume and his demonic cronies. As I previously stated, Hume's origin and his ties to the guns are revealed. I see the guns as sort of Four Horsemen/One Ring of Power-type weapons. Each one possesses a different power and purpose. One summons the dead, another deals out disease and plague, etc. Becky's gun, formerly her father's gun, shows her the past and the future, which explains Hume's success. The only problem about the gun working is that Hume can feel it's presence, a la Darth Vader to Luke, and knows where she is. Slightly problematic. The possibility of Native America mysticism excites me since that is fairly unexplored ground in comicdom.

Bunn has done a good job here of keeping the pace solid, not throwing everything at you at once. There are not that many main characters, yet they all are entwined by the legacy of the guns. It's almost as if the guns were characters themselves, especially Becky's, as it acts like a fortune teller and passes along information. Hume talks to his almost like a lover. That makes sense, especially if you consider somebody like him and his bloodlust. I love the mysterious nature of Sinclair, and the secret he's hiding. Everybody has a distinct voice from the our heroes to the bad guys. It's just really solid storytelling. Brian Hurtt's art doesn't hurt the book either (bad pun intended). His character designs is creative and creepy. The action scenes are well put together and his style still has that flair he had working on Skinwalkers. His colors have a dusty pallet to them, and lots of reds and golds. You have to love how Sinclair stands out being a man in black.

Fans of this book will not want to miss this issue. I can't really recommend this one to people who want to jump on board without saying you have to buy the first two. I still insist that most comics should come with a "previously on..." page. That note aside, it's still a solid read and one of my favorite new titles.

Work throughout the week.

Avengers: The Origin #1
Written by Joe Casey
Art by Phil Noto
Published by Marvel Comics
Review by George Marston and Lan Pitts

Avengers: The Origin is a decent re-telling, that fits nicely into Joe Casey's previous "classic Avengers" mini-series (Earth's Mightiest Heroes 1 & 2, and Iron Man: Enter The Mandarin), offering some alternate views of the classic tale. The biggest complaint is that, at times, it gets a little too verbose for my taste. Lots of word bubbles scattered around. I like the art, but I feel like Noto fails to capture the essence of most of the Avengers. His Hulk looks too civilized, his Thor is too slim, and his Iron Man feels out of proportion. There is a possibility that Noto slimmed Thor to make Hulk look like a viable thread and not the muscle-bound god that Kirby once envisioned. On the other hand, if he wanted to make Hulk more of a threat to Thor, he should've made Hulk bigger instead of making Thor smaller.

Phil Noto's art has improved and isn't as stoic as his earlier works, and how he presented Iron Man and Thor's alter egos just seems less radical. I do like how Casey handled Jan and Hank and does a great job on that front.

The panel construction could have been fixed as well because it felt like there was a lot of things being blocked and cluttered at times. Casey should have just let the art speak for itself at some moments and pull back a bit.

The pacing needs to pick up a bit as well. Though it's intriguing to think how they will amp up the threat. In the original comic, the formation of the Avengers took place over a single issue. Though how much of the pacing issues are to be blamed on turning a single comic into several.

Obviously they're going to add more to the story, but will it be a matter of improving on it or just deviated to the point where it's just ridiculous and completely unbearable? Joe Casey is trustworthy on that end because he's done well with similar concepts in the past.

The update to Rick Jones, making him part of a counter culture group is interesting. It seems like they are revolutionaries...or Young Repbulicans, because that is a lot of fire power.

Overall, it's solid, but it has lots of room to grow by the end of the mini.

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Robert Jordan's New Spring #8 (Published by Dynamite Entertainment; Review by Lan Pitts): Now here's something I thought I'd never see, the finished product of New Spring, which is the prequel to Robert Jordan's famed "Wheel of Time" series, yet here it is. Now I know that Dynamite means business with it's products and won't let the ball drop. This mini series just seems like ancient history to me, it's a shame Jordan can't be around to see it FINALLY in the fan's hands. Some of the art looks like it was done over and there's a sense of inconsistency to it in some places, but other than that, it's pretty standard stuff. Chuck Dixon again nails the adaptation of the book and I can't wait to see what else he has in store for us WoT fans. Now, I hope Dynamite reprints the rest of this mini because it is that hard to find and a bit pricey. The first issue alone goes for around $25 online.

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Vengeance of the Moon Knight #7 (Published by Marvel Comics; Review by Lan Pitts): Tan Eng Haut is not Jerome Opena. And I mean that in every way possibly, besides the fact that they have both worked on this title. Where Opena had more of an action movie-oriented style, Tan has a more grounded and dare I say vanilla style. Perhaps maybe three panels out of the entire issue stood out. What a shame, too. Gregg Hurwitz does a great job again of spinning MK, as a street avenger, but the story is bogged down by a Deadpool appearance. I'm not a hater without merit, but it seems more like a product placement with DP in it than an actual first part of an arc. Just annoys because the book has had a good streak so far, but the art just took me out of the story. Hopefully, Tan will adjust his methods and not be so stiff.

Doctor Voodoo #4

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


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

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

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

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

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.

Spider-Man Noir: Eyes without a Face #2

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

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

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

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

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

The Unwritten #8 review and DC Holiday Special!

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

"Find your torch, and your wantd. It's up to us, Peter Price. If you're brave enough....we're going to rescue him."

While this issue doesn't resolve the cliffhanger from the last one, it does add a bit of depth to the story and shed some light on Governor Claude Chadron and his family. The action and fantasy level is grounded a bit, but Carey once again provides excellent story-telling that adds a little something extra to this already amazing cast of characters. Even though I was a bit agitated thatwe don't find out what happens to Tommy and Savoy or Chadron himself, the issue plays out like a prelude and has some fantastic character work here.

Tom himself only appears in a few panels since it retells events in the past issue when he arrives at the prison and explains why the Governor was so cold to him. He's not a bad guy or the cliche corrupted politician, it's just the Tommy Taylor books have affected his children (his daughter especially) in a negative way and Carey gives us a taste of the bad side of things in which otherwise had been pleasant family bonding with those stories. I really have to hand it to Carey for making me actually care about an otherwise background character. It expands to the suspense and does so without having to add anything supernatural.

These next 30 days to wait for the next installment are going to be painful.

I also have to say I love what Peter Gross did with the art here. He could have taken the easy (read: lazy) way and just swiped what he did in earlier issues, but he doesn't He rearranged panels, added new angles which just build on the experience of reading this title. The art is strong and meshed with Chuckry and McGee's use of coloring to add the proper mood and tone, it's just all the more amazing.

I can't wait to return to the main story, but The Unwritten #8 continues to build more and more in what is becoming my favorite book of the year. If you haven't experienced this book by now, I could not recommend it enough. However, be warned you cannot just simply pick up this book now if you haven't read the previous seven issues. It would be sort of like reading "Deathly Hallows" without reading books 1-6, and you wouldn't want that sort of confusion.




DC Holiday Special '09
Written by Various
Art by Various
Published by DC Comics
Review by Amanda McDonald and Lan Pitts

In a household where the collection of Batgirl figures now includes a variety of Santas and pine-scented candles, and the Nativity scene has one of Joker's Henchman riding a camel, Lan and Amanda take some time to review the DC Holiday Special for 2009.

Batman in Silent Knight: This story is. . . silent! Jay Faerber provides a wordless script for this first story of the book. What better way to start a collection of comic book stories than with a true example of sequential art? Peter Nguyen's art and colors nail this one, and set a great tone for the book.

Superman in Man of Snow: On his way to pick up a couple tins of caramel corn for Ma Kent, Superman encounters a Golem made of snow in this heart-warming story. Whether you celebrate Christmas, Hanukkah, or any other winter holiday-- this story exemplifies how this season lifts our spirits.

Flash in the Flash Before Christmas: Now is this a great story. The Flash, Wally West, has a lot on his Christmas to-do list, and things don't always go according to plan for the Fastest Man Alive. However, all's well that ends well for the West clan for "the best Christmas ever". Creative panel construction and just an all-around feel good tale in this one. For a chuckle, notice who Wally delivers mail to.

Beast Boy & Doom Patrol in The Christmas of Doom: Sterling Gates (writer), Jonboy Meyers (art), and Chuck Pires (colors) team up to tell the story of why Beast Boy hates Christmas, and how he ends up getting the ultimate Christmas gift. A bit of a tear-jerker, but in an "awwww, how sweet" sort of way that so many classic holiday tales end.

Superboy in Party Gift: At a mystery party where rogues celebrate the Christmas spirit, nobody knows who is the gracious host, until Bizarro Superboy appears and confesses to be the one who had the idea. One thing that annoys me in comics today is the Bizarro syntax, especially in large doses. While a clever story, I only sort of "get it". I love Rodney Buchemi's pencils and character design. I just wonder how Superboy knew where to send all those invites.

Martian Manhunter in Reason for the Season: As a member of the Middleton City Homicide Squad, Detective "Jones" uses his skills to impress his coworkers, but finds himself missing home. The red of the season reminds him of the dunes of Mars, the green reminds him of his Martian race, even though he explains why the holiday messages were unnecessary due to their mind set. While the reader finds themselves idealizing that life, Jones comes around to the human way and finds himself surrounded by new friends from the force celebrating the season.

Angel & the Ape: In this short 5-panel story by Andrew Pepoy and Paul Mounts starring Angel O'Day and Sam Simeon, I love how Pepoy captured the Bob Oksner style of the characters. When asked by Angel to make a donation, a snotty businessman rejects her offer, but is intimidated by Sam into making a generable donation. Now that's teamwork.

Sgt. Rock in A Peace on Earth: Billy Tucci. Sgt. Rock. Christmas. 'Nuff said. The admiration Tucci has for Rock has been showcased before, but in this Christmas tale, there's just a little something extra. I love the use of grayscale and that the story of two soldiers from opposite sides can share a Christmas and exchange cognac and cigarettes. Peace on Earth, indeed.

Enemy Ace in Stille Nacht: I have limited knowledge and have had just as much exposure to Enemy Ace, but what I got out of this story, really stirred me. Howard Chaykin's art is astonishing and Edgar Delgado's coloring skills are superb. The best thing about this story is that it could have been anybody, and the message is the same.

B'wana Beast in The Hunt for Christmas: Nothing says Christmas like B'wana Beast. He stops a group of poachers and brings presents to a small village. He even wears a Santa hat. While the imagery is just utterly ridiculous, it strikes the right chord and is downright enjoyable.

Captain Marvel in Home for Christmas: In a one page short, Captain Marvel and Ibac face off, destroying a homeless shelter in the process. Agreeing to break from fighting, they rebuild the shelter and the relationship between them changes, right in line with the holiday spirit.

Deadman in Unbearable Loss: Suicidal over her son's actions, Scarecrow's mother encounters Deadman at precisely the right time in her life. Encouraging her to 'choose life,' not only does she embrace her own life, she changes the life of someone in great need.

Red Tornado in A Night Before Christmas Story: Picture this-- several last minute shoppers and a couple of apathetic store employees are trapped in a toy store with a Red Tornado in seek of the season's "it" toy for his daughter. Hrm. . . who do you think walks out of the store with a wrapped "Ecko Gecko"? The end of this story is a bit saccharine. But what the heck. . . that's par for the course this time of year.

Huntress in Naughty or Nice: J. Torres and Hubert Khan Michael turn out a great Huntress story that displays she can kick ass with the best of them. It's short, sweet, to the point and looks great.

Ragman in Seeing the Light: Wow, a Ragman story. You don't come across these much. I love how this goes back and forth between the story of the Maccabees and Ragman handing out some street justice. Rob Levin really delivered on the script and Brian Ching just nailed the art.

Adam Strange in Auld Lang Syne: Man, do I love me some Adam Strange. Shannon Eric Denton really knows how to tell a story and it is just solid. Now it's not really a Christmas story or anything like that, but since this is the last story in issue, I guess it's fitting it's sort of New Years related.

Yes, the Holiday Special is pricier than average books-- but it is the perfect stocking stuffer for the comic lover on your list. Errr. . . or for yourself. Or you know, there's nothing wrong with enjoying it before gifting it. Happy Holidays, 'Rama Readers!

Green Lantern #48 review

Green Lantern #48
Written by Geoff Johns
Art by Doug Mahnke
Inks by Christian Alamy, Doug Mahnke and Tom Nguyen
Colors by Randy Mayor with Gabe Eltaeb
Letters by Rob Leigh
Published by DC Comics
Review by Lan Pitts

"We will find it, Green Lantern. And we will give everything we have to destroy it." -- Ganthet

Note: The events in this issue, occur before Blackest Night #6 and acts as sort of the beginning to Blackest Night #5. Savvy?

Since most of the action has been diverted to the plot in "Blackest Night", this issue is more of a set up and character establishing if anything else. Not to say it's boring or anything near that, just sort of takes a breather. Green Lantern #48 focuses on the poster boys/girls of each Corps: Hal Jordan (Green), Carol Ferris (Star Sapphire), Saint-Walker (Blue), Sinestro (Yellow), Larfleeze (Orange), Indigo-1 (Indigo...duh), and Atrocitus (Red). I love how each of these characters have their own distinct voice and really get a chance to be showcased. There is a hint of Atrocitus' background, and we realize just how of a tortured soul he is.

Also, I'm finding myself liking Larfleeze more and more. He blurs the line between amusing and horrifying quite well. You have to admit, it's just perfect for him to ask for his Corps' own Guardian. Like I mentioned, there is really great character development going on here.

Of course the inevitable happened and the Corps leaders forge an uneasy alliance for the time being to destroy the Black Lanterns and their source. Johns has really given us a fantastic story thus far regarding anything Green Lantern, and I'm sure the finale of this crossover will not disappoint. Doug Mahnke's art is a perfect match for this sort of story. It's dynamic and an excellent mix of superhero imagery to the subtle things like Sinesto's smug face. He's accompanied by two other inkers, and of course himself on inking duties as well, and you can see minor details to each character and how they differentiate.

You have to admire Johns for basically doing a balancing act between to huge stories. One, being the dead rising all over in the DC Universe and becoming Black Lanterns, and the other is the beginning to the War of Light. If you've been reading just "Blackest Night", I think you might want to pick this one for a better understanding as it provides a level of background going into Blackest Night #5 that I'm sure would help you enjoy the full scope of things.

DC Halloween Special. ooooh spoooooooky!

DC's Halloween Special '09
Written by Various
Art by Various
Published by DC Comics
Review by Lan Pitts and Amanda McDonald

This is another one of DC's sometimes spooky takes on Halloween. It's billed as containing "13 All-New Tales of Terror," and that's a bit of an understatement. Last year's was okay at best, but this year seems to have a bit more treats than tricks. There is a major assortment of talent going on here and a who's who from Billy Tucci to Art Baltazar and Franco Aureliani. So, let's see what this year's special has in store.

This year, the special is bookended by a Bizarro story by Jake Black (Ender's Game), and while it's difficult to understand the over use of the Bizarro language, I got the gist of the situation. Bizarro wants to make sure that everybody has a happy Halloween and at the end, we see DC editorial as Bizarro World citizens.

In the next story we see Guy Gardner trying to plan a massive Halloween party on Oa and inviting his fellow Corps members as well as his girlfriend, Ice. Though Ice originally tells Guy she has plans with Fire later, she surprises him at the party with an interesting choice for a costume. It's a fluff piece that really didn't need Guy's backstory about his abusive father. "Halloween the Guy Way" is written by Adam Schlagman (Strange Adventures, Supergirl) and the dialogue seems like it was written by a sixteen year old who trolls fanfic forums. For example, Guy telling Kyle that there will be a costume contest and how it'll be like a "Cowboy's cheerleader competition." Kyle's response? "Guy, I already have a woman." As a Kyle fan, those words just don't seem right coming out of his mouth. The art is done by Mark Bagley and I have to give him props for remembering that Kyle is part Mexican and is shown as much. I also loved the Halloween party splash page where you might spot Sorcerer Supreme and wall-crawler wannabes.

Duncan Rouleau (Ben 10, X-Men Unlimited) gives us a Creeper page in which I'm really not sure what is going on. I dig the art style though.

One of the longer stories in the issue is "Seeing is Believing," an Outsiders piece with the distinct art of Kelley Jones and craftily written by Michael Siglain. Filling in for Batman, the Outsiders are sent to disrupt a cult ceremony performed every three years to summon their queen from the dead. Having never read any Outsiders, I really enjoyed this story. The team dynamics are intriguing and they do a great job kicking ass. I may have to seek out some books at my shop. After the Outsiders depart, Deborah Dancer resurrects Andrew Bennett, from I. . . Vampire-- another series I wasn't familiar with. Thanks DC Halloween Special, now I have to go buy more books!

Leave it to Art Baltazar and Franco to write a story that makes me chuckle aloud. While I'm biased, and would have preferred to see this story in Tiny Titan's style (imagine-- a ballroom of grown ups in that style!), Sergio Carrera does a nice job keeping the panels simple enough as not to distract from the heavy dialogue of the first couple pages. Having a charity ball at Wayne Manor, Bruce is upset that Alfred has allowed Dick to go out trick or treating. Killer Moth crashes the party, but makes an ill-fated decision to answer the door for a couple of trick or treaters. Critiquing their costume choices, he gets quite a surprise.

Derek Fridolfs comes out from behind of the inker's table, well sort of, to write Robin (Damian Wayne) in his first solo adventure. Fridolfs is teamed with his partner-in-art, Dustin Nguyen, and of course the art looks dynamite. After being bored, Robin goes after a new Gotham villain, Sugar Tooth, a former dentist who went mad after the Joker killed his two daughters. Fridolfs gets the right feel for Damian and the narration is spot-on. This is probably one of the stronger stories in this collection.
After we see Damian, next is another Robin story. This time, it's Tim Drake aka Red Robin. I think the art would have looked better as a black and white story because I wasn't feeling Michael Atiyeh's colors on Matt Triano's heavy-lined, chunky style. Ariel Thomas really dives deep into Drake's psyche, but it borderlines depressing. I do love the Dia de Muertos setting, though.

We are then treated to a short and sweet Ravager page. Great team up with Amy Wolfram and the art team of Pow Rodrix and Marlo Alquiza. Ravager gives a little a "peek" show to some trick-or-treaters that I don't think they were expecting.

After that, we get the best story in the assortment. Kid Flash (Bart Allen) goes up against Mirror Master that is a sort of a take on the old Bloody Mary myth. Very creepy. It's solid through and through with probably the scariest twist in the whole book. Joe Harris (Creepy) has a good feel for these characters as well as what Halloween is all about. Andrei Bressan and Marcelo Maiolo make a terrifyingly good team that really delivers.

Another one page by Amy Wolfram (though on the page itself, her name is misspelled as "Wolfman"), is a fun quick story that breaks up the book nicely. In "Never Too Old," we see Beast Boy experience that point that has pained us all-- being told he is too old for trick or treating.

Hanging out with her girlfriends and watching a spooky TV special on "The Forest Lady," Wonder Woman feels disturbed (though the ladies tease her that she's scared), and decides to head home. As she exits, she sees Wonder Girl, Miss Martian, and Aquagirl fly off to see if they can find out if the Forest Lady is real. Following them, she's creeped out by the forest and talking to herself. As she hears noises from a cave, she spies the girls. What she doesn't see, nor do they, is what we get to see in the last panel. Quite creepy, indeed. Ulises Arreola's colors are quite a delightful treat to balance the trick in this story.

Billy Tucci writes and provides the art for the next story that has a certain charm to it. What we think is another take on yet another Superman and Flash race, but is not what it really appears. It's a nice fluff story that is my second favorite of the issue. I don't consider myself a Flash fan, but both my favorites in this book are Flash-centric. Interesting.

So, if Lois and Clark were to choose Halloween costumes, what do you think they would choose? According to Joshua Williamson in "My Turn to be Scary," they would be Daphne and Fred of Scooby-Doo fame. Working at the Daily Planet's annual Grim Reaper Haunted Office Tour for kids, they encounter a group of spoil-sport hoodlums and decide to take them on a "private" tour. Using his superpowers to both lead the tour and appear as the grim reaper, Supes enjoys his chance to be scary for once. However, is he the only one enjoying scaring everyone? It appears not. . . . This story is a nice blend of fun and fright, leading into the end of the book itself.

The cost for this one is a bit heftier than other books, but for thirteen stories, and relatively few ads it is well worth it. DC's Halloween Special '09 was truly a treat to enjoy. As we sit here with our pumpkins waiting to be carved and a bowl of candy we keep sneaking our favorites from, reading this book was a great way to get into the holiday spirit.

Triple Feature Review: Detective Comics, Billy Batson and Spider-Woman

Detective Comics #857
Written by Greg Rucka
Art by J. H. Williams III and Cully Hamner
Colors by Dave Stewart and Dave McCaig
Published by DC Comics

Well the people over at 'Tec have done it again. While this arc ("Elegy") for the Batwoman ends, it raises several questions in the process, and the Question's arc continues on. This issue really defines Kate and gives her more definition rather than just a female Batman. Rucka has spun a great story here and how it ends is something I didn't see coming, though really should have since the cover is a huge hint and elbow nudge.

So basically, Alice alerts Kate that she has abducted her father and plans on releasing poisonous chemicals over Gotham. Now while the bat-eared hero versus the white-skinned villain distibuting chemicals over a major metropolitan city sounds familiar...it should. However, Williams and colorist Dave Stewart turn something we've seen a myriad of times, into pages that are out of left field and very inventive. One of the main fight scenes between Batwoman and her albino adversary, resembles that of a tarot card, but it is not as confusing at all. I always find myself taking longer to read this title because I just linger at the pages making sure I catch everything, and it sometimes is a lot to take in.

Now, on to the second feature of this issue: the Question still on the trail for the slave traffickers. Now I know that Cully Hamner is not J. H. Williams, and the best part is, he's not trying to be. I have to admit though, Hamner has really stepped up his game with this issue. With only eight pages of story there's only so much one can do, but Hamner, aided by new colorist for this feature, Dave McCaig (Adam Strange, Superman: Birthright) really delivers.

This issue of Detective Comics continues the tradition of solid story-telling and creative art styles that well and translates into something wonderful and difficult to put down.



Spider-Woman #1
Written by Brian Michael Bendis
Art by Alex Maleev
Letters by Cory Petit
Published by Marvel Comics

This book has been in the works for sometime now and it's finally here: Spider-Woman #1. The thing is though, the issue isn't really that action-oriented or heavy on the espionage. It reads more like a character study for Jessica Drew with the Bendis standard of way too many inner dialouge caption boxes which I got burnt out on rather quickly. There's some points in the book that you don't even need to read them, because Alex Maleev's artwork captures the turmoil Jessica is feeling with his wild colors and figure composition. I mean, she compares herself to Wolverine on their levels of being screwed up and you can see the anger and frustration in the panels. It's something to behold.

So what we have in this issue, is Jessica Drew being offered a position for SWORD by Abigail Brand for hunting down the remaining Skrull from "Secret Invasion", basically giving Jessica a chance at revenge. I really love Bendis' set up here, and I have to admit, I'm intrigued by the concept and curious about the next issue. My main complaint doesn't come from Bendis or Maleev (who is the selling point, in my opinion), but to Marvel itself. An extra dollar for only six extra pages? We really couldn't get a solid eight like they've been putting in Detective Comics or Streets of Gotham? Really?

I wasn't blown away by anything here, mainly because it was set up and flashbacks, but I'm not going to hold that against Bendis since I know this team up that produced some of my favorite Daredevil stories will deliver eventually. I just wish it wasn't so wordy. 



Billy Batson and the Magic of Shazam #8
Since the team of Art Baltazar and Franco from Tiny Titans took over the book, I find myself making sure it's in my pull box each month. In this installment, Dr. Sivana is running rampant with his own iron giant that is feeding off the life force of Tawky Tawny and Captain Marvel indirectly frees King Kull. After some creative use of the Shazam lightning power and something we learned in Third Grade about creating a magnet, Cap and Mary Marvel take down the foes and free Tawny. Now if you've been missing out of what's been going on, there is a sort of "Previously on Billy Batson" introduction, so it makes it easy to pick up because you've heard the great things about this book, but can't seem to find earlier issues. Byron Vaughns' art style works well for this kid's title, but it's almost too simple that it makes me miss Mike Kunkel's more animated style. Despite that, the book is in great hands and wonderful for any young reader.

Detective Comics # 855

Detective Comics #855
Written by Greg Rucka
Art by J.H. Williams III and Cully Hamner
Colors by Dave Stewart and Laura Martin
Letters by Todd Klein and Jared K. Fletcher
Published by DC Comics

What can I say about this book that hasn't already been said? Greg Rucka and J. H. Williams III have really brought a compelling book with a solid character and great story, accompanied by uncanny art that is not to be missed. Last issue, we had Batwoman (Kate Kane) firing a gun, which Batman would never use. Turns out, it's a pepper gas pellet and what follows is an action sequence that is so beautifully constructed, it's borderline absurd. After THAT is another double-page spread with no dialogue because the art tells the story so well.

Now Batwoman squares off with Alice, the new leader of the Religion of Crime. There's a quip about how Alice didn't get the memo about how Gotham already has a Carrol-themed rogue, though Alice is hardly the Mad Hatter. We know nothing about her (besides being one sick puppy) and I think Rucka may have created Batwoman's Joker equivalent. Now, Williams was pretty creative with panel construction and lay-out in the last issue, but in this one he cranks the meter up to 11. Batwoman gets drugged (by a poisoned razor blade that Alice hid in her mouth) and from there the pages just become so avant-garde, but not too muddled where it becomes confusing.

Meanwhile, Kate's father notices her bio-signs are deadly and goes looking for her. Luckily for Kate, he finds her just in time. Alice and her followers have found them and a gunfight ensues. Kate is still out of commission when Alice approaches her and her father. She doesn't finish them off, instead we see. . . monsters, almost something out of the old Universal movies. If there's one complaint, it's the fact I have to wait another few weeks for the next issue.

Of course right after the Batwoman adventure ends, the Question feature continues. The Question (Renee Montoya) is still looking for a missing girl and along the way thrashes some serious street trash. Now, Cully Hamner's style is a tad grounded from Williams. Though the way I see it, it complements the story. You don't need two artists with Williams' style, Hamner's is a solid break from Batwoman's story. It's only a few pages long, but Renee basically is getting her name out as the new face (or non-face?) of street justice. However, it doesn't end well and the issue ends on another cliffhanger.

I'm sorry to say, but if you're not picking up this book, you are seriously missing out.

Detective Comics # 854

Detective Comics # 854
Writer:Greg Rucka
Art: J.H. Williams III, Cully Hamner (second feature)
Colors: Dave Stewart, Laura Martin (second feature)
Letters: Todd Klein, Jared K. Fletcher (second feature)
Asst. Ed: Harvey Richards
Editor: Michael Siglain
Published by DC

To say this is the best Bat-book I've read in some time, is one hell of an understatement. It starts off pretty typical of a Bat-related title. Though, this time around it's not BatMAN interrogating thugs, but Batwoman, Kate Kane. Right off the bat (pardon the pun) we notice Williams' incredibly stellar art and interesting panel construction. The flow of the story reminds me of something Steranko might have pulled off in his heyday. Batwoman is trying to figure out the new leader for some covens and their religion of crime and during her investigation she runs into the new Batman. They talk shop and she actually corrects him on the number of covens in the city. It made me think she got that information because she was a woman and he couldn't have done that otherwise. Sort of empowering if you think about it.

Next morning, Kate stops for breakfast with a woman (I'm sure by now, you've heard that Kate is a lesbian) who is rather upset with her for being late, among other things. The woman leaves frustrated with Kate and accusing her of tomcatting around and whatnot. The woman also says she should have never gotten involved with some one "so privileged". I think Rucka did a great job of paralleling that with the life of Bruce Wayne. Later, we see Kate at her home. We see her, not just as a civilian, we see her as the real Kate Kane. The Kate who was nearly killed by the Crime Bible. Kate Kane who is trying to balance things between being Batwoman and alternative socialite. The dialogue is just fantastic and incredibly strong. By the end of the issue, it's really difficult for the reader to NOT like Kane. She's living with some sort of father figure, I'm not sure who he is, who acts as her sort of Oracle as well. He even mentions a "Bette". Hrm. Interesting since this could be something to do with my personal Batgirl theories.

I digress.

So, she finally hunts down the covens and in some pretty cool stylized pages too, I might add. One would think this book is called "Ass-Kicking Comics" as opposed to "Detective Comics" because of amount of vigilante justice being thrown around. Eventually, Batwoman is face-to-face with a woman called Alice, the new leader of the cult, and she is down-right creepy looking. Sort of like a Victorian noble and a porcelain doll and in addition has a peculiar vernacular. The story ends with Batwoman pulling out a gun and fires it! Now, I don't think it actually fires bullets, maybe some sort of pellets. Interesting to see somebody with a Bat-mantle using a gun. Love the cliffhanger angle.

Also featured in this book is a second story (entitled "Pipeline") starring the Question, Rene Montoya and I must say it's a nice compliment to Batwoman’s story. It seems we’re going to get less capes and cowls and more street-level style attitude. Cully Hamner (Black Lightning, Blue Beetle) and Laura Martin (Thor, Astonishing X-Men) may not be Williams and Stewart, but they’re deserving of a fair amount of praise for the same reason: the art is captivating yet gritty. This feature shows more of the "detective" side of the book's title. For the first few pages, it's dialogue heavy, but the remaining pages have hardly any words at all, it's mainly Question, as I mentioned earlier, doing some actual detective work and the art tells the story by itself. She's on the look out for a Mexican immigrant's sister who had crossed the border illegally and now has gone missing. Though finding her maybe harder than she had originally intended.

This book is easily worth the $3.99 price tag. My one complaint is that in the Batwoman story, she has an older man as her "Oracle", as is the same deal with the Question. It doesn't take me out of the story, I just would have thought Rucka would have been slightly more careful about not sounding repetitive with dealing with two different characters in the same book. Bottom line though, get it. No question about it. Sorry to end on a pun.