Artifacts #2

Artifacts #2
Written by Ron Marz
Art by Michael Broussard, Rick Basaldua, Joe Weems, Sal Regla, Sunny Gho, and Dulce Brassea
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"And I will find our daughter, and I will kill whoever took her. Because that's what I do." -- Jackie Estacado, the Darkness

To be blunt, Artifacts displays how mega events in comics should be done. With revealing the plot with a solid pace and not dumped in your lap, it becomes easy to access and enjoy without worrying or scratching your head in confusion. Last month's first issue of the thirteen-part series, Ron Marz set up his characters like one would on a chess board, with Artifacts #2, he really gets moving. With Marz having shaped or created most of the characters involved, they all have one solid voice. Nothing seems static or incohesive. The best part? You actually care.

The mystical nature of the Top Cow characters plays second fiddle to the characters themselves. The Angelus, Darkness and Witchblade may be the ultimate embodiment of their realms, but here they are Dani, Jackie and Sara, who all are worried about Hope's safety. Let's not forget about Tom Judge here. The priest who isn't so saintly. Again, it all goes with a natural, progressive flow. You aren't assailed vigorously with characters and meaningless dialog, but rather with moments and purposeful storytelling.

Michael Broussard's pencils and layouts are something to behold. He has a keen eye for detail and angle. For some reason, I hearkened back to how John A. Alonzo shot Chinatown. Every panel contains enough drama, intrigue, and emotion that once you see it, you can't help but pore over it and admire what he's done. Somewhat new on the scene, he's quickly becoming my favorite Sara Pezzini artist. From how he does her eyes, to her hair, just everything seems, for a lack of a better word, right. Sunny Gho has proven time and time again, he can handle Top Cow artists with the more kinetic styles, and his colors over Broussard set the tone perfectly.

Honestly, no offense to the other big events going on in comics, but something like Artifacts needs to come out to show an example of how independent books that are flooded with great talent can pull off an on par show, and at times exceed expectations.

Artifacts #1

Artifacts #1
Written by Ron Marz
Art by Michael Broussard, Rick Basaldua, Sal Regla, and Sunny Gho
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview

"...One of the thirteen. Listen to me. You must know this. Separately each artifact is an immense power. All have bearers, chosen by fate to carry those burdens." -- the Curator

This is it.

For months now, Top Cow has been giving us hints, teasers, and even a #0 issue that came out on Free Comic Book Day this year, and it's all lead to Artifacts #1, and by George, it is glorious.

Much like with most things he does with Top Cow, Ron Marz has made it accessible to new readers without them worrying about who's who and what's what. It's right there, in black in white. Well, not exactly black and white, but you get the gist. There is a character dossier, a two-page origin of the Witchblade (written by Marz and drawn by Marc Silvestri), and so much more. With all of that, you would never feel lost even in the slightest.

The story itself is dramatic and heavy. Then again, when you're dealing the notion of a possible apocalypse, it damn well better be. With a strong opening scene, new readers could grasp who Sara Pezzini is and what she is about. We already have some of the major characters in action: Sara Pezzini, the mysterious Curator, fallen priest Tom Judge, and android assassin Aphrodite IV, as well as a peek of the rest in a wonderful two-page spread displaying all the artifact bearers. All the while Marz's narrative keep steady and never overwhelming. It's a big first issue, but it doesn't feel heavy. It reads wonderfully and is quite effective in conveying the danger and emotion of the Top Cow universe.

The artist on board, Michael Broussard, definitely has a visually striking style. Sort of in the vein of Neal Adams with his cross-hatching and layouts. The inking duo of Basaldua and Regla keep the lines small, thus keeping Broussard's great level of detail intact and brings these characters and events to life.

With the Artifacts event being thirteen issues long, this is the most ambitious event for the Cow to date. I'd like to think such an event like this will make new believers out of fans who have dismissed this publisher as nothing more than soft-core porn. True, while it is more "adult" it's not anymore so than what you're seeing in the Big Two. If you've been curious about getting into Top Cow, I advice you consider this issue.

Iron Man: Noir #1 & Angelus #3

Angelus #3
Written by Ron Marz
Art by Stjepan Sejic
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"See, that's where you're wrong. I don't have any friends...just victims." -- Jackie Estacado, the Darkness

We're half way through the Angelus mini series that explores Dani Baptiste's role as the embodiment of light, and things are picking up down in 'Nawlins when Jackie Estacado shows up with murder on his mind. Then again, he is a hitman, so that's probably nothing out of the ordinary. Now, I love the Witchblade/Angelus/Darkness chemistry, especially since Ron Marz has enhanced each of the titles without it feeling like a crossover. The books complete each other, yet still remain their own separate entity.

Angelus #3 touches on a few things that really showcase Marz's ability to engross you in the characters as well Sejic's art having some subtle moments that he's had problems with in the past, but really nails these exquisitely. Sejic also displayed great skill in color dynamics when Jackie and Dani face off whilst in their supernatural alter-egos. The dichotomy of the Darkness and the Angelus is shown well in the last few pages, really allowing for some gripping panels and great action scenes.

There's the continuation of romance that happens to be between two females, but it isn't heavy-handed and handled like any budding romance. Dani and her girlfriend, Finch, are taking it slow and their moment with Dani's father was the best part of the book because it seemed so real and human. The action scenes are wonderful as I noted, but really take backstage to the character development that is unfolding here.

Angelus continues to deliver on what comics should be like. Though you shouldn't feel discouraged or intimidated from feeling lost since it's the third issue. There is a recap page that breaks it down right as you crack the book open. It's wonderful story-telling without having to rely on shock factors with beautiful art that makes you pore over every panel, so sit back and enjoy a great read.


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Iron Man: Noir #1
Written by Scott Snyder
Pencils by Manuel Garcia
Inks by Lorenzo Ruggerio
Colors by Marta Martinez
Letters by Dave Sharpe
Cover: Mike Fyles
Published by Marvel Comics
Review by Lan Pitts

"No the bottom line is I like adventures, Jarvis, and the rest of the country likes adventures, too. Times are dark. Depression, war on the horizon. People want stories they can escape to." -- Tony Stark

I have to admit, this might be my favorite Iron Man story ever. I also realize that this is the first issue of a mini-series so this reaction may be a bit premature, but I had so much fun with it, mainly because I didn't know what to expect. I've been digging this "Noir" line from Marvel since it debuted, though it's had it's hits and misses, Iron Man: Noir is more like a slam dunk, home run, and touchdown rolled into one. I'm not familiar with any creators involved in the project, but this makes me want to see other work from them.

How Snyder takes Stark and sort of transforms him into an Indiana Jones-with-money-like adventurer is enjoyable and when you think about it, not that far from what you would envision Stark in the 1930's to act like. He's charming, funny, adventurous and of course, has a heart defect. Other characters from the Iron Man universe make an appearance here, including an interesting twist on Pepper Potts that I really enjoyed. Snyder captures the world of yesteryear quite well with the analogies to comics and Stark's magazine, and just the "feel" of the world.

The art team is just as fabulous here. Going from deep jungles to metropolitan scenes, all the while keeping a steady pace the action heavy. Solid panel construction, lush environments, and great figure construction gives the book a first-rate look that I hope doesn't stop here. I like the design of the suit, and reflects the imagination of the decade and looks like something out of a sci-fi serial.

With the Iron Man movie coming out in less than a month, I'm sure Ol' Shellhead won't have a hard time selling books, but be sure to check this one out.

Legendary Talespinners #2

Legendary Talespinners #2
Written by James Kuhoric
Art by Grant Bond
Letters by Bill Tortolini
Covers by Nick Bradshaw and Grant Bond
Published by Dynamite Entertainment
Review by Lan Pitts

"You don't know what you're talking about. I'm not a legendary anything. I'm just a student who is apparently having freaky hallucinations."

Having really enjoyed the first installment of Legendary Talespinners, I eagerly waited the next chapter and it continues to "spin" a pretty wonderful story. When we last saw our protagonist, Abby, she was falling into a magic mirror with the unknown on the other side. We see that on the other side is a fairy tale kingdom that has gone to ruin. The legendary Baron von Münchhausen, along with Tinkerbelle (who looks like her best friend Tina) and one of Snow White's dwarves explain to Abby what has happened to their homeland. From there the adventure goes on and ends on quite the cliffhanger much like the previous issue.

This story touches on principles about losing a childhood, regaining your imagination, and having that place in your heart for such stories on many levels. While Abby faces the difficult reality of her being washed away to a make-believe land, it's up to her on whether that realm withers away, much like how most stories disappear if not passed on to a younger generation. A good message to send in such a format that could be given to young readers since this book is a fantastic middle road between Tiny Titans and X-Men.

Again, Grant Bond's art compliments the story and fits with James Kuhoric's imaginative world. Fans of Stuff of Legend, Fables, and The 10th Kingdom (does anybody else remember that?) are sure to be delighted by this tale. My one complaint is that this is the second part of three issues, so I still have this lingering annoyance that it's almost over, but hopefully the creative team would come back to this world if given the chance. There should always be room on the shelves for these sort of books.

Blackbeard: Legend of the Pyrate King #1

Blackbeard: Legend of the Pyrate King #1 -- Advanced look
Written by Robert Place Napton and Jamie Nash
Story by Gregg Hale and Eduardo Sanchez
Art by Mario Guevara
Colors by Romulo Fajarado, jr
Letters by Bill Tortolini
Research by Steve Fussell
Published by Dynamite Entertainment

It would seem to me that having two people come up with the story, one person for actual research, and then two different people actually writing the script, you would come up with something better than bland. The thing is, the story was actually conceived by a writer (Sanchez) and a producer (Hale) of The Blair Witch Project, and maybe it's just me, but I expected a bit more, especially for an inaugural issue like this.

Now, it's not horrid or unreadable by any means, just underwhelming. It is fascinating to see Teach in the spotlight as some sort of hero. I know the book not going to be entirely historically accurate or going to be some sort of epic bio-comic, it just came off as run-of-the-mill. It opens with a massive storm at sea with Edward Teach, not yet called by his infamous name, ordering his crewmen and the scene is spliced with flashbacks of his childhood. The captain of the ship is a man by the name of Richards and keeps a stern hand and sterner lash.

Through a series of events, we see Teach as a role as the mentor and caretaker of his fellow crewmen. The scenes are beautifully drawn and the panel construction is overall solid. Fajarado, jr's coloring adds a a nice layer over Guevara's pencils and the two styles mesh well together.

Some pirate fans are probably going to buy this anyway, and I support that. This was made for you out there. I might check out the trade if I hear things have improved, plus I'm a history nut and kind of interested to see if they're going to take more liberties or stick to the story.